Terms 下

Question 1

aerial perspective

Answer 1

A method of presenting an illusion of the three-dimensional world on a two-dimensional surface. In linear perspective, the most common type, all parallel lines or surface edges converge on one, two, or three vanishing points located with reference to the eye level of the viewer (the horizon line of the picture), and associated objects are rendered smaller the farther from the viewer they are intended to seem. Atmospheric, or aerial, perspective creates the illusion of distance by the greater diminution of color intensity, the shift in color toward an almost neutral blue, and the blurring of contours as the intended distance between eye and object increases.

Question 2

terracotta

Answer 2

赤陶Hard-baked clay, used for sculpture and as a building material. It may be glazed or painted.

Question 3

neo-platonism

Answer 3

新柏拉图主义An ancient school of philosophy based on the ideas of Plato, revived during the Renaissance and modified by the teachings of Christianity.

Question 4

oculus

Answer 4

Latin, “eye.” The round central opening of a dome. Also, a small round window in a Gothic cathedral.

Question 5

colossal

Answer 5

巨大的An architectural design in which the columns or pilasters are two or more stories tall. Also called a giant order.

Question 6

quattrocento

Answer 6

十五世纪 Italian, “400”—that is, the 15th century (the 1400s) in Italy.

Question 7

condottieri

Answer 7

佣兵队长An Italian mercenary general.

Question 8

II Magnifico

Answer 8

Italian, “the magnificent one,” the epithet of Lorenzo de’ Medici.

Question 9

putti

Answer 9

A cherubic无邪的 young boy.

Question 10

di sotto in su

Answer 10

Italian, “from below upward.” A perspective view seen from below.

Question 11

trompe l’oeil

Answer 11

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.

Question 12

orthogonal

Answer 12

矩形的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.

Question 13

intaglio

Answer 13

凹雕A graphic technique in which the design is incised, or scratched, on a metal plate, either manually (engraving, drypoint) or chemically (etching). The incised lines of the design take the ink, making this the reverse of the woodcut technique.

Question 14

donor portraits

Answer 14

A portrait of the individual(s) who commissioned (donated) a religious work (for example, an altarpiece) as evidence of devotion.

Question 15

horizon line

Answer 15

A method of presenting an illusion of the three-dimensional world on a two-dimensional surface. In linear perspective, the most common type, all parallel lines or surface edges converge on one, two, or three vanishing points located with reference to the eye level of the viewer (the horizon line of the picture), and associated objects are rendered smaller the farther from the viewer they are intended to seem. Atmospheric, or aerial, perspective creates the illusion of distance by the greater diminution of color intensity, the shift in color toward an almost neutral blue, and the blurring of contours as the intended distance between eye and object increases.

Question 16

cherubs

Answer 16

A chubby winged child angel.

Question 17

woodcut

Answer 17

A wood block on the surface of which those parts not intended to print are cut away to a slight depth, leaving the design raised; also, the printed impression made with such a block.

Question 18

vanishing point

Answer 18

see perspective

Question 19

sfumato

Answer 19

Italian, “smoky.” A smokelike haziness that subtly softens outlines in painting; particularly applied to the paintings of Leonardo da Vinci and Correggio.

Question 20

matte

Answer 20

In painting, pottery, and photography, a dull finish.

Question 21

glazing

Answer 21

The application of successive layers of glaze in oil painting.

Question 22

polyptychs

Answer 22

An altarpiece composed of more than three sections.

Question 23

print

Answer 23

An artwork on paper, usually produced in multiple impressions.

Question 24

oil paints

Answer 24

A painting technique using oil-based pigments that rose to prominence in northern Europe in the 15th century and is now the standard medium for painting on canvas.

Question 25

etching

Answer 25

A kind of engraving in which the design is incised in a layer of wax or varnish on a metal plate. The parts of the plate left exposed are then etched (slightly eaten away) by the 蚀刻术acid in which the plate is immersed after incising. See also drypoint, intaglio.

Question 26

chateau

Answer 26

城堡French, “castle.” A luxurious country residence for French royalty, developed from medieval castles.

Question 27

alchemy

Answer 27

The study of seemingly magical changes, especially chemical changes.

Question 28

vanitas

Answer 28

Latin, “vanity.” A term describing paintings (particularly 17th-century Dutch still lifes) that include references to death.

Question 29

disegno

Answer 29

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).

Question 30

colorito

Answer 30

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. Central Italian artists, in contrast, largely emphasized disegno—careful design preparation based on preliminary drawing.

Question 31

a secco

Answer 31

Italian, “dry.” See fresco.

Question 32

terribilita

Answer 32

Italian, “the sublime shadowed by the fearful.” A term used to describe Michelangelo Buonarroti.

Question 33

mannerism

Answer 33

固守独特的格调A style of later Renaissance art that emphasized “artifice,” often involving contrived imagery not derived directly from nature. Such artworks showed a self-conscious stylization involving complexity, caprice, fantasy, and polish. Mannerist architecture tended to flout the classical rules of order, stability, and symmetry, sometimes to the point of parody.

Question 34

impasto

Answer 34

A layer of thickly applied pigment

Question 35

arcadian

Answer 35

田园的In Renaissance and later art, depictions of an idyllic place of rural peace and simplicity. Derived from Arcadia, an ancient district of the central Peloponnesos in southern Greece.

Question 36

sacra conversazione

Answer 36

Italian, “holy conversation.” A style of altarpiece painting popular after the middle of the 15th century, in which saints from different epochs are joined in a unified space and seem to be conversing either with one another or with the audience.