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Art terminology: / A / B / C / D-E / F / G / H / I-J-K / L / M / N / O / P / R / S / T-Q-U-V / W-X-Y-Z /
A
Abstract art: Often describes paintings and sculptures which do not have recognizable or easily recognizable subject-matter, and which do not attempt to 'describe' nature, To a lot of people, the phrase is synonymous with 'modem art' - although 'modem art' has in fact had just as much to do with figurative art (see figurative). The word 'abstract' is a clumsy way of saying that the paintings and sculptures stand as 'objects in their own right'. Often contrasted with realism or naturalism. In one sense, all art is abstract, in that it 'abstracts' visual material from the world as perceived by the artist.

Abstract Expressionism: First used to describe some of Kandinsky' s early abstract paintings (in Germany). the phrase is more usually associated with painters working in New York in the 1940s and 1950s such as Jackson Pollock and Mark Rothko. Its distinguishing features are (a) self expression on a grand scale and (b) using the language of abstraction (i.e. expressionism through the medium of abstract art). Critic Harold Rosenberg. a champion of the style. Described the artist's canvas as 'an arena to act in'.

Academic art: Originally a descriptive term. For art obeying academic 'rules' or art originating from within the academy. It became in the late 19thC a term of criticism. and in the early 20thC a term of abuse (often contrasted with 'avant-garde' art);
today the critical meaning has persisted. Although some Post-Modems artists have taken another look at 'academic' work. and some critics have attempted (with patchy results) to re-evaluate it.

Academy: the name originated with the garden near Athens where Greek philosopher Plato conducted his seminars, but took on a recognizably modem meaning when, in late 15thC Italy (especially Florence and Milan). The first art academies were founded - partly to help raise the status of visual artists. Partly to provide a forum for discussion about the principles of art. In the 16thC they became establishments for the teaching of art (mainly drawing 'from the classical antique') and gradually took over from the guilds. In France in the mid-17thC the Academy of Painting and Sculpture became a powerful school for 'official' art. Academies reached England with the foundation of the Royal Academy in 1768. In the 19thC, their position as arbiters of taste was questioned, as they stood against new art in most of its forms and became thoroughly commercialized. Ibis ultimately meant that the emphasis on figure drawing, and on a structured curriculum, came to be questioned too.

Acrylic paint: Actually acrylic vinyl polymer emulsion paint. this is a versatile synthetic paint which can be used (a) for thick application similar to oil painting and (b) for transparent watercolor style washes. It is quick drying, sticks fast to the surface. and seems to last. Associated in the 1960s with 'industrial' finishes.

Action painting: See Abstract Expressionism, of which this was a branch. Involves dripping, dribbling or throwing paint onto the surface of the canvas, as a way of mediating the workings of the unconscious mind in an unplanned way - like automatic writing the artist becomes an actor and the picture surface his (usually his) stage. Jackson Pollock is the best-known example.

Aerial perspective: A term said to have been coined by Leonardo da Vinci. to describe the attempt to make a two-dimensional surface appear three-dimensional, by using the way the atmosphere and the light affect how we see things in the distance. In painting terms, this involves tone and colour rather than line.

Aesthete: Person. especially in the late 19thC, who is reckoned to have a special understanding of taste for and sensitivity to things 'beautiful'.

Aesthetics: Originally ( I 8thC/19thC) the science of taste. today the philosophy of'the beautiful' its understanding and appreciation.

AlIa prima: From the Italian for 'at first' this denotes painting which does not rely on underpainting. but is completed in one session with colours that are applied directly.

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Allegory: Where painting is concerned. this applies to subject-matter whose intellectual or moral implications go well beyond what is depicted; often associated with personifications (people representing ideas) or classical references (which the artist could assume his/her viewers would understand): both these types became staples of European art from the Renaissance onwards.

Analytical Cubism: .The second phase in the development of European Cubism, from c. 1909 to c. 1913, when artists (usually disciples of Paul Cezanne) re-interpreted natural forms in terms of multi-perspective geometric shapes. It was preceded by a directly Cezannist phase, and succeeded by a third, from c. 1912-15. known as Synthetic Cubism.

Anamorphosis: Technique of painting or drawing an object that seems distorted when it is viewed head-on, but becomes recognisable when viewed from one particular angle or with some kind of correcting device..Ihe skull in Holbein's The Ambassadors (see section on Perspective) is the most famous example.

Anatomy: Physical structure of the human body, especially bones and muscles. Anatomical drawing was central to the training of some academies. as a way of teaching the depiction of balance and movement; as such, it continued on the art school curriculum until the middle of the 20thC.

Anti-art: Originally. a description of the Dadaists' mockery of establishment attitudes to and practice of art in the early 1920s (the Mona Lisa with a moustache, for example), this has been extended to cover all work which aggressively rejects the traditions of high art.

Antiquity: Usually applied to the era of the Greek and Roman civilisations, which ended with the decline and fall of the Roman Empire in the 5thC AD. The antique' applies to the objects (especially sculptures) of antiquity.

Applied art: As distinguished from the 'fine arts' this refers to the application of decoration to usef~1 objects (such as ceramic work. furniture, textile fabrics, jewellery and metalwork). In the late 19thC. the British Arts and Crafts Movement re-defined the phrase to cover 'art workers' or artists working among the 'useful arts' (as William Morris called them): today. applied art (in the craft area) is also distinguished from design (in the mass-manufacturing areas).

Aquarelle: Painting which uses watercolour washes.

Armature: Metal framework - usually wire - used by sculptors as a skeleton on which to model clay or wax.

Armory Show: Influential exhibition of modern art held in a regimental armory in New York 1913, which is credited with having introduced European Modernism to the United States.

Artefact: Today, any work of art or craft, but originally archaeological evidence of things made by people from earlier civilizations.

Art for art's sake: From the French '1' art pour l' art'. Fashionable in the I 880s and I 890s as a catchphrase meaning that art is above social considerations and is there purely for the benefit of art itself Artist's books: Work by artists in book form - as distinct from books about artists.

Artist's donkey: Low stand or chair, with drawing board at one end.

Artist's proof: Print made for the artist's own purposes. signed , AlP' and not numbered. Usually among the first 'pulls' off the plates, before a numbered limited edition is printed.

Ascribed or attributed to: When the artist who produced a work is not known for sure and scholars have suggested from evidence that it is the work of a specific person.

Assemblage: Work of art. from the early 20thC onwards. which has been assembled or bought together from ready-made or natural objects or materials - as distinct from material entirely created by the artist: often described as 'the transformation of non-art objects' Atelier: French for 'workshop' or 'studio', now in common use meaning arlist's studio.

Atmospheric perspective: See aerial perspective.

Avant-garde: French for 'vanguard' and originally - it is said - used for the military advanced guard. At the dawn of Modernism in art, came to mean a progressive experimental minority responsible for innovative work far ahead of what was generally accepted.

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