WEEK 2- 15TH CENTURY

Question 1

Intuitive Perspective

Answer 1

objects are placed at an angle to the picture plane, but their linear
elements don’t converge at a single point. atmospheric perspective

Question 2

Textural Differentiation-

Answer 2

Differences of textures in paintings. Examples include a painting that
has a texture of scaly protrusions to the leathery skin of the metal of a belt buckle.

Question 3

Philip the Bold

Answer 3

Philip the Bold was Duke of Burgundy and jure uxoris Count of Flanders, Artois and
Burgundy. The fourth and youngest son of King John II of France and his wife, Bonne of
Luxembourg. Philip was the founder of the Burgundian branch of the House of Valois.

Question 4

Oil Painting

Answer 4

Oil painting is the process of painting with pigments with a medium of drying oil as
the binder. Commonly used drying oils include linseed oil, poppy seed oil, walnut oil, and
safflower oil. The choice of oil imparts a range of properties to the oil paint, such as the amount of
yellowing or drying time.

Question 5

Translucency

Answer 5

Allowing some light to pass through, but greatly obscuring the image of objects on
the other side. A quality that is between transparent and opaque. Materials that may
be translucent include glass, papers such as glassine, plastics such as Lucite and PlexiGlas,
and porcelain

Question 6

Trompe l’oeil

Answer 6

is an art technique that uses realistic imagery to create the optical illusion that the
depicted objects exist in three dimensions. Forced perspective is a comparable illusion in
architecture.

Question 7

Textural Illusionism

Answer 7

Texture is the feeling of a surface, real or represented. This might
refer to the roughness or smoothness of actual objects and art media, or to the illusion
of these properties. The illusion of texture is no less important to our experience of works
of art.

Dutch still life paintings are justly famous for their careful, illusionistic replication of
objects. The smooth silver plates and glass goblet of Pieter Claesz’s Still Life seem to tease
us, as do the rougher cookies and breads, and the crumbly pie. The knife handle, pointing
out of the image toward us, seems just beyond our grasp, and therefore makes this
magnificent spread all the more tantalizing

Question 8

Guild

Answer 8

A guild is an association of artisans and merchants who oversee the practice of their
craft/trade in a particular area. The earliest types of guild formed as confraternities of tradesmen,
normally operating in a single city and covering a single trade.

Question 9

Imitatio Cristi

Answer 9

Imitation of Christ- Cult of the virgin, she can intervene and redeem like Jesus
Christ

Question 10

Coredemptrix

Answer 10

Co-Redemptrix is a title used within the Catholic Church for the Blessed Virgin Mary,
as well as a Catholic theological concept referring to Mary’s role in the redemption of all peoples. It is
a reverent title for the Blessed Mother and held as a pious belief in the Catholic Church.

Question 11

Printmaking

Answer 11

• Printmaking is the process of creating artworks by printing, normally on paper.
  Printmaking normally covers only the process of creating prints that have an element of
  originality, rather than just being a photographic reproduction of a painting.

Question 12

Intaglio

Answer 12

Intaglio is the family of printing and printmaking techniques in which the image is incised
into a surface and the incised line or sunken area holds the ink. It is the direct opposite of a relief
print, where the parts of the matrix that make the image stand above the main surface.

Question 13

Engraving

Answer 13

is an intaglio printmaking process in which lines are cut into a metal plate in order to
hold the ink. In engraving, the plate can be made of copper or zinc. The metal plate is first
polished to remove all scratches and imperfections from the surface so that only the intentional
lines will be printed.

Question 14

Renaissance

Answer 14

Mathematical harmony

Question 15

Humanism

Answer 15

was a revival in the study of classical antiquity, at first in Italy and then
spreading across Western Europe in the 14th, 15th, and 16th centuries. … Humanism,
whilst set up by a small elite who had access to books and education, was intended as
a cultural mode to influence all of society.

Question 16

Apprentices

Answer 16

The methods and materials used to educate artists changed considerably
during the Renaissance. Throughout the period, most young artists received their early
training as apprentices*. However, during the 1400s learning about art theory gradually
became as important as mastering practical skills. By the 1600s, art had evolved from a
craft to a course of academic study.

At first, local craft unions, or guilds, set standards for apprenticeship. The guilds decided
matters such the length of contracts and the number of students a master could train.
Some guilds would not allow pupils to switch masters during their apprenticeship or to
sell their works independently. At the end of the apprenticeship students often had to
show a piece of work to the guild to demonstrate that they had mastered their craft. This
is the origin of the term masterpiece.
Artistic training varied from one master to another. In Italy, drawing was emphasized. A
pupil might start by copying or tracing drawings and paintings before moving on to
sketching live models. Students also learned to mix paints and to prepare walls and
panels for painting. In addition, many apprentices studied techniques such as
perspective* and proportion.

Question 17

Masters

Answer 17

We have all heard of the great masters of the Renaissance, Leonardo and
Michelangelo, speculations regarding the true lives and meanings of their works have been rife
for centuries, indeed books such as the Da Vinci Code and the recent Michelangelo blockbuster
exhibitions at the British Museum only serve to confirm the continued interest in these
artists. But how much do we really know about their lives and their work, how did they become
such great artists, were they famous in their own lifetimes, were they rich and where and how
did they learn their craft?

Question 18

Antiquarianism

Answer 18

an interest in the customs, art, and social structure of earlier peoples and
civilizations. — antiquarian, n., adj. See also: Antiquity. interest in the culture of antiquity,
especially that of classical Greece and Rome.

Question 19

Roman triumphal arch-

Answer 19

Thought to have been invented by the Romans, the triumphal
arch was used to commemorate victorious generals or significant public events such as
the founding of new colonies, the construction of a road or bridge, the death of a
member of the imperial family or the accession of a new emperor

Question 20

Coffering

Answer 20

A coffer in architecture is a series of sunken panels in the shape of a square, rectangle,
or octagon in a ceiling, soffit or vault

Question 21

Vault

Answer 21

In architecture, a vault (French voûte, from Italian volta) is a self-supporting arched form,
usually of stone or brick, serving to cover a space with a ceiling or roof.[1] The simplest kind of vault is
the barrel vault (also called a wagon or tunnel vault), which is generally semicircular in shape.

Question 22

Linear perspective

Answer 22

A system of creating an illusion of depth on a flat surface. All parallel lines
(orthogonals) in a painting or drawing using this system converge in a single vanishing point on
the composition’s horizon line.

Question 23

Vanishing Point

Answer 23

or point of convergence, is a key element in many works of art. In a linear
perspective drawing, the vanishing point is the spot on the horizon line to which the receding
parallel lines diminish. It is what allows us to create drawings, paintings, and photographs that
have a three-dimensional look.

Question 24

Orthogonal

Answer 24

In a linear perspective drawing, orthogonal lines are the diagonal lines that can
be drawn along receding parallel lines (or rows of objects) to the vanishing point. These
imaginary lines help the artist maintain perspective in their drawings and paintings to ensure a
realistic view of the object.

Question 25

Horizon Line

Answer 25

The horizon line art theory is a horizontal line that runs across the paper or canvas to
represent the viewer’s eye level, or delineate where the sky meets the ground.

Question 26

Memento Mori

Answer 26

Memento mori is an artistic or symbolic reminder of the inevitability of
death. “ I was what you are and what I am, you shall become”

Question 27

Modular Design

Answer 27

Modular design, or modularity in design, is a design theory and
practice that subdivides a system into smaller parts called modules (such
as modular process skids), which can be independently created, modified, replaced or
exchanged between different systems. 3-dimensional unit of space.

Question 28

Praxitelean

Answer 28

Of or relating to Praxiteles, an Athenian sculptor of the 4th century b.c.;
suggestive or characteristic of the marble sculptures of Praxiteles.

Question 29

Statuette

Answer 29

A small statue

Question 30

Pagan

Answer 30

A person holding religious beliefs other than those of tHe main world religion

Question 31

Neoplatonism

Answer 31

Neoplatonism is a thought form rooted in the philosophy of Plato (c. 428-
347 B.C.E.), but extending beyond or transforming it in many respects. For
example, Neoplatonism sought to overcome the Platonic cleavage between thought
and reality, or Ideal and Form.

Question 32

Venus Pudica

Answer 32

“Venus pudica” is a term used to describe a classic figural pose in Western art. In
this, an unclothed female (either standing or reclining) keeps one hand covering her private
parts. (She is a modest lass, this Venus.) The resultant pose - which is not, incidentally,
applicable to the male nude - is somewhat asymmetrical and often serves to draw one’s eye to
the very spot being hidden

Question 33

Ut Pictura Poesi

Answer 33

Ut pictura poesis is a Latin phrase literally meaning “as is painting so
is poetry”.

Question 34

Axial Symmetry

Answer 34

Axial symmetry is symmetry around an axis; an object is
axially symmetric if its appearance is unchanged if rotated around
an axis.