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A Series of arches supported by columns or piers. Also, a covered passageway between two series of arches or between a series of arches and a wall. |
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A rigid framework serving as a supporting inner core for clay or other soft sculpting material. |
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A trial print, usually made as an artist works on a plate or block, to check the progress of a work. |
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Without symmetry (a design or composition wih identical or nearly identical form on opposite sides of a dividing line or central axis) |
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Creates the illusion of distance by reducing color saturation, value contrast, and detail in order to imply the hazy effect of atmosphere between the viewer and distant objects. Perspective=a system of creating an illusion f depth or three-dimentional space on a two-dimentional surface. |
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an arrangement of parts achieving a stae of equilibrium between opposing forces or influences. Major types are symmetricaland asymmetrical |
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The seventeenth-century period in Europe characterized in the visual arts by dramatic light and shade, turbulent composition, and exaggrerated emotional experssion. |
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A semicircular arch extended in depth; a continuous series of arches, one behind the other. |
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Relief Sculpture= scuplture in whick three-dimenstional forms project from the flat background of which they are a part. the degree of projection can vary and is described by the terms high relief and low relief |
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A roman town hall, with three aisles and an apse at one or both ends. Christians appropriated this form for their churches |
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The material used in paint that causes pigment particles to adhere to one another and to the support; ex. linseed oil or acrylic polymer |
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German art school in existence from 1919 to 1933, best known for its influence on design, leadership in art education, and its radically innovative philosophy of applying design principles to machine technology and mass production. |
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A type of Buddist holy person who is about to achieve enlightenment but postpones it to remain on eath th teach others. Frequently depicted in the arts of China and Japan. |
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A support, usually exterior for a wall, arch, or vault, that opposes the lateral forces of these sructures. |
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Consists of a strut or segment of an arch carrying the thurst of a vault to a vertical pier positioned awayfrom the main portion of the building. An important element in Gothic cathedrals. |
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Styles of painting, design, and architecture developed from the fifth century C.E. in the Byzantine Empireof ancient eastern Europe. Characterized in architecture by round arches, large domes, and extensive use of mosaic; characterized in painting by formal design, frontal and stylized figures, and rich use of color, especially gold, in generallly religious subject matter |
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A dark room (or box) with a small hole in one side, through which an inverted image of the view outside is projected onto the opposite wall. The image is then traced. This forerunner of the modern camera was a toool for recording an optically accurate image |
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A beam of salb projectin a substantial distance beyond its supporting post or wall; a projection supported only at one end |
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1.A humorous or satirical drawing 2. A drawing completed as a fill scale working drawing, usually for a fresco painting, mural, or tapestry |
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A substitution or replacement process that involves pouring liquid material such as molten metal, clay, wax, or plaster into a mold. when the liquid hardens, the mold is removed and a form in the shape of the mode is left. |
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Clay hardened into a relativley permanent material by firing. A practitioner of the cermanic arts is a ceramist. |
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Italian word meaning "light-dark." The gradations of light and dark values in two-dimensional imagery; especially the illusion of rounded, three-dimenstional form created through gradations of light and shade rather than line. Highly developed by Renaissance painters. |
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A self- contained or explicitly limited form; having a resolved balance of tensions, a sense of calm completeness implying a totality within itself |
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In architecture, a decorative sunken panel on the underside of a ceiling |
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From the French coller, to glue. A work made by gluing various materials, such as paper scraps, photographs, and cloth, on a flat surface |
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A row of columns usually spanned or connected by beams (lintels) |
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Two hues directly opposite one anotheron a color wheel which, when mixed together in proper propertions, produce neutral gray. The true complement of a color can be seen in its afterimage. |
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The combining of parts or elements to form a whole; the structur, organization or total form of a art. |
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An art form in which the originating idea and the processing by which it is presented take precedence over a tangible product. Conceptual works are sometimes produced in visible form, but they often exist only as descriptions of mental concepts or ideas. This trend developed in th late 1960s, partially as a way to avoid the commercialization of art. |
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Italian for "counterpose." The counterpositioning of parts of the human figure about a central vertical axis, as when the weightis placed on one foot causing the hip and shoulder to lines to counterbalance each other-often in a graceful S-curve. |
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Colors whose relative visual temperatures make them seem cool. Cool colors generally include green, blue-green, blue, blue-violet and violet. Warmnes or coolness is relative to adjacent hues |
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Drawing one set of hatchings (a technigue used in drawing and linear forms of printmaking in which lines are placed in parallel series to darken the value of the area) over another in a different direction so that the lines cross. |
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The most influential style of the twentieth century, developed in Paris by Picasso and Braque, begining in 1907. the early mature phase of the style called analytical Cubism, lasted from 1909 to 1911. Based on the simultaneous presentation of multiple views, disintegration, geometric reconstruction of subject in flattened, ambiguous pictorial space; figure and ground merge into one interwoven surface of shifting planes. Color limited to neutral. By 1912, more decrative phase called callage Cubism began; |
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Formed or characterized by curving lines or edges |
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Stone used for building that is cut to fit into masonry wall |
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An intaglio printmaking process in which lines are scratched directly into a metal plate with a steel needle. Also the resulting print. |
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Sculptural forms made from rock, earth, or sometimes plants, often on a vast scale and in remote locations. Some are deliberately impermanent. |
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In printmaking, the total number of prints made and approved by the artist usually numbered consecutively. Also, a limited number of multiple originals of a single design in any medium. |
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In architecture, a scale drawing of any vertical side of a given structure. |
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A painting medium in which pigment is suspended in a binder of hot wax. |
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In classic architecure, the slight swelling or bulge in the center of a column which corrects the illlusion of concave tapering produced by paralled straight lines. |
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An intaglio printmaking process in which a metal plate is first coated with acid-resistant wax, then scratched to ecpose the metal to the bite of nitric acid where lines are desired. |
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Art of people who have had no formal, academic training but whose works are part of an established tradition of style and craftsmanship. |
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A representation of forms on a two-dimentional surfaceby shortening the length in such a way that the long axis appears to project toward or recede away from the viewer. |
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The shape or proprtions of a picture plane. |
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A painting technique in which pigments suspended in water are applied to a damp surface. The pigments dry to become part of the plaster wall or surface. Sometimes called true frescoto distinguish it from painting over dry plaster |
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A narrow band of relief structure that usually occupies the soace about the columns of a classical building |
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In ceramics, a vitreous or glassy coating applied to seal and decorate surfaces. Glaze may be colored, transparent, or opaque. In oil painting, a thin transparent or translicent layer brushed over another layer of paint, allowing the first layer to show through but altering its color slightly. |
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An opaque, water-soluble paint. Watercolor to which opaque white has been added. |
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The property of a color identifying a specific, named wavelengthof light such as green, red, violet, and so on. Often used synonumously with color. |
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The symbolic meanins of subjects and signs used to convey ideas important to particular cultures or religions, and the conventions governing the use of such forms. |
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In painting, thick paint applied to a surface in a heavy manner, havingthe appearance and consistency of buttery paste. |
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A line in a composition that is not actually drawn. I may be a sight line of a figure in a composition, or a line along wich two shapes align with each other |
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Any printmaking technique in which lines and areas to be inked and transfered to paper are recessed below the surface of the printing place. Ex. Etching, drypoint, engraving, and aquatint |
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The relative purity or saturation of a hue (color) on a scale from bright (pure) to dull (mixed with another hue or neutral) |
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An oven in which pottery or ceramic ware is fired. |
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Greek for "maiden." An archaic Greek statue of a standing clothes young woman |
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Greek for "youth." An archaic Greek statue of a standing young nude male. |
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Based on the fact that parrelle lines or edges appear to converge and objects appear smaller as the distance between them and the viewer increase |
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The horizontal stone or timber placed across an architectural space to take the weight of the roof or wall above. aka beam |
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A planographic printmaking technique based on the antipathy of oil and water. The image is drawnwith a grease crayon or painted with tusche on a stone or grained aluminum plate. The surface is then chemically treated and dampened so that it will accept ink only where the crayon or tusche has been used. |
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The actual color as distinguished from the apparent color of objects and surfaces; true color, without shadows or reflections. Aka Object color |
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A style that developed in the sixteeth century as a reaction to the classical rationality and balanced harmony of the high renaissance; characterized by dramatic use of space and light, exaggerated color, elongation of figures, and distortions of perspective, scale, and proportion. |
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A nonrepresentational style of scuplture and painting, usually severely restricted in the use of visual elements and often consisting of simple geometric shapes or masses. The style came to prominence in the late 1960s. |
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A color scheme limited to variations of one hue; a hue with its tints and/or shades. |
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1.A composition made up of pictures or parts of pictures previously drawn, prainted, or photographed. 2.In motion pictures, the combining of seperate bits of film to portary the characterof a single event through multiple views |
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An art medium in which small pieces of colored glass, stone, or ceramic tile called tessera are embedded in the background material such as plaster or mortar. A type of work |
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House of public prayer in the Muslim religion. From the Arabic masjid, "Place of prostration" |
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Large wall painting, often executed in fresco |
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The tall central dpace of a church or cathedral, usually flanked by side aisles •The main body of the church west of the crossing or chancel. The seating area of the congregation. May be flanked by aisles |
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A revival of classical Greek and Roman forms in art, music, and literature, particularly during the eighteenth and nineteenth centuries in Europe and America. It was part of a reaction against the excesses of Baroque and Rococo art. |
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Not associated with any single hue. Blacks, whites, grays, and dull gray-browns. A neutral can be made by mixing complentary hues. |
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Without recognizable objects. Art without reference to anything outside itself |
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Impenetrable by light; not transparent or translucent |
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An irregular, non-geometric shape. A shape that resembles any living matter. Most orgganic shapes are not drawn with a ruler or compass |
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The two dimensional picture surface |
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Any coloring agent made from natural or synthetic substances, used in paints or drawing materials |
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An impression made on a piece of paper by pressing a printing plate onto it. A plate mark is usually sign of an original print |
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A system of painting using dots or "points" of color, developed by French artist George Seurat in the 1880's. He systematized the divided brushwork and optical color micture of the Impressionists and called his techniques "Divisionism" |
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A style of painting and sculpture that developed in the late 1950's and early 1960's in Britain and the US; based on the visual cliches, subject matter, and impersonal style of popular mass-media imagery. |
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Those hues that cannot be produced by mixing other hues. Pigment primarys are red, yellow and blue. Light primarys are red, green and blue. Theoretically, pigment primarys can be mixed together to form all other hues |
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The size and relationship of parts to a whole and to one another |
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The regular or ordered repetition of dominant and subordinate elements or units within a design |
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From French word "rocaille" meaning "rock work." This late Baroque stle used in interior decoration and painting was characteristically playful, pretty, romantic, and visually loose or soft; it used small scale and ornate decoration, pastel colors and asymmetrical arrangement of curves. It was popular in France and southern Germany in the 18th century |
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Literally means "saint-maker." A person in Hispanic traditions who carves or paints religious figures. |
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The size or apparent size of an object seen in relation to other objects, people, or its environment or format. Also used to refer to quality or monumentality found in some objects regardless of their size. In architectural drawing to build thed measurements in buildings |
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The hues orange, violet and green, which may be produced in slightly dulled form by mixing two primary colors |
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The legal distance that a building must be from property lines. Early setback requirements often increases with the hight of a building |
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A 2-d or impliecd 2-d area defined by line or changes in value and/or color |
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Clay that is thinned to the consistency of cream, and used as paint on eathenware or stoneware ceramics |
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A characterisitic handling of media and elements of form, which give a work its identity as the product of a particular person, group, art movement, period, or culture |
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Sculpture made by removing material from a larget block or form |
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A form or image implying or representing something beyond its obvious and immediate meaning |
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A design (or composition) with identical or nearly identical form on opposite sides of a dividing line or central axis AKA balance |
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Bit of colored glass, ceramis tile, or stone used in a mosaic |
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The tactile quality of a surface or the representation or invention of the appearance of such a sufrace quality |
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French for "fool the eye" A 2-d representation that is so naturalistic that it looks actual or real (or 3-d) |
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In architecture a structural framework of wood or metal based on a triagnfular system used to span reinforce or support walls ceilings and piers or beams |
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In lithography a waxy substance used to draw or paint images on lithographic stone or plate |
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Having the dimensions of height and width only |
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The appearance of similarity, consistancy, or oneness. Interrelational factors that cause various elements to appear as part of a single complete form |
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The lightness or darkness of tones or colors. White is the lightest value, black is the darkest. The value halfway between these extremes is called middle gray AKA tone |
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A method for suggesting the third dimension of depth in a 2-d work by placing an object above another in the compostion. The object above seems farther away than the one below |
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Colors whose relative visual temperature makes them seem warm. Warm colors or hues include red-violet, red, red-orange, orange, yellow-orange, and yellow |
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A thin transparent layer of paint or ink |
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A type of relief print made from an image that is left raised on a block of wood |
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Having no color, without identifiable hue. Most blacks, whites, grays, and browns are archromatic |
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A clear plastic used as a binder in paint and A casting material in sculpture |
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Pertaining to the sense of the beautiful and to heightened sensory perception in general |
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The visual image that remains after initial stimulus is removed. Starting at a single intense hue may cause the cones, or color receptors, of the eye to become fatigued and perceive only the complement of the original huea after it has been removed. |
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Closey related to hues, especially those in which a common hues can be seen; hues that are neighbors on the color wheel, such as blue, blue-greeen, and green. |
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In photography, the camera lens opening and its relative diameter. Measured in f-stops, such as f-8 and f-11. As the number increases, the size of the aperture decreases, thereby reducing the amount of light passing through the lens and striking the film. |
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A semicircular end to an asile in a basilic or a Christian church. In christian churches an apse is usually placed at the eastern end of the central aisle. •The apse as a semicircular projection (which may be polygonal on the exterior, or reveal the radiating projections of chapels) may be roofed with a half-dome or with radiating vaulting. A simple apse may be merely embedded within the wall of the east end. Eastern orthodox churches may have a triple apse, which is usually a mark of Byzantine influence when it is seen in Western churches. --Smaller subsidiary apses may be found around the choir or even at the ends of transepts. |
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The numbering to indicate the total number of prints in the edition. For example to print marked 5/60 would indicated taht the edition totaled 50 prints and this was the 6th print pulled. |
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When literal content of a work strands for an abstract idea suggesing parallel, deeper, and a symbolic sense. |
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Channel built to bring water to cities or towns often supported by a series of arches. |
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Smooth square or rectangular stones layed with mortar in horizontal courses 1.Consists of uniform, rectangular blocks of stone with parallel faces, commonly used in Greek and Roman buildings. 2. Stone Masonry cut into rectangles and laid to create a wall |
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A beautifully illustrated prayer book common in Europe, the Middle East and parts of Asia. Some of the finest examples are from the middle ages. Often these books were decorated with gold and silver leaf. |
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Engraving tool with metal plates or carve stone with a knob-like wooden handle and metal shaft that had a sharpely beveled point (has one size bu several possible shapes) that cuts V-shaped grooves into a metal. |
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A religious building for worship, specifically of a denomination with an episcopal hierarchy, such as the Roman Catholic, Anglican, Orthodox and some Lutheran churches, which serves as a bishop's seat, and thus as the central church of a diocese. A Christian church. |
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Part of a church or cathedral where services are sung. Often separted from nave by a screen. The area of the church between a transept and main apse. |
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1.Tapered horizontal boards used as siding, thickest on their bottom edge; each overlaps the one below. 2.Overlapping horizontal boards that cover the timber-framed wall of a house. |
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CHECK NOTES! 1.In Roman sculpture 2. A compositional technique that shows earlier and later parts of a story together in one scene, as if they had all happened at the same time. |
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Lines that surround and define the edges of a subject giving it shape and volume. |
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A cloth or representation of a cloth designed to hang in folds |
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Lines that surround and define the edges of a subject giving it shape and volumn |
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The front exterior face of a building. |
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A spray used on pastel, pencil, and charcol drawings to prevent the medium from smudging; can be final (permanent) or working (art can still be worked on) |
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Grooves or channels that are slightly semicircular in cross-section repeadly found in vertical columns, pedestals, pillasters and sometimes used in frames and other molding |
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The facade or principal elevation of a building |
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Depictions of subjects and scenes from everyday life. |
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Hardened sap secreted by acacia trees used as a medium, vehicle, or binder for water soluble pigments. |
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In original place, not removed. Remaining at the site or in the subsurface. |
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Highest and most central block in an arch, wedged shaped. It is last to be placed and holds the arch together. |
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The first block carved in the process of creating a woodblock print; it prints the thin black outlines, and prints pulled from this block are used in the creation of the blocks for printing the colors. It is the first block to be printed. |
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Continuous mark made on some surface with a moving point. |
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A script writen before it has been published. Any document that is written by hand, as opposed to being printed or reproduced in some other way |
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An object upon which a design has been placed and which is then used to make an impression on a piece of paper, thus creating a print. Examples are wood block, metal plate, or lithographic stone. |
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A picture of a night scene An instrumental composition, originating from the Romantic period, usually meant to be performed in the evening. |
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Round central opening (or eye) in the top of a dome. |
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1. A surface film found on coins (usually brown or green) caused by oxidation over a long period of time. 2.Coloration on any surface either unintened and produced by age or intended and produced by simulation or stimulation |
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Wide, low-pitched gable surmounting the facade of a building in the ancient Greecian style. In classical architecture. particularly above certain church doors and on large standing wall monuments, a wide but low triangular structure to decorate the top ‘Gable’ Where the top section of the triangular gable is missing this is called a broken ______. |
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Concave, triangular piece of masonry; four of these form the transition from a square area to the circular base of a covering dome. They support the dome *They carry the enourmous weight from the circular of the upperdome downward to a square form on supporting walls |
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In architecture, a flat rectangular column with capital and base, attached to or set into a wall as an ornamental motif. Projects slightly from the wall |
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A stone container that usually housed the coffin and mummy. The surface was often inscribed with texts to assist the deceased in the journey through the underworld. Tapers to a smaller at the bottom. |
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One that produces scupltures. |
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Representation of a drawing as it would appear if cut by an intersecting plane, so that the internal structure is displayed. |
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In painting, the technique of blurring or softening sharp outlines by subtle and gradual blending of one tone into another. |
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"Dark or gloomy" style of painting characterized by high contrast betweenlight and shade. Emphasis is placed on chiaroscuro to achieve a dark dramatic effect. |
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A painting in the shape of a circle. Often in Renissance or painting or Madonas |
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Degree of surface roughness of texture with is adaquate to allow for paints, adhesives, ect. to adhere. |
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A projecting space that is perpendicular to the nave; the nave and it intersect at the crossing to produce a cruciform plan. *The transverse portion of a cross shaped church building |
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The web shaped stones that form curved portions at the top of an arch or a vaulted ceiling. |
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