Terms : Hide Images
| 5504801821 | Absolute Symmetry | Term used when each of a composition is exactly the same | 0 | |
| 5504801822 | Abstract | In art, the rendering of images and objects in a stylized or simplified way, so that though they remain recognizable, their formal or expressive aspects are emphasized. Compare both representational and nonobjective art. |  | 1 |
| 5504801823 | Abstract Expressionism | A painting style of the late 1940s and early 1950s, predominantly American, characterized by its rendering of expressive content by abstract or nonobjective means. |  | 2 |
| 5504801824 | Acrylic | A plastic resin that, when mixed with water and pigment, forms an inorganic and quick-drying paint medium. | 3 | |
| 5504801825 | Actual texture | As opposed to visual texture, the literal tactile quality or feel of a thing. | 4 | |
| 5504801826 | Actual weight | AS opposed to visual weight, the physical weight of material in pounds. | 5 | |
| 5504801827 | Additive | In color, the adjective used to describe the fact that when different hues of colored light are combined, the resulting mixture is higher in key than the original hues and brighter as well, and as more and more hues are added, the resulting mixture is closer and closer to white. In sculpture, an adjective used to describe the process in which form is built up, shaped, and enlarged by the addition of materials, as distinguished from subtractive sculptural processes, such as carving. | 6 | |
| 5504801828 | Aesthetic | Pertaining to the appreciation of the beautiful, as oppose to the functional or utilitarian, and, by extension, to the appreciation of any form of art, whether overtly "beautiful" or not | 7 | |
| 5504801829 | Afocal art | Work in which no single point of the composition demands our attention any more or less than any other and in which the eye can find no place to rest |  | 8 |
| 5504801830 | Afterimage | In color, the tendency of the eye to see the complementary color of an image after the image has been removed. |  | 9 |
| 5504801831 | Ambulatory | A covered walkway, especially around the apse of a church |  | 10 |
| 5504801832 | Analogous colors | Pairs of colors, such as yellow and orange, that are adjacent to each other on the color wheel |  | 11 |
| 5504801833 | Analytic line | Closely related to classical line, a kind of line that is mathematical, precise, and rationally organized, epitomized by the vertical and horizontal grid, as opposed to expressive line |  | 12 |
| 5504801834 | Animation | In film, the process of sequencing still images in rapid succession to give the effect of live motion. | 13 | |
| 5504801835 | Apse | A smi-circular recess placed, in a Christian church, at the end of the nave |  | 14 |
| 5504801836 | Aquatint | An intaglio printmaking process, in which the acid bites around the powdered particles of resin resulting in a print with granular appearance. |  | 15 |
| 5504801837 | Arbitrary color | Color that has no realistic or natural relation to the object that is depicted, as in a blue horse, or purple cow, but which may have emotional or expressive significance. |  | 16 |
| 5504801838 | Arch | A curved, often semicircular architectural form that spans an opening or space built to wedge-shaped blocks, called voussoirs, with a keystone centered at its top |  | 17 |
| 5504801839 | Architrave | In architecture, the lintel, or horizontal beam, that forms the base of the entablature |  | 18 |
| 5504801840 | Art Deco | A popular art and design style of the 1920s and 1930s associated with the 1925 Exposition Internationale des Arts Decoratifs et Industriels Modernes in Paris and characterized by its integration of organic and geometric forms |  | 19 |
| 5504801841 | Art Nouveau | The art and design style characterized by undulating, curvilinear, and organic forms that dominated popular culture at the turn of the century, and that achieved particular success at the 1900 International Exposition in Paris |  | 20 |
| 5504801842 | Assemblage | An additive sculptural process in which various and diverse elements and objects are combined |  | 21 |
| 5504801843 | Asymmetrical balance | Balance achieved in a composition when neither side reflects or mirrors the other |  | 22 |
| 5504801844 | Atmospheric perspective | A technique, often employed in landscape painting, designed to suggest three-dimensional space in the two-dimensional space of the picture plane, and in which forms and objects distant from the viewer become less distinct, often bluer or cooler in color, and contrast among the various distant elements is greatly reduced. |  | 23 |
| 5504801845 | Autographic line | Any use of line that is distinct to the artist who employs it and is therefore recognizable as a kind of "signature" style | 24 | |
| 5504801846 | Avant-garde | Those whose works can be characterized as unorthodox and experimental |  | 25 |
| 5504801847 | Axonometric projection | A technique for depicting space, often employed by architects, in which all lines remain parallel rather than receding to a common vanishing point as in linear perspective. |  | 26 |
| 5504801848 | Baroque | A dominant style of art in Europe in the 17th century characterized by its theatrical, or dramatic, use of light and color, by its ornate forms, and by its disregard for classical principles of composition |  | 27 |
| 5504801849 | Barrel vault | A masonry roof constructed on the principle of the arch, that is, in essence, a continuous series of arches, one behind another |  | 28 |
| 5504801850 | Basilica | In Roman architecture, a rectangular public building, entered on one of the long sides. In Christian architecture, a church loosely based on the Roman design, but entered on one of the short ends, with an apse at the other end. |  | 29 |
| 5504801851 | Bilateral symmetry | Term used when the overall effect of a composition is one of absolute symmetry, even though there are clear discrepancies side to side |  | 30 |
| 5504801852 | Binder | In a medium, the substance that holds pigments together. | 31 | |
| 5504801853 | Burin | A metal tool with a V-shaped point used in engraving |  | 32 |
| 5504801854 | Burr | In drypoint printing, the ridge of metal that is pushed up by the engraving tool as it is pulled across the surface of the plate and that results, when inked, in the rich, velvety texture of the drypoint print | 33 | |
| 5504801855 | Calligraphy | The art of handwriting in a fine and aesthetic way |  | 34 |
| 5504801856 | Calotype | The first photographic process to utilize a negative image. Discovered by William Henry Fox Talbot in 1841. |  | 35 |
| 5504801857 | Canon or proportion | The "rule" of perfect proportions for the human body as determined by the Greek sculptor Polykleitos in a now lost work, known as the Canon, and based on the idea that each part of the body should be a common fraction of the figures total height. |  | 36 |
| 5504801858 | Cantilever | An architectural form that projects horizontally from its support, employed especially after the development of reinforced concrete construction techniques. |  | 37 |
| 5504801859 | Capital | The crown, or top of a column, upon which the entablature rests. | 38 | |
| 5504801860 | Carolingian art | European art from the mid-8th to the early 10th century, given impetus and encouragement by Charlemagne's desire to restore the civilization of Rome. |  | 39 |
| 5504801861 | Cartoon | As distinct from common usage, where it refers to a drawing with humorous content, any full size drawing, subsequently transferred to the working surface from which a painting or fresco is made. |  | 40 |
| 5504801862 | Cast iron | A rigid, strong construction material made by adding carbon to iron | 41 | |
| 5504801863 | Cast shadow | In chiaroscuro, the shadow cast by a figure, darker than the shadowed surface itself |  | 42 |
| 5504801864 | Casting | The process of making sculpture by pouring molten material-often bronze- into a mold bearing the sculpture's impression. |  | 43 |
| 5504801865 | Ceramics | Objects formed out of clay and then hardened by firing in a very hot over or kiln. |  | 44 |
| 5504801866 | Chiaroscuro | In drawing and painting, the use of light and dark to create the effect of three-dimensional, molded surfaces. |  | 45 |
| 5504801867 | Classical line | Closely related to analytical line, a kind of line that is mathematical, precise, and rationally organized, epitomized by the vertical and horizontal grid, as opposed to expressive line. | 46 | |
| 5504801868 | Coiling | A method of ceramic construction in which long replace strands of clay are coiled on top of one another then smoothed. | 47 | |
| 5504801869 | Collage | A work made by pasting various scraps of pieces of material- cloths, paper, photographs- onto the surface of the composition |  | 48 |
| 5504801870 | Colonnade | A row of columns set at regular intervals around the building and supporting the base of the roof. |  | 49 |
| 5504801871 | Color wheel | A circular arrangement of hues based on one of a number of various color theories. |  | 50 |
| 5504801872 | Complementary colors | Pairs of colors, such as red and green, that are directly opposite of each other on the color wheel |  | 51 |
| 5504801873 | Composition | The organization of the formal elements in a work of art |  | 52 |
| 5504801874 | Connotation | The meaning associated with or implied by an image, as distinguished from its denotation. (Symbol) | 53 | |
| 5504801875 | Constructivism | A Russian art movement, fully established by 1921, that was dedicated to nonobjective means of communication. |  | 54 |
| 5504801876 | Conte crayon | A soft drawing tool made by adding clay to graphite. | 55 | |
| 5504801877 | Content | The meaning of an image, beyond its overt subject matter. | 56 | |
| 5504801878 | Contour line | The visible border of an object in space. |  | 57 |
| 5504801879 | Contrapposto | The disposition of the human figure in which the hips and legs turned in opposition to the shoulders and chest, creating a counter-positioning of the body. |  | 58 |
| 5504801880 | Convention | A traditional, habitual, or widely accepted method of representation. | 59 | |
| 5504801881 | Cross-cutting | In film technique, when the editor moves back and forth between two separate events in increasingly shorter sequences in order to heighten drama. | 60 | |
| 5504801882 | Cross-hatching | Two or more sets of roughly parallel and overlapping lines, set at an angle to one another, in order to create a sense of three-dimensional modeled space. |  | 61 |
| 5504801883 | Cubism | A style of art pioneered by Pablo Picasso and Georges Braque in the first decade of the 20th century, noted for the geometry of its forms, its fragmentation of the object, and its increasing abstraction. | | 62 |
| 5504801884 | Dada (Dadaism) | An art movement that originated during WWI in a number of world capitals, including New York, Paris, Berlin, and Zurich, which was so antagonistic to traditional styles and materials of art that was considered by many to be "anti-war". | 63 | |
| 5504801885 | Daguerreotype | One of the earliest forms of photography, invented by Louis Jacques Mande Daguerre in 1839, made on a copper plate polished with silver. |  | 64 |
| 5504801886 | Delineation | The descriptive representation of an object by means of outline or contour drawing. |  | 65 |
| 5504801887 | Denotation | The direct or literal meaning of an image, as distinguished from its connotation. | 66 | |
| 5504801888 | De Stijl | A Dutch art movement of the early 20th century that emphasized abstraction and simplicity, reducing form to the rectangle and color to the primary colors- red, blue and yellow |  | 67 |
| 5504801889 | Diagonal recession | In perspective, when the lines recede to a vanishing point to the right or left of the vantage point. |  | 68 |
| 5504801890 | Dimetric projection | A kind of axonometric projection in which two of the three measurements- height, width, and depth- employ the same scale while the third is different. | 69 | |
| 5504801891 | Dome | A roof generally in the shape of a hemisphere or half-globe. | 70 | |
| 5504801892 | Drypoint | An intaglio printmaking process in which the copper or zinc plate is incised by a needle pulled back across the surface leaving a burr. |  | 71 |
| 5504801893 | Earthenware | A type of ceramics made of porous clay and fired at low temperatures that must be glazed if it is to hold liquid. |  | 72 |
| 5504801894 | Editing | In filmmaking, the process of arranging the sequences of the film after it has been shot in its entirety. | 73 | |
| 5504801895 | Edition | In printmaking, the number of impressions authorized by the artist made from a single master image. | 74 | |
| 5504801896 | Elevation | The side of a building, or a drawing of the side of a building. | 75 | |
| 5504801897 | Embroidery | A traditional fiber art in which the design is made by needlework | 76 | |
| 5504801898 | Encaustic | A method of painting with molten beeswax fused to the support after application by means of heat |  | 77 |
| 5504801899 | Engraving | An intaglio printmaking process in which a sharp tool called a burin is used to incise the plate. |  | 78 |
| 5504801900 | Environment | A form of art that is large enough for the viewer to move around in. |  | 79 |
| 5504801901 | Ethnocentric | Pertaining to the imposition of the point of view of one culture upon the works and attitudes of another. | 80 | |
| 5504801902 | Expressionism | An art that stresses the psychological and emotional content of the work, associated particularly with German art in the early 20th century. Its typical trait is to present the world solely from a subjective perspective, distorting it radically for emotional effect in order to evoke moods or ideas. |  | 81 |
| 5504801903 | Expressive line | A kind of line that seems to spring directly from the artist's emotions or feelings-loose, gestural, and energetic- epitomized by curvilinear forms. | 82 | |
| 5504801904 | Fauvism | An art movement of the early 20th century characterized by its use of bold arbitrary color. Its name derives from the French word "fauve" meaning "wild beast". | | 83 |
| 5504801905 | Figure-ground reversal | Term used to describe a two-dimensional work in which the relationship between a form or figure and its background is reserved so that what was figure becomes background and what was background becomes figures. |  | 84 |
| 5504801906 | Firing | the process of baking a ceramic object in a ver hot oven or kiln. | 85 | |
| 5504801907 | Fixative | A thin liquid film sprayed over pastel and charcoal drawings to protect them from smudging. | 86 | |
| 5504801908 | Flashback | A narrative technique in film in which the editor cuts to episodes that are supposed to have taken place before the start of the film. | 87 | |
| 5504801909 | Fluting | The shallow vertical grooves or channels on a column. | 88 | |
| 5504801910 | Focal point | In a work of art, the center of visual attention, often different from the physical center of the work. |  | 89 |
| 5504801911 | Foreshortening | The modification of perspective to decrease distortion resulting from the apparent visual contraction of an object or figure as it extends backwards from the picture plane at and angle approaching the perpendicular. |  | 90 |
| 5504801912 | Form | The literal shape and mass of an object or figure. More generally, the materials used yo make a work of art, the ways in which these materials are utilized in terms of the formal elements (line, light, color, etc.) and the composition that results. | 91 | |
| 5504801913 | Fresco | Paintings on plaster, either dry (fresco secco) or wet (buon or true fresco). In the former, the paint is an independent layer, separate from the plaster proper; in the latter, the paint is chemically bound to the plaster, and is integral to the wall or support. |  | 92 |
| 5504801914 | Frontal recession | In perspective, when the line recede to a vanishing point directly across from the vanishing point | 93 | |
| 5504801915 | Frottage | The technique of putting a sheet of paper over textured surfaces and then rubbing a soft pencil across the paper. |  | 94 |
| 5504801916 | Futurism | An early 20th century art movement, characterized by its desire to celebrate the movement and speed of modern industrial life. | 95 | |
| 5504801917 | Genre | In cinema, a narrative type, such as a comedy, war films, and horror films. Also, in painting, the representation of scenes from daily life. | 96 | |
| 5504801918 | Gesso | A plaster mixture used as a ground for painting. |  | 97 |
| 5504801919 | Glaze | In oil painting, a thin, transparent, or semi transparent layer put over a color, usually in order to give it a more luminous quality. In ceramics, a material that is painted on a ceramic object that turns glassy when finished. | 98 | |
| 5504801920 | Golden section | A system of proportion developed by the ancient Greeks obtained by dividing a line so that the shorter part is to the longer part as the longer part is to the whole, resulting in a ratio that is approximately 5 to 8. |  | 99 |
| 5504801921 | Gothic | A style of architecture and art dominant in Europe from the 12th-15th century, characterized, in its architecture, by features such as pointed arches, flying buttresses, and a vertically symbolic of the ethereal and heavenly. |  | 100 |
| 5504801922 | Gouache | A painting medium similar to watercolor, but opaque instead of transparent. |  | 101 |
| 5504801923 | Grid | A pattern of horizontal and vertical lines that cross each other to make uniform squares or rectangles. | 102 | |
| 5504801924 | Ground | A coating applied to a canvas or printmaking plate to prepare it for painting or etching. | 103 | |
| 5504801925 | Happening | A spontaneous, often multimedia, event conceived by artists and performed not only by the artists themselves but often by the public present at the event as well. | 104 | |
| 5504801926 | Hatching | An area of closely spaced parallel lines, employed in drawing and engraving, to create the effect of shading or modeling. | 105 | |
| 5504801927 | Heightening | The addition of highlights to a drawing by the application of white or some other pale color. |  | 106 |
| 5504801928 | Hellenism | The art of the 3rd and 2nd centuries B.C.E. in Greece characterized by its physical realism and emotional drama. |  | 107 |
| 5504801929 | Highlight | The spot or one of the spots of highest key or value in the picture | 108 | |
| 5504801930 | High- (haut-) relief | A sculpture in which the figures and objects remain attached to a background plane and project off of it by at least half their normal depth. |  | 109 |
| 5504801931 | Hue | A color, usually one of the six basic colors of the spectrum- the three primary colors of red, yellow and blue, and the three secondary colors of green, orange, and violet. | 110 | |
| 5504801932 | Iconography | The images and symbols conventionally associated with a given subject. | 111 | |
| 5504801933 | Illusionistic art | Generally synonymous with representational art, but more specifically referring to an image so natural that it creates the illusion of being real. |  | 112 |
| 5504801934 | Impasto | Paint applied very thickly to canvas or support |  | 113 |
| 5504801935 | Implied line | A line created by movement or direction, such as the line established by a pointing finger, the direction of a glance, or a body moving through space. | 114 | |
| 5504801936 | Impression | In printmaking, a single example of an edition. | 115 | |
| 5504801937 | Impressionism | A late 19th century art movement, entered in France, and characterized by its use of discontinuous strokes of color meant to reproduce the effects of light. |  | 116 |
| 5504801938 | Infrastructure | The systems that deliver services to people- water supply, and waste removal, energy, transportation, and communications. | 117 | |
| 5504801939 | Installation | An environment that is indoors. artistic genre of three-dimensional works that often are site-specific and designed to transform the perception of a space. |  | 118 |
| 5504801940 | Intaglio | Any form of printmaking in which the line is incised into the surface of the printing plate, including aquatint, drypoint, etching, engraving, and mezzotint. | 119 | |
| 5504801941 | Intensity | The relative purity of a color's hue, and a function of its relative brightness or dullness; also known as saturation. |  | 120 |
| 5504801942 | Intermediate colors | The range of colors on the color wheel between each both the primary colors and its neighboring secondary colors; yellow-green for example. |  | 121 |
| 5504801943 | International style | A 20th century style of architecture and design marked by its almost austere geometric simplicity. |  | 122 |
| 5504801944 | Investment | In lost-wax casting, a mixture of water, plaster, and powder made from ground-up pottery used to fill the space inside the wax lining go the mold. | 123 | |
| 5504801945 | Iris shot | In film, a shot which is blurred and rounded at the edges in order to focus the attention of the viewer on the scene in the center. | 124 | |
| 5504801946 | Isometric projection | A kind of axonometric projection in which all three measurements- height, width, and depth- employ the same scale. |  | 125 |
| 5504801947 | Key | The relative lightness or darkness of a picture or the colors employed in it; used in preference to value. | 126 | |
| 5504801948 | Kinetic art | Art that moves |  | 127 |
| 5504801949 | Linear perspective | A system for depicting three-dimensional space on a two-dimensional surface that depends on two related principles: that things perceived as far away are smaller than things nearer the viewer, and that parallel lines receding into the distance converge to a vanishing point on the horizon line. |  | 128 |
| 5504801950 | Lithography | A printmaking process in which a polished stone, often limestone, is drawn upon with a greasy material; the surface is moistened and then inked; the ink adheres only to the greasy lines of the drawing; and the design is transferred to dampened paper, usually in a printing press. |  | 129 |
| 5504801951 | Local color | As opposed to optical color and perceptual color, the actual hue of a thing, independent of the ways in which colors might be mixed or how different conditions of light and atmosphere might affect the color. the natural color of a thing in ordinary daylight, uninfluenced by the proximity of other colors. |  | 130 |
| 5504801952 | Long shot | In film, a shot that takes in a wide expanse and many characters at once. | 131 | |
| 5504801953 | Low- (bas-) relief | A sculpture in which the figures and objects remain attached to a background plane and project off of it by less than one-half their normal depth. |  | 132 |
| 5504801954 | Mannerism | The style of art prevalent especially in Italy from about 1525 until the early years of the 17th century, characterized by its dramatic use of light, exaggerated perspective, distorted forms, and vivid colors. |  | 133 |
| 5504801955 | Mass | Any solid that occupies a three-dimensional volume | 134 | |
| 5504801956 | Matrix | In printmaking, the master image. | 135 | |
| 5504801957 | Medium | Any material used to create a work of art. plural form- media in a painting, a liquid added to the paint that makes it easier to manipulate. | 136 | |
| 5504801958 | Metalpoint | A drawing technique, especially silverpoint, popular 15th and 16th centuries, in which a stylus with a point of gold, silver, or some other metal was applied to a sheet of paper treated with a mixture of powdered bones (or lead white) and gumwater. |  | 137 |
| 5504801959 | Minimalism | A style of art, predominately American, that dates from the mid-20th century, characterized by its rejection of expressive content and its use of "minimal" formal means. |  | 138 |
| 5504801960 | Mixed media | The combination of two or more media in a single work | 139 | |
| 5504801961 | Modeling | In sculpture, the shaping of a form in some plastic material, such as a clay or plaster. In drawing, painting, and printmaking, the rendering of a form, usually by means of hatching to chiaroscuro, to create the illusion of a three-dimensional form | 140 | |
| 5504801962 | Modernism | Generally speaking, the various strategies and directions employed in 20th-century art- cubism, futurism, expressionism, etc.- to explore the particular formal properties of any given medium. | 141 | |
| 5504801963 | Montage | In film, the sequencing of widely disparate images to create a fast-paced, multifaceted visual impression. | 142 | |
| 5504801964 | Mosaic | An art form in which small pieces of tile, glass, or stone are fitted together and embedded in cement on surfaces such as walls and floors. |  | 143 |
| 5504801965 | Naturalistic art | Generally synonymous with representational art; but more specifically meaning "like nature" descriptive of any work that resembles the natural world. | 144 | |
| 5504801966 | Negative shape or space | Empty space, surrounded and shaped so that it acquires a sense of form or volume. |  | 145 |
| 5504801967 | Neoclassicism | A style of the late 18th and early 19th centuries that was influenced by the Greek Classical style and that often employed Classical themes for its subject matter. |  | 146 |
| 5504801968 | Nonobjective art | Art that makes nor reference to the natural world and that explores the inherent expressive or aesthetic potential of the formal elements- line, shape, color- and the formal compositional principles of a given medium. |  | 147 |
| 5504801969 | Objective | As apposed to subjective, free of personal feelings or emotion; hence without bias | 148 | |
| 5504801970 | Oblique projection | A system for projecting space, commonly found in Japanese art, in which the front of the sides, receding at an angle, remain parallel to each other, rather than converging as in linear perspective. | 149 | |
| 5504801971 | Oculus | A round, central opening at the top of a dome |  | 150 |
| 5504801972 | Optical color | Spots or dots of pure hues set beside each other and mixed by the viewer's eye. | 151 | |
| 5504801973 | Optical Painting (Op Art) | An art style particularly popular in the 1960s in which line and color are manipulated in ways that stimulate the eye into believing it perceives movement. |  | 152 |
| 5504801974 | Original print | A print created by the artist alone and which has been printed by the artist or under that artist;s direct supervision. | 153 | |
| 5504801975 | Overlapping | A way to create the illusion of space by placing one figure behind another |  | 154 |
| 5504801976 | Pastel | A soft crayon made of chalk and pigment. A pale light color. | 155 | |
| 5504801977 | Penumbra | The lightest of the three basic parts of a shadowed surface, providing the transition from the lighted area to the umbra, or core of the shadow. |  | 156 |
| 5504801978 | Perceptual color | The color as perceived by the eye, changed by the effects of light and atmosphere, in the way, for instance, that distant mountains appears to be blue. | 157 | |
| 5504801979 | Photorealistic art | Appears to be photographed rather than drawn. |  | 158 |
| 5504801980 | Pop art | A style arising in the early 1960s characterized by its emphasis on the forms and imagery of mass culture. |  | 159 |
| 5504801981 | Post-Impressionism | A name that describes the painting of a number of artists, working in widely different styles, in the last decades of the 19th century in France the work or style of a varied group of late 19th-century and early 20th-century artists including Van Gogh, Gauguin, and Cézanne. They reacted against the naturalism of the impressionists to explore color, line, and form, and the emotional response of the artist, a concern that led to the development of expressionism. | | 160 |
| 5504801982 | Postmodernism | A term used to describe the willfully plural and eclectic art forms of contemporary art | 161 | |
| 5504801983 | Pre-Columbian | The cultures of all the peoples of Mexico, Central America, and South America prior to the arrival of the Europeans at the end of the 15th century. | 162 | |
| 5504801984 | Primary colors | The hues that in theory cannot be created by a mixture of other hues and from which all other hues are created- namely, in pigment red, yellow and blue, and in light red-orange, green, and blue-violet. | 163 | |
| 5504801985 | Realism | The tendency to render the facts of existence, but specifically in the 19th century, the desire to describe the world in a way unadulterated by the imaginative and idealist tendencies of the Romantic sensibility. |  | 164 |
| 5504801986 | Renaissance | The period in Europe from the 14th-16th century characterized by a revival of interest in the arts and sciences that had been lost since antiquity. |  | 165 |
| 5504801987 | Representational art | Any work of art that seeks to resemble the world of natural appearance. |  | 166 |
| 5504801988 | Romanticism | A dramatic, emotional, and subjective art arising in the early 19th century |  | 167 |
| 5504801989 | Scale | The comparative size of a thing in relation to another like thing or its "normal" or "expected' size. | 168 | |
| 5504801990 | Secondary colors | hues created by combining 2 primary colors; in pigment, the secondary colors are traditionally considered to be orange, green, and violet, in light yellow, magenta and cyan |  | 169 |
| 5504801991 | Serigraphy | Screen-printing, a stencil printmaking process in which the image is transferred to paper by forcing ink through a mesh, areas not meant to be printed will be blocked out | 170 | |
| 5504801992 | Shade | A color or hue modified by the addition of another color, resulting in a hue of lower key or value, in the way, for instance, that the addition of black to red results in maroon. |  | 171 |
| 5504801993 | Simultaneous contrast | A property of complementary colors when placed side by side, resulting in the fact that both appear brighter and more intense than when seen in isolation. | 172 | |
| 5504801994 | Spectrum | The colored bands of visible light created when sunlight passes through. |  | 173 |
| 5504801995 | Surrealism | A style of art of the early 20th century that emphasized dream imagery, chance operations, and rapid, thoughtless forms of notation that expressed, it was felt, the unconscious mind. |  | 174 |
| 5504801996 | Symmetry | Used when two halves of a composition correspond to one another in terms of size, shape, and placement of forms. |  | 175 |
| 5504801997 | Tapestry | A special kind of weaving in which the weft yarns are of several colors that the weaver manipulates to make a design or image. |  | 176 |
| 5504801998 | Temperature | the relative warmth or coolness of a given hues; those in the yellow-orange-red range are considered warm, and those in the green-blue-violet range are considered cool. | 177 | |
| 5504801999 | Tint | A color or hue modified by the addition of another color resulting in a hue of higher key or value, in the way, for instance that the addition of white to red results in pink | 178 | |
| 5504802000 | Vanitas | A kind of still life painting designed to remind us of the vanity, or frivolous quality, of human existence. |  | 179 |
| 5504802001 | Virtual reality | An artificial three-dimensional environment, sometimes called cyberspace, or cyberspace, generated through the use of computers, that the viewer experiences as real space. |  | 180 |
| 5504802002 | Visual literacy | The ability to recognize, understand, and communicate the meaning of visual images. | 181 | |
| 5504802003 | Visual texture | A texture on the surface of a work that appears to be actual but is an illusion | 182 | |
| 5504802004 | Watercolor | A painting medium consisting of pigments suspended in a solution of water and gum arabic | 183 | |
| 5504802005 | Vanishing point | the point at which receding parallel lines viewed in perspective appear to converge. the point at which something that has been growing smaller or increasingly faint disappears altogether. | 184 | |
| 5504802006 | Elements of art | The visual components of color, form, line, shape, space, texture, and value. may be two-or three-dimensional, descriptive, implied, or abstract. Shape An element of art that is two-dimensional, flat, or limited to height and width. | 185 |
