FAMLIARIZE, DON'T MEMORIZE!
USUALLY USED IN MULTIPLE-CHOICE QUESTIONS.
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| A PAIR OF TRUNCATED, PYRAMIDAL TOWERS FLANKING THE ENTRANCE TO AN EGYPTIAN TEMPLE. THE TEMPLE OF HORUS AT EDFU HAS A PARTICULARLY WELL-PRESERVED ENTRANCE. | ||
| A HALL WITH A ROOF SUPPORTED BY ROWS OF COLUMNS. THE TEMPLE OF AMON-RE AT KARNAK HAS AN ENORMOUS EXAMPLE OF THIS KIND OF HALL. | ||
| THE REPRESENTATION OF MORE IMPORTANT FIGURES AS LARGER THAN LESS IMPORTANT ONES. THE SCULPTOR WHO CARED THE VICTORY STELE OF NARIM-SIM USED THIS TO INDICATE NARIM-SIN'S LOFTY STATUS. | ||
| ONE OF A SERIES OF ROWS IN A PICTORIAL NARRATIVE. FOR EXCELLENT EXAMPLES OF THIS, SEE THE STANDARD OF UR AND THE PALETTE OF KING NARMAR. | ||
| A TECHNIQUE IN WHICH A RELIEF IS FORMED ON THE FRONT BY HAMMERING A METAL PLATE FROM THE BACK. THE FUNERARY MASKS DISCOVERED AT MYCENAE WERE CREATED USING THIS TECHNIQUE. | ||
| A VAULT FORMED BY THE PILING OF STONE BLOCKS IN HORIZONTAL COURSES, CANTILEVERED INWARD UNTIL THE TWO WALLS MEET IN AN ARCH. THE LION'S GATE AT MYCENAE PROVIDES AN EXCELLENT EXAMPLE OF THIS VAULT AND A RELIEVING TRIANGLE. | ||
| AN ARCHAIC GREEK STATUE OF A STANDING NUDE MALE. | ||
| AN ARCHAIC GREEK STATUE OF A STANDING, DRAPED FEMALE. | ||
| A COLUMN CARVED TO REPRESENT A WOMAN. THE ERECHTHEUM IS FAMOUS FOR ITS PORCH OF THESE. | ||
| IN CLASSICAL ARCHITECTURE, THE TRIANGULAR SECTION OF A TEMPLE ROOF OFTEN DECORATED WITH SCULPTURE. | ||
| IN CLASSICAL ARCHITECTURE, THE PART OF A BUILDING ABOVE THE COLUMNS AND BELOW THE ROOF. THIS PART OF A CLASSICAL TEMPLE INCLUDED THE ARCHITRAVE, FRIEZE, AND CORNICE. | ||
| THE RELAXED NATURAL POSE, OR "WEIGHT SHIFT," FIRST INTRODUCED IN GREEK SCULPTURE IN 480 BCE. FIRST USED IN KRITIOS BOY, THIS SEPARATES CLASSICAL FROM ARCHAIC GREEK STATUARY. | ||
| IN CLASSICAL ARCHITECTURE, THIS IS A CONTINUOUS HORIZONTAL BAND OF SCULPTURAL DECORATION. THE IONIC EXAMPLE IN THE PARTHENON DEPICTS THE PANATHENAIC PROCESSION. | ||
| IMAGES COMPOSED OF SMALL PIECES OF COLORED GLASS OR STONE. THE ALEXANDER "__" SHOWS ALEXANDER THE GREAT PURSUING DARIUS III AT THE BATTLE OF ISSUS. THE ROMANS OFTEN USED THIS TO DECORATE THEIR FLOORS. | ||
| A WEDGE-SHAPED BLOCK USED IN THE CONSTRUCTION OF A TRUE ARCH. A KEYSTONE IS A SPECIAL EXAMPLE OF THIS, WHICH IS PLACED IN THE CENTER OF AN ARCH. | ||
| THE CONCAVE TRIANGULAR SECTION OF A VAULT THAT FORMS THE TRANSITION BETWEEN A SQUARE OR POLYGONAL SPACE AND THE CIRCULAR BASE OF A DOME. THESE DOME SUPPORTS ENABLED BYZANTINE ARCHITECTS TO CONSTRUCT THE DOME FOR HAGIA SOPHIA. | ||
| A MOVEMENT IN THE BYZANTINE EMPIRE THAT FAVORED BANNING AND DESTROYING IMAGES. | ||
| A PAINTING TECHNIQUE IN WHICH A PIGMENT IS MIXED WITH WAX AND APPLIED TO THE SURFACE WHILE HOT. SIXTH- AND SEVENTH- CENTURY BYZANTINE ARTISTS USED THIS TO CREATE PANEL PAINTINGS. INTERESTINGLY, JASPER JOHNS USED THIS TECHNIQUE IN HIS FAMOUS PAINTING TITLED FLAG. | ||
| A TECHNIQUE IN WHICH POWDERED GLASS IS APPLIED TO A METAL SURFACE IN A DECORATIVE DESIGN. | ||
| A SEMICIRCULAR NICHE SET INTO THE QIBLA WALL OF A MOSQUE. | ||
| THE FAÇADE AND TOWERS AT THE WESTERN END OF A MEDIEVAL CHURCH, PRINCIPALLY IN GERMANY. | ||
| THE PASSAGEWAY AROUND THE APSE AND CHOIR OF A CHURCH. THIS PASSAGEWAY WAS ORIGINALLY A FEATURE OF ROMANESQUE CHURCHES THAT DEVELOPED IN CONNECTION WITH THEIR USE AS PILGRIMAGE CENTERS. | ||
| THE LUNETTE-SHAPED SPACE ABOVE THE PORTALS OF ROMANESQUE AND GOTHIC CHURCHES. | ||
| A ROW OF WINDOWS IN THE UPPER PART OF A WALL. | ||
| A VAULT IS A ROOF OR CEILING. THIS TYPE OF VAULT IS, IN EFFECT, A DEEP ARCH OR AN UNINTERRUPTED SERIES OF ARCHES. ROMAN ARCHITECTS USED THESE TYPES OF VAULTS IN THE CONSTRUCTION OF THE COLOSSEUM AND THE BATHS OF CARACALLA. THESE TYPES OF VAULTS ARE ONE OF THE CHARACTERISTIC FEATURES OF ROMANESQUE CHURCHES. | ||
| VAULT FORMED AT THE POINT AT WHICH TWO BARREL VAULTS INTERSECT AT RIGHT ANGLES. THESE TYPES OF VAULTS ARE ONE THE CHARACTERISTIC FEATURES OF GOTHIC CHURCHES. | ||
| A VAULTED SPACE USUALLY LOCATED UNDER THE APSE OF A CHURCH. BECAUSE THESE SPACES ARE WHOLLY OR PARTLY UNDERGROUND, IT IS NOT FOUND IN THE NAVE ELEVATION OF A CHURCH. | ||
| CALFSKIN PREPARED AS A SURFACE FOR WRITING OR PAINTING. THE LINDISFARNE GOSPELS USED TEMPERA ON THIS, AND THE CALENDAR PICTURES OF THE LES TRES RICHES HEURES USED INK ON THESE. | ||
| A TWO-PANELED PAINTING OR ALTARPIECE. THE MELUN "___" BY JEAN FOUQUET IS A FAMOUS EXAMPLE OF THIS. | ||
| A THREE-PANELED PAINTING OR ALTARPIECE. FAMOUS EXAMPLES OF THIS INCLUDE THE GARDEN OF EARTHLY DELIGHTS BY HIERONYMUS BOSCH, THE MERODE ALTARPIECE BY ROBERT CAMPIN, AND THE PORTINARI ALTARPIECE BY HUGO VAN DER GOES. | ||
| THE PAINTED OR SCULPTED LOWER PORTION OF AN ALTARPIECE THAT RELATES TO THE SUBJECTS OF THE UPPER PORTION. | ||
| IN DRAWING OR PAINTING, THE TREATMENT AND USE OF LIGHT AND DARK ESPECIALLY BY GRADATIONS OF LIGHT THAT PRODUCE THE EFFECT OF MOTTLING. MASACCIO DEMONSTRATED HIS MASTERY OF THIS IN THE TRIBUTE MONEY. | ||
| IN PAINTING, A FULL-SIZE PRELIMINARY DRAWING FROM WHICH A PAINTING IS MADE. DA VINCI'S VIRGIN AND CHILD WITH SAINT ANNE AND THE INFANT SAINT JOHN IS A FAMOUS EXAMPLE OF A THIS. | ||
| A FIGURE PAINTED OR SCULPTED TO SHOW THE MUSCLES OF THE BODY AS IF WITHOUT SKIN. POLLAIUOLO'S BATTLE OF THE TEN NUDES IS A FAMOUS EXAMPLE OF AN ENGRAVING THAT USES THIS TECHNIQUE. | ||
| A LINE IMAGINED TO BE BEHIND AND PERPENDICULAR TO THE PICTURE PLANE. THESE LINES IN A PAINTING APPEAR TO RECEDE TOWARD A VANISHING POINT. THESE LINES CAN BE CLEARLY SEEN IN PERUGINO'S CHRIST DELIVERING THE KEYS OF THE KINGDOM. | ||
| A GRAPHIC TECHNIQUE IN WHICH THE DESIGN IS INCISED, OR SCRATCHED, ON A METAL PLATE, EITHER MANUALLY (ENGRAVING) OR CHEMICALLY (ETCHING). THE INCISED LINES OF THE DESIGN TAKE THE INK, MAKING THIS THE REVERSE OF THE WOODCUT TECHNIQUE. | ||
| TECHNIQUE IN WHICH THE ARTIST APPLIES THICK LAYERS OF OIL PAINT. BOTH REMBRANDT AND VAN GOGH USED THIS IN THEIR WORKS. | ||
| THE FRENCH FASCINATION WITH ALL THINGS JAPANESE. THIS EMERGED IN THE SECOND HALF OF THE NINETEENTH CENTURY. THE IMPRESSIONISTS AND POST-IMPRESSIONISTS WERE PARTICULARLY IMPRESSED WITH THE USE OF BOLD CONTOUR LINES, FLAT AREAS OF COLOR, AND CROPPED EDGES IN JAPANESE WOODBLOCK PRINTS. | ||
| LATE NINETEENTH- AND TWENTIETH-CENTURY ARTISTS WHOSE WORK EMPHASIZED INNOVATION AND CHALLENGED ESTABLISHED CONVENTIONS. | ||
| A SCHOOL OF ARCHITECTURE IN GERMANY IN THE 1920S UNDER THE LEADERSHIP OF WALTER GROPIUS. | ||
| AN ORDINARY OBJECT THAT, WHEN AN ARTIST GIVES IT A NEW CONTEXT AND TITLE, IS TRANSFORMED INTO AN ART OBJECT. THESE WERE IMPORTANT FEATURES OF THE DADA AND SURREALISM MOVEMENTS OF THE EARLY TWENTIETH CENTURY. MARCEL DUCHAMP'S FOUNTAIN IS A FAMOUS EXAMPLE OF THIS. | ||
| A BEAM OR STRUCTURE THAT IS ANCHORED AT THE END AND PROJECTS HORIZONTALLY BEYOND ITS VERTICAL SUPPORT. IN FALLINGWATER, FRANK LLOYD WRIGHT MADE A PARTICULARLY DRAMATIC USE OF THIS. | ||
| AN ADJECTIVE USED TO DESCRIBE FORMS THAT RESEMBLE OR SUGGEST SHAPES FOUND IN NATURE. THESE ARE THEREFORE NOT ABSTRACT SHAPES AND AN EXCELLENT EXAMPLE OF A WORK THAT MAKES USE OF THESE IS PAINTING AND COMPOSITION BY JOAN MIRO. | ||
| AN ARTWORK CONSTRUCTED FROM EXISTING OBJECTS. LOUISE NEVELSON IS FAMOUS FOR CREATING THESE SUCH AS SKY TOWER AND TROPICAL GARDEN. | ||
| A COMPOSITION MADE BY PASTING TOGETHER PICTURES OR PARTS OF PICTURES, ESPECIALLY PHOTOGRAPHS. ALSO CALLED A PHOTOCOLLAGE. HANNAH HOCH AND ROMARE BEARDEN CREATED NOTEWORTHY EXAMPLES OF THESE. | ||
| A LARGE, MOUND-SHAPED BUDDHIST SHRINE. | ||
| A MULTISTORIED CHINESE TOWER, USUALLY ASSOCIATED WITH A BUDDHIST TEMPLE, HAVING A MULTIPLICITY OF PROJECTING EAVES. | ||
| A COMMUNAL MULTISTORIED DWELLING MADE OF STONE OR ADOBE BRICK BY THE NATIVE AMERICANS OF THE SOUTHWEST. THE CLIFF PALACE AT MESA VERDE IS AN EXAMPLE OF THIS. | ||
| IN BUDDHIST AND HINDI ICONOGRAPHY, THIS IS A STYLIZED AND SYMBOLIC HAND GESTURE. | ||
| JAPANESE FOR "PICTURES OF THE FLOATING WORLD." A STYLE OF JAPANESE GENRE PAINTING THAT INFLUENCES NINETEENTH-CENTURY WESTERN ART. |
