20 Visual arts terminology

Dyeing is the craft of imparting colors to textiles in loose fiber, yarn, cloth or garment form by treatment with a dye. Archaeologists have found evidence of textile dyeing with natural dyes dating back to the Neolithic period. In China, dyeing with plants, barks and insects has been traced back more than 5,000 years. Natural insect dyes such as Tyrian purple and kermes and plant-based dyes such as woad, indigo and madder were important elements of the economies of Asia and Europe until the discovery of man-made synthetic dyes in the mid-19th century. Synthetic dyes quickly superseded natural dyes for the large-scale commercial textile production enabled by the industrial revolution, but natural dyes remained in use by traditional cultures around the world.

Relief is a sculptural technique where the sculpted elements remain attached to a solid background of the same material. The term relief is from the Latin verb relevo, to raise. To create a sculpture in relief is to give the impression that the sculpted material has been raised above the background plane. What is actually performed when a relief is cut in from a flat surface of stone or wood is a lowering of the field, leaving the unsculpted parts seemingly raised. The technique involves considerable chiselling away of the background, which is a time-consuming exercise. On the other hand, a relief saves forming the rear of a subject, and is less fragile and more securely fixed than a sculpture in the round, especially one of a standing figure where the ankles are a potential weak point, especially in stone. In other materials such as metal, clay, plaster stucco, ceramics or papier-mâché the form can be just added to or raised up from the background, and monumental bronze reliefs are made by casting.

Chasers pitch is a thermal adhesive used by goldsmiths, silversmiths, coppersmiths, and other metal cold-working artisans to hold a metal plate for repoussage and "chasing" (embossing) while it is being hammered out.

Chiaroscuro, in art, is the use of strong contrasts between light and dark, usually bold contrasts affecting a whole composition. It is also a technical term used by artists and art historians for the use of contrasts of light to achieve a sense of volume in modelling three-dimensional objects and figures. Similar effects in cinema and photography also are called chiaroscuro.

Sets and individual examples of ritual bronzes survive from when they were made mainly during the Chinese Bronze Age. Ritual bronzes create quite an impression both due to their sophistication of design and manufacturing process, but also because of their remarkable durability. From around 1650 BCE, these elaborately decorated vessels were deposited as grave goods in the tombs of royalty and the nobility, and were evidently produced in very large numbers, with documented excavations finding over 200 pieces in a single royal tomb. They were produced for an individual or social group to use in making ritual offerings of food and drink to his or their ancestors and other deities or spirits. Such ceremonies generally took place in family temples or ceremonial halls over tombs. These ceremonies can be seen as ritual banquets in which both living and dead members of a family were to supposed participate. Details of these ritual ceremonies are preserved through early literary records. On the death of the owner of a ritual bronze, it would often be placed in his tomb, so that he could continue to pay his respects in the afterlife; other examples were cast specifically as grave goods. Indeed, many surviving examples have been excavated from graves.

A fangyi is a type of Chinese ritual bronze container typical of the Shang and early to middle Zhou periods of Bronze Age China. It takes the shape of a square or rectangular casket with a cover that resembles a hip roof, surmounted by a knob of a similar hipped appearance. The lower edge is typically indented with a semi-circular notch.

"Godless painters" is a term used by art historians to refer to Sebald Beham, his brother Barthel, and George Pencz, as exemplified in the title of a 2011 catalog of the Beham brothers' works, The Godless Painters of Nuremberg: Convention and Subversion in the Printmaking of the Beham Brothers. The epithet was coined in derision of the three painters during an inquest conducted by the Lutheran dominated city council of Nuremberg in 1525, which concerned the artists' protestant heterodoxy. The term is a double entendre eluding more to the content of the "godless painters" works, rather than the doctrinal views for which they were condemned. The typically small-scale prints often depicted biblical or moral themes with a touch of eroticism. The "godless painters" are also considered to be leading representatives of the group of little masters.

Relief is a sculptural technique where the sculpted elements remain attached to a solid background of the same material. The term relief is from the Latin verb relevo, to raise. To create a sculpture in relief is to give the impression that the sculpted material has been raised above the background plane. What is actually performed when a relief is cut in from a flat surface of stone or wood is a lowering of the field, leaving the unsculpted parts seemingly raised. The technique involves considerable chiselling away of the background, which is a time-consuming exercise. On the other hand, a relief saves forming the rear of a subject, and is less fragile and more securely fixed than a sculpture in the round, especially one of a standing figure where the ankles are a potential weak point, especially in stone. In other materials such as metal, clay, plaster stucco, ceramics or papier-mâché the form can be just added to or raised up from the background, and monumental bronze reliefs are made by casting.

Masterpiece, magnum opus or chef-d’œuvre in modern use is a creation that has been given much critical praise, especially one that is considered the greatest work of a person's career or to a work of outstanding creativity, skill, profundity, or workmanship. Historically, a "masterpiece" was a work of a very high standard produced to obtain membership of a guild or academy in various areas of the visual arts and crafts.

Openwork or open-work is a term in art history, architecture and related fields for any technique that produces decoration by creating holes, piercings, or gaps that go right through a solid material such as metal, wood, stone, pottery, cloth, leather, or ivory. Such techniques have been very widely used in a great number of cultures.

Pinxit is a stylized amendment added to the signature depiction of the name of the person responsible for a work of art, found conventionally in the Late Middle Ages and the Renaissance. It is sometimes abbreviated P, PIN, or PINX, as in some paintings by Raphael. The locution me pinxit is found on a 12th-century crucifix, not in a sense connected to individual authorship but rather as a more impersonal devotional statement, a "pious [formula] appropriate for liturgical gifts".

Polychrome is the "practice of decorating architectural elements, sculpture, etc., in a variety of colors." The term is used to refer to certain styles of architecture, pottery or sculpture in multiple colors.

Proper right and proper left are conceptual terms used to unambiguously convey relative direction when describing an image or other object. The "proper right" hand of a figure is the hand that would be regarded by that figure as its right hand. In a frontal representation, that appears on the left as the viewer sees it, creating the potential for ambiguity if the hand is just described as the "right hand".

Provenance is the chronology of the ownership, custody or location of a historical object. The term was originally mostly used in relation to works of art but is now used in similar senses in a wide range of fields, including archaeology, paleontology, archives, manuscripts, printed books, the circular economy, and science and computing.

In art, a reception piece is a work submitted by an artist to an academy for approval as part of the requirements for admission to membership.

Repoussé or repoussage refer to a metalworking technique in which a malleable metal is shaped by hammering from the reverse side to create a design in low relief. Chasing, chased work, or embossing refer to a similar technique, in which the piece is hammered on the front side, sinking the metal. The two techniques are often used in conjunction.

Sculpture is the branch of the visual arts that operates in three dimensions. It is one of the plastic arts. Durable sculptural processes originally used carving and modelling, in stone, metal, ceramics, wood and other materials but, since Modernism, there has been an almost complete freedom of materials and process. A wide variety of materials may be worked by removal such as carving, assembled by welding or modelling, or moulded or cast.

Sfumato is a painting technique for softening the transition between colours, mimicking an area beyond what the human eye is focusing on, or the out-of-focus plane. Leonardo da Vinci was the most prominent practitioner of sfumato, based on his research in optics and human vision, and his experimentation with the camera obscura. He used it in many works, including the Virgin of the Rocks and in his famous painting of the Mona Lisa. He described sfumato as "without lines or borders, in the manner of smoke or beyond the focus plane".

A white cube gallery is a gallery style that is square or rectangular shape, has unadorned white walls and a light source usually in the ceiling. It typically has hardwood or polished concrete floors. In the early twentieth century art became more abstract and groups such as the Bauhaus and de Stijl demanded their works were displayed on white walls; to them the background was integral to the picture, it was the frame. James Abbott McNeill Whistler's 1883 show at London's Fine Art Society has been cited as perhaps the first "white cube" show, the artworks being framed in white and hung against a white felt background.