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23 Cards in this Set

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  • Back
the use of strong chiaroscuro and artificially illuminated areas to craeate a dramatic contrast of light and dark
an image which all objects symbolize the transience of life. (usually genre)
baroque and rocaille~a 19th century continuation of baroque~only lighthearted, opulent, playful, and graceful. ex: the progress of love. ~fragonard
an implication of classic models. ex: david's oath of horatii

--the french neo-classical school: the conservative voices of the salon, think we shoud stay with the old masters-- ex: ingres, david..
truest quality

ingres thought that drawing was the probity of art.
the sublime
the evocation of religion without it being expressed. an extra ordinary experience, transcendence. some non explicitly christian force has entred the scene.
a funerary monument comemorating an individual or group buried elsewhere.
counter enlightenment~rather than deductive reasoning, there is intuition, imagination, feeling~ early modern
showing dramatic events, hisotorical events.
progressive, avant-garde, rooted in the changes in western culture. hallmark of modernism=very fragmented
barbizon school
a movement towards realism, nature=main figure. individual subjective experience of god/nature. no religious figures, escaping from politics, often features staffage figures
"if you overturned every rock in the 19th century->you'd find god underneath
they painted "en plein air"~always outdoors, not in studio
breaking away from barbizon, did not want to break away from the craziness of the city, very in tune with poverty stricken. without embellishment, opposite of idealism.
the subject of the painter
the sensation of observing forms in nature, shadows have colors in them, natural light, trying to capture the image in the moment, valuing every moment throughout the day of the object in different lights, each painter had very unique personal brushstrokes
scene you can put any scene into, any religious scene, etc.
claudian stamp
basic structure of staffage figures in the foreground, 2 framing trees, middle ground, distance
patches of colors
post impressionism
main figures: cezanne, seurat, van goh, gaughin

rejecting empiricism (the idea that a anything not based in science is not valid), rejected the empiricist nature of impressionism and realism. rejected the group theory of impressionism. didnt like unified similaries btwn all the artists of the impressionists. rejected society, anti academic, anti bourgeois
did not want to paint for an audience.
artist will distort reality for emotional effect. ex. van gogh, edvard munch
the old masters
masters of the renaissance
transforming visual forms into a stylized nature
any area within a work where painterly brushwork or color changes exist.
atmospheric perspective
a method of rendering the effect of spatial distance by subtle variations in color and clarity of representation
circus performers