An international movement in the fine arts, drama, and literature that took shape in Zurich in 1916, with other major centers in New York (New York Dada, 1915-1920), Germany (1918-1923), and Paris (1919-1922). It reflected the cynicism engendered by
World War I in improvised, sarcastic expressions of intuition and irrationality. Dada artists - among them Duchamp, Arp, Picabia, Schwitters, and Ernst - appropriated papiers colles for their witty collages and ready-mades for their sculpture. A forerunner of Surrealism.
An artwork that is removed from the collection of a museum, either via an exchange or sale.
Any color used for under painting or LAYING-IN the design for an oil painting on canvas to be carried out in the traditional method rather than ALLA PRIMA. The color is usually a dull brown, gray or green, and the under painting includes the indication of tonal values.
A French word meaning the act of cutting out paper designs and applying them to a surface to make an all over collage.
(Lat., delineavit = he drew it). An abbreviation following the name of an artist signifying that he was responsible for the original design, as distinct from being simply the engraver.
The composition or general conception of a total work of art, or a part of it. Since the 19th century, applied also to the creation of pleasing and well-formed useful objects.
A device invented by Daguerre and Bouton in 1822 for producing changing effects in a a chamber. By manipulating the direction, color, and intensity of lights, a diversity of scenic effects may be produced.
A container for oils and mediums, which clips to the side of the palette.
A painting or relief carving on two hinged panels, usually an ALTARPIECE.
The same as ALLA PRIMA.
(It., design or drawing). In Italian Renaissance art, refers to the total concept or design of a work of art.
Paint prepared from water, powder colors, and size; used for large-scale decorative or mural painting when permanence is not important. Not to be confused with true fresco.
Any change made by an artist in the size, position, or general character of forms based on visual perception, when those forms are organized into a pictorial image. Any personal or subjective interpretation of natural forms must necessarily involve a degree of distortion.
A museumís volunteer who has been trained to give educational tours.
An artwork that presents facts objectively.
The principle of visual organization that suggests that certain elements should assume more importance than others in the same composition. It contributes to the organic unity by emphasizing the fact that there is one main feature and that other elements are subordinate to it.
1. The technique of applying thick oil paint over a recently painted area so that the top layer is uneven and allows the paint to show through in patches. 2. In the INTAGLIO printmaking process, leaving a film of ink on the surface of the plate, resulting in a less stark contrast between the printed lines and the background.
A person who specializes in drawing; often used by those who produce technical or mechanical drawings used by architects and designers.
There are a variety of criteria but the determining factor is that the emphasis is on the linear element. Techniques vary widely with sharp delineation achieved with pencil and or pen/ink. Watercolor generally gives a more delicate effect, and more painterly effects can be created with wax crayon, chalk, pastel, and charcoal. Some drawings are the finished product, and others are sketches for a grander piece of work.
Drawing Society of Canada
Devoted to artists who specialize in pen and pencil work, the Drawing Society places more emphasis on advocacy of those mediums than activities. Its mission is to educate the public about drawing, to collect Canadian drawings, and to encourage
artists to draw, especially the figure. The Society was established in 1998 by Peter Leclerc and Gerrit Verstraete. The website is www.drawingsociety.com
French for humorous picture, often showing animals behaving as humans. (See also GROTESQUE).
An intaglio printmaking technique, similar to engraving, in which a sharp needle is used to draw on a metal plate, raising a thin ridge of metal that creates a soft line when the plate is printed. Also, the resultant print.
A technique used with watercolors, acrylics and inks, in which a brush, which is only just moist, is charged with pigment and rubbed along its side across the paper to leave an uneven area of color. The paper or paint below shows through to provide a broken or mottled effect.
A type of textile used for CANVAS.
The thirteenth century, especially in Italian culture. Also known as the dugento.
Giving an effect of movement, vitality, or energy.