Glossary of Art Terms. This glossary contains a number of recurrent terms found on the present site which may not be clear to all readers, especially when employed within the context of an art discussion. Some of these terms, signaled by an icon of the Vermeers monogram and signature, are also discussed as they relate to specifically Vermeers art. Each of the four sections of the glossary can be accessed from the menu top of each page of the glossary entries. The terms in this glossary are cross linked or externally linked only the first time they appear in each individual entry. Raking Light Raking light is the illumination of objects from a light source at a strongly oblique angle almost parallel to the objects surface between 5 and 3. Under raking light, tool marks, paint handling, canvas weave, surface imperfections and restorations can be visualized better than with light coming from different angles. In some instances raking light may help reveal pentimenti or changes in an artists intention. In the case of wall paintings, raking light helps show preparatory techniques such as incisions in the plaster support. The term raking light may also be used to describe a strongly angled light represented in illusionist painting, although not strictly between 5 and 3. Raking light gives volume to objects and accentuates texture. It is best used to create dramatic and moody images. Painters instinctively avoid the lowest angles of raking light because they divided solid objects into to two essentially equal parts a face would be half in light and half in shadow, which tends to have a flattening effect. Moreover, raking light create cast shadows that run parallel to the picture plane, so they do not suggest spatial recession as well as shadows that are cast backwards by light originating from a higher angle. Since it is easier to evaluate an objects form, color and texture when it is illuminated rather than when it is in shadow, the a wider angle of light is generally preferable. Often, painters use a three quarters lighting which reveals the great part of an objects surface but creates at the same time a strong sense of volume. Rapen. Rapen, which means stealing or borrowing, is a Dutch term widely used in the seventeenth century when discussing artistic competition and emulation. Rapen was approved by art Dutch theorists of borrowings provided that they were integrated into ones painting and might appear unrecognizable. Purple/v4/4c/a8/a7/4ca8a747-f4c0-5a53-be8f-61b2b7d2498f/source/800x500bb.jpg' alt='Gray S Anatomy Pdf 38Th Edition Blue' title='Gray S Anatomy Pdf 38Th Edition Blue' />Using a play on wordsin Dutch rapen is the plural of raap, or turnipthe Dutch painter and art writer Arnold Houbraken 1. Ras schilderen. Ras schilderen is the Dutch term for alla prima painting. Realism. A type of representational art in which the artist depicts as closely as possible what the eye sees. Realism attempts to represent people, objects, or places in a realistic manner as opposed to an idealized way also, a later nineteenth century art movement in France which objected to the idealized style of Romanticism by creating works that depicted a more faithful view of everyday life. Without underestimating the efforts of Dutch interior painters to make their works seem realistic, it is important to be aware up to what point we are dealing with modified reality. Many mid seventeenth century Dutch genre paintings, including those of Vermeer, depicted elegant interiors of the upper middle class. These pictures reflect concepts that were important in Dutch culture such as the family, privacy and intimacy. Issuu is a digital publishing platform that makes it simple to publish magazines, catalogs, newspapers, books, and more online. Easily share your publications and get. However, it is likely that the world of exquisite refinery of Vermeers compositions did not accurately portray the world he actually observed. C. Willemijn Fock, a historian of the decorative arts, has demonstrated that floors paved with marble tiles, one of the most ubiquitous features of Dutch interior paintings, were extremely rare in the Dutch seventeenth century houses. Game Spongebob Bubble Rush on this page. The Official Athletic Site of Navy Football, partner of CBS Sports Digital. The most comprehensive coverage of the Midshipmen on the web. KWIBS From November 13, 2017 By Kevin Noland. Wednesday morning we received notice of the winners of the writein campaign for city council. Only in the houses of the very wealthy were floors of this type were occasionally found, although they were usually confined to smaller spaces such as voorhuis the entrance or corridor where they would be most likely to be admired by incoming guests. Fock reasons that the abundant representations of these floors in Dutch genre painting may be explained by the fact that artists were attracted by the challenge involved in representing the difficult perspective of receding multicolored marble tiling. Vermeer should not be considered a realist painter in the strictest sense of the word. He frequently modified the scale, the shape of objects and even the fall of shadows for compositional or thematic reasons. His scenes, moreover, appear highly staged. One of the most striking examples of this modified reality is a so called picture within a picture, The Finding of Moses, which appears on the back wall of two of his compositions. In The Astronomer it appears as a small cabinet size picture whereas in the later Lady Writing with her Maid it appears as an enormous, ebony framed picture. Which one, if either, was true ReliningLining of Paintingsfrom Wikipedia The relining, or lining as it is also called, of a painting is a process of restoration used to strengthen, flatten or consolidate oil or tempera paintings on canvas by attaching a new canvas to the back of the existing one. In cases of extreme decay, the original canvas may be completely removed and replaced. Lining has been very widely practiced, and during the nineteenth century, some painters had their works lined immediately after, or sometimes even before, completion. There have been some doubts concerning its benefits more recently, especially since the Greenwich Comparative Lining Conference of 1. The procedure as carried out in the nineteenth century is described by Theodore Henry Fielding in his Knowledge and Restoration of Old Paintings 1. The picture was removed from the stretcher and laid on a flat surface. The edges of the canvas were trimmed, leaving the original support smaller than the new lining. A sheet of paper covered in thin paste was laid on the surface of the painting, which was then placed face down on a board or table. The back of the picture was then coated with paste, copal varnish, or a glue made from cheese. The new lining canvas was pressed down onto the back of the picture by hand then the outer edges of the lining cloth were fastened to the table by means of a large number of tacks, and a piece of wood with a rounded edge was passed over the back of the cloth, to ensure perfect adhesion. When the glue had dried sufficiently, the lining was smoothed with a moderately hot iron. Fielding cautions that the greatest care must be taken that the hand does not stop for an instant, or the mark of the iron will be so impressed on the painting, that nothing can obliterate it. The picture was then nailed to a new stretcher, and the paper was washed off with a sponge and cold water. Fielding also describes the process for the complete removal and replacement of the canvas. In this, the picture was covered with paper, as if for lining, then fastened to a board or table, after which the old cloth was rubbed away with a small rasp with very fine teeth when the restorer had gone as far as may be prudent, the remainder of the cloth could be taken off with a pumice stone, until the ground on which the picture was painted became visible. It was then ready to receive its new cloth, which had previously been covered with copal varnish, glue, or paste. In this procedure, the hot iron was not used. LGBT themes in speculative fiction. LGBT themes in speculative fiction refer to the incorporation of lesbian, gay, bisexual, or transgender LGBT themes into science fiction, fantasy, horror fiction and related genres. Such elements may include an LGBT character as the protagonist or a major character, or explorations of sexuality or gender that deviate from the hetero normative. Science fiction and fantasy have traditionally been puritanical genres aimed at a male readershipcitation needed, and can be more restricted than non genre literature by their conventions of characterisation and the effect that these conventions have on depictions of sexuality and gender. However, speculative fiction also gives authors and readers the freedom to imagine societies that are different from real life cultures. This freedom makes speculative fiction a useful means of examining sexual bias, by forcing the reader to reconsider his or her heteronormative cultural assumptions. It has also been claimed by critics such as Nicola Griffith that LGBT readers identify strongly with the mutants, aliens, and other outsider characters found in speculative fiction. Before the 1. 96. As the readership broadened, it became possible to include characters who were undisguised homosexuals, though these tended to be villains, and lesbians remained almost entirely unrepresented. In the 1. 96. 0s, science fiction and fantasy began to reflect the changes prompted by the civil rights movement and the emergence of a counterculture. New wave and feminist science fiction authors realised cultures in which homosexuality, bisexuality and a variety of gender models were the norm, and in which sympathetic depictions of alternative sexuality were commonplace. From the 1. 98. 0s onwards, homosexuality gained much wider mainstream acceptance, and was often incorporated into otherwise conventional speculative fiction stories. Works emerged that went beyond simple representation of homosexuality to explorations of specific issues relevant to the LGBT community. This development was helped by the growing number of openly gay or lesbian authors and their early acceptance by speculative fiction fandom. Specialist gay publishing presses and a number of awards recognising LGBT achievements in the genre emerged, and by the twenty first century blatant homophobia was no longer considered acceptable by most readers of speculative fiction. There was a concurrent increase in representation of homosexuality within non literary forms of speculative fiction. The inclusion of LGBT themes in comic books, television and film continues to attract media attention and controversy, while the perceived lack of sufficient representation, along with unrealistic depictions, provokes criticism from LGBT sources. Critical analysiseditZephyr and Hyakinthos Greek mythology, which often features homosexuality, is a source for much modern speculative fiction and mythic figures continue to appear in fantasy stories. As genres of popular literature, science fiction and fantasy often seem more constrained than non genre literature by their conventions of characterisation and the effects that these conventions have on depictions of sexuality and gender. Science fiction in particular has traditionally been a puritanical genre oriented toward a male readership. Sex is often linked to disgust in SF and horror,2 and plots based on sexual relationships have mainly been avoided in genre fantasy narratives. On the other hand, science fiction and fantasy can also provide more freedom than realistic literature to imagine alternatives to the default assumptions of heterosexuality and masculinity that permeate many cultures. Homosexuality is now an accepted and common feature of science fiction and fantasy literature, its prevalence due to the influence of lesbian feminist and gay liberation movements. In speculative fiction, extrapolation allows writers to focus not on the way things are or were, as non genre literature does, but on the way things could be different. It provides science fiction with a quality that science fiction critic Darko Suvin has called cognitive estrangement the recognition that what we are reading is not the world as we know it, but a world whose differences force us to reconsider our own with an outsiders perspective. When the extrapolation involves sexuality or gender, it can force the reader to reconsider his or her heteronormative cultural assumptions the freedom to imagine societies different from real life cultures makes SF an effective tool for examining sexual bias. In science fiction, such estranging features include technologies that significantly alter sex or reproduction. In fantasy, such features include figures such as mythologicaldeities and heroic archetypes, who are not limited by preconceptions of human sexuality and gender, allowing them to be reinterpreted. SF has also depicted a plethora of alien methods of reproduction and sex,2 some of which can be viewed as homo or bisexual through a human binary gender lens. In spite of the freedom offered by the genres, gay characters often remain contrived and stereotypical,78 and most SF stories take for granted the continuation of heteronormative institutions. Alternative sexualities have usually been approached allegorically, or by including LGBT characters in such a way as to not contradict mainstream societys assumptions about gender roles. Works that feature gay characters are more likely to be written by women writers, and to be viewed as being aimed at other women or girls big name male writers are less likely to explore gay themes. Speculative fiction has traditionally been straight 1. Samuel R. Delany has written that the science fiction community is predominantly made up of white male heterosexuals, but that the proportion of minorities, including gay people, is generally higher than found in a literary group. The inclusion of homosexuality in SF has been described in Science Fiction Culture as sometimes lagging behind the general population, sometimes surging ahead. Nicola Griffith has written that LGBT readers tend to identify strongly with the outsider status of mutants, aliens, and characters who lead hidden or double lives in science fiction. In comparison, Geoff Ryman has claimed that the gay and SF genre markets are incompatible, with his books being marketed as one or the other, but never both,1. David Seed said that SF purists have denied that SF that focuses on soft science fiction themes and marginalised groups including gay SF is real science fiction. Gay and lesbian science fiction have at times been grouped as distinct subgenres of SF,1. LiteratureeditProto SFedit. Illustration by D. H. Friston that accompanied the first publication of lesbian vampire novella Carmilla in The Dark Blue magazine in 1. True History by the Greek writer Lucian A. D. 1. 201. 85 has been called the earliest surviving example of science fiction1. The narrator is suddenly enveloped by a typhoon and swept up to the moon, which is inhabited by a society of men that are at war with the sun. After the hero distinguishes himself in combat, the king gives him his son the prince in marriage. The all male society reproduces male children only by giving birth from the thigh or by growing a child from a plant produced by planting the left testicle in the moons soil.