| 200501. |
A movement of the 1960s and 1970s that emphasized the artistic idea over the art object. It attempted to free art from the confines of the gallery and the pedestal.
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| 200502. |
A movement that began in Britain and the United States in the 1950s. It used the images and techniques of mass media, advertising, and popular culture, often in an ironic way.
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| 200503. |
A movement, c. 1915-23, that rejected accepted aesthetic standards. It aimed to create antiart and nonart, often employing a sense of the absurd.
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| 200504. |
A painting movement that flourished in France in the 1880s and 1980s in which subject matter was suggested rather than directly presented. It featured decorative, stylized, and evocative images.
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| 200505. |
A russian abstract movement begun in the early twentieth century. It employs an analytic vision based on fragmentation and multiple viewpoints.
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| 200506. |
A style, c. 1520-1600, that arose in reaction to the harmony and proportion of the High Renaissance. It featured elongated, contorted poses, crowded canvases, and harsh lighting and coloring.
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| 200507. |
A technique in abstract painting developed in the 1950s. It focuses on the lyrical effects of large areas of color, often poured or stained onto the canvas.
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| 200508. |
A termed coined by British art critic Roger Fry to refer to a group of nine-teenth century painters, who were dissatisfied with the limitations of impressionism. It has since been used to refer to various reactions against impressionism, such as fauvism and expressionism.
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| 200509. |
An abstract movement in Europe and the United States, begun in the mid-1950s, based on the effect of optical patterns.
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| 200510. |
An eighteenth-century European style, originating in France. In reaction to the grandeur and massiveness of the baroque, it employed refined, elegant, highly decorative forms.
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| 200511. |
An italian movement c.1909-1919. It attempted to integrate the dynamism of the machine age into art.
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| 200512. |
Artwork, usually paintings, characterized by a simplified style, nonscientific perspective, and bold colors. The artists are generally not professionally trained.
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| 200513. |
Design style prevalent during the 1920s and 1930s, characterized by a sleek use of straight lines and slender forms.
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| 200514. |
From the Hebrew word for 'prophet'. A group of French painters active in the 1890s who worked in a subjective, sometimes mystical style, stressing flat areas of color and pattern.
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| 200515. |
From the french word 'fauve', meaning 'wild beast'. A style adopted by artists associated with Matisse, c. 1905-1908. They painted in a spontaneous manner, using bold colors.
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| 200516. |
Group of American artists from 1908 to 1918. Their work featured scenes of urban realism.
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| 200517. |
In a general sense, refers to objective representation. More specifically, a nineteenth century movement, especially in France, that rejected idealized academic styles in favor of everyday subjects.
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| 200518. |
Meaning 'rebirth' in french. Refers to Europe c. 1400-1600. The style began in Italy and stressed the forms of classical antiquity, a realistic representation of space based on scientific perspective, and secular subjects.
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| 200519. |
Movement in painting, originating in New York City in the 1940s. It emphasized spontaneous personal expression, freedom from accepted artistic values, surface quallities of paint, and the act of painting itself.
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| 200520. |
Referring to the principles of Greek and Roman art of antiquity with its emphasis on harmony, proportion, balance, and simplicity. In a general sense, it refers to art based on accepted standards of beauty.
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| 200521. |
Refers to art that uses emphasis and distortion to communicate emotion. More specifically, it refers to early twentieth-century northern European art, especially in Germany c. 1905-23.
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| 200522. |
Works of a culturally homogenous people without formal training, generally according to regional traditions and involving crafts.
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| 200523. |
A band of painted or sculpted decoration, often at the top of a wall.
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| 200524. |
A composition made of cut and pasted pieces of materials, sometimes with images added by the artist.
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| 200525. |
A flat board used by a painter to mix and hold colors, traditionally oblong, with a hole for the thumb; also, a range of colors used by a particular painter.
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| 200526. |
A large painting or decoration done on a wall.
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| 200527. |
A method of producing images or letters from sheets of cardboard, metal, or other materials from which forms have been cut away.
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| 200528. |
A method of watercolor painting, but prepared with a more gluey base, producing a less transparent effect.
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| 200529. |
A painting or drawing executed in a single color.
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| 200530. |
A painting technique using pigments mixed with egg yolk and water. It produces clear, pure colors.
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| 200531. |
A print made by carving on a wood block, which is then inked and printed.
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| 200532. |
A printing process in which ink impressions are taken from a flat stone or metal plate prepared with a greasy substance, such as an oily crayon.
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| 200533. |
A realistic style of painting in which everyday life forms the subject matter, as distinguished from religious or historical painting.
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| 200534. |
A representation of a human or an animal form.
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| 200535. |
A single print made from a metal or glass plate on which an image has been represented in paint, ink, etc.
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| 200536. |
A soft, subdued color; a drawing stick made of ground pigments, chalk, and gum water.
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| 200537. |
A technique of engraving, using a sharp-pointed needle, that produces a furrowed edge resulting in a print with soft, velvety lines.
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| 200538. |
An artwork humoously excaggerating the qualities, defects, or pecularities of a person or idea.
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| 200539. |
An etching tecnique in which a solution of asphalt or resin is used on the plate. It produces prints with rich, gray tones.
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| 200540. |
Ground chalk or plaster mixed with glue, used as a base coat for tempera and oil painting.
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| 200541. |
In painting, a thin layer of translucent color.
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| 200542. |
In painting, a work made of several panels or scenes joined together. A diptych has two panels; a triptych, three.
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| 200543. |
In painting, the degree of lightness or darkness in a color.
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| 200544. |
In sculpting, the cutting of a form from a solid, hard material such as stone or wood, in contrast to the technique of modeling.
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| 200545. |
In sculpture, the building up of form using a soft medium such as clay or wax, as distinguished from carving. In painting and drawing, using color and lighting variations to produce a three-dimensional effect.
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| 200546. |
In sculpture, the projection of an image or form from its background. Sculpture formed in this manner is described as high relief or low relief (bas-relief), depending on the degree of projection. In painting or drawing, the apparent projection of parts conveying the illusion of three dimensions.
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| 200547. |
Meaning 'fool the eye' in french. In painting, the fine, detailed rendering of objects to convey the illusion that the painted forms are real and three-dimensional.
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| 200548. |
Meaning 'fresh' in italian. The technique of painting on moist lime plaster with colors ground in water.
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| 200549. |
On a represented form, a point of most intense light.
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| 200550. |
Paint applied very thickly. It often projects from the picture surface.
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| 200551. |
Painting in which natural scenery is the subject.
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| 200552. |
Reducing or distorting in order to represent three-dimensional space as perceived by the eye, according to the rules of perspective.
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| 200553. |
The effect of the harmony of color and values in a work.
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| 200554. |
The rendering of light and shade in painting; the subtle graduations and marked variations of light and shade for dramatic effect.
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| 200555. |
The representation of inanimate objects in painting, drawing or photography.
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| 200556. |
The technique of producing printed designs through various methods of incising on wood or metal blocks, which are then inked and printed.
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| 200557. |
The visual and tactile quality of a work based on the particular way the materials are handled; also, the distribution of tones or shades of a single color.
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| 200558. |
Water-soluble paint made from pigments and a plastic binder
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| 200559. |
Deep down I am fairly ... ?
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| 200560. |
Never confuse motion with ... ?
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| 200561. |
I do not sing, I do not dance, and I don't say ... ?
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| 200562. |
I am not an actor. I am a ... ?
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| 200563. |
Americans usually get it right, after trying ... ?
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| 200564. |
The first half of our lives is ruined by our parents, and the second half ... ?
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| 200565. |
A Bohemian folk dance in duple time with a hop on the fouth beat. It became a popular ballroom dance in the mid-nineteenth century.
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| 200566. |
A Japanese dance drama featuring stylized narrative choreographic movements.
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| 200567. |
A Sevillian gypsy dance, possibly originating in India, also with Moorish and Arabian influences, originally accompanied by songs and clapping and later by the guitar, and characterized by its heelwork.
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| 200568. |
A Spanish dance in ¾ time or 3/8 time with castanets.
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| 200569. |
A ballet bow or curtsy in which one foot is pointed in front and the body leans forward.
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| 200570. |
A ballet in which the women wear white tutus, such as the second and fourth acts of Swan Lake.
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| 200571. |
A ballet movement in which the dancer repeatedly crosses his or her legs in the air.
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| 200572. |
A ballet with a plot, usually tragic, to bring dramatic coherence to the performance of ballet.
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| 200573. |
A basic movement in the technique of Martha Graham, based on breath inhalation and exhalation.
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| 200574. |
A beating movement of the legs.
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| 200575. |
A bending of the knees in any of the five positions.
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| 200576. |
A dance for two, usually a woman and a man. In its traditional form, it begins with an entreé and adagio, followed by solo variations for each dancer, and a coda.
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| 200577. |
A dance with a fast or moderate tempo.
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| 200578. |
A grave, processional court dance popular in the sixteenth and seventeenth centuries.
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| 200579. |
A jump in which the legs open in second position in the air, resembling a scissors.
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| 200580. |
A leap from one leg to the other in which one leg is thrown to the side, front or back.
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| 200581. |
A lively Spanish dance in triple time performed with castanets or tambourines.
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| 200582. |
A lively social dance popular during the 1930s; it originated at the Savoy Ballroom in Harlem in 1928, where it was known as the Lindy.
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| 200583. |
A male dancer who performs the 'princely' roles of the classical ballet, such as the Prince in Swan Lake.
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| 200584. |
A plotless work composed of pure dance movements, although the composition may suggest a mood or subject.
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| 200585. |
A polish national dance in triple time with an accent on the second beat, characterized by proud bearing, clicking of heels, and holubria, a special turning step.
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| 200586. |
A position on the tip of the toes.
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| 200587. |
A series of small, fast steps executed with the feet very close together.
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| 200588. |
A sliding step in which one foot 'chases' and displaces the other.
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| 200589. |
A slow and graceful dance, the most popular dance of the eighteenth century, characterized by symmetrical figures and elaborate curtsys and bows.
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| 200590. |
A social dance in ¾ time that became widely popular in the nineteenth century. It developed from the Landler, a German-Austrian turning dance.
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| 200591. |
A social dance in ¾ time, which after originating in Spain, developed in Argentina, where it was influenced by black dance style and rhytm.
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| 200592. |
A social dance of American origin in duple time.
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| 200593. |
A social dance popular in the nineteenth century. It was a square dance in five sections, each in a different time.
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| 200594. |
A solemn court dance usually in duple time, popular in the fifteenth and sixteenth centuries.
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| 200595. |
A spectacular movement in which the dancer propels himself or herself around a supporting leg with rapid movements of the other leg while remaining in a fixed spot.
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| 200596. |
A step that rocks from one foot to the other, usually in ¾ time.
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| 200597. |
A turn on one leg, with the toe of the other leg touching the knee of the turning leg.
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| 200598. |
A turn while jumping straight up in the air.
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| 200599. |
An American folk dance with an even number of couples forming a square, two lines, or a circle. The dance is comprised of figures announced by a caller.
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| 200600. |
An English folk dance that appeared in the fifteenth century, in which dancers wore bells on their legs and characters included a fool, a boy on a hobby horse, and a main in blackface.
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