A-frame an ancient form of structural support, made out of beams arranged so that the shape of the building resembles a capital letter A (See Chapter 4.2, page 588)
▶Magdalena Abakanowicz* (See Chapter 1.10, page 178)
Abstract (1) art imagery that departs from recognizable images of the natural world (See Chapter 1.1, page 58; 1.2, page 64; 1.4, page 111; 1.6, pages 128 and 129; 1.9, pages 160 and 161; 1.10, page 186; 2.3, page 237; 2.6, page 296; 2.7, page 300; 2.8, page 321; 3.8, page 501; 4.9, page 664; 4.10, page 680)
Abstract (2) an artwork the form of which is simplified, distorted, or exaggerated in appearance (See Chapter 3.3, page 424; 3.5, page 449; 3.7, page 499)
Abstraction the degree to which an image is altered from an easily recognizable subject (See Introduction, page 37; 3.8, page 518; 3.9, page 524)
Abstract Expressionism a mid-twentieth-century artistic style characterized by its capacity to convey intense emotions using non-representational images (See Chapter 1.10, page 173; 3.9 page 538; 4.2, page 589)
Academies institutions training artists in both the theory of art and practical techniques (See Introduction, page 30)
▶Vito Acconci* (See Chapter 2.10, page 354)
▶Achilles* (See Chapter 3.1, page 383)
▶acqua tinta* (See Chapter 2.3, page 232)
▶Acropolis* (See Chapter 3.1, pages 379 and 381–82)
Acrylic a liquid polymer, or plastic, which is used as a binder for pigment in acrylic paint (See Chapter 2.2, pages 221–22; 3.9, page 540)
Action painting application of paint to canvas by dripping, splashing, or smearing that emphasizes the artist’s gestures (See Chapter 2.10, pages 350–51; 3.9, page 539)
Actual line a continuous, uninterrupted line (See Chapter 1.1, page 47; 1.3, page 86)
Additive (sculpture) a sculpting process in which the artist builds a form by adding material (See Chapter 2.4, page 247)
Additive color the colors produced from light (See Chapter 1.4, page 97)
Additive color process creates colors by mixing RGB colors on a screen to create a direct positive print; same principle used in LED, LCD, plasma, and CRT video screens (See Chapter 2.8, page 322)
Aesthetic related to beauty, art, and taste (See Chapter 2.5, page 277; 2.9, page 344; 3.9, 534)
Afterimage effect when the eye sees the complementary color of something that the viewer has spent an extended time viewing (also known as successive contrast) (See Chapter 4.4, page 608)
▶Allah* (See Chapter 3.2, pages 394, 399, 400 and 402; 3.3, page 411; 4.2, page 588; 4.8, page 659)
Alloy a mixture of a metal combined with at least one other element (See Chapter 2.6, page 292)
▶Paolo Almerico* (See Chapter 3.6, page 473)
Altar an area where sacrifices or offerings are made (See Chapter 3.2, page 397; 4.6, page 631)
Altarpiece an artwork that is placed behind an altar in a church (See Chapter 2.2, page 214; 3.6, page 465)
▶Amataerasu Omikami* (See Chapter 4.2, page 588)
Ambulatory a covered walkway, particularly around the apse of a church (See Chapter 3.2, page 405)
▶Amélie* (See Chapter 2.9, page 341)
American Scene naturalistic style of painting in the US from the 1920s to 1950s that celebrated American themes, locations, and virtues (See Chapter 3.9, page 524)
▶Ammit* (See Chapter 4.2, page 584)
▶Amphora* (See Chapter 3.1, pages 382–83)
▶Amun* (See Chapter 4.10, page 689)
▶Amun-Re* (See Chapter 2.5, page 263–64; 3.1, page 379)
Analog photography or movie made using a film camera that chemically records images using a continuous gradation of value ranges from light to dark so that they directly match the actual appearance of the object or scene (See Chapter 2.9, page 334)
Analogous colors colors adjacent to each other on the color wheel (See Chapter 1.4, page 100)
▶Anamorphosis* (See Chapter 1.10, page 175; 4.5, page 618)
▶Ananta* (See Chapter 1.6, page 131)
▶Anasazi* (See Chapter 3.4, page 440)
▶El Anatsui* (See Introduction, page 24)
▶Andes* (See Chapter 3.4, page 430 and pages 432–33)
▶Sofonisba Anguissola* (See Chapter 3.6, page 472)
Animation genre of film made using stop-motion, hand-drawn, or digitally produced still images set into motion by showing them in sequence (See Chapter 2.9, page 339)
▶ankh* (See Chapter 4.6, page 632)
▶Antaios* (See Chapter 3.1, page 383)
▶Anthropométries de l’époque bleue* (See Chapter 4.9, page 670)
▶Janine Antoni* (See Chapter 4.9, page 671)
▶Apartheid* (See Chapter 3.5, page 453)
▶Apelles* (See Chapter 3.6, page 471)
▶Aphrodite* (See Chapter 1.2, page 67; 3.1, page 383)
Appropriation the deliberate incorporation in an artwork of material originally created by other artists (See Chapter 2.4, page 254)
Apse semicircular vaulted space in a church (See Chapter 3.2, page 397; 4.6, page 631)
Aquatint an intaglio printmaking process that uses melted rosin or spray paint to create an acid-resistant ground (See Chapter 1.9, page 167; 2.3 pages 232–33)
▶Aqueduct* (See Chapter 2.5, pages 266–67)
▶Arabesque* (See Chapter 3.2, page 398)
Arcade a series of connected arches (See Chapter 3.2, page 404)
Archaeology the study of human history and prehistory by excavating sites of habitation to analyse artifacts and other cultural remains (See Chapter 4.9, page 663)
▶Archaic* (See Chapter 3.1, pages 384–85)
Arches structures, usually curved, that span an opening (See Chapter 2.5, page 265; 3.2, page 404; 3.6, page 471; 3.7, page 494; 4.1, page 565)
Architectural order a style of designing columns and related parts of a Greek or Roman building (See Chapter 3.1, page 380)
Armature a framework or skeleton used to support a sculpture (See Chapter 2.4, pages 248–49)
Armory Show exhibition in 1913 in New York City that introduced America to Modernist European abstraction; continues as an annual international exhibition (See Chapter 3.9, page 533)
▶Giovanni Arnolfini* (See Chapter 3.6, page 466)
▶Art Nouveau* (See Chapter 3.8, pages 520–21; 3.9, page 537)
Artifact an object made by a person (See Chapter 2.4, page 254)
Artist's book a book produced by an artist, usually an expensive limited edition, often using specialized printing processes (See Chapter 2.2, pages 220–21; 3.10, page 546; 4.9, pages 674 and 675)
▶Asante* (See Chapter 3.5, page 449)
Ascetic austerely simple; rigorously abstaining from pleasure or material satisfaction (See Chapter 2.3, page 228)
▶Ashoka* (See Chapter 3.3, page 413)
▶Ashurbanipal* (See Chapter 2.4, page 244)
▶Ashurnasirpal* (See Chapter 3.1, pages 372–73)
▶Asmat* (See Chapter 4.3, page 597)
Assemblage artwork made of three-dimensional materials, including found objects (See Chapter 2.4, page 254; 2.10, pages 350–51; 3.9, page 529)
Asymmetry a type of design in which balance is achieved by elements that contrast and complement one another without being the same on either side of an axis (See Chapter 3.7, page 497; 3.8, page 509; 3.9, page 543)
▶Aten* (See Chapter 3.1, page 377; 4.6, page 632)
▶Athena* (See Chapter 1.7, Page148; 3.1, pages 379 and 381; 3.6, page 471)
Atmospheric perspective use of shades of color and clarity to create the illusion of depth. Closer objects have warmer tones and clear outlines, while objects set further away are cooler and become hazy (See Introduction, page 38; 1.3, page 83; 2.9, page 348; 3.6, page 463; 3.8, page 502)
▶Atrium* (See Chapter 4.1, page 567)
▶Atsuko Tanaka* (See Chapter 1.6, pages 128– 29)
▶Aurangzeb* (See Chapter 4.3, page 594)
Auteur theory/auteur films from the French word for “author”; refers to films that notably reflect the director’s creative vision above other criteria (See Chapter 2.9, page 343)
Autochrome early additive color photography process patented by the Lumière Brothers in 1904 and primarily used from 1907 to the 1930s (See Chapter 2.8, page 322)
Automatic suppressing conscious control to access subconscious sources of creativity and truth (See Chapter 1.1, page 53)
Axis an imaginary line showing the center of a shape, volume, or composition (See Chapter 1.2, page 66; 1.6, page 135; 2.5, page 270; 3.2, page 405)
▶Aztec* (See Chapter 2.4, page 251; 3.4, pages 434–35 and 439–40; 4.4 pages 605–6)
▶Aztlan* (See Chapter 3.4, page 438)
▶Babel* (See Chapter 3.1, page 373)
▶Babur* (See Chapter 1.8, page 156)
▶Babylon* (See Chapter 3.1, page 373; 4.6, page 634)
▶Judith Baca* (See Chapter 2.2, page 223)
▶Bacchus* (See Chapter 1.5, page 120)
Background the part of a work depicted furthest from the viewer’s space, often behind the main subject matter (See Introduction, page 39; 1.1, pages 46–47; 1.3, page 81; 1.8, pages 154–55; 1.9, page 164; 1.10, page 184; 2.1, page 197; 2.2, page 215; 2.4, page 244; 2.6, pages 290–91; 2.8, page 326; 2.9, page 340; 3.9, page 527)
▶bai* (See Chapter 1.9, page 166)
▶Xenobia Bailey* (See Chapter 3.10, page 550)
▶Bal du Moulin de la Galette* (See Chapter 3.8, page 509)
Balance a principle of art in which elements are used to create a symmetrical or asymmetrical sense of visual weight in an artwork (See Chapter 1.10, page 184; 3.6, page 476 )
▶Jean-Baptiste Belley* (See Chapter 3.7, page 496)
Ben-Day dots technique used in printing to create gradations and suggest a range of tones; named for its inventor (See Chapter 3.9, page 542)
▶Benin* (See Chapter 4.7, page 644)
▶Gianlorenzo Bernini* (See Chapter 1.5, page 113; 3.6, pages 477 and 480; 4.2, page 583)
▶Bishop Bernward* (See Chapter 4.2, page 579)
▶Alfonse van Besten* (See Chapter 2.8, page 322)
▶Joseph Beuys* (See Chapter 1.5, page 118; 2.10, page 353)
▶bi* (See Chapter 3.3, page 417)
▶Biennale* (See Introduction, page 35)
▶Wafaa Bilal* (See Chapter 4.7, pages 644 and 648)
▶Bilbao* (See Chapter 1.2, page 70; 3.9, page 542)
Binder a substance that makes pigments adhere to a surface (See Chapter 1.4, page 97; 2.1, pages 200–201; 2.2, page 209)
Bioart art that is created with living, changing organisms (See Chapter 1.5, pages 122–23; 4.4, page 608)
Biopic movie that tells the story of a person's life, often filling in facts with narration and plotlines (See Chapter 2.9, page 342)
Bird's-eye view an artistic technique in which a scene or subject is presented from some point above it (See Chapter 3.8, page 511; 4.7, page 642)
▶bis* (See Chapter 4.3, page 597)
▶Bisqueware* (See Chapter 2.6, page 287)
▶Adele Bloch-Bauer* (See Chapter 3.8, page 519)
▶Umberto Boccioni* (See Chapter 2.1, page 207; 3.9, page 533)
Bohemian derived from the gypsies of the former Czech Kingdom of Bohemia who moved around; a wanderer; an artist or writer who functions outside the bounds of conventional rules and practices (See Chapter 3.9, page 528)
Boldface a darker and heavier typeface than its normal instance (See Chapter 2.7, page 307)
▶Bonampak* (See Chapter 3.4, page 438)
▶Bonaventure* (See Chapter 1.8, page 156)
▶Rosa Bonheur* (See Chapter 1.9, page 167; 2.2, page 217)
▶John G. de la Mothe Borglum* (See Chapter 2.4, page 248)
▶Francesco Borromini* (See Chapter 3.6, page 479)
▶Hieronymus Bosch* (See Chapter 1.10, page 173)
▶Sandro Botticelli* (See Chapter 4.9, page 666)
▶Boulevard du Temple* (See Chapter 2.8, page 318)
▶Louise Bourgeois* (See Chapter 1.2, page 71)
▶Dieric Bouts* (See Chapter 1.8, page 150)
▶Brahma* (See Chapter 1.6, page 131; 3.3 page 411)
▶Donato Bramante* (See Chapter 2.5, page 273)
▶Constantin Brancusi* (See Chapter 1.2, page 72; 3.9, page 535)
▶Georges Braque* (See Chapter 3.9, page 526; 4.5, page 625)
▶Breton* (See Chapter 3.9, page 532)
▶André Breton * (See Chapter 1.4, page 111)
▶Agnolo Bronzino* (See Introduction, page 23)
▶Pieter Bruegel* (See Chapter 1.8, pages 153 and 155)
▶Buddhism* (See Chapter 2.10, page 353; 3.3, pages 410–11, 413–14, 421, and 425; 4.2, page 580)
▶buon fresco* (See Chapter 2.2, pages 212–13; 4.4, page 613)
▶Buraq* (See Chapter 3.2, page 400)
▶Burj Khalifa* (See Chapter 2.5, page 277)
▶Edward Burtynsky* (See Chapter 2.8, page 331)
Bust a statue of a person depicting only his or her head and shoulders (See Chapter 2.4, page 244; 3.1, page 386)
▶Byzantine* (See Chapter 4.6, page 631)
▶Alexandre Cabanel* (See Chapter 3.8, pages 502-3)
▶Cabaret Voltaire* (See Chapter 3.9, page 528)
▶Café de la Gare* (See Chapter 1.4, page 109)
▶Cahokia* (See Chapter 4.1, page 569)
▶Gustave Caillebotte* (See Chapter 3.8, page 512)
▶Cai Lun* (See Chapter 2.1, page 205)
▶caliph* (See Chapter 3.2, page 401)
Calligraphy the art of emotive or carefully descriptive hand lettering or handwriting (See Introduction, page 22; 2.7, page 301; 3.2, page 394; 3.3, page 418 )
▶Camembert* (See Chapter 4.4, page 611)
▶Camera degli Sposi* (See Chapter 4.5, pages 615 and 621)
▶camera obscura* (See Chapter 1.3, pages 86–7; 2.8, pages 316 and 318)
Canon of proportions a set of ideal mathematical ratios in art, used to measure the various parts of the human body in relation to one another (See Chapter 4.9, page 664)
▶canopic* (See Chapter 3.1, pages 374 and 376; 4.2, page 585)
Cantilever a long support that projects out from a structure beyond a support (See Chapter 2.5, page 272)
Capital the architectural feature that crowns a column (See Chapter 2.5, pages 264–65; 3.1, page 380; 3.9, page 543)
▶Caracas* (See Chapter 4.9, page 673)
▶Caravaggio* (See Chapter 1.3, page 79; 3.6, pages 477-78)
Cardinal points North, South, East, and West (See Chapter 3.1, page 375)
Cartoon full-scale drawing (See Chapter 3.8, pages 520–1)
▶Casa Azul* (See Chapter 3.9, page 532)
Cast a sculpture or artwork made by pouring a liquid (for example molten metal or plaster) into a mold (See Introduction, page 32; 1.7, page 145; 2.1, page 206; 2.4, page 247)
Catacombs an underground system of tunnels used for burying and commemorating the dead (See Chapter 4.2, page 583)
▶Çatalhöyük* (See Chapter 3.1, page 368)
▶Ceci n'est pas une pipe* (See Chapter 3.1, page 76)
▶Benvenuto Cellini* (See Chapter 2.6, page 293)
Celluloid tough, transparent plastic used to make motion-picture film, photographic film, and X-rays; until relatively recently most movies were filmed on celluloid (See Chapter 2.9, page 334)
▶Vija Celmins* (See Chapter 1.8, page 153)
▶Blaise Cendrars* (See Chapter 2.2, page 221)
▶centaur* (See Chapter 1.5, page 121)
Central-plan church church design, often in the shape of a cross with all four arms of equal length (See Chapter 2.5, page 273; 3.2, pages 394–95)
▶Centre Georges Pompidou* (See Chapter 4.9, page 678)
Ceramic fire-hardened clay, often painted, and normally sealed with a shiny protective coating (See Introduction, page 22)
Ceramist a person who makes ceramics (See Chapter 2.6, page 285)
▶Susan Cervantes* (See Chapter 4.1, page 564)
▶Paul Cézanne* (See Chapter 3.8, pages 514 and 521; 3.9, page 527)
CGI computer-generated imagery (See Chapter 2.9, page 341)
▶Chaan Muan* (See Chapter 3.4, page 438)
▶chador* (See Chapter 3.10, page 553)
▶Marc Chagall* (See Chapter 1.8, pages 151 and 155; 4.8, page 657)
▶Jean-François Champollion* (See Chapter 3.1, page 376)
▶chandelier* (See Chapter 3.6, page 467)
▶chanoyu* (See Chapter 3.3, pages 421 and 423)
▶charbagh* (See Chapter 1.6, page 137)
▶Charlemagne* (See Chapter 3.2, page 406; 4.6, page 629)
▶Chartres* (See Chapter 2.6, page 291; 3.2, pages 406–7)
Chasing a technique of hammering the front of a metal object to create a form or surface detail (See Chapter 2.6, page 293)
▶Château D’Étampes * (See Chapter 4.3, page 595)
▶Château de Poitiers * (See Chapter 4.3, page 595)
▶Château de Saumur * (See Chapter 4.3, page 595)
▶Geoffrey Chaucer* (See Chapter 2.6, page 285; 2.7, page 305)
▶Chavín de Huantar* (See Chapter 3.4, page 430)
▶Tracy Chevalier* (See Introduction, page 33)
▶Cheyenne* (See Chapter 3.4, pages 442 and 444)
chi-rho (See Chapter 3.2, page 397)
▶Chiaroscuro* (See Chapter 1.3, page 79; 3.6, page 463)
▶Chihiro* (See Chapter 2.9, page 340)
▶Dale Chihuly* (See Chapter 2.6, page 292)
▶Chile* (See Chapter 3.4, page 433; 3.5, 460)
▶Chilkat* (See Chapter 2.6, page 296)
▶Giorgio de Chirico* (See Chapter 3.9, pages 530 and 532)
▶Chloris* (See Chapter 4.9, page 667)
Choir part of a church traditionally reserved for singers and clergy, situated between the nave and the apse (See Chapter 3.2, page 405)
▶Chroma (also known as Saturation)* (See Chapter 1.4, pages 104-5)
▶Cimabue* (See Chapter 3.2, page 408)
▶Cirque du Soleil* (See Chapter 1.5, page 119)
▶Pieter Claesz* (See Chapter 4.3, page 600)
▶Chromogenic prints (c-prints)* (See Chapter 2.8, pages 322–23)
▶Cibachrome* (See Chapter 2.3, pages 322–23)
▶Circumambulate* (See Chapter 3.3, page 415)
Classical (1) Greek art of the period c. 480–323 BCE (See Chapter 3.1, page 381; 3.3, page 415)
Classical (2) ancient Greek and Roman; art that conforms to Greek and Roman models, or is based on rational construction and emotional equilibrium (See Chapter 3.7, page 491; 4.6, page 628)
Classical period a period in the history of Greek art, c. 480–323 BCE (See Chapter 1.7, page 145)
▶Camille Claudel* (See Chapter 3.8, page 516)
Clerestory windows a row of windows high up in a church to admit light into the nave (See Chapter 2.5, page 270)
▶clichéd* (See Chapter 4.10, page 683)
Cloud (or the Cloud) can refer to any electronic network; generally refers to shared resources on the Internet rather than local servers or devices for storage and computer applications (See Chapter 2.9, page 334)
CMYK the primary colors used in inkjet printing: cyan, magenta, blue, and key (black) (See Chapter 2.7, page 312)
▶Coalopolis* (See Chapter 2.2, page 222)
▶Coast Miwok-Kashaya Pomo* (See Chapter 3.4, page 443)
▶Coatlicue* (See Chapter 3.4, pages 438–40)
Coffered decorated with recessed paneling (See Chapter 3.1, page 387)
Coiling (1) the use of long coils of clay—rather than a wheel—to build the walls of a pottery vessel (See Chapter 3.5, pages 448–49)
Coiling (2) basket-weaving technique using a central foundation that is spiraled or coiled, and wrapped with another fiber that is stitched back into the previous row (See Chapter 3.4, page 443)
Collagraphy, collographic, collograph a type of relief print that is created by building up or collaging material on or to a stiff surface, inking that surface, then printing (See Chapter 2.3, page 233)
Collodion (wet plate) process black-and-white darkroom photography process invented by Frederick Scott Archer in 1850–51 and popular until the 1880s (See Chapter 2.8, page 320)
▶Cologne * (See Chapter 3.9, page 528)
▶Jorge Colombo* (See Chapter 2.7, page 307)
Color the optical effect caused when reflected white light of the spectrum is divided into separate wavelengths (See Chapter 1.1, page 51; 1.2, page 64; 1.4, page 95; 1.8, page 156; 1.9, page 159; 1.10, page 170; 2.1, page 197; 2.2, page 209; 2.3, page 228; 2.7, page 302; 2.8, pages 316–17; 3.9, page 525)
Color Field painting branch of Abstract Expressionism focusing on non-objective abstractions (See Chapter 3.9, page 539)
Color theory the understanding of how colors relate to each other, especially when mixed or placed near one another (See Chapter 1.4, page 107; 4.4, page 608)
▶Colosseum* (See Chapter 3.1, page 388; 4.1, pages 565–66)
Column freestanding pillar, usually circular in section (See Chapter 2.5, page 263; 3.2, page 404; 3.6, page 473; 3.9, page 542)
▶Compagnie Française de L'Afrique Occidentale* (See Chapter 1.8, page 154)
Complementary colors colors opposite one another on the color wheel (See Chapter 1.4, page 100)
Composite view representation of a subject from multiple viewpoints at one time (See Chapter 3.9, page 527)
Conceptual art a work in which the communication of an idea or group of ideas are most important to the work (See Chapter 1.1, page 53; 2.1, page 201; 2.10, page 350; 3.9, page 529; 3.10, page 546)
Concrete a hard, strong, and versatile construction material made up of powdered lime, sand, and rubble (See Chapter 4.1, page 566)
▶Confucianism* (See Chapter 3.3, pages 411, 416 and 421)
▶Confucius* (See Chapter 3.3, page 411)
▶Congo* (See Chapter 3.5, page 446)
▶Conques* (See Chapter 3.2, pages 404 and 406)
▶Constantine* (See Chapter 3.1, page 388; 3.2, page 390; 4.6, pages 634 and 636)
▶Constantinople * (See Chapter 2.5, page 270; 3.2, pages 390 and 394; 4.2, pages 582–83)
Constructivism an art movement in the Soviet Union in the 1920s, primarily concerned with making art that supports the working class (See Chapter 2.4, page 252)
▶Conté* (See Chapter 2.1, pages 200–201)
▶Nicolas-Jacques Conté* (See Chapter 2.1, page 200)
Content the meaning, message, or feeling expressed in a work of art (See Introduction, page 35; 1.10, page 175)
Context circumstances surrounding the creation of a work of art, including historical events, social conditions, biographical facts about the artist, and his or her intentions (See Introduction, page 25)
Continuous narrative when different parts of a story are shown within the same visual space (See Chapter 3.2, pages 392–93; 3.3, page 423; 3.6, page 464)
Contour the outline that defines a form (See Chapter 2.1, page 206; 3.5, page 455; 4.9, page 674)
Contour rivalry a design in which the lines can be read in more than one way at the same time, depending on the angle from which it is viewed (See Chapter 3.4, pages 430–31)
Contrast a drastic difference between such elements as color or value (lightness/darkness) when they are presented together (See Introduction, page 38; 1.1, page 42; 1.2, page 68; 1.4, page 106; 1.8, page 150; 1.9, page 159; 1.10, page 172; 2.1, page 199; 2.3, page 228; 2.6, page 292; 2.7, page 302; 3.10, page 549)
Convention a widely accepted way of doing something; using a particular style, following a certain method, or representing something in a specific way (See Chapter 4.9, page 665)
Convex curved outward, like the exterior of a sphere (See Chapter 4.5, page 616)
▶coolamons* (See Introduction, page 31)
▶Nicolaus Copernicus* (See Chapter 3.6, page 477)
Corbeled with a series of corbels—architectural feature made of stone, brick, wood, etc.—each projecting beyond the one below (See Chapter 2.5, page 265)
▶Córdoba* (See Chapter 1.9, page 165)
▶Corinthian* (See Chapter 2.5, page 264; 3.1, pages 380 and 386–87)
▶Cornaro* (See Chapter 4.2, page 583)
Cornice horizontally projecting molding round the top of a building (See Chapter 2.5, page 277)
Cor-ten steel a type of steel that forms a coating of rust that protects it from the weather and further corrosion (See Chapter 4.1, page 573)
Cropping trimming the edges of an image, or composing it so that part of the subject matter is cut off (See Chapter 3.8, page 509)
Cross-hatching the use of overlapping parallel lines to convey darkness or lightness (See Chapter 1.3, page 80; 2.1, pages 196–97)
▶Charles Csuri* (See Chapter 1.4, pages 97 and 99)
Cubism, Cubist twentieth-century movement and style in art, especialy painting, in which perspective with a single viewpoint was abandoned and use was made of simple geometirc shapes, interlocking planes, and, later, collage; the Cubists were artists who formed part of the movement. "Cubist" is also used to describe their style of painting (See Chapter 1.1, page 47; 1.4, page 102; 1.6, page 127; 2.5, page 261; 3.9, page 526; 4.3, page 601; 4.5, page 625)
▶Cuneiform* (See Chapter 4.6, pages 634 and 635)
▶Cupid* (See Chapter 3.7, p. 488; 4.9, page 678)
▶Cyanotype* (See Chapter 2.8, page 318)
▶Cyclades* (See Chapter 3.1, page 369)
▶Czech* (See Chapter 3.9, page 529)
▶Dada* (See Chapter 2.8, page 327; 2.10, pages 350–51; 3.9, pages 524 and 528–30)
▶Daedalus* (See Chapter 1.8, page 151)
▶Louis-Jacques-Mandé Daguerre* (See Chapter 2.8, page 317)
▶Daguerreotype* (See Chapter 2.8, pages 318 and 320)
▶Lady Dai* (See Chapter 3.3, pages 416–17)
▶Salvador Dalí* (See Chapter 4.4, page 610)
▶Dante* (See Chapter 1.2, page 72)
▶Danza de la Tierra* (See Chapter 2.2, page 223)
▶Dao de jing* (See Chapter 3.3, page 411)
▶Daoism* (See Chapter 2.1, page 203; 3.3, pages 411, 416 and 418; 3.9, page 535)
▶Daphne* (See Chapter 1.5, pages 113–14)
▶darwaza* (See Chapter 3.3, page 412)
▶Honoré Daumier* (See Chapter 2.3, page 235)
▶Jacques-Louis David* (See Chapter 3.7, page 491; 4.6, page 629)
▶Gabriel Dawe* (See Chapter 3.10, page 553)
Decorative intentionally making an artwork pleasant or attractive (See Chapter 3.9, page 525)
▶Edgar Degas* (See Chapter 2.1, page 201; 3.8, page 511)
Deify to worship and to make into a god or goddess (See Chapter 3.1, page 377)
▶Deir el-Medina* (See Introduction, page 27)
▶Eugène Delacroix* (See Chapter 3.7, page 497)
▶Sonia Delaunay* (See Chapter 2.2, page 221)
▶Delhi* (See Chapter 3.3, page 412)
▶demos* (See Chapter 3.1, page 379)
▶Demotic* (See Chapter 3.1, page 376)
Deposition a scene showing the removal of Christ’s body from the cross (See Chapter 3.6, page 471)
▶Der Blaue Reiter* (See Chapter 3.8, page 521)
▶André Derain* (See Chapter 1.4, page 105)
▶Maya Deren* (See Chapter 2.9, page 344)
▶De Stijl* (See Chapter 3.9, page 534)
Developer after an image has been recorded on light-sensitive film or photographic paper (usually in a camera), immersion in this liquid substance chemically transforms a latent (or invisible) image into a visible one (See Chapter 2.8, page 317)
Diagonal a line that runs obliquely, rather than horizontally or vertically (See Chapter 3.3, page 424)
▶Porfirio Díaz* (See Chapter 2.2, page 213)
Didactic with the aim of teaching or educating (See Chapter 3.2, page 391)
▶Die Brücke* (See Chapter 3.8, page 522)
▶Juan Diego* (See Introduction, page 25)
▶Rineke Dijkstra* (See Chapter 4.3, page 591)
▶Jean de Dinteville* (See Chapter 1.10, page 174)
▶Diogenes* (See Chapter 3.6, page 470)
▶Dionysus* (See Chapter 3.1, page 387; 4.2, page 579)
▶Disputa* (See Chapter 4.5, page 617)
Dissonance a lack of harmony (See Chapter 3.6, page 47)
▶Otto Dix* (See Chapter 4.7, page 641; 4.8, page 657)
▶Djenné* (See Chapter 3.5, page 451)
▶Nathalie Djurberg* (See Chapter 3.10, page 556)
▶Do Ho Suh* (See Chapter 3.3, page 424)
Documentary non-fiction films based on actual people, settings, and events (See Chapter 2.9, page 342)
▶Kaigetsudo Dohan* (See Chapter 4.9, page 667)
▶Dogon* (See Chapter 3.5, page 450)
Dome an evenly curved vault forming the ceiling or roof of a building (See Chapter 2.5, page 270; 3.6, page 462; 3.7, page 494)
▶Donatello* (See Chapter 3.6, pages 480–81)
Door jamb vertical sections, often containing sculpture, that form the sides of a portal (See Chapter 3.2, page 405)
▶Doric* (See Chapter 2.5, page 264; 3.1, page 380)
▶Doryphoros* (See Chapter 3.1, page 384)
▶Giovanni Antonio Dosio* (See Chapter 1.1, page 45)
Drypoint an intaglio printmaking process where the artist raises a burr when gouging the printing plate (See Chapter 2.3, pages 230–31)
▶Duamutef* (See Chapter 3.1, page 376)
Dubbing post-production addition or mixing of voices (or sounds) that do not belong to the original recording (See Chapter 2.9, page 338)
▶Duccio di Buoninsegna* (See Chapter 2.2, page 214)
Earthworks artworks made using the earth or natural elements; typically situated outdoors, most people experience earthworks only through photographs (See Chapter 4.10, page 686)
Edition all the copies of a print made from a single printing (See Chapter 2.3, page 226)
▶Edo* (See Chapter 3.3, pages 424 and 425)
▶Gustave Eiffel* (See Chapter 2.5, page 276)
▶Eine Kleine Nachtmusik* (See Chapter 1.7, page 144)
▶Albert Einstein* (See Chapter 1.2, page 76; 4.3, page 591)
▶El Cerro* (See Chapter 1.4, page 109)
Elements of art the basic vocabulary of art—line, shape, form, volume, mass, texture, value (lightness/darkness), space, color, and motion and time (See Chapter 1.1, page 42; 1.2, page 61; 1.6, page 125; 1.7, page 140; 1.8, page 150; 1.9, page 159; 1.10, page 170)
▶Elgin* (See Chapter 3.1, pages 381 and 382)
▶Elohim* (See Chapter 3.7, page 498)
Embroidery decorative stitching generally made with colored thread applied to the surface of a fabric (See Chapter 3.4, page 431)
Emphasis the principle of drawing attention to particular content within a work (See Introduction, page 38; 1.3, page 79; 1.8, page 150; 1.9, page 167; 1.10, page 172; 2.1, page 197; 2.5, page 269; 2.7, page 302)
Engraving a printmaking technique where the artist gouges or scratches the image into the surface of the printing plate (See Chapter 1.1, page 42; 2.3, page 230; 3.7, page 489)
Enlightenment an intellectual movement in eighteenth-century Europe that argued for science, reason, and individualism. Challenging received ideas passed down by tradition, the Enlightenment also promoted the notion of equal rights for all men (See Chapter 3.6, page 486; 4.4, page 604)
▶Entablature* (See Chapter 3.1, page 380)
▶Entasis* (See Chapter 4.5, page 620)
▶ere ibeji* (See Chapter 3.5, page 448)
▶M. C. Escher* (See Chapter 1.1, page 59; 1.3, page 92)
Epic style or genre in film/television that focuses on grand-scale storytelling with dramatic music, elaborate costumes, and high production value; may use historical events or people but does not focus on historical accuracy (See Chapter 2.9, page 348)
▶Maria Sol Escobar* (See Chapter 1.2, page 66)
Etching an intaglio printmaking process that uses acid to bite (or etch) the engraved design into the printing surface (See Chapter 1.1, page 48; 1.9, p. 167; 2.3, page 233)
▶Etruscan* (See Chapter 2.4, page 249; 3.1, pages 385–86)
▶Eucharist* (See Chapter 3.6, page 475)
▶Euclid* (See Chapter 3.6, page 470)
▶Euphrates* (See Chapter 3.1, page 370; 3.2, page 391)
▶Exekias* (See Chapter 3.1, page 383)
Expressionism, Expressionist an artistic style, at its height in 1920s Europe, devoted to representing subjective emotions and experiences instead of objective or external reality (See Chapter 1.10, page 182; 2.3, pages 230 and 231; 2.6, page 291)
Expressionistic: devoted to representing subjective emotions and experiences instead of objective or external reality (See Chapter 3.6, page 472)
Expressive capable of stirring the emotions of the viewer (See Chapter 2.1, page 199; 2.2, page 218; 2.4, page 249; 2.5, page 280)
▶Jan van Eyck* (See Chapter 1.7, page 143; 2.2, page 216; 3.6, pages 464 and 466)
Fantasy fiction genre set in an imaginary universe; often uses magical or supernatural elements in the plots, themes, or settings (See Chapter 2.9, page 348)
▶fasces* (See Chapter 4.5, page 628)
▶Fauves, Fauvism* (See Chapter 1.4, page 105; 3.9, page 525)
▶Fauvism* (See )
▶Fayum* (See Chapter 2.2, page 211)
▶femmages* (See Chapter 1.1, page 55)
▶femme fatale* (See Chapter 3.8, pages 518 and 519)
Figurative art that portrays items perceived in the visible world, especially human or animal forms (See Chapter 3.5, page 447; 4.9, page 664)
Figure-ground reversal the reversal of the relationship between one shape (the figure) and its background (the ground), so that the figure becomes background and the ground becomes the figure (See Chapter 1.1, pages 58 and 59)
▶film noir* (See Chapter 1.3, page 77)
▶fin de siècle* (See Chapter 3.8, page 520)
Firing heating ceramic, glass, or enamel objects in a kiln, to harden them, fuse the components, or fuse a glaze to the surface (See Chapter 3.5, pages 448 and 449)
▶Eric Fischl* (See Chapter 4.8, page 656)
Fixing the chemical process used to ensure a photographic image becomes permanent (See Chapter 2.8, page 317)
Flashback transition to an earlier time in a story that disrupts the chronological order of events (See Chapter 2.9, page 337)
▶Flavius Honorius* (See Chapter 3.2, page 393)
▶fleur-de-lis* (See Chapter 3.6, page 483)
Flint an object or tool made from the very hard, sharp-edged stone of the same name (See Chapter 4.4, page 605)
Flying buttress an arch built on the exterior of a building that transfers some of the weight of the vault (See Chapter 2.5, pages 268–69; 3.2, page 406)
Focal point (1) the center of interest or activity in a work of art, often drawing the viewer’s attention to the most important element (See Introduction, page 39; 1.2, page 66; 1.7, page 150; 1.9, page 164; 1.10, page 184)
Focal point (2) the area in a composition to which the eye returns most naturally (See Chapter 3.6, page 463)
▶Folies-Bergère* (See Chapter 4.5, page 623)
Foreground the part of a work depicted as nearest to the viewer (See Introduction, page 38; 1.2, page 64; 1.3, page 81; 1.9, page 164; 1.10, page 184; 2.1, page 201; 2.2, page 212; 2.8, page 320; 3.6, page 483)
Foreshortening a perspective technique that depicts a form—often distorting or reducing it—at an angle that is not parallel to the picture plane, in order to convey the illusion of depth (See Chapter 1.3, pages 92–93; 3.8, page 513; 4.5, page 618)
Form an object that can be defined in three dimensions (height, width, and depth) (See Introduction, page 32; 1.2, pages 61–62; 1.5, page 118; 2.5, page 259; 2.8, page 321; 3.2, page 408; 3.9, page 525; 4.5, page 625; 4.9, page 663)
Formal in art, refers to the visual elements and principles in a work (See Introduction, pages 38–39; 1.9, page 170; 1.10, page 176)
Format the shape of the area an artist uses for making a two-dimensional artwork (See Chapter 1.7, page 144)
Found image or object an image or art object found by an artist and presented, with little or no alteration, as part of a work or as a finished work of art (See Chapter 1.6, page 130; 2.2, page 222; 2.4, page 259; 2.10, page 352; 3.9, page 529)
▶Jean-Honoré Fragonard* (See Chapter 3.7, page 487)
Frame a single image from the sequence that makes up a motion picture; on average, a 90-minute film contains 129,600 separate frames (See Chapter 2.9 page 334)
▶Francisco Franco* (See Chapter 4.7, page 645)
▶Helen Frankenthaler* (See Chapter 3.9, page 540)
Freestanding any sculpture that stands separate from walls or other surfaces so that it can be viewed from a 360-degree range (See Chapter 1.2, page 64)
▶Caspar David Friedrich* (See Introduction, page 37)
Frieze the strip that goes around the top of a building, often filled with sculptural ornamentation (See Chapter 3.1, page 380; 4.5, page 621)
Frontispiece an illustration facing the title-page of a book (See Chapter 4.5, page 619)
▶Fujiwara* (See Chapter 4.7, page 642)
▶Fumeripits* (See Chapter 4.3, page 597)
Futurism, Futurist an artistic movement originating in Italy in 1909 that violently rejected traditional forms in favor of celebrating and incorporating into art the energy and dynamism of modern technology; Futurists were artists working in this style (See Chapter 1.5, page 114; 3.9, page 533)
▶Naum Gabo* (See Chapter 2.4, page 253)
▶Galatea* (See Chapter 4.5, page 620)
▶Galicia* (See Chapter 3.1, page 374)
▶Galla Placidia* (See Chapter 3.2, page 393)
▶Theaster Gates* (See Chapter 3.10, page 561)
▶Paul Gauguin* (See Chapter 1.4, page 110; 2.10, page 359; 3.8, pages 514, 518 and 521; 4.10, page 682)
▶Ge Zhichuan* (See Chapter 3.3, page 418)
▶Ilka Gedö* (See Chapter 2.1, page 196)
▶Frank Gehry* (See Chapter 1.2, page 70)
Gelatin silver print process (or silver gelatin) process for making glossy black-and-white photographic prints in the darkroom based on silver halide gelatin emulsions (See Chapter 2.8, page 321)
Golden Section a unique ratio of a line divided into two segments so that the sum of both segments (a + b) is to the longer segment (a) as the longer segment (a) is to the shorther segment (b). The result is 11.618 (See Chapter 1.7, page 147; 3.9, page 534)
▶Ludovico Gonzaga* (See Chapter 4.5, page 615)
Gothic Western European architectural style of the twelfth to sixteenth century, characterized by the use of pointed arches and ornate decoration (See Chapter 1.7, pages 142 and 143; 2.6, page 291; 3.2, page 391; 4.1, page 565)
▶Graffiti* (See Chapter 2.2, pages 222 and 223; 3.10, page 554)
Grand Tour a trip for the cultured and wealthy to study Classical and Renaissance artworks and culture found mostly in Italy (See Chapter 3.7, page 491)
▶Grande Odalisque* (See Chapter 1.10, page 179)
▶Mary Grandpré * (See Chapter 2.7, page 306)
▶graphein* (See Chapter 2.8, page 315)
Graphic design the use of images, typography, and technology to communicate ideas for a client or to a particular audience (See Introduction, page 23; 3.9, page 542)
▶El Greco* (See Chapter 3.6, page 472)
Greenware a clay form that has been shaped and dried, but not yet fired to become ceramic (See Chapter 2.6, page 287)
▶April Greiman* (See Chapter 2.7, pages 300 and 308–9)
▶Jean-Baptiste Greuze* (See Chapter 3.7, page 489)
Grid a network of horizontal and vertical lines; in an artwork’s composition, the lines are implied (See Chapter 1.6, page 125)
▶Juan Gris* (See Chapter 3.8, page 528)
▶Grisaille* (See Chapter 2.2, page 216)
Groin vault an architectural feature created by the intersection of two vaults (See Chapter 2.5, page 269)
▶Walter Gropius* (See Chapter 2.7, page 304)
Ground the surface or background onto which an artist paints or draws (See Chapter 2.1, page 197; 3.9, page 534)
▶Matthias Grünewald* (See Chapter 3.6, page 475)
▶Wenda Gu* (See Chapter 4.1, page 572)
▶Guangzhou* (See Chapter 3.3, page 418)
▶Guatemala* (See Chapter 2.5, page 262; 3.4, pages 437 and 438)
▶Gubbio* (See Chapter 2.6, page 297)
▶Gupta* (See Chapter 3.3, page 414)
▶Guernica* (See Chapter 4.7, page 645–46)
Guilds medieval associations of artists, craftsmen, or tradesmen (See Introduction, page 30)
▶Guo Xi* (See Chapter 2.2, page 220)
▶Gutai* (See Chapter 1.6, pages 128–29)
▶Johannes Gutenberg* (See Chapter 2.7, page 301)
▶Margarita Habsburg* (See Chapter 1.10, page 184)
▶hacha* (See Chapter 3.4, page 438)
▶Zaha Hadid* (See Chapter 2.5, page 282)
▶Hadrian* (See Chapter 3.1, page 387)
▶Hagia Sophia* (See Chapter 2.5, page 270; 3.2, page 394)
▶Frans Hals* (See Introduction, page 34)
▶Hammurabi* (See Chapter 4.6, page 634)
▶hanbok* (See Chapter 2.6, page 286)
Hand-tint early process for adding color to monochrome photographic products by adding pigment in a manner very much like painting (See Chapter 2.8, page 322)
Happening impromptu art actions, initiated and planned by an artist, the outcome of which is not known in advance (See Chapter 2.10, page 353; 4.4, page 611)
Harlem Renaissance movement in literature, music, and the visual arts from the end of WWI into the 1930s celebrating black experience and culture (See Chapter 3.9, page 536)
Hatching the use of non-overlapping parallel lines to convey darkness or lightness (See Chapter 1.3, page 80; 2.1, page 197)
▶Hatshepsut* (See Chapter 4.10, page 689)
▶Baron Haussmann* (See Chapter 3.8, page 513)
▶Haussmannization* (See Chapter 3.8, page 513)
▶Zahi Hawass* (See Chapter 3.1, page 377)
▶Michel Hazanavicius* (See Chapter 2.9, page 338)
▶William Randolph Hearst* (See Chapter 2.9, page 337)
▶Hegemony* (See Chapter 2.7, pages 302–3)
▶Heian-kyo* (See Chapter 3.3, page 424)
▶Heiji Monogatari * (See Chapter 4.7, page 641)
▶Heiltsuk* (See Chapter 2.6, page 298)
▶Hellenistic* (See Chapter 3.1, pages 384–85)
Hemispherical having half the form of a spherical shape divided into identical, symmetrical parts (See Chapter 3.6, page 473)
▶Heraclitus* (See Chapter 3.6, page 470)
▶Herculaneum* (See Chapter 3.1, page 386)
▶Saturnino Herrán* (See Chapter 3.4, page 440)
▶Helmut Herzfeld* (See Chapter 3.9, page 529)
▶Eva Hesse* (See Chapter 0.0 [Introduction), page 36)
▶Hidatsa* (See Chapter 3.4, page 444)
Hierarchical scale the use of size to denote the relative importance of subjects in an artwork (See Chapter 1.7, pages 142–43; 3.1, page 371; 3.2, page 405; 4.7, page 641; 4.9, page 664)
▶Hieroglyph* (See Chapter 3.1, page 375; 3.4, pages 434 and 435; 4.6, pages 632 and 633)
High relief a carved panel where the figures project with a great deal of depth from the background (See Chapter 1.2, pages 64–65; 2.3, page 242; 2.4, page 244; 4.7, page 644)
Highlight an area of lightest value in a work (See Chapter 1.1, page 55; 1.3, page 78, 2.1, page 199)
▶Hildegard of Bingen* (See Chapter 3.2, page 399)
▶Hildesheim* (See Chapter 4.2, page 579)
▶Himalayan* (See Chapter 3.3, page 411)
▶Hindi* (See Chapter 4.1, page 572)
▶Ando Hiroshige* (See Chapter 1.8, page 157)
▶Damien Hirst* (See Chapter 2.4, page 253)
Historical drama based on real-life events or time periods; can be factual or fictionalized (See Chapter 2.9, page 342)
▶Adolf Hitler* (See Chapter 3.9, 529; 4.8, page 657)
▶Hittites* (See Chapter 1.7, page 143)
▶Hannah Höch* (See Chapter 2.8, page 326)
▶Ferdinand Hodler* (See Chapter 3.8, page 518)
▶William Hogarth* (See Chapter 3.7, page 489; 4.5, page 619)
▶Katsushika Hokusai* (See Chapter 0.0 [Introduction], pages 20 and 28; 1.6, page 126; 4.8, page 661)
▶Holocaust* (See Chapter 2.1, page 197; 4.7, page 646)
▶Horatii* (See Chapter 3.7, pages 491, 493 and 497)
▶Victor Horta* (See Chapter 3.8, page 520)
▶Horus* (See Chapter 3.1, pages 375 and 376; 3.2, page 393; 4.2, page 584; 4.7, page 641)
▶Horyu-ji* (See Chapter 2.5, page 270; 3.3, page 423)
▶Jean-Antoine Houdon* (See Chapter 4.5, page 628)
▶Georgiana Houghton* (See Chapter 1.1, page 53)
Hue general classification of a color; the distinctive characteristics of a color as seen in the visible spectrum, such as green or red (See Chapter 1.4, pages 97 and 101–2; 1.10, page 177; 3.8, page 508)
▶Huitzilopochtli* (See Chapter 3.4, page 439)
Humanism, humanist the study of such subjects as history, philosophy, languages, and literature, particularly in relation to those of ancient Greece and Rome (See Chapter 3.6, page 460; 4.5, page 617)
▶Hunefer* (See Chapter 4.2, page 584)
▶Hung Liu* (See Chapter 2.2, page 218)
▶huqqa* (See Chapter 1.9, page 160)
▶Saddam Hussein* (See Chapter 4.6, page 636; 4.7, page 648)
▶King Hussein of Jordan* (See Chapter 3.2, page 401)
▶Joris-Karl Huysmans * (See Chapter 3.8, page 518)
▶Hyo-In Kim* (See Chapter 2.6, page 286)
▶hypo* (See Chapter 2.8, page 317)
▶Iberian* (See Introduction, page 29)
▶Icarus* (See Chapter 1.8, pages 151–52 and 155; 4.9, page 675)
Icon religious image venerated by believers (See Chapter 3.2, page 394; 4.2, page 578)
Iconic possessing established and widely recognizable characteristics (See Chapter 4.6, page 627; 4.9, page 663)
▶Iconoclasm* (See Chapter 3.2, page 396; 3.6, page 474)
Iconoclast someone who destroys imagery, often out of religious belief (See Chapter 3.2, page 396)
Iconographic analysis the study of art by interpreting symbols, themes, and subject matter as sources of meaning (See Chapter 1.10, pages 174 and 176; 3.6, page 467)
Ideal more beautiful, harmonious, or perfect than reality; or exists as an idea (See Chapter 3.6, page 461)
Idealism elevating depictions of nature to achieve more beautiful, harmonious, and perfect depictions (See Chapter 3.8, page 503)
Idealized represented as perfect in form or character, corresponding to an ideal (See Chapter 3.7, page 498; 4.2, page 579; 4.6, page 628; 4.9, page 664)
Illuminated characters highly decorated letters, usually found at the beginning of a page or paragraph (See Chapter 2.7, page 305)
Illuminated manuscript a hand-lettered text with hand-drawn pictures (See Chapter 2.7, page 301)
Illuminations illustrations and decorations in a manuscript (See Chapter 3.2, pages 398 and 399)
Illusionism, Illusionistic the artistic skill or trick of making something look real (See Chapter 2.6, page 297; 3.8, page 502; 4.5, page 615 )
▶Imam* (See Chapter 4.2, page 588)
IMAX “Image Maximum,” a format for film presentation that allows presentation of film as ten times larger sizes than the conventional one (See Chapter 2.9, page 335)
▶Impasto* (See Chapter 2.2, page 218; 3.8, page 515)
Implied line a line not actually drawn but suggested by elements in the work (See Introduction, page 39; 1.1, pages 47–48; 1.3, page 86; 1.5, page 114; 1.7, page 150; 1.10, pages 170 and 171; 3.6, page 483; 3.7, page 497; 4.5, page 620)
Implied texture a visual illusion expressing texture (See Chapter 2.3, page 233)
Impression an individual print, or pull, from a printing press (See Chapter 2.3, page 226)
Impressionism a late nineteenth-century painting style conveying the impression of the effects of light; Impressionists were painters working in this style (See Chapter 1.4, page 100; 2.2, page 216; 2.9, page 341; 3.3, page 424; 3.8, page 501; 3.9, page 528)
▶In situ* (See Introduction, pages 26 and 27)
In the round a freestanding sculpted work that can be viewed from all sides (See Chapter 1.2, page 64; 2.4, page 242; 3.6, page 481)
▶Inca* (See Chapter 3.4, pages 430 and 432–33)
▶Incised* (See Chapter 2.3, page 226)
▶Jean-Auguste-Dominique Ingres* (See Chapter 1.10, page 197; 2.2 page 216)
Installation originally referring to the hanging of pictures and arrangement of objects in an exhibition, installation may also refer to an intentional environment created as a completed artwork (See Chapter 1.5, page 114; 2.4, page 256; 2.10, page 350; 3.9, page 544; 4.4, page 611; 4.8, page 653; 4.9, page 670)
▶Intaglio* (See Chapter 2.3, pages 226 and 230)
▶Intarsia* (See Chapter 2.6, page 297)
Intensity the relative clarity of color in its purest raw form, demonstrated through luminous or muted variations (See Chapter 1.3, page 83)
▶Vasily Kandinsky* (See Chapter 1.4, pages 95 and 98; 3.8, page 521)
▶Kane Kwei* (See Chapter 1.4, page 102)
▶kaolin* (See Chapter 2.6, page 287; 3.5, page 448)
▶Anish Kapoor* (See Chapter 1.2, page 73)
▶Karawane* (See Chapter 3.9, page 528)
▶karma* (See Chapter 3.3, page 411)
▶Karnak* (See Chapter 2.5, page 263; 3.1, page 379)
▶Angelica Kauffmann* (See Chapter 3.7, page 495)
▶Kaufmann* (See Chapter 25, page 279)
▶Michelle Kaufmann* (See Chapter 2.5, page 283)
▶Kente cloth* (See Chapter 3.5, page 449)
▶Kepler* (See Chapter 2.3, page 237)
▶keramos* (See Chapter 2.6, page 287)
Key-frame animation technique in which an animator creates important frames in the sequence, and software fills in the gaps (See Chapter 2.9, page 341)
▶Khafre* (See Chapter 1.2, page 62; 3.1, pages 374–75 and 384)
▶Khajuraho* (See Chapter 3.3, page 415)
▶Abd al-Karim Ma'mur Khan* (See Chapter 1.6, page 137)
▶Makramat Khan* (See Chapter 1.6, page 137)
▶Khmer* (See Chapter 3.3, page 426)
▶Khufu* (See Chapter 3.1, pages 374–75)
▶Anselm Kiefer* (See Chapter 4.7, page 646)
▶Ed Kienholz* (See Chapter 2.10, page 356)
▶Kim Phuc* (See Chapter 4.7, page 639)
▶kimono* (See Chapter 4.9, page 669)
Kinetic art/sculpture three-dimensional art that moves, impelled by air currents, motors, or people (See Chapter 1.5, page 117; 2.10, pages 350 and 351; 3.9, page 529)
▶Kiowa* (See Chapter 3.4, page 442)
▶Ernst Ludwig Kirchner* (See Chapter 3.8, page 522)
▶Hosteen Klah* (See Chapter 4.5, page 624)
▶Paul Klee* (See Chapter 1.4, page 105; 4.8, page 657)
▶Yves Klein* (See Chapter 4.9, page 670)
▶Gustav Klimt* (See Chapter 3.8, page 519)
▶Hilma af Klint* (See Chapter 1.4, page 110)
▶Knossos* (See Chapter 2.2, page 212; 3.1, page 369–70)
Kodachrome Created by Kodak Research Laboratories, Kodachrome is a subtractive reversal process for making color photographic film slides (See Chapter 2.8, pages 322–23 and 324)
▶Käthe Kollwitz* (See Chapter 2.1, page 199)
▶Koi Konboro* (See Chapter 3.5, page 451)
▶Kok Cheow Yeoh* (See Chapter 2.7, page 302)
▶Kondo* (See Chapter 2.5, page 271)
▶Adrian Kondratowicz* (See Chapter 1.4, page 111)
▶Kongo* (See Chapter 4.3, page 597)
▶kookanja* (See Introduction, page 31)
▶Willem de Kooning* (See Chapter 2.1, page 201; 4.9, page 663)
▶korai* (See Chapter 3.1, page 384)
▶Koran* (See Chapter 3.2, page 394)
▶Joseph Kosuth* (See Chapter 3.10, page 546)
▶kouros* (See Chapter 3.1, page 384)
▶kraal* (See Chapter 3.5, page 453)
▶Krater* (See Chapter 3.1, pages 382 and 383)
▶Kristallnacht* (See Chapter 4.7, page 646)
▶Ku Klux Klan* (See Chapter 2.9, page 337)
▶Ku-ka’ili-moku* (See Chapter 2.4, page 247)
▶kufic* (See Chapter 3.2, page 398)
▶Akira Kurosawa* (See Chapter 2.9, page 343)
▶Yayoi Kusama* (See Chapter 4.4, page 611)
▶Kwakiutl* (See Chapter 3.4, page 442)
▶Kyo-bashi* (See Chapter 1.8, page 156)
▶Kyoto* (See Chapter 3.3, pages 421 and 423–24; 4.7, page 642)
▶L’Association Mensuelle* (See Chapter 2.3, page 235)
▶L’Enfant Terrible* (See Chapter 2.1, page 201)
▶L’Estaque* (See Chapter 1.4, page 105; 3.9, page 527)
▶La Goulue* (See Chapter 2.7, page 307)
▶La Grande Jatte* (See Chapter 4.4, page 608)
▶La Source* (See Chapter 1.3, page 78)
▶La Venta* (See Chapter 3.4, page 434)
▶Amadou Labbo* (See Chapter 3.5, page 451)
▶Laboratorio Paravicini* (See Chapter 2.9, page 335)
▶Ustad Ahmad Lahauri* (See Chapter 1.6, page 137; 2.5, page 272)
▶Lakota* (See Chapter 3.4, pages 441 and 444)
▶Lakshmi* (See Chapter 1.6, page 131)
▶lamassu* (See Chapter 3.1, page 372–73)
▶Dorothea Lange* (See Chapter 4.8, page 659)
▶Laozi* (See Chapter 3.3, page 411)
▶Laocoön* (See Chapter 3.1, page 384; 3.6, page 472)
▶Lapis lazuli * (See Chapter 3.1, page 370)
▶Lapith* (See Chapter 3.1, page 381; 4.2, page 579)
▶Las Meninas* (See Chapter 1.10, pages 183 and 185–87)
▶Lascaux* (See Chapter 4.2, page 586–87)
▶Laussel* (See Chapter 3.1, page 367)
▶Pierre Laval* (See Chapter 3.9, page 530)
▶Le Corbusier* (See Chapter 2.5, pages 277 and 278)
▶Le Déjeuner sur l’Herbe* (See Chapter 3.8, page 502)
▶Le Déjeuner sur l’herbe: Les trois femmes noires* (See Chapter 1.10, page 181)
▶Le Gras* (See Chapter 2.8, page 317)
▶Vladimir Lenin* (See Chapter 4.1, page 574)
▶Leonardo da Vinci* (See Introduction, page 28; 2.1, page 192; 3.6, pages 468 and 470; 4.4, page 603)
▶Les Demoiselles d’Avignon* (See Chapter 3.9, page 527)
▶Lesotho* (See Chapter 3.5, page 453)
▶Sherrie Levine* (See Chapter 3.10 page 547)
▶Edmonia Lewis* (See Introduction, pages 36–37)
▶Léon Augustin Lhermitte* (See Chapter 2.1, page 199)
▶Li Cheng* (See Chapter 1.3, page 82)
▶Libyan Sibyl* (See Chapter 2.1, page 200; 2.2, page 212)
▶Libyans* (See Chapter 1.7, page 143)
▶Roy Lichtenstein* (See Chapter 3.9, page 541)
▶Limbourg Brothers* (See Chapter 4.3, page 595)
▶Maya Lin* (See Chapter 4.7, page 649)
▶Lindisfarne* (See Chapter 3.2, pages 398–99)
Line a mark, or implied mark, between two endpoints (See Chapter 1.1, page 42; 1.8, page 150; 1.10, page 187)
Linear outline a line that clearly separates a figure from its surroundings (See Chapter 4.2, page 578)
Linear perspective a system using converging imaginary sight lines to create the illusion of depth (See Chapter 1.3, page 83; 1.10, page 184; 3.6, page 462; 3.7, page 493; 3.8, page 513; 4.5, page 626)
Lintel the horizontal beam over the doorway of a portal (See Chapter 2.4, page 245; 3.2, page 405; 4.2, page 584; 4.6, page 633)
▶Literati* (See Chapter 3.3, page 420)
▶Lithography, lithographic* (See Chapter 2.3, page 226; 2.7, page 309)
Logo a graphic image used to identify an idea or entity (See Introduction, page 23; 1.1, pages 48 and 49)
▶Loongkoonan* (See Introduction, page 31)
▶Sophia Loren* (See Chapter 4.10, page 683)
▶Claude Lorrain* (See Chapter 2.1, page 202)
▶Louis XIV* (See Introduction, page 25; 3.6, pages 483–84)
▶Louvre* (See Introduction, pages 25 and 29; 2.2, page 221; 3.8, page 503)
Low relief carving in which the design stands out only slightly from the background surface (See Chapter 4.3, page 599)
▶Cannupa Hanska Luger* (See Chapter 3.4, page 444)
Luminosity a bright, glowing quality (See Chapter 2.2, page 216)
▶Ma Yuan* (See Chapter 1.6, page 135)
▶Machu Picchu* (See Chapter 3.4, pages 432 and 444)
▶Maestà* (See Chapter 2.2, page 214)
▶maghribi* (See Chapter 3.2, page 398)
▶René Magritte* (See Chapter 1.2, page 76; 4.5, page 626)
▶Mahgreb* (See Chapter 3.2, page 398)
▶Giuliano da Maiano* (See Chapter 2.6, page 297)
▶Majapahit* (See Chapter 2.6; page 287)
▶Fumihiko Maki* (See Chapter 2.5, page 261)
▶Kazimir Malevich* (See Chapter 3.9, page 534)
▶Mali* (See Chapter 3.5, pages 450 and 451)
▶Abd al-Malik* (See Chapter 3.2, page 401)
▶Maman* (See Chapter 1.2, page 71)
▶mana* (See Chapter 3.5, page 453)
▶Mandala* (See Chapter 1.6, page 138; 3.3, page 415)
Mannerism from Italian di maniera, meaning charm, grace, playfulness; mid- to late sixteenth-century style of painting, usually with elongated human figures elevating grace as an ideal (See Chapter 3.6, page 471)
▶Andrea Mantegna* (See Chapter 4.3, page 592; 4.5, page 615)
▶Mantua* (See Chapter 4.5, page 615)
Manuscripts handwritten texts (See Introduction, page 28; 3.2, page 398)
▶Mao Zedong* (See Chapter 2.2, page 218; 4.6, pages 634, 635 and 636)
▶Maori* (See Chapter 3.5, pages 453 and 454)
▶Marcus Aurelius* (See Chapter 3.1, page 388)
▶Marie Marevna* (See Chapter 1.6, page 127)
▶Marie Antoinette* (See Chapter 4.6, pages 633–34)
▶Marimekko * (See Chapter 3.5, page 453)
▶Filippo Marinetti* (See Chapter 3.9, page 533)
▶Marisol* (See Chapter 1.2, page 66)
▶Marquesas * (See Chapter 3.5, page 454)
▶Marriage à-la-Mode* (See Chapter 3.7, page 490)
▶Maria Martinez* (See Chapter 2.6, page 289)
▶Pietro Antonio Martini* (See Chapter 3.7, page 493)
▶Mary Magdalene* (See Chapter 4.3, page 592)
▶Masaccio* (See Chapter 1.3, pages 89 and 91; 3.6, pages 463–64)
▶Maseru* (See Chapter 3.5, page 453)
▶Masjid-i-Shah* (See Chapter 4.2, page 588)
Mask in spray painting or silkscreen printing, a barrier, the shape of which blocks the paint or ink from passing through (See Chapter 2.2, page 224; 2.3, page 235)
▶masorah* (See Chapter 1.1, page 47)
▶Masquerade* (See Chapter 4.1, page 572)
Mass a volume that has, or gives the illusion of having, weight, density, and bulk (See Chapter 1.2, page 62; 2.4, page 247; 3.6, page 461)
Medieval relating to the Middle Ages; roughly, between the fall of the Roman empire and the start of the Renaissance (See Introduction, page 27; 3.6, page 463)
Medium (plural media) the material on or from which an artist chooses to make a work of art (See Introduction, page 23; 1.3, page 80; 1.4, page 97; 1.5, page 113; 1.6, page 125; 1.10, page 187; 2.1, page 195; 2.2, page 209; 2.4, page 256; 2.6, page 285; 2.7, page 300; 2.9, page 334; 2.10, page 350; 3.5, page 453; 3.6, page 474; 4.5, page 622; 4.7, page 641; 4.10, page 685)
▶Cosimo de' Medici* (See Introduction, page 23)
▶Francesco de' Medici* (See Chapter 2.4, page 243)
▶Queen Marie de' Medici* (See Chapter 3.6, page 482)
▶Medusa* (See Chapter 4.8, page 652–53)
▶Julie Mehetru* (See Chapter 2.2, page 221)
▶Melanesia* (See Chapter 3.5, page 453)
▶Georges Méliès* (See Chapter 2.9, page 336)
▶Memento mori* (See Chapter 1.10, page 175; 4.3, page 600)
▶Men Brajut* (See Chapter 2.6, pages 287–88)
▶Ana Mendieta* (See Chapter 3.10, page 548)
▶Menkaure* (See Chapter 3.1, page 374; 4.9, page 665)
▶Mesa Verde* (See Chapter 3.4, page 441)
▶Mesoamerica* (See Chapter 2.4, page 245; 3.4, pages 429, 433–35 and 437–438)
Mesoamerican an archaeological term referring to people or objects from the area now occupied by Mexico and Central America (See Chapter 2.6, page 289)
Middle ground the part of a work between the foreground and the background (See Introduction, page 38; 1.9, page 164)
▶Mihrab* (See Chapter 3.2, page 403; 4.2, page 588)
▶Milan* (See Chapter 3.6, pages 475 and 480)
▶John Everett Millais* (See Chapter 3.8, page 505)
▶Jean-François Millet * (See Chapter 1.7, page 142)
▶Minamoto* (See Chapter 4.7, page 642)
▶Minaret* (See Chapter 3.2, page 394; 3.5, pages 450 and 451)
▶Minbar* (See Chapter 3.2, page 403)
▶Ming* (See Chapter 2.6, page 288; 3.3, page 419)
Minimalism, Minimalist a mid-twentieth-century artistic style that references industrial production modes through materials and seriality, often with unified arrangements of geometric shapes and massive forms that become part of the viewer's space (See Chapter 3.9, page 542; 4.10, page 686)
Mirror writing writing that reads correctly only when reflected in a mirror, as in the case of the journals and other writings of Leonardo da Vinci (See Chapter 4.4, page 603)
▶Mixografia® * (See Chapter 2.3, page 238)
Mixed media the use of a variety of materials to make a work of art (See Chapter 1.10, page 182)
▶Hayao Miyazaki* (See Chapter 2.9, page 340)
▶moai* (See Chapter 3.5, pages 456–57)
Mobile suspended moving sculptures, usually impelled by natural air currents (See Chapter 1.5, pages 118 and 119)
▶Moche* (See Chapter 3.4, pages 430 and 431–32)
Modeling the representation of three-dimensional objects in two dimensions so that they appear solid (See Chapter 3.6, page 473; 3.8, pages 510–11)
Modernist, Modernism a radically new twentieth-century art and architectural movement that embraced modern industrial materials and a machine aesthetic (See Chapter 1.4, pages 106 and 107; 2.5, page 276; 2.7, page 304; 3.5, page 446; 3.8, page 501; 3.9, page 524)
▶Paula Modersohn-Becker* (See Chapter 3.8, page 521)
▶Piet Mondrian* (See Chapter 3.9, pages 534 and 542)
▶Claude Monet* (See Chapter 3.8, page 513)
▶Monochromatic* (See Chapter 1.1, pages 56 and 57; 1.4, page 102; 1.10, page 187; 4.5, page 625; 4.9, page 670)
▶Monolith* (See Chapter 3.5, page 452)
▶Mont Sainte-Victoire* (See Chapter 3.8, page 514)
▶Federico da Montefeltro* (See Chapter 2.6, page 298)
▶Monte Mario* (See Chapter 2.1, page 202)
▶Montmartre* (See Chapter 3.8, page 509)
Monumental having massive or impressive scale (See Introduction, page 32; 1.7, page 140; 2.4, page 252; 2.5, page 262; 3.4, pages 434 and 435; 3.9, page 533; 4.9, page 677)
▶Jiha Moon* (See Chapter 3.10, page 553)
▶Moorish* (See Chapter 1.10, page 185)
▶Gustave Moreau* (See Chapter 3.8, page 518)
▶Abelardo Morell* (See Chapter 2.8, page 316)
▶Yasumasa Morimura* (See Chapter 4.9, page 669)
▶Berthe Morisot* (See Chapter 3.8, page 512)
Mosaic a picture or pattern created by fixing together small pieces of stone, glass, tile, etc. (See Chapter 3.2, page 393; 3.8, pages 520 and 521; 4.6, page 631)
▶Mosul* (See Chapter 3.1, page 372)
Motif (1) a design or color repeated as a unit in a pattern (See Chapter 1.6, page 134; 1.9, page 160; 4.6, page 630)
Motif (2) a distinctive visual element, the recurrence of which is often characteristic of an artist’s work (See Chapter 3.4, page 442)
Motion the effect of changing placement in time (See Chapter 1.5, page 113; 2.9, page 335)
Motion capture ("mo-cap" or performance capture) technology developed to animate CGI characters by translating into a digital performance the live, exact motions of people or objects, using specially designed suits or equipment with sensors (See Chapter 2.9, page 341)
▶Nefertiti* (See Chapter 1.10, pages 170–71; 4.6, page 632)
Negative a reversed image, in which light areas are dark and dark areas are light (opposite of a positive) (See Chapter 1.7, page 148; 2.8, page 315)
Negative space an unoccupied or empty space that is created after positive shapes are positioned in a work of art (See Chapter 1.1, page 57; 1.2, page 68; 2.5, page 281)
▶Neo-Assyrian* (See Chapter 3.1, page 372)
▶Neoclassicism* (See Chapter 3.7, page 491; 3.8, page 504)
Neo-Expressionist a broad term, first used in the late 1970s to early 1980s; describes figurative and allegorical, not totally abstract, art with materials used aggressively to give clear evidence of the artist's gestures (See Chapter 3.10, page 554)
▶Nepal* (See Chapter 3.3, page 413; 4.2, page 580)
▶Neptune* (See Chapter 2.6, page 294)
▶Shirin Neshat* (See Chapter 3.10, page 553; 4.8, page 659)
▶Nespawershefi* (See Introduction, pages 20–21)
▶Johann Balthasar Neumann* (See Chapter 3.7, page 488)
Neutral colors (such as blacks, whites, grays, and dull gray-browns) made by mixing complementary hues (See Chapter 1.4, page 102; 1.10, page 184)
▶Louise Nevelson* (See Introduction, page 21)
New Wave design A design movement that exemplified the counter cultural currents of the 1980s (See Chapter 2.7, pages 308 and 309)
▶Nice* (See Chapter 3.8, page 512)
▶Joseph Nicéphore Niépce* (See Chapter 2.8, page 317)
▶Nieto* (See Chapter 1.10, pages 184 and 186)
▶Nigeria* (See Chapter 3.5, pages 447 and 448; 4.1, page 572)
▶Nijo* (See Chapter 4.7, page 642)
▶Nimrud* (See Chapter 3.1, page 372)
▶Nineveh* (See Chapter 2.4, page 244; 3.1, page 372)
▶Nino* (See Chapter 2.9, page 341)
▶nirvana* (See Chapter 3.3, pages 411 and 414; 4.2, page 580)
▶Nivernais* (See Chapter 1.9, page 167)
▶Nkisi nkondi (plural minkisi minkondi)* (See Chapter 3.5 pages 448 and 449)
▶Emil Nolde* (See Chapter 2.3, page 234; 4.8, page 657)
Non-objective, non-objectivity art that does not depict a recognizable subject (See Introduction, pages 36 and 37; 3.8, page 521; 4.5, page 625)
▶Notre Dame Cathedral* (See Chapter 4.1, page 565)
Nude an artistic representation of an unclothed human figure, emphasizing the body’s form rather than its exposure (See Chapter 4.9, page 666; 4.10, page 685)
▶Odalisque in Grisaille* (See Chapter 2.2, page 216)
▶Odo* (See Chapter 4.7, page 642)
▶Oduduwa* (See Chapter 1.7, page 145)
Oil paint paint made of pigment suspended in oil (See Introduction, pages 24 and 25; 3.6, page 460; 3.9, page 540)
▶Claes Oldenburg* (See Chapter 1.7, page 140)
▶Olmec* (See Chapter 3.4, pages 433–34 and 438; 4.5, page 624)
▶Olympia* (See Chapter 4.2, page 578; 4.9, pages 668–69)
▶Olympus* (See Chapter 4.5, page 622)
One-point perspective a perspective system with a single vanishing point on the horizon (See Chapter 1.3, pages 88 and 89)
▶oni* (See Chapter 1.7, page 145; 4.9, page 667)
▶o'o' bird* (See Chapter 3.5, page 456)
Op art a style of art that exploits the physiology of seeing in order to create illusory optical effects (See Chapter 1.5, page 115)
Opaque not transparent (See Chapter 2.2, page 220)
▶Ophelia* (See Chapter 3.8, page 505)
▶Méret Oppenheim* (See Chapter 1.2, page 74)
Optical mixture when the eye blends two colors that are placed near one another, creating a new color (See Chapter 3.8, page 509; 4.4, page 608)
Organic having irregular forms and shapes, as though derived from living organisms (See Introduction, page 38; 1.10, page 188; 2.3, page 233; 2.5, page 279; 2.6, page 288; 3.7, page 487; 3.8, pages 520 and 521; 3.9, page 539)
Organic form three-dimensional form made up of unpredictable, irregular planes that suggest the natural world (See Chapter 1.2, page 63)
▶ORLAN* (See Chapter 4.9, pages 677–78)
▶José Clemente Orozco* (See Chapter 2.2, page 213)
▶Orpheus* (See Chapter 3.2, page 393)
Orthogonals in perspective systems, imaginary sightlines extending from forms to the vanishing point (See Chapter 1.3, page 88; 3.7, page 493)
▶Osservanza* (See Chapter 1.5, page 120)
Outline the outermost line or implied line of an object or figure, by which it is defined or bounded (See Chapter 1.1, page 42; 1.8, pages 156 and 157; 2.1, pages 206 and 207; 3.2, page 397; 3.6, page 472; 3.8, page 503; 3.9, page 526)
▶Ovid* (See Chapter 4.5, page 620)
▶Pacal* (See Chapter 4.3, page 599)
Pace speed at which something moves; rhythmic flow of dialog or action related to an overall scene or sequence (See Chapter 2.9, page 336)
▶Pachacuti* (See Chapter 3.4, page 432)
▶pagoda* (See Chapter 2.5, page 271)
▶Nam June Paik* (See Chapter 2.9, page 345)
Painterly a loosely executed style in which paint and brushstrokes are evident (See Chapter 2.2, page 214)
▶Paiute* (See Chapter 3.4, page 443)
▶Palau* (See Chapter 1.9, page 166)
▶Palazzo del Tè* (See Chapter 4.5, page 621)
▶Palenque* (See Chapter 4.3, page 599)
Palette (1) the range of colors used by an artist (See Chapter 1.4, pages 102 and 103; 1.10, page 184; 3.9, page 534; 4.4, page 609; 4.9, pages 674 and 675)
Palette (2) a smooth slab or board used for mixing paints or cosmetics (See Chapter 3.8, page 508; 4.7, page 641)
Passion the arrest, trial, and execution of Jesus Christ, and his sufferings during them (See Chapter 4.1, page 565; 4.2, page 583)
▶Patina* (See Chapter 2.4, page 250)
Patron an organization or individual who sponsors the creation of works of art (See Introduction, page 23; 3.2, page 394; 3.6, page 461; 3.7, page 487; 3.8, page 507; 4.1, pages 564 and 565)
Pattern an arrangement of predictably repeated elements (See Chapter 1.1, page 55; 1.9, page 159; 1.10, page 182)
▶Pech Merle* (See Chapter 2.2, pages 210 and 224)
Pedestal a base upon which a statue or column rests (See Chapter 3.6, page 468)
Pediment the triangular space, situated above the row of columns, on the facade of a building in the Classical style (See Chapter 2.5, page 281; 3.1, page 381; 3.6, page 473; 3.7, page 494; 4.2, page 578)
Pendentive a curving triangular surface that links a dome to a square space below (See Chapter 2.5, page 270)
▶Peneius* (See Chapter 1.5, page 113)
Performance art a work involving the human body, usually including the artist, for an audience (See Chapter 1.5, page 118; 1.6, pages 128 and 129; 2.10, page 350; 3.3, page 420; 4.9, page 670)
▶Pergamon* (See Chapter 3.1, page 373)
▶Perro de Luna* (See Chapter 2.3, page 239)
▶Persian* (See Chapter 1.4, page 109; 2.2, page 215; 2.5, page 272; 3.1, pages 379 and 381; 4.3, page 594)
Personification representation of a thing, and idea, or an abstract quality, such as “freedom,” as a person or in human form (See Chapter 3.7, page 497)
Perspective the creation of the illusion of depth in a two-dimensional image by using mathematical principles (See Chapter 1.3, page 76; 3.6, page 461; 4.5, pages 619 and 625)
▶Peru* (See Introduction, page 22;1.1, page 42; 3.4, pages 430–33)
▶Photomontage* (See Chapter 2.8, page 326; 3.8, page 529)
Photorealist a style of art that began in the 1960s and involves the artist creating artworks that resemble, and were inspired by, photographs (See Chapter 4.5, page 622)
Pictograph picture used as a symbol in writing (See Chapter 3.4, pages 434 and 435)
Picture plane (1) the surface of a painting or drawing (See Chapter 1.3, page 81; 3.8, page 511)
Picture plane (2) the transparent division between the space depicted by the artist and the real space in which the viewer is placed (See Chapter 3.6, page 482)
Piece-mold casting a process for casting metal objects in which a mold is broken into several pieces that are then reassembled into a final sculpture (See Chapter 3.3, page 419)
Pigment the colorant in art materials. Often made from finely ground minerals (See Chapter 1.4, pages 95 and 96; 2.1, page 197; 2.2, page 209; 3.1, page 367; 4.7, page 641)
▶Pilaster* (See Chapter 4.1, page 566)
▶Camille Pissarro* (See Chapter 3.8, page 503)
Plane a flat, two-dimensional surface on which an artist can create a drawing or painting. Planes can also be implied in a composition by areas that face toward, parallel to, or away from a light source (See Chapter 1.1, page 42; 1.2, page 63; 1.3, page 77; 1.4, page 104; 2.1, page 206; 2.4, page 242; 2.6, page 291; 3.9, page 526; 4.5, page 625; 4.9, page 674)
▶planographic* (See Chapter 2.3, page 234)
Planography a print process—lithography and silkscreen printing—where the inked image area and non-inked areas are at the same height (See Chapter 2.3, pages 234 and 235)
Plastic, plasticity referring to materials that are soft and can be manipulated, or to such properties in the materials (See Chapter 2.4, page 249; 2.6, page 287)
▶Polykleitos* (See Chapter 1.7, page 145; 3.1, page 384)
Polymer a chemical compound commonly referred to as plastic (See Chapter 2.2, page 209)
▶Polynesia* (See Chapter 3.5, pages 453 and 457)
Polytheism the worship of more than one god or goddess (See Chapter 3.1, page 370)
▶Pompeii* (See Chapter 3.1, pages 386–87)
▶Pont du Gard* (See Chapter 2.5, page 266)
▶Pont-Aven* (See Chapter 3.8, pages 514 and 515)
▶Jacopo da Pontormo* (See Chapter 3.6, page 471)
Pop art mid-twentieth-century artistic movement inspired by commercial art forms and popular culture (See Chapter 3.9, page 540; 4.6, page 635)
Portal an entrance. A royal portal (main entrance) is usually on the west front of a church and features sculpted forms of kings and queens (See Chapter 3.2, page 405)
▶Portico* (See Chapter 2.5, page 281)
Portrait image of a person or animal, usually focusing on the face (See Chapter 4.6, page 628)
▶Poseidon* (See Chapter 1.7, page 147; 3.1, pages 379 and 384; 3.6, page 472)
Positive an image in which light areas are light and dark areas are dark (opposite of a negative) (See Chapter 2.8, page 315)
Positive–negative the relationship between contrasting opposites (See Chapter 1.5, page 115)
Post-and-lintel construction a horizontal beam (the lintel) supported by a post at either end (See Chapter 2.5, pages 262 and 263)
Post-Impressionists artists either from or living in France, c. 1885–1905, who moved away from the Impressionist style—notably Cézanne, Gauguin, Seurat, and Van Gogh (See Chapter 3.8, page 501; Chapter 3.9, page 527)
Postmodernism, Postmodernist late twentieth-century movement in art, architecture, and criticism responding to Modernism (c. 1860–1960) with a distrust of grand narratives and questioning the very nature of art by acknowledging the constructed nature of reality and experience (See Chapter 2.5, page 281; 2.8, page 327)
▶Potsdamer Platz* (See Chapter 3.8, page 522)
▶Nicolas Poussin* (See Chapter 3.6, page 482)
▶Po've'ka* (See Chapter 2.6, page 289)
▶Prague* (See Chapter 3.9, page 529)
▶Praxiteles* (See Chapter 3.1, page 383)
▶Predella* (See Chapter 4.7, page 640)
Prehistoric dating from the period of human existence before the invention of writing (See Chapter 4.2, page 586; 4.9, page 663)
Pre-Raphaelite Brotherhood English art movement formed in 1848 by painters who rejected the academic rules of art, and often painted medieval subjects in a naïve style (See Chapter 3.8, page 505)
Primary colors three basic colors from which all others are derived (See Chapter 1.4, page 98; 1.8, page 153; 2.7, page 312; 3.9, page 534)
Principles the principles or “grammar” of art—contrast, unity, variety, balance, scale, proportion, focal point, emphasis, pattern, and rhythm—describe the ways the elements of art are ararnged in an artwork (See Chapter 1.1, page 42; 1.6, page 215; 1.7, page 140; 1.8, page 150; 1.10, page 170)
Print a picture reproduced on paper, often in multiple copies (See Chapter 3.7, page 489)
Prism a transparent materialwithi flat, polished surfaces—a form with at least three sides—that can be used to disperse light to reveal the range of color present in the visible spectrum (See Chapter 1.4, page 95)
▶Prix de Rome* (See Chapter 3.7, page 492)
Profile the outline of an object, especially a face or head, represented from the side (See Chapter 4.4, page 605)
Propaganda art that promotes an ideology or a cause (See Chapter 2.9, page 337; 4.6, page 628)
Proportion the relationship in size between a work’s individual parts and the whole (See Chapter 1.7, page 140; 2.8, page 326; 3.6, page 473)
▶Protagoras* (See Chapter 3.1, page 379)
▶Pierre-Paul Prud’hon* (See Chapter 1.3, page 78)
▶psyche* (See Chapter 3.9, page 524)
▶Psyche* (See Chapter 4.9, page 678)
Psychology a science that studies the nature, development, and operation of the human mind (See Chapter 4.4, page 610)
Psychoanalysis a method of treating mental illness by making conscious the patient’s subconscious fears or fantasies (See Chapter 4.4, page 610)
▶Ptolemy* (See Chapter 3.1, page 376; 3.6, pages 470–71)
Puppet figure in the form of an animal or person used for entertainment purposes that appears to move on its own but is actually controlled by a person's hand(s), strings, or another mechanism (See chatper 2.9, page 339)
▶Putto (plural putti)* (See Chapter 4.5, page 615)
▶Puyukitchum* (See Chapter 4.10, page 688)
▶Pygmalion* (See Chapter 4.5, page 620)
Pyramid ancient structure, usually massive in scale, consisting of a square base with four sides that meet at a point or apex with each side forming a triangular shape (See Chapter 4.1, pages 568 and 569)
▶Pythagoras* (See Chapter 3.6, page 470)
▶Quatrefoil* (See Chapter 3.6, page 461)
▶Qebhsenuef* (See Chapter 3.1, page 376)
▶Qianlong* (See Chapter 1.3, page 84)
▶Qibla* (See Chapter 3.2, page 402)
▶Qin Shi Huangdi* (See Chapter 3.3, pages 416 and 417–18)
▶Qin* (See Chapter 1.4, page 108; 3.3, page 420)
▶Quadracci* (See Chapter 2.5, pages 281 and 283)
▶Queen Khamerernebty* (See Chapter 4.9, page 665)
▶Quetzalcoatl* (See Chapter 2.6, page 289; 3.4, page 437)
▶Jaune Quick-to-See Smith * (See Chapter 1.9, page 168)
▶Ravenna* (See Chapter 3.2, page 395; 4.6, page 631)
▶Ilana Raviv* (See Chapter 2.3, page 239)
▶Guillaume Thomas Raynal* (See Chapter 3.7, page 496)
▶Re* (See Introduction, pages 20–21; 3.1, page 375)
Readymade an everyday object presented as a work of art (See Chapter 2.4, page 254; 2.10, pages 350 and 351; 3.9, page 529; 3.1, pages 546 and 547)
Realism nineteenth-century artistic style that aimed to depict nature and everyday subjects in an unidealized manner. “Realism” is also used to describe a historical movement from the same period, which tried to achieve social change and equality by highlighting, in art and literature, the predicament of the poor (See Chapter 1.10, pages 172 and 173)
Regionalism branch of American Scene painting that promoted rural, small-town virtues and values, especially related to the Deep South and Midwest US (See Chapter 3.9, page 536)
Register one of two or more horizontal sections into which a space is divided in order to depict the episodes of a story (See Chapter 3.1, page 370; 3.2, page 406; 4.7, page 641)
▶Oscar Gustav Rejlander* (See Chapter 2.8, page 326)
Relative placement the arrangement of shapes or lines to form a visual relationship to each other in a design (See Chapter 1.3, page 81)
Relief (1) a raised form on a largely flat background. For example, the design on a coin is “in relief” (See Chapter 1.2, page 64; 1.7, page 142; 2.4, page 242; 4.6, page 633)
Relief (2) a print process where the inked image is higher than the non-printing areas (See Chapter 2.3, page 226)
▶Luis Remba* (See Chapter 2.3, page 238)
▶Rembrandt Harmenszoon van Rijn* (See Chapter 2.3, page 232; 3.6, page 482; 4.10, page 680)
▶Pierre-Auguste Renoir* (See 2.9, page 343; Chapter 3.8, page 509)
Repatriation return of cultural artifacts, often sacred remains, to their country of origin (See Chapter 3.4, page 444)
▶Repoussé* (See Chapter 2.6, page 293; 3.2, page 400)
Representation the depiction of recognizable figures and objects (See Chapter 3.9, page 525)
Representational art that depicts figures and objects so that we recognize what is represented (See Chapter 1.10, page 187; 3.5, page 449; 3.8, page 501)
RGB additive system that mixes color based on the primary colors of light: red, green, and blue (See Chapter 2.8, page 322)
Rhythm the regular or ordered repetition of elements in the work (See Chapter 1.1, page 48; 1.3, pages 82 and 83; 1.8, page 156; 1.9, page 159; 1.10, page 184; 2.1, pages 206 and 207; 2.8, page 330; 3.7, page 497; 3.8, page 509; 3.9, page 536; 4.7, page 642)
▶Riace* (See Chapter 2.4, page 250)
▶Riad-ul Jannah* (See Chapter 3.2, page 403)
Rib vault an arch-like structure supporting a ceiling or roof, with a web of protruding stonework (See Chapter 2.5, page 269; 3.2, page 406)
▶Roettgen Pietà* (See Chapter 1.2, pages 63 and 64)
▶Mies van der Rohe* (See Chapter 2.5, page 277; 2.7, page 304)
▶Rokeby Venus* (See Chapter 4.8, pages 655–56)
▶Giulio Romano* (See Chapter 4.5, pages 621–22)
▶Romanesque* (See Chapter 2.5, page 267; 3.2, 391)
Romantic/Romanticism movement in nineteenth-century European culture, concerned with the power of the imagination and greatly valuing intense feeling (See Introduction, page 37; 1.10, page 173; 3.7, page 497; 3.8, page 504; 4.6, pages 628 and 629)
▶Chemi Rosado-Seijo* (See Chapter 1.4, page 109)
▶Rosetta Stone* (See Chapter 3.1, pages 375 and 376)
Rosin a dry powdered resin that melts when heated, used in the aquatint process (See Chapter 2.3, pages 232 and 233)
▶Rouen* (See Chapter 3.8, page 516)
▶Jean Jacques Rousseau* (See Chapter 3.7, page 486)
▶Peter Paul Rubens* (See Chapter 3.6, page 481)
▶Rue Transnonain* (See Chapter 2.3, page 235)
▶Ryoan-ji* (See Chapter 3.3, page 421)
▶Betye Saar* (See Chapter 2.4, page 254)
▶Anali Saban* (See Chapter 1.4, page 99)
▶Sabine* (See Chapter 2.4, pages 243 and 244)
▶Tahereh Saffarzadeh* (See Chapter 4.8, page 659)
▶Saint-Denis* (See Chapter 2.5, page 268)
▶Saint-Dominigue* (See Chapter 3.7, page 496)
▶Sainte-Foy* (See Chapter 3.2, pages 404, 405 and 407)
▶Sainte-Madeleine* (See Chapter 2.5, page 267)
▶Salisbury* (See Chapter 4.1, page 570)
▶Salome* (See Chapter 3.8, page 518)
▶Salomé* (See Chapter 2.10, page 359)
▶Salon* (See Chapter 3.7, page 493; 3.8, page 501)
▶Salon des Refusés* (See Chapter 3.8, pages 503–4)
▶samsara* (See Chapter 3.3, page 411; 4.3, page 599)
▶samurai * (See Chapter 4.7, pages 642 and 643)
▶San Carlo alle Quattro Fontane* (See Chapter 3.6, page 479)
▶San Ildefonso Pueblo* (See Chapter 2.6, page 289)
▶San Vitale* (See Chapter 3.2, page 395; 4.6, page 631)
▶Sanchi* (See Chapter 3.3, page 413)
Sand painting also known as dry painting, a labor-intensive method of painting using colored grains of sand or other natural materials as the medium (See Chapter 4.2, page 580)
▶Sanjo* (See Chapter 4.7, page 642)
▶Sans serif* (See Chapter 2.7, pages 302 and 304)
▶Sanskrit* (See Chapter 1.6, page 131; 2.6, page 287)
▶Santa Maria del Fiore* (See Chapter 3.6, page 463)
▶Santa Maria della Vittoria* (See Chapter 4.2, page 583)
▶Santa Maria delle Grazie* (See Chapter 3.6, page 475)
▶Santa Maria Novella* (See Chapter 1.3, page 89)
▶Santiago de Compostela* (See Chapter 2.5, page 267; 3.2, page 404)
▶Sarcophagus (plural sarcophagi)* (See Chapter 3.1, page 374)
Sarsen a type of hard, gray sandstone (See Chapter 4.1, pages 570–71)
▶Sonoko Sasaki* (See Chapter 3.3, page 422)
▶Saskia* (See Chapter 4.10, page 682)
Satire work of art that exposes the weaknesses and mistakes of its subjects to ridicule (See Chapter 4.5, page 619)
Saturation (also known as Chroma) the degree of purity of a color (See Chapter 1.4, page 104)
▶satyr* (See Chapter 1.3, page 80)
▶Sauerkids* (See Chapter 1.1, page 47)
Scale the size of an object or artwork relative to another object or artwork, or to a system of measurement (See Introduction, page 39; 1.2, page 61; 1.6, page 140; 2.2, page 209; 2.8, page 326; 3.6, page 463)
▶Egon Schiele* (See Chapter 2.1, page 207; 4.8, page 657)
▶Peter Schlesinger* (See Introduction, pages 38–39)
▶schreef* (See Chapter 2.7, page 302)
▶Schröder House* (See Chapter 3.9, page 542)
Science fiction (Sci-fi) genre of film in which fictional stories include advanced science and technology, often in futuristic settings (See Chapter 2.9, page 342)
▶Scivias* (See Chapter 3.2, page 399)
Secondary colors colors mixed from two primary colors (See Chapter 1.4, page 98)
▶Georges de Selve* (See Chapter 1.10, page 174)
▶Sen no Rikyu* (See Chapter 3.3, pages 421 and 422)
▶Alois Senefelder* (See Chapter 2.3, page 234)
▶Sennuwy* (See Chapter 2.4, page 243)
▶Senufo* (See Chapter 4.2, page 580)
Series a group of related artworks that are created as a set (See Chapter 1.1, page 57; 3.3 page 424)
Serigraphy printing that is achieved by creating a solid stencil in a porous screen and forcing ink through the screen onto the printing surface (See Chapter 2.3, page 226)
Shape a two-dimensional area, the boundaries of which are defined by lines or suggested by changes in color or value (See Chapter 1.1, page 42; 1.2, page 61; 1.3, page 80; 1.9, page 159; 2.8, page 330)
▶sheikh* (See Chapter 3.5, page 455)
▶shikhara* (See Chapter 3.3, page 415)
▶Shinto* (See Chapter 3.3, pages 411, 421 and 425; 4.2, page 588)
▶Shiseido* (See Chapter 2.7, pages 309–10)
▶Shiva* (See Chapter 1.6, page 131; 3.3, pages 411 and 415; 4.3, page 599)
▶Shona* (See Chapter 3.5, pages 452–53)
▶Yinka Shonibare* (See Chapter 2.10, page 356)
▶Shotoku* (See Chapter 2.5, page 270)
▶Siddhartha Gautama* (See Chapter 3.3, pages 411 and 413; 4.2, page 580)
▶Silhouette* (See Chapter 1.1, page 58; 2.10, page 358; 3.9, page 537; 3.10, page 548; 4.9, pages 674 and 675)
Silkscreen method of printmaking using a stencil and paint pushed through a screen (See Chapter 3.9, page 540; 4.6, page 635)
▶Silueta* (See Chapter 3.10, page 548)
▶Sinai* (See Chapter 3.2, pages 392 and 396)
▶Sinan* (See Chapter 2.5, page 260)
▶Sioux* (See Chapter 3.4, pages 441 and 444)
▶Sipán* (See Chapter 3.4, page 431)
▶Taco Sipma* (See Chapter 1.1, page 48)
▶Sistine Chapel* (See Chapter 2.1, pages 200 and 212; 2.4, page 246; 3.6, page 468; 4.4, page 613)
Sitter person who poses, or “sits,” for an artist to paint, sculpt, or photograph (See Chapter 3.6, pages 468 and 506; 4.4 page 612; 4.6, page 630)
Sketch a rough preliminary version of a work or part of a work (See Chapter 2.1, page 192; 2.4, page 247; 3.9, page 526; 3.10, page 546; 4.9, page 674)
▶Sandy Skoglund* (See Chapter 2.8, page 322)
SLR (single-lens reflex camera) hand-held digital or film camera that uses a mirror and prism system so the focus screen matches the image captured (See Chapter 2.9, page 334)
▶Marcia Smilack* (See Chapter 4.4, page 610)
Social Realism branch of American Scene painting that focused on Depression-era social issues and hardships of daily life (See Chapter 3.9, page 536)
▶Socrates* (See Chapter 3.6, page 470)
▶sodium thiosulfate* (See Chapter 2.8, page 317)
Soft focus deliberate blurring of the edges or lack of sharp focus in a photograph or movie (See Chapter 2.8, page 321)
Space the distance between identifiable points or planes (See Introduction, page 38; 1.1, pages 44 and 45; 1.2, page 62; 1.3, page 76; 1.5, page 118; 1.9, page 159; 2.4, pages 252 and 253; 3.3, page 423; 3.8, page 502)
Span the distance bridged between two supports, such as columns or walls (See Chapter 2.5, page 262)
Stained glass colored glass used for windows or decorative applications (See Chapter 2.5, page 269; 2.6, page 291; 3.2, pages 398 and 399; 4.1, page 565)
▶Stela* (See Chapter 3.4, page 430; 4.2, page 580; 4.6, pages 634 and 635)
Stencil a perforated template allowing ink or paint to pass through to print a design (See Chapter 2.2, page 224; 2.3, page 235; 2.7, page 303; 3.1, page 367; 4.9, page 674)
Stepped pyramid a pyramid consisting of several rectangular structures placed one on top of another (See Chapter 3.4, page 435)
▶Hedda Sterne* (See Chapter 2.3, page 237)
▶Alfred Stieglitz* (See Chapter 2.8, page 330)
Still life a scene of inanimate objects, such as fruits, flowers, or dead animals (See Chapter 1.6, page 128; 4.3, page 600)
▶Beda Stjernschantz* (See Chapter 1.3, page 81)
Stop-motion animation figures, puppets, or dolls are photographed in a pose, moved very slightly, and then photographed again; the process is repeated until the desired sequence of movements has been acted out (See Chapter 2.9, page 339; 3.10, page 556)
▶Strandbeests* (See Chapter 1.5, page 119)
▶Kathy Strauss* (See Chapter 2.3, page 237)
Street art art created in public places (examples include graffiti, posters, and stickers) (See Chapter 4.7, page 647)
▶Stroboscopic motion* (See Chapter 2.9, page 335)
▶Stucco* (See Chapter 4.5, page 621)
▶studiolo* (See Chapter 2.6, page 297)
▶Stupa* (See Chapter 3.3, page 413)
Style a characteristic way in which an artist or group of artists uses visual language to give a work an identifiable form of visual expression (See Introduction, page 20; 1.1, page 47; 1.3, page 77; 1.4, pages 102 and 103; 1.6, page 127; 1.10, page 172; 2.2, page 218; 2.3, page 228; 2.9, page 336; 3.9, page 524)
Stylized art that represents objects in an exaggerated way to emphasize certain aspects of the object (See Chapter 2.2, page 214; 2.4, page 249; 2.5, page 281; 3.1, page 373; 3.2, page 408; 3.4, page 430; 4.2, page 583)
▶Stylobate* (See Chapter 4.5, page 620)
Subject matter, subject the person, object, or space depicted in a work of art (See Introduction, page 20; 2.1, page 199; 2.2, page 215; 2.3, page 228; 2.8, page 315; 2.10, page 358; 3.1, page 369; 3.6, page 460; 3.7, page 487; 3.9, page 524; 4.9, page 663)
Sublime feeling of awe or terror, provoked by the experience of limitless nature and the awareness of the smallness of an individual (See Chapter 3.7, page 499)
Subordination the opposite of emphasis; it draws our attention away from particular areas of a work (See Chapter 1.8, page 150)
Subtractive (sculpture) the methodical removal of material to produce a sculptural form (See Chapter 2.4, page 247)
Subtractive color the colors produced from pigment (See Chapter 1.4, page 97)
Subtractive color process colors subtracted from white light by CMY dyes or pigments; in photography light-sensitive film or paper absorbs the opposite colors of cyan, magenta, and yellow dyes to create a negative image, reversed to make a positive print (See Chapter 2.8, page 322)
▶Suffrage* (See Chapter 3.8, page 507)
▶Suffragette * (See Chapter 4.8, pages 655–56)
▶Abbot Suger* (See Chapter 2.5, pages 268–70)
▶Suiko* (See Chapter 2.5, page 270)
▶Süleyman* (See Chapter 2.5, page 260)
▶Sumer* (See Chapter 3.1, pages 370–71; 4.1, page 568)
▶Sumerian* (See Chapter 1.10, page 175; 3.1, pages 370 and 372; 4.1, page 568)
Sunken relief a carved panel where the figures are cut deeper into the stone than the background (See Chapter 4.6, pages 632 and 633)
Support the material on which painting is done (See Chapter 2.2, pages 210 and 211)
▶Surah* (See Chapter 3.2, page 398)
Suprematism Russian art movement of the early twentieth century focused on geometric shapes and limited colors that emphasized feeling over visual phenomena (See Chapter 2.8, page 323)
Surreal reminiscent of the Surrealist movement in the 1920s and later, whose art was inspired by dreams and the subconscious (See Chapter 2.8, page 323)
Surrealism, Surrealist an artistic movement in the 1920s and later; its works were inspired by dreams and the subconscious (See Chapter 1.2, page 74; 1.3, pages 76 and 77; 1.6, page 130; 1.7, page 144; 4.4, page 610)
▶Suryavarman* (See Chapter 3.3, page 426)
▶sutras* (See Chapter 2.3, page 227)
▶Suzhou* (See Chapter 1.3, page 84)
Symbolism using images or symbols in an artwork to convey meaning; often obvious when the work was made, but requiring research for modern viewers to understand (See Chapter 3.6, page 464)
Symbolist artist or artistic style belonging to the movement in European art and literature, c. 1885–1910, that conveyed meaning by the use of powerful yet ambiguous symbols (See Chapter 1.3, page 81; 3.8, page 501)
Symmetrical balance an image or shape that looks exactly (or nearly exactly) the same on both sides when cut in half (See Chapter 1.6, page 134; 3.6, page 473)
Symmetry the correspondence in size, form, and arrangement of items on opposite sides of a plane, line, or point that creates direct visual balance (See Chapter 3.6, page 476)
▶Syncretism* (See Chapter 3.2, page 393)
▶Synesthesia* (See Chapter 1.3, pages 82 and 83; 4.4, page 610)
2-D side-scrolling game gameplay is seen from a side-view camera angle with onscreen characters generally moving left to right and backgrounds made up of scrolling graphics (See Chapter 2.9, page 348)
3-D modeling a computer-generated illusion that emulates an object in three dimensions; it can be modified to show visual movement (See Chapter 1.2 page 61; 1.5, pages 116 and 117; 2.3, page 240)
▶t’ao t’ieh* (See Chapter 1.6, page 134)
▶ta moko* (See Chapter 3.5, page 454)
▶Tableau* (See Chapter 2.8, pages 322 and 323; 2.10, page 356; 3.10, page 554)
▶Tenochtitlan* (See Chapter 3.4, pages 438 and 439; 4.4, page 606)
▶Teotihuacan* (See Chapter 3.4, pages 433, 434–35, and 438)
Terra-cotta iron-rich clay, fired at a low temperature, which is traditionally brownish-orange in color (See Chapter 3.3, page 418; 3.5, page 447)
Tertiary colors colors that can be mixed from a secondary and a primary color (See Chapter 1.4, page 98)
▶Tesserae* (See Chapter 3.2, page 393)
▶Tewa* (See Chapter 2.6, page 289; 3.4, page 441)
Texture the surface quality of a work, for example fine/coarse, detailed/lacking in detail (See Introduction, page 38; 1.1, pages 44 and 45; 1.2, page 62; 1.3, pages 82 and 83; 1.9, page 163; 1.10, page 170; 2.1, pages 196 and 197; 2.5, pages 260 and 261; 2.6, page 287; 3.6, page 464; 3.10, page 554)
▶Thebes* (See Chapter 3.10, page 555)
▶Empress Theodora* (See Chapter 3.2, page 397; 4.6, page 631)
▶Domenikos Theotokopoulos* (See Chapter 3.6, page 472)
Three-point perspective a perspective system with two vanishing points on the horizon and one not on the horizon (See Chapter 1.3, page 92)
Throwing the process of making a ceramic object on a potter’s wheel (See Chapter 2.6, page 287)
▶Thutmose* (See Chapter 4.10, page 689)
▶Tiananmen* (See Chapter 4.6, pages 635 and 636)
▶Tiber* (See Chapter 2.1, page 202)
▶Tibetan* (See Chapter 1.6, page 138)
▶Tigris* (See Chapter 3.1, page 370)
▶Tikal* (See Chapter 2.5, page 262)
▶Jean Tinguely* (See Chapter 2.10, page 351)
Tint a color lighter in value than its purest state (See Chapter 1.4, page 102)
▶Tintoretto* (See Chapter 3.6, page 476)
▶Titian* (See Chapter 4.9, page 668)
▶Tiwanaku* (See Chapter 3.4, page 430)
▶Tlaloc* (See Chapter 2.4, page 251; 3.4, page 437)
▶Tlazolteotl* (See Chapter 4.3, page 591)
▶Tlingit* (See Chapter 2.6, page 296)
▶tokonoma* (See Chapter 3.3, page 423)
▶Toledo* (See Introduction page 23; 3.6, page 472)
▶Toltec* (See Chapter 4.7, pages 643–44)
▶Henri de Toulouse-Lautrec* (See Chapter 2.7, page 307)
▶Tonatiuh* (See Chapter 4.4, page 606)
Tone a color that is weaker than its brightest, or most pure, state (See Chapter 1.4, page 105)
Tooth the textural quality of a paper surface for holding drawing media in place (See Chapter 2.1, page 199)
▶Torah* (See Chapter 3.2, pages 391–92)
▶Torana* (See Chapter 3.3, page 413)
▶tortillion* (See Chapter 2.1, page 199)
▶Toshiko Horiuchi* (See Chapter 2.6, pages 285 and 297)
Transept structure crossing the main body of a Latin-cross-plan church (See Chapter 3.2, page 405)
Translucent semi-transparent (See Chapter 2.2 pages 210 and 211)
Transparency in film and photography, a positive image on film that is visible when light is shone through it (See Chapter 2.8, page 322)
▶Travertine* (See Chapter 4.1, page 566)
▶Très Riches Heures* (See Chapter 4.3, page 595)
▶Triglyph* (See Chapter 4.5, page 621)
Triptych an artwork comprising three panels, normally joined together and sharing a common theme (See Chapter 1.9, page 168; 1.10, pages 172 and 173; 3.3, page 419; 3.4, page 440; 4.7, page 640)
▶Trompe l'oeil* (See Chapter 4.3, page 600; 4.5, page 615)
▶François Truffaut* (See Chapter 2.9, page 343)
Trumeau within a portal, a central column that supports a tympanum (See Chapter 3.2, page 405)
▶Tsil-ol-ne* (See Chapter 4.5, page 624)
▶Tsubasa RESERVoir CHRoNiCLE* (See Chapter 1.1, page 49)
▶tsumugi-ori* (See Chapter 3.3, pages 422–23)
▶Tula* (See Chapter 4.7, page 643)
▶Tuscarora* (See Chapter 3.10, pages 552–53)
▶Tutankhamun* (See Chapter 3.1, pages 377 and 378)
Twining basket-weaving technique consisting of twisting two strands of material around a foundation of parallel sticks (See Chapter 3.4, page 443)
Twisted perspective (also known as composite view) a representation of a figure, part in profile and part fontally (See Chapter 3.1, page 379)
Two-dimensional having height and width (See Introduction, page 38; 1.1, page 42; 1.2, page 61; 1.3, page762; 4.5, page 615)
▶Tympanum* (See Chapter 3.2, page 405; 4.2, pages 584 and 585)
▶Typefaces* (See Chapter 2.7, pages 300 and 304)
Typography the art of designing, arranging, and choosing type (See Chapter 2.7, page 301)
▶Udialla* (See Introduction, page 31)
▶ukiyo-e* (See Chapter 2.3, page 228; 3.3, page 424)
▶Ulay* (See Chapter 2.10, page 355)
▶ultramarinus* (See Chapter 2.2, page 209)
Underpainting in oil painting, the process of painting the canvas in a base, often monochrome color, as a first step in creating the areas of light and dark value (See Chapter 2.2, page 216)
Unity the appearace of oneness or harmony in a work of art all of the elements appearing to be part of a cohesive whole (See Chapter 1.6, page 125; 1.7, page 140; 1.9, page 159)
▶Unterschieden Tonka* (See Chapter 2.3, page 240)
▶Ur* (See Chapter 3.1, pages 370 and 371; 4.1, pages 568–69)
▶Urbino* (See Chapter 2.6, page 298; 4.9, pages 668–69)
▶Nick Ut* (See Chapter 4.7, pages 639–40)
▶Kitagawa Utamaro* (See Chapter 2.3, page 228; 3.8, page 510)
▶Jørn Utzon* (See Chapter 2.5, page 280)
▶Vairocana* (See Chapter 3.3, page 415)
▶Suzanne Valadon* (See Chapter 1.9, page 159)
Value the lightness or darkness of a plane or area (See Introduction, page 38; 1.1, page 51; 1.3, page 76; 1.4, page 102; 1.6, page 132; 1.8, page 153; 1.9, page 159; 2.1, pages 196 and 197; 2.2, page 212; 2.3, page 233; 2.6, page 297; 2.8, page 320; 3.8, page 503; 3.9, page 542)
▶Anne Vallayer-Coster* (See Chapter 3.7, page 494)
Vanishing point the point or points in a work of art at which imaginary sight lines appear to converge, suggesting depth (See Chapter 1.10, page 184; 4.5, page 619)
▶Vanitas* (See Chapter 4.3, page 600)
Variety the diversity of different ideas, media, and elements in a work (See Chapter 1.6, page 125)
▶Giorgio Vasari* (See Chapter 2.2, page 216; 3.6, pages 461 and 464)
Void an area in an artwork that seems empty (See Chapter 2.7, page 307)
Volume the space filled or enclosed by a three-dimensional figure or object (See Chapter 1.1, pages 44 and 45; 1.2, page 62; 1.10, page 184; 3.6, page 461; 3.8, page 502)
▶vomitoria* (See Chapter 4.1, page 566)
▶Peter Voulkos* (See Chapter 2.6, page 290)
▶voussoir* (See Chapter 3.2, page 405)
▶Wang Xizhi* (See Chapter 2.7, page 301)
Wavelength a term from physics that measures light as the distance between two corresponding points on a wave of energy, e.g. between two high points of a wave (See Chapter 1.4, page 95)
▶Carrie Mae Weems* (See Chapter 1.1, page 56; 2.8, page 329; 3.10, page 551; 4.10, pages 686–87)
▶Weimar* (See Chapter 2.8, page 327)
White space in typography, the empty space around type or other features in a layout (See Chapter 2.7, page 307)
▶Abbot Wibald of Stavelot* (See Chapter 3.2, page 400)
▶Lewis Wickes Hine* (See Chapter 2.8, page 323)
▶Willendorf* (See Chapter 4.9, pages 663–64)
▶Garry Winogrand* (See Chapter 2.8, page 331)
▶Krzysztof Wodiczko* (See Chapter 4.1, page 576)
▶Wo-Haw* (See Chapter 3.4, page 442)
▶Wolfgang Amadeus Mozart* (See Chapter 1.7, page 144)
▶Wong Kar-Wai* (See Chapter 2.9, page 343)
Woodblock a relief print process where the image is carved into a block of wood (See Chapter 2.3, pages 226 and 227; 3.3, page 424; 3.6, page 475; 3.8, page 509)
Woodcut a relief print made from a design cut into a block of wood (See Chapter 1.1, pages 58 and 59; 1.3, page 92; 1.8, pages 156 and 157; 2.3, pages 226 and 227)
▶Joseph Wright of Derby* (See Chapter 4.4, page 604)