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A foil is an architectural device based on a symmetrical rendering of leaf shapes, defined by overlapping circles of the same diameter that produce a series of cusps to make a lobe. Typically, the number of cusps can be three ( trefoil ), four ( quatrefoil ), five (cinquefoil [ 1 ] ), or a larger number (multifoil). [ 2 ]
Heinrich Wölfflin (German: [ˈhaɪnʁɪç ˈvœlflɪn]; 21 June 1864 – 19 July 1945) was a Swiss art historian, esthetician and educator, whose objective classifying principles ("painterly" vs. "linear" and the like) were influential in the development of formal analysis in art history in the early 20th century. [1]
Multifoil arch in the Aljafería, Zaragoza, Spain. A multifoil arch (or polyfoil arch), also known as a cusped arch, [1] [2] polylobed arch, [3] [4] or scalloped arch, [5] is an arch characterized by multiple circular arcs or leaf shapes (called foils, lobes, or cusps) that are cut into its interior profile or intrados.
It is found in art, architecture, heraldry and traditional Christian symbolism. [2] The word 'quatrefoil' means "four leaves", from the Latin quattuor , "four", plus folium , "leaf"; [ 3 ] the term refers specifically to a four-leafed clover , but applies in general to four-lobed shapes in various contexts.
Historic paint analysis, or architectural paint research, is the scientific analysis of a broad range of architectural finishes, and is primarily used to determine the color and behavior of surface finishes at any given point in time. This helps us to understand the building's structural history and how its appearance has changed over time.
Illusionistic ceiling painting, which includes the techniques of perspective di sotto in sù and quadratura, is the tradition in Renaissance, Baroque and Rococo art in which trompe-l'œil, perspective tools such as foreshortening, and other spatial effects are used to create the illusion of three-dimensional space on an otherwise two ...
According to neoplastic principles, [27] [28] every work of art (painting, sculpture, building, piece of music, book, etc.,) is created intentionally. It is the product of a series of aesthetic choices and, to a lesser extent, of what the work of art represents.
The Seven Lamps of Architecture is an extended essay, first published in May 1849 and written by the English art critic and theorist John Ruskin. The 'lamps' of the title are Ruskin's principles of architecture, which he later enlarged upon in the three-volume The Stones of Venice . [ 1 ]