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Survey of Western ArtVocabulary

Test #1

ANCIENT

subtractive methodcutting into a material (stone, wood, etc.) to create a sculpture

additive methodbuilding a sculpture on an armature or framework; casting (e.g. in bronze) or using

plastics, clay, or other flexible materials

ziggurata temple tower in the form of a truncated pyramid built in diminishing stages, each stage being

reached by ramps

batteredthe inclined or sloped sides of a wall

crenelated (crenellation)notched or indented, usually with respect to the tops of walls (such as

battlements)

polytheismbelief in many gods

hierarchya group of persons organized according to rank, capacity, or authority (a body of entities

arranged in a graded series)

stelean upright, carved stone slab used as a grave marker and to commemorate historical events

reliefin sculpture, figures or designs projecting from a background of which they are a part; the degre

of carving or modeling may vary from high to low (see the following two terms)

bas/low reliefshallow or sunken carving, where the design does not project much from its backgroun high reliefdeep carving in which the design projects quite far from its background

scalesystem for determining the sizes of figures and/or objects in a work of art, relative to the sizes

of figures and objects in the real world

single scaleone system for determining the sizes of figures and/or objects in a work of art used

consistently throughoute.g. if a one-foot figure in the work of art stands for a six-foot man in the real

world, this size relationship is consistently applied throughout the work (thus, all objects and/or figures

make sense in comparison to one another)

double scalemore than one system for determining the sizes of figures and/or objects used in a work

of art, often based on the importance of certain figures; some figures will appear unnaturally smaller or

larger than others proportiona part considered in relation to the whole

EGYPTIAN

hieroglyphs (hieroglyphics)a system of writing/communicating using pictures and/or sounds; could b

used horizontally or vertically; meant to communicate with the gods

canon of proportionsa set of rules that governed the relationship of all body parts

Rethe name of the sun god

kathe immortal human substance; the other self that is present since birth; this concept is similar to

the Western idea of the soul

negative spacethe open or empty space enclosed by positive mass; most often used when discussingsculpture

idealismthings as they should be; perfection according to the standards of a given time period

realismthings as they really are; when an artist tries to capture, to the best of his ability, what

something actually looks like (including its flaws and imperfections, etc.)

naturalismrendering something in a believable or life-like way

fresco seccoa mural painting technique involving permanent (limeproof) pigments on a dried lime

plaster wall

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GREEK

amphoraa two-handled jar used for general storage purposes, usually for wine or oil

kourosGreek for young man

freestandingsculpture in the round, carved or modeled in three dimensions (so that, if desired, it ca

be viewed from all sides)

encausticsmixing pigments with wax, applied hot for binding strength

contrappostooften called weight shift because the weight of the body tends to be thrown to one foot

creating tension on one side of the body and relaxation on the other; the disposition of the human figure in

which one part is turned in opposition to another part (e.g. hips and legs one way, shoulders and chest

another), creating a counter positioning of the body about its central axis

canon of proportionsthe ancient Greeks considered beauty to be a matter of correct proportions (o

parts of the body related to the whole); Polykleitos wrote a system of rules for this (now lost), the most

noted rule of which was a head-to-body ratio of 1:7

peripterala single row of columns surrounding a building

octastylerefers to a portico with eight columns across the front

perfect temple ratioa relationship of building parts considered to be the most pleasing and

beautiful: 2x+1

x

porticothe covered entrance to a building, containing columns and a pediment (as in a temple front)

cellathe main body of a classical temple (containing the cult image), as distinct from the portico, etc.

columnan upright member, circular in plan and usually tapering slightly; in classical architecture it

consists of base, shaft, and capital; it is usually designed to carry an entablature or other load

shaftthe trunk of a column, between the base and capital

flutingshallow concave grooves, running vertically on the shaft of a column, pilaster, or other surface

capitalthe head or crowning feature of a column

Doric (order)characterized by unadorned capitals, columns without bases, and a frieze of triglyphs an

metopes

Ionic (order)features crowning volutes (scroll-like shapes), columns with bases, and an uninterruptedfrieze

Corinthianconsists of a double row of acanthus leaves from which tendrils and flowers grow around

bell-shaped crown; strictly speaking there is no Corinthian order, but rather, this style of capital can be

used on the Ionic order

entablaturethe part of a building above the columns and below the roof; it contains three parts:

architrave, frieze, and pediment

architravethe lintel or lowest of the three main parts of the entablature

friezethe part of the entablature between the architrave and the cornice; may also refer to any sculpted

or ornamented band in a building or on furniture

Doric friezecontains triglyphs (vertical grooves) & metopes (blocks, either plain or sculpted) in analternating manner

Ionic friezecontains a continuous (uninterrupted) block of stonework that may be left plain or sculpted

cornicethe projecting, crowning member framing the pediment; also any crowning projection

pedimentin classical architecture, the triangular space (gable) at the end of a building, formed by the

ends of the sloping roof above the colonnade; also an ornamental feature having this shape

optical correctionsvery subtle curves and spacing differences used to make the Parthenon (and som

subsequent structures) look perfect: the stylobate and entablature are convex; and the columns tilt

inward, are not uniformly spaced (closer at the corners), are not the same diameter (slightly larger at the

corners), and they have entasis

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entasisa slight convex tapering (an apparent swelling) in the shaft of a column; used on Greek and lat

columns to correct the optical illusion of concavity which would result if the sides were straight

Panathenaic processiona real event which took place every four years, where Athenians gathered in

the agora (market place) and, among other things, carried a robe to the statue of Athena

wet drapery techniquea technique of sculpting where the drapery almost appears to be wet and

clings to reveal the various shapes of the body underneath

S-curvean exaggerated version of weight shift (contrapposto) where the curve or sway of the body

resembles an S from the frontal view

ROMAN

pseudoperipteralin Roman architecture, a temple with a front portico (of freestanding columns), and

series of engaged columns or pilasters all around the sides and back to give the appearance of a

peripteral colonnade

pilaster/engaged columna flat, rectangular (or semi-circular) vertical member projecting from a wall

of which it forms a part (it usually has a base and a capital, and is often fluted); a half-round column

attached to a wall

chiaroscuro(in drawing and painting) the treatment of the use of light and dark, especially dealing with

the gradations of light and dark to produce the effect of modeling

pantheismbelief in and worship of all gods

central planwhen the horizontal arrangement of the parts of a building (as in the floor plan) radiate

from a central point, often the building is round or polygonal, and domed

rotundaa circular building or hall (often surrounded by a colonnade), usually domed

domea hemispheric vault; theoretically, an arch rotated on its axis 360 degrees

druma vertical wall supporting a dome or cupola; it may be circular, square, or polygonal in plan

oculusa round window or opening

coffers (coffered)a sunken panel, often ornamental, in a vault, dome, or ceiling nichea recess in a wall usually used for holding a statue or ornament

equestrian monumenta sculpture of an individual depicted on horseback

Survey of Western ArtVocabulary

Test #2

EARLY CHRISTIAN

mausoleuma large, stately tomb, or building housing a tomb

ambulatorya side aisle, usually circular or semi-circular, intended for pilgrimages and/or ceremonial

processions

narthexa covered entrance vestibule

clerestorythe upper walls (usually of a church) pierced by a row of windows

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sarcophagusa chest-shaped coffin made of stone or made to be placed in the open; favored by the

Romans and early Christians, who used the side(s) and lid as fields for sculptural ornamentation

tesseraetiny stones or pieces of glass cut to desired shape and size to use in mosaic design

idol (idolatry)an image used as an object of worship; idolatry is the worship of such images

BYZANTINE

(dome on) pendentivesfour concave, triangular pieces of masonry (triangular sections of a

hemisphere), which provide the transition and support from a square area to the circular base of a

covering dome

tripartiterefers to a three-part organization; most often used in architecture (to describe elevations,

interiors, and floor plans)

galleryin church architecture, an upper story over an aisle, opening on to the nave

horror vacuiliterally, fear of empty space; a technique of design in which an entire surface is covered

with pattern

isocephalya method of composing groups of figures in such a way that all are shown at the same

height, regardless of posture or purpose; the heads of figures appear to be all at the same level

chi-rho monograma monogram and symbol for Christ, consisting of the first two letters of Christ in

Greek, and often, the first and last letters of the Greek alphabet (representing the words of ChristI am

the beginning and the end)

icona representation or picture of a sacred Christian personage, itself regarded as sacred; it is often

rigid, stylized, and essentially two-dimensional. [Technically, in Byzantine, Greek, and Russian Orthodo

church art, it is a type of representation of Christ, the Virgin Mary, or a saint in a painting, mosaic, or ba

relief (but never sculpture) as described above]

Virgin of Compassionwhen Mary and the Christ-child are shown pressing their faces (cheeks)

together and gazing tenderly at each other. [The source of this portrayal was widely believed to be a

portrait painted by the evangelist Luke following a vision he had of the Nativity.]

EARLY MEDIEVAL animal styleusing stylized, abstracted animals, usually worked in metal or sculpted from other

materials, and often on small, portable objects; [in its broadest sense, zoomorphic ornament]

(animal) interlacea decorative technique using abstracted animal forms in an (often elaborate)

interwoven pattern

cloisonnea technique involving small metal strips (cloisons), usually of gold, soldered edge-up to a

metal background and filled with an enamel paste, semi-precious stones, or pieces of colored glass

manuscript illuminationa text, as in a hand-lettered codex (book), written and decorated by hand

with color illustrations (usually these depictions are stories from the Bible, and were important because

many people were illiterate)

navethe part of the church between the chief entrance and the apse end; the long, central hallwaydemarcated from the side aisles by piers or columns

transeptthe transverse arms of a cross-shaped church; they run perpendicular (at right angles) to the

nave

[cruciform plan]a cross-shaped floor-plan; not typically seen until the Gothic era

crossingthe space in a cruciform church formed by the intersection of the nave and the transept

aislesthe portion of a church flanking the nave and separated from it by a row of columns or piers

apsethe vaulted, semi-circular or polygonal termination (end), usually to a chancel or chapel

alternate-support systemin medieval church architecture, the use of alternating wall supports in the

nave, usually piers and columns or compound piers of alternating form; [this seems to have been adopted

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not as a structural but rather as an aesthetic device providing visual proof of the geometrical organization

of the buildings plan]

stringcoursea continuous projecting horizontal band set in the surface of a wall and usually molded

nave arcadean arched, covered passageway forming the lower part of the wall elevation of a church

incrustationrefers to a two-tone system of stonework in architecture; [originally a style of wall or

ceiling decoration in Pompeii and Herculaneum where the wall was divided into panels of contrasting

colors/textures]

ladder-fold draperya stylized depiction of drapery where the folds somewhat simulate rungs on a

ladder

tree of knowledgeheld the apple of the knowledge of good and evil

ROMANESQUE

Pilgrimages (Crusades)journeys to the distant shrines of saints, whose spiritually powerful relics

could be venerated there; the Crusades (taking of the cross) were armed pilgrimages, whose stated

purpose was to wrest the Christian shrines of the Holy Land from Muslim control

relican object of religious worship, especially an article reputed to be associated with a saint or marty

modulea unit of measurement by which the proportions of a building (or part of a building) are

regulated

radiating chapelschapels that surround the apse end of a church

faadea face of a building (usually refers to the front with its entrance, but may also refer to the other

sides when they are emphasized architecturally)

buttressa mass of masonry or brick work projecting from or built against a wall to give added strengt

baya vertical division of the interior or exterior of a building, marked not by walls, but by such things

as :columns, piers, buttresses, units of vaulting, windows, doors, etc.

fenestrationthe design and placement of windows in a building

[spires]tall, pyramidal, polygonal, or conical structures rising from a tower or roof (usually on a

church) and terminating in a point; this is a term most often associated with Gothic art

[triforium]an arcaded area of the wall, above the nave arcade and below the clerestory; this is a termmost often seen in Gothic art

vaultan arched ceiling or roof, usually of stone or brick (sometimes imitated in wood or plaster)

barrel vaultthe simplest form of a vault, consisting of a continuous, unbroken semi-cylindrical vault

resembling a tunnel

cross vaultis produced by the intersection of two barrel vaults at right angles; also called a groin vault

sexpartite vaultin this type of vaulting, one bay of quadripartite vaulting is divided transversely into

two parts so that each bay has six compartments; this is a rib vault with six panels

tympanumthe semi-circular sculpted area above a door lintel and enclosed by an arch (usually on a

church)

mandorlaan almond-shaped variation on the halo (consisting of two intersecting arcs) surrounding theentire body of religious figures such as the transfigured Christ, God, or the Virgin Mary after the

assumption; it represents the union of heaven and earth

(one- or two-finger) teaching posewhen a figure (often religious) raises one or two fingers while

speaking or addressing someone

GOTHIC

portala doorway or entrance, especially one that is large and imposing; often refers to Medieval and

Renaissance architecture

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archivoltthe continuous, arch-shaped molding, often in concentric bands, following the contour of a

Romanesque or Gothic arch

voussoiran individual wedge-shaped block used in the construction of a true arch (composing the

archivolts)

jamb statue/figurefigural sculpture attached to the side posts of a doorway

trumeauin architecture, the pillar or center post supporting the lintel in the middle of a doorway

trefoila three-leaf clover-shaped ornament or symbol most often used in architecture; the shape

symbolizes the trinity

rose windowa circular stained glass window (often containing flower-petal-shaped stone or lead

tracery)

stained glassglass given translucent color by staining with metallic oxides and joined with lead strips t

form a design or scene

Bible of the Poorrefers to stained glass that illustrates (often for the illiterate) figures and/or stories

from the Bible

Divine lightsunlight (Gods light) that is seemingly transformed into sacred light as it passes through

stained glass windows

flying buttressconsists typically of an inclined member carried on an arch or a series of arches and a

solid buttress to which it transmits lateral thrust

gargoylean open-mouthed grotesque figure, most often used as a waterspout, projecting from an

upper gutter or rooftop of a building, used to carry water away from the walls

tilted-tabletop perspectivean intuitive (rather than scientific) treatment of space, where a surface

(such as a table or floor) is awkwardly angled towards the viewer (or shown at a strongly raking angle)

PROTO-RENAISSANCE

pulpitan elevated lectern, platform, or stand used in preaching

buon frescopainting on wet lime plaster (true fresco); because the pigments are absorbed into the

walls surface as the plaster dries, it is one of the most permanent painting techniques foreshorteninga device for suggesting depth by representing a figure or object at an angle, rather than

frontally or in profile (e.g. an angel flying, or a figure lying on the ground); the reduction in the size of

figures or objects in direct ratio to their distance from the picture plane

altarpiecea panel, painted or sculpted, situated above and behind the altar

sacra conversazione(literally holy conversation)a style of altarpiece painting in which saints from

different epochs are joined in a unified space and seem to be conversing with each other or with the

audience

Survey of Western ArtVocabularyTest #3

NORTHERN RENAISSANCE

iconography(literally the writing of images)the study of the symbolic, often religious meaning of

objects, persons, or events depicted in works of art.

triptych (diptych/polyptych)a three-paneled painting or altarpiece (a diptych has two panels, a

polyptych has more than three panels)

hidden/disguised symbolismwhen everyday objects take on a symbolic (usually religious) meaning

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primary colorsthe three basic colorsred, yellow, and bluefrom which all other colors are

produced

secondary colorsobtained by mixing any two of the primary colorsthey are orange, green, and

purple

[complementary colors]colors that are directly opposite one another on the color wheel; the most

common complementary pairs are: red and green, yellow and purple, and orange and blue; when placed

side by side in large areas they intensify one another; when mixed in the right proportions, they produce a

neutral gray

memento moria reminder of human mortality (death), usually represented by a skull

ergot (ergotism)a fungus that grows on rye; the disease called ergotism was often contracted by

eating bad rye bread, and its symptoms were convulsions and gangrene

predellathe long, lowermost ledge or section on which an altarpiece rests on an altar; often painted

RENAISSANCE

quatrefoil(like the Gothic trefoil) a symbol or ornament most often used in architecture, with four

(symbolic of the Evangelists) half-circles (lobes), and four corners (if connected, the latter would form a

square)

single scaleone system for determining the sizes of figures and/or objects in a work of art used

consistently throughoute.g. if a one-foot figure in the work of art stands for a six-foot man in the real

world, this size relationship is consistently applied throughout the work (thus, all objects and/or figures

make sense in comparison to one another)

one-point perspectivea formula for projecting an illusion of the three-dimensional world onto a two-

dimensional surface in which all parallel lines seem to converge on one vanishing point located with

reference to the horizon line of the picture, and associated objects are rendered smaller the farther from

the viewer they are intended to be seen.

horizon linethe line formed by the apparent intersection of the earth and the sky as seen by an

observer; all parallel lines or lines of projection seem to converge on one, two, or three points located

with reference to the horizon line. vanishing pointin perspective, the point on the horizon line at which receding parallel lines meet and

seem to disappear.

orthogonalsin linear perspective, a line imagined to be behind and perpendicular to the picture plane;

the orthogonals in a painting appear to recede toward a vanishing point on the horizon.

transversalsin linear perspective, the horizontal lines that intersect the orthogonals and that appear

gradually closer as they approach the horizon line

man is the measurea Greek concept put into practice by Renaissance artistseverything is scaled to

(the height of the ideal) man

architecture of humanisminvolves mans ability to order his architecture scientifically and

mathematically according to the concepts of proportion, scale, logic, perfection, harmony roundela circular painting or relief sculpture.

corbela projecting wall member used as a support for some element in the superstructure.

atmospheric/aerial perspectivethe effect of distance in a painting created by using increasingly pale

and less intense colors for faraway elements, representing them as they appear in nature owing to

conditions of distance, air, and light.

fenced gardena symbol of protection for Marys Virginity.

Venus pudicameans venus of modesty (or modest venus); she stands with one arm slightly flexed

with her hand covering her pubic area, while her other arm is bent covering her breasts.

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allegorya literary, dramatic, or pictorial representation with deeper underlying meaning (below the

superficial, surface level).

HIGH RENAISSANCE

sfumatoa smoke-like haziness that subtly softens outlines (especially of figures and faces) in painting;

all hard contours are eliminated.

prototypean original type or form that serves as a model on which later stages are based or judged.

balustradea series of pillars supporting a railing to form a low wall or parapet.

MANNERISM

keystonethe central stone of an arch (or an enclosed vault), sometimes carved.

BAROQUE

tenebrismin painting, the dramatically sharp contrast of light and shadow; often features spot-lit

figures against a black, or very dark, background.

genre scenea category of art featuring realistic scenes of everyday life.

camera obscuraan ancestor of the modern camera in which a tiny pinhole, acting as a lens, projects

an image on a screen, the wall of a room, or the ground-glass wall of a box.

grand mannerPoussins formula for successful artworks, involving three components: 1) choose

great subjects (e.g. great stories from history or the bible); 2) avoid minute details (which can distract

from the story); and 3) use good judgment (e.g. propriety, restraint, moderation).

coulisses(comes from theater and refers to the side scenes used to frame a central space)

compositional elements (e.g. clumps of trees or buildings) often arranged in tiers at the sides of a picture

to direct the eye into the center of the picture space (like parentheses).

Survey of Western ArtVocabularyTest #4

NINETEENTH CENTURY

Neoclassicismcharacterized by renewed enthusiasm for subjects and motifs from classical antiquity;

this style is characterized by clarity, balance, and restraint. Line is more important than color, and the

intellect is valued over the emotions (the head rules the heart).

Romanticismemotions, drama/imagination, and color play the dominant roles in this style (the heart

rules the head).

Realisma movement in France where artists represented subject matter from everyday life (which hadpreviously been considered an inappropriate subject). It does not refer to a particularly precise handling

of the subject matter (there is no uniform style/technique).

Salonan annual juried art exhibition of painting and sculpture in France, dating back from the early 17

c. through the 19th c. and characterized by tradition and conformance to rules. It was a giant exhibition

that could make or break an artists reputation. [DavidsDeath of Maratis an example of an artwork

admired by the Salon.]

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Salon des Refusesan alternative Salon of rejected artworks (promoted by Napoleon III); it is often

said to herald the beginning of modern art.

Impressionism19th c. French movement that relied heavily on color and the ever-changing effects of

light to capture a given moment in time; sought to create the illusion of forms bathed in light and

atmosphere.

local colorthe actual color of an object, which appears to change when the object is seen under

different light and atmospheric conditions.

instantaneitya fleeting moment in time (e.g. involving weather conditions or candid, unguarded

moments.) This concept arises from the rapidly changing, impermanent quality of modern lifereality at

any given moment will be changed in character from the moment that came before. Thus, the

Impressionists sought to capture what the eye can register in a single momentor instantof seeing.

(This is the reason for the sketchy, unfinished look of many Impressionist paintings.)

tachesseparate patches of color that are visible and often look somewhat sloppy.

Post-Impressionisma movement whose followers rejected the importance given to Naturalism and th

depiction of the momentary effects in Impressionism; these artists never rejected the bright color palette

of Impressionism, however.

divisionism/pointillisma technique based on the scientific juxtaposition of pure dabs of color; the

brain blends these colors together automatically in the involuntary process of optical mixing; technically,

pointillism differs in that it is pure dots of color distributed more systematically on a white ground.

impastothick, heavy application of paint, where the strokes of the brush or palette knife are very

pronounced, leaving the paint to stand up in relief.

maquettea small-scale model for a sculpture.

TWENTIETH CENTURY

Fauvisman early 20th c. art movement where color became the element most responsible for

conveying meaning and pictorial coherence. Characterized by intense contrasts of color, sweeping

brushstrokes, and bold patterns. (Comes fromfauvesmeaning wild beasts.)

fallacy of intentionartists often achieve things they do not intend and do not always succeed incommunicating things they do; what artists say about their works may not be the same thing that critics

and/or others see in themand thats okay. (This phenomenon is itself justification for us to assume

responsibility for finding meanings that seem right to us.)

Cubismearly 20th c. art movement that rejected naturalistic depictions, preferring compostitions of

often geometric shapes and forms abstracted from the conventionally perceived world.

the fourth dimensionan idea of time inspired partly by the desire to express the space-time qualities o

reality newly revealed by scientists like Einstein.

Prairie Stylearchitectural style characterized by long, sweeping ground lines, unconfined by abrupt

limits of the wall (which seemed to reach out towards and express the great flat-lands of the Mid-West)

cantilevera horizontal projection supported by a downward force behind a fulcrum. It is withoutexternal embracing and therefore appears to be self-supporting.

Dadamovement that took an antirational stance reflecting cynicism engendered by World War I in

improvised, sarcastic expressions of intuition and irrationality. (Comes from the French dada, meaning

rocking horse.)

readymades/found objectsmass-produced objects selected by the artists and sometimes

rectified,modified, or combined with another object; such objects are taken out of their ordinary

environment.

Organic Sculpturesculpture that emphasizes through its form the natural or organic (e.g. soft, curved

ovoid shapes).

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abstract art/ abstractionart that desires to represent the idea, the essence, of a thingto separate

that from the exact appearance of the object in the real world. The artist bases his work on something in

nature, but distorts it in some way.

truth to materialsrespect for the medium using the mediums properties to their full potential (e.g.

polished, shiny, bronze)

Organic Formalisma simplified, abstract art inspired by living organisms (and/or organs of the body)

Surrealisma movement in the 20th c. that sought to examine the reality behind appearances, especially

in a psychological sense, drawing heavily on theories involving dreams, the unconscious, irrationality,

sexuality, and fantasy.

juxtapositionto place together objects that dont ordinarily belong side by side.

Nonobjective/Nonrepresentational artart that has no discernible reference to the external

appearance of the physical world; or art without recognizable subject matter (all identifiable subject

matter has been eliminated)

Neoplasticisma movement that is an extension of Cubism, in which the action of color and forms are

reduced to utter simplicity by strict adherence to simple geometric shapes.

Documentary photographyphotography that captures a reflection of reality, but that also must be

read through the lens of cultural conditioning.

Abstract Expressionisma movement characterized by distortion, emotion, spontaneity, energy, and

visible (often aggressive) brushwork.

action paintingprinciple method in American Abstract Expressionism where painting is revealed

through the brush gesture and the signature left by the fall and touch of the paint.

automatismgoverned by unconscious free association, the artist works with uncontrolled movements

of the hand.

Pop Artshort for popular; challenges the tradition of fine arts by insisting that common culture and

mass media are legitimate inspirations; deals with the expendable object.

photo silk-screena method of producing a stencil in which a photograph is imposed upon a screen of

silk; ink is then pulled across the stencil and forced onto the printing surface.

Activist artart that has the power to change people and society Feminist artart concerned with women and womens issues

installationcame into vogue in the 1970s; sometimes refers to outdoor sculptural ensembles, but

usually characterizes indoor, site-specific painting, sculpture, or mixed media works.

Earth/Environmental/Site arttakes art outside the museum and involves the community, raising the

populations awareness of their surroundings

Minimal artmovement that rejected space, texture, subject matter, and atmosphere, relying instead o

simple, geometric form, flat color, and the power of the artworks presence for effect; this movement can

refer to paintings or (often monumental) sculpture.