MUS180 VOCABULARY for Test #1

Transcription

1 MUS180 VOCABULARY for Test #1 Prof. Giles A.D. : Latin Anno Domini or Year of our Lord Aisle: A passageway to either side of the nave that is separated from the nave by colonnades or arcades, a row of pillars or columns. Occasionally aisles stop at the transepts, but often aisles can be continued around the apse. Altarpiece: A picture or sculpture that stands on or is set up behind an altar. A diptych is an altarpiece consisting of two panels, a triptych one of three panels, and a polyptych one of four or more panels. From the 14th to 16th century, the altarpiece was one of the most important commissions in European art; it was through the altarpiece that some of the most decisive developments in painting and sculpture came about. Amphitheatre: A public building of the Classical period (being particularly associated with ancient Rome) which was used for spectator sports, games and displays. The important distinction between an amphitheatre and a theatre is that an amphitheatre is round or oval in shape, whereas a Greek theatre was semi-circular. Apse: A semicircular projection, roofed with a half-dome, at the east end of a church behind the altar. Aqueducts: a structure used to divert water to a city; perfected by the Roman Empire Arch: Structure with curved or pointed edge that supports the weight above it creating a vault. B.C.: Before Christ Barrel Vault: A ceiling that is like a continuous circular arch or tunnel, contrasted with vaults that are supported on ribs or a series of arches. Basilica: A church building, usually facing east, with a tall main nave and two or four side aisles of lesser height. There may also be a transept between the nave and the apse. Originally, the basilica was a type of ancient Greek administrative building, and the Romans used this form for markets and law courts; it then became a place of assembly for the early Christians who adopted it as a design for churches. Bronze: An alloy of copper (usually about 90 per cent) and tin, and other metals. Since antiquity it has been the metal most commonly used in cast sculpture because of its strength, durability, and the fact that it is easily workable - both hot and cold - by a variety of processes. Byzantine Empire: Eastern Roman Empire founded in 330AD by Emperor Constantine, capital named Constantinople until defeated by Ottoman Empire in 1453, then renamed Istanbul. Caryatid: (Greek priestess ) A carved female figure used in architecture as a column to support an entablature. Cartouche: Rounded rectangle containing the hieroglyphic name of Egyptian pharaohs or rulers. Catacomb: The original catacombs are a network of underground burial galleries in Rome. Used for secret worship by Christians before Christianity was legalized by Constantine. Cathedral: bishop s throne ; The principal church of a province or diocese, where the seat of the bishop is placed. The altar is placed at the east end. A cathedral is usually formed in the shape of a cross.

2 Chiaroscuro: In painting, the modelling of form (the creation of a sense of three-dimensionality in objects) through the use of light and shade. The term chiaroscuro is used in particular for the dramatic contrasts of light and dark introduced by Caravaggio. When the contrast of light and dark is strong, chiaroscuro becomes an important element of composition. Coffer: A unit of an ornamental system of deep panels recessed into a vault, arch or ceiling. Contrapposto: (Italian placed opposite ) An asymmetrical pose in which the one part of the body is counterbalanced by another about the body s central axis. Ancient Greek sculptors developed contrapposto by creating figures who stand with their weight on one leg, the movement of the hips to one side being balanced by a counter movement of the torso. Contrapposto was revived during the Renaissance and frequently used by Mannerist artist, who developed a greater range of contrapposto poses. Dome: In architecture, hemispherical structure evolved from the arch, usually forming a ceiling or roof Duomo: a generic Italian term for a cathedral church. The formal word for a church that is presently a cathedral; a Duomo may be either a present or a former cathedral. Such churches are usually referred to simply as Il Duomo or The Duomo, without regard to the full proper name of the church, i.e. the Duomo of Pisa Entablature: In classical architecture, the part of a building between the capitals of the columns and the roof. Flying Buttress: In architecture, a flying buttress, is a structural feature used to transmit the thrust of a vault across an intervening space, such as an aisle or chapel, to a buttress built outside the structure. The employment of the flying buttress meant that the load bearing walls could contain cut-outs, such as for large windows, that would otherwise seriously weaken the vault walls. Foreshortening: a technique showing elements of perspective in a way that emphases the contrast of size: larger is closer, smaller is farther away. It is very dependent on point-of-view of viewer. Fresco: (Italian fresh ) Wall painting technique in which pigments are applied to wet (fresh) plaster (intonaco). The pigments bind with the drying plaster to form a very durable image. Only a small area can be painted in a day. Gothic style: The name may well have originated as a derogatory term meaning German style. It is properly the descriptive term for an artistic style which achieved its highest form between c and c. 1270, and which then spread throughout northern Europe. It is characterized by unprecedented integration of the arts of sculpture, painting, stained glass and architecture in the great cathedrals of Chartres or Sainte Chapelle in Paris. Greek Art Periods: Archaic- very simple forms, stiff human forms, clothes seem wet and hang straight c BC; Classical natural, realistic figures, height of architecture, clothes fold and fall naturally c bc; Hellenistic sculptures appear ultra-active and flamboyant, clothes flow as if blown by wind, not necessarily natural looking c BC Greek Capital Orders: Doric archaic simple round capital; Ionic- classical scroll on capital; Corinthian similar to Ionic but very ornate with acanthus leaf creating four corners Icon: (Greek eikon, likeness ) a small, portable painting in the Orthodox Church. The form and colours are strictly idealized and unnatural. Identified with Byzantine art featuring large, almond-shaped eyes, halos, and small mouths. Iconoclast: icon destroyers; especially in 8 th century AD and Reformation in late 1500s. Illuminated manuscripts: Books written by hand, decorated with paintings and ornament of different kinds. The word illuminated comes from a usage of the Latin word illuminare in connection with oratory or prose style, where it means adorn. Lost wax method: creating a sculpture by shaping a wax figure, encasing it a mold, and then heating to melt away

3 the wax leaving a void into which liquid metal is poured. Madonna: (Italian my lady ); Title of high honor given to Mary as mother of Christ. Title of a theme of art featuring Mary and the Christ-child starting in th century. Mosaic: artwork created from pieces of ceramic, tiles, or glass. Used extensively Byzantine art. Nave: (from Latin navis, ship ) the main interior space of a church building. It may have parallel aisles on each side, often separated from it by pillars, and is intersected by the transept, which cuts across it. Pediment: A classical architectural element consisting of a triangular section or gable found above the horizontal superstructure (entablature) which lies immediately upon the columns. It is found throughout Classical and Neo-Classical Architecture, most notably in the Greek temple form (the most prominent example being the Parthenon), where it was a palette for beautiful, intricate sculptural detail. Perspective: The artists use to project an illusion of the 3-D world onto a 2-D surface. it helps to create a sense of receding space. Post and lintel: arch created from at least 3 monolithic elements; Verticle posts support horizontal lintel above; most ancient and simple arch. Relief: sculpture that is nearly flat with the subject projecting from background; high, low or sunken Romanesque: Style of art and architecture prevailing throughout most of Europe in the 11th and 12th centuries. The dominant art of the Middle Ages was architecture, and Romanesque is primarily an architectural term that has been extended to the other arts of the period. As the name suggests, it indicates a derivation from Roman art, and is used to cover all the developments from Roman architecture in the period from the collapse of the Roman Empire until the start of Gothic. Rose Window: A circular stained glass window, with mullions and traceries generally radiating from the centre. In churches and cathedrals it s use alludes to the Virgin Mary, who is called the Mystical Rose. Symbolism: a vocabulary of symbols developed to express abstractly the basic ideas about a subject, such as the Christian faith Transept: In Romanesque and Gothic Christian church architecture, the transept is the area set crosswise to the nave in a cruciform ( cross-shaped ) building. The transept separates the nave from the apse. The transepts cross the nave at the crossing, which belongs equally to the main nave axis and to the transept. Upon its four piers, the crossing may support a spire, a central tower or a dome. Triumphal arch: In the architecture of ancient Rome, a large and usually free-standing ceremonial archway built to celebrate a military victory. Often decorated with architectural features and relief sculptures, they usually consisted of a large archway flanked by two smaller ones. Tympanum: decorative half circle above main entrances to church or cathedral. Vault: an arched roof; Varieties include barrel long, tunnel-like; groin two intersecting barrel vaults; dome circular

4 MUS180 VOCABULARY for Test #2 Prof. Giles Academy Painting: Paintings that follow the accepted, conservative styles of art teaching institutions. The paintings of Ingres typifies works created by The Royal French Academy. Academies studied the art of the past and the human form. Altarpiece: A picture or sculpture that stands on or is set up behind an altar. A diptych is an altarpiece consisting of two panels, a triptych one of three panels, and a polyptych one of four or more panels. From the 14th to 16th century, the altarpiece was one of the most important commissions in European art; it was through the altarpiece that some of the most decisive developments in painting and sculpture came about. Baldacchino: Canopy over a throne or altar. Basilica: A church building, usually facing east, with a tall main nave and two or four side aisles of lesser height. There may also be a transept between the nave and the apse. Originally, the basilica was a type of ancient Greek administrative building, and the Romans used this form for markets and law courts; it then became a place of assembly for the early Christians who adopted it as a design for churches. Cathedral: bishop s throne ; The principal church of a province or diocese, where the seat of the bishop is placed. The altar is placed at the east end. A cathedral is usually formed in the shape of a cross. Chiaroscuro: In painting, the modelling of form (the creation of a sense of three-dimensionality in objects) through the use of light and shade. The term chiaroscuro is used in particular for the dramatic contrasts of light and dark introduced by Caravaggio. When the contrast of light and dark is strong, chiaroscuro becomes an important element of composition. Contrapposto: (Italian placed opposite ) An asymmetrical pose in which the one part of the body is counterbalanced by another about the body s central axis. Ancient Greek sculptors developed contrapposto by creating figures who stand with their weight on one leg, the movement of the hips to one side being balanced by a counter movement of the torso. Contrapposto was revived during the Renaissance and frequently used by Mannerist artist, who developed a greater range of contrapposto poses. Engraving: A print made from a metal plate that has been incised with a design. Then ink is applied to the plate and the excess wiped away leaving only ink in the etched lines. Finally the plate is pressed heavily onto moist paper which transfers ink to the paper. Etching: A print made from a metal plate that has been etched by acid. First a wax is applied the plate and a design is scratched in to the wax revealing the plate. Then the plate is submerged in acid baths, which eat away the exposed metal. Next the wax is removed and ink applied. Finally, the plate is pressed heavily onto moist paper, which transfers ink to the paper. Artists can duplicate the process many times on the same plate, which results in differing states of the design. Focal point: visual concentration of interest, view eyes naturally attracted to it. Foreshortening: a technique showing elements of perspective in a way that emphases the contrast of size: larger is closer, smaller is farther away. It is very dependent on point-of-view of viewer. Fresco: (Italian fresh ) Wall painting technique in which pigments are applied to wet (fresh) plaster (intonaco). The pigments bind with the drying plaster to form a very durable image. Only a small area can be painted in a day. Gilded: A coating of gold or gold leaf on an object.

5 Greek Capital Orders: Doric archaic simple round capital; Ionic- classical scroll on capital; Corinthian similar to Ionic but very ornate with acanthus leaf creating four corners Lost wax method: creating a sculpture by shaping a wax figure, encasing it a mold, and then heating to melt away the wax leaving a void into which liquid metal is poured. Pediment: A classical architectural element consisting of a triangular section or gable found above the horizontal superstructure (entablature) which lies immediately upon the columns. It is found throughout Classical and Neo-Classical Architecture, most notably in the Greek temple form (the most prominent example being the Parthenon), where it was a palette for beautiful, intricate sculptural detail. Perspective: The artists use to project an illusion of the 3-D world onto a 2-D surface. it helps to create a sense of receding space. Pietá: An image of the Virgin Mary with the dead Christ on her lap. Plein-Air Painting: (French Open Air ) A painting executed out of doors instead of in a studio. Style: rules that art creators follow to facilitate a consistent look Relief: sculpture that is nearly flat with the subject projecting from background; high, low or sunken Salon: Originally the formal room at the Louvre Palace in Paris in which French Royal Academy paintings and sculptures were displayed. In time, non-academic artist also submitted works to the annual Salon competition. Sfumato: A soft, misty effect in oil painting mainly by the use of glazes to create soft transitions of color and tone. Symbolism: a vocabulary of symbols developed to express abstractly the basic ideas about a subject, such as the Christian faith Transept: In Romanesque and Gothic Christian church architecture, the transept is the area set crosswise to the nave in a cruciform ( cross-shaped ) building. The transept separates the nave from the apse. The transepts cross the nave at the crossing, which belongs equally to the main nave axis and to the transept. Upon its four piers, the crossing may support a spire, a central tower or a dome. Triumphal arch: In the architecture of ancient Rome, a large and usually free-standing ceremonial archway built to celebrate a military victory. Often decorated with architectural features and relief sculptures, they usually consisted of a large archway flanked by two smaller ones. Transept: an aisle that runs perpendicular to main axis of church to create a cross shaped floor plan. Vault: an arched roof; Varieties include barrel long, tunnel-like; groin two intersecting barrel vaults; dome circular Woodcut: A print made from a block of wood which has had areas of its surface excised. Ink is then applied to the remaining raised surfaces and the pressed onto paper, which transfers the design to the paper. The method is the opposite of engraving and etching, since the print is made from what the artist leaves untouched, not what is excised.

6 Periods of Art...See charts pages Period Sub-Period... Approximate Dates Pre-historic... <25,000-5,000 BC Egyptian... 3, BC Greek Archaic BC Classical BC Hellenistic BC Roman Republic BC Empire BC AD Early Christian AD Byzantine AD Romanesque AD Gothic AD Early Italian Renaissance AD Northern Renaissance AD High Italian Renaissance AD Mannerism AD Baroque AD Rococo AD Neo-Classical AD Romanticism AD Pre-Raphaelites AD Impressionism AD Art Nouveau AD 20th Century Movements AD