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Renaissance Artwork
Art to know on the exam
| Term | Definition |
|---|---|
| perspective | A method of presenting an illusion of the 3D world on a 2D surface. |
| quattrocento | Italian, “400”—that is, the 15th century (the 1400s) in Italy. |
| orthogonals | A line imagined to be behind and perpendicular to the picture plane; the orthogonals in a painting appear to recede toward a vanishing point on the horizon. |
| mela medica | Italian, “medicinal apples” (oranges). The emblem of the Medici family of Renaissance Florence. |
| trompe l'oeil | French, “fools the eye.” A form of illusionistic painting that aims to deceive viewers into believing that they are seeing real objects rather than a representation of those objects. |
| Cinquento | Italian, “500”—that is, the 16th century (the 1500s) in Italy |
| Madonna | A painted or sculptured representation of the Virgin, usually with the infant Jesus. |
| disegno | Italian, “drawing” and “design.” Renaissance artists considered drawing to be the external physical manifestation (disegno esterno) of an internal intellectual idea of design (disegno interno). |
| colorito | Italian, “colored” or “painted.” A term used to describe the application of paint. Characteristic of the work of 16th-century Venetian artists who emphasized the application of paint as an important element of the creative process. |
| poesia | A term describing “poetic” art, notably Venetian Renaissance painting, which emphasizes the lyrical and sensual. |
| Renaissance | French, “rebirth.” The term used to describe the history, culture, and art of 14th- through 16th-century western Europe during which artists consciously revived the classical style. |
| maniera Greca | Italian, “Greek manner.” The Italo-Byzantine painting style of the 13th century. |
| Gold leaf | Gold beaten into tissue-paper-thin sheets that then can be applied to surfaces. |
| Humanism | In the Renaissance, an emphasis on education and on expanding knowledge (especially of classical antiquity), the exploration of individual potential and a desire to excel, and a commitment to civic responsibility and moral duty. |
| grisaille | A monochrome painting done mainly in neutral grays to simulate sculpture. |
| fresco | Painting on lime plaster, either dry (dry fresco, or fresco secco) or wet (true, or buon, fresco). In the latter method, the pigments are mixed with water and become chemically bound to the freshly laid lime plaster. |
| chiaoscuro | In drawing or painting, the treatment and use of light and dark, especially the gradations of light that produce the effect of modeling. |
| quatrefoil | An ornamental design of four lobes or leaves as used in architectural tracery, resembling a flower or four-leaf clover. |
| physiognomy | facial features |
| verisimilitude | the quality of appearing to be true, real, almost hyperrealistic |
| Affetti | Human passion and feelings expressed through gesture |
| Foreshortening | The use of perspective to represent in art the apparent visual contraction of an object that extends back in space at an angle to the perpendicular plane of sight. |
| continuous narrative | a work of art that contains several scenes of the same story painted or sculpted in a single frame |
| lost-wax process | A bronze-casting method in which a figure is modeled in wax and covered with clay; the whole is fired, melting away the wax (French, cire perdue) and hardening the clay, which then becomes a mold for molten metal. |
| Naturalism | a true-to-life style which involves the representation or depiction of nature (including people) with the least possible distortion or interpretation. |
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wellingtonn
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