GROUP 3

An art historian who believed that art historians focused too much on beliefs rather than on the artists' actual techniques.

A method used to attribute artworks to artists based on specific details in their paintings, such as the way they paint ears, fingers, or hands.

An English art critic who championed Post-Impressionism and believed that art exists independently of our everyday experiences.

The belief that art has a special domain that is separate from our daily lives and experiences. It exists independently of our thoughts, morals, and ethics.

The idea that in order to truly see and appreciate art, we must observe it with a certain detachment and objectivity, free from our immediate needs and concerns.

An Austrian art historian who played a major role in establishing art history as a serious academic discipline.

The concept that the history of art is driven by a suprapersonal will to create art, a force that exists beyond individual artists.

The idea that the form and motifs used in art are not arbitrary, but rather reflect an underlying artistic intention or 'will' specific to a particular historical period or culture.

A method of art criticism that focuses on the form of an artwork, analyzing elements like colors, shapes, and composition, rather than its meaning or message.

The distinctive patterns and characteristics that define an artwork or group of artworks.

An expert in matters of taste and art, specializing in a specific period, nation, or artist's life, who authenticates, appraises, and writes about artworks.

A comprehensive study of an artist's entire body of work (oeuvre), including biography, a critical catalog, and bibliographic references.

The imitation or representation of reality in art, particularly in painting and sculpture.

Changes in artistic style occur as a response to challenges and restlessness in societal beliefs, striving for a balance between convention and movement.

The practice of studying and analyzing art through its form, style, and context.

The analysis of how artistic style evolves and shifts over time, reflecting changes in societal beliefs, artistic trends, and technical innovations.

Winckelmann's belief that the best way to achieve artistic greatness is to study and imitate the Greeks, acknowledging that imitation can transform into something unique.

Winckelmann's understanding of Greek culture as embodying ideals of beauty, balance, and harmony, serving as a moral and educational guide.

Winckelmann's concept of the pinnacle of aesthetic and moral beauty, encompassing both physical form and virtuous character, as exemplified in Greek culture.

Individuals with specialized knowledge and expertise in art, particularly in evaluating, authenticating, and appreciating artworks.

The idea that someone or something controls the history of art.

The 'vitalizing principle' that informs individual artworks and their development over time.

A method to visually analyze and understand artwork by identifying contrasting qualities, helping distinguish different art periods (e.g., Renaissance vs, Baroque).

Sharp, well-defined lines, creating clarity and separation in artwork.

The illusion of depth and space within a work of art, making objects appear closer or farther away.

A sense of visual enclosure, where the artwork feels self-contained and closed off.

A visual cue that suggests the artwork extends beyond its frame, connecting it to the world outside.

The reawakening of interest in Classical art, particularly Ancient Greece, during the 18th century.