C

Cabniet Painting - "Term applied to small easel paintings Intended to be viewed at close range. It has no precise limits --Rudolf Wittkower [Art and Architectcure in Italy 1600-1750] uses the term of Caravaggio's 2=m.=wide Supper at Emmaus [NG, London] --but it often applied, for example, to 17th-century Dutch genre paintings, which were usually painted to fit in to unpretentious bourgeois interiors.'[Osborne, Harold, editor. The Oxford C ompanion to Twentieth-Century Art. Oxford University Press. 1988.]

Cachetage - "A technique in which casual odds and ends such as nails, screws, bottle caps, studs, buttons, coins, etc. are sealed upon a picture ground in order to make an abstract patttern. The technique was principally practised by the German graphic artist Werner Schreib." [Osborne, Harold, editor. The Oxford C ompanion to Twentieth-Century Art. Oxford University Press. 1988.]

Cadavre Exquis - "Name given to a game in which a group of five or six persons contribute in turn to make up a sentence or a drawing, no member of the group being aware of what the others have contributed. This old party game was given a new seriousness and significance by the Surrealists as a device for tapping the collective unconsciousness or exploiting the element of chance, which they also believed to be a path to the creativity of the unconscious mind. The name derives from the fact that on the first occasion the game was seriously played [1925] the resulting sentence was 'Le cadavre--exquis --boira --le vin--nouveau.' An example of a Cadavre exguis drawing from 1926 is in The Museum of Modern Art, New York, the Participants having been Breton, Morise, Naville, Péret, Prévert and Tanguy."[Osborne, Harold, editor. The Oxford C ompanion to Twentieth-Century Art. Oxford University Press. 1988.]

Caffieri - "Family of sculptors, bronze-workers, and decorators, of Italian origin, who worked in Paris under Louis XIV. XV. and XVI. . . . "[Osborne, Harold, editor. The Oxford C ompanion to Twentieth-Century Art. Oxford University Press. 1988.]

Camden Town Group

Cameo

Canada - "There were two major movements in Canadian art in the 20th century. The Group of Seven in Toronto during the 1920s and the Automatistes in Montreal during the late 1940s and early 1950s --and each captured the imagination of a broad public, each in its time and place seeming to embody national aspirations of the grandest sort . . . . "[Osborne, Harold, editor. The Oxford C ompanion to Twentieth-Century Art. Oxford University Press. 1988.]

The Wounded Canvas, Combines, the Non-geometric Field [Gottlieb, Carla. Beyond Modern Art. New York: E.P. Dutton. 1976]

Capriccio

Caricature

Carolingian Art

Cartoon

Cartouche

Caryatid

Cassone

Cerography [See Encaustic Painting]

Chang'an School

Chiaroscuro woodcut

Chinoiserie

Chryselephantine

Churrigueresque

Cinétisme

Circle

Cire-perdue

Classic - "Term that, with the related words 'classic' and 'Classical', is used in various [and often confusing] ways in the history and criticism of the arts. In its broadest sense, Classicism is used as the opposite of Romanticism, characterizing art in which adherence to recognized aesthetic ideals is accorded greater importance than individuality of expression. In this sense Alberti defined beauty in architecture as 'the harmony and concord of all the parts achieved by following well-founded rules and resulting in a unity such that nothng could be added or taken away or altered except for the worse'. The rules that Alberti referred to were those embodied in Greek and Roman architectcure, and the use of the word 'Classicism' often implies direct inspiration from antique art, but this is not a necessary part of the concept, and according to context the word might be intended to convey little more than the idea of clarity of expression, or alternatively of conservatism

In the western tradition, the term 'Classical' usually does suggest a line of descent from the art of Greece and Rome, however indirect or impure, and 'Classical beauty' is sometimes used to indicate a facial and bodily type reduced to mathematical symmetry about a median axis and freed from the irregularities which are normally present in living people . . . . "[Osborne, Harold, editor. The Oxford C ompanion to Twentieth-Century Art. Oxford University Press. 1988.]

Claude glass

Clichés-verre [See Glass Prints]

Cloisonism

Cloudy Mountain Style [See Mi family manner of landscape painting.]

Cobra

Cold Art [Kalte Kunst]

Collage

Colour Field Painting

Collecting

Cologne School

Colophon - "Poetry or prose annotation written by a friend of the artist, a viewer, or a later collector that is attached to a painting or piece of calligraphy. A colophon is physically separate from the work --typically at the end of a handscroll or on the mounting of a hanging scroll. Poetic colophons are usually in praise of or inspired by the painting."[Three Thousand Years of Chinese Painting. Yale University and Foreign Language Press. 1997]

Colour Field Painting

Combine Painting

Compensation

Computer Art

Conceptual Art

Concrete Art

Confrontation with Energy, Pattern, and Matter [Gottlieb, Carla. Beyond Modern Art. New York: E.P. Dutton. 1976]

Constructivism

Contemporary

Continuous Pictoriral Narrative - "Painting, generally in the form of handscroll or frieze, in which the narrative unfolds from one section to another without break. Often the same personage reappears several times."[Three Thousand Years of Chinese Painting. Yale University and Foreign Language Press. 1997] [NOTE: Episodes may occur within or broken up by the range of mountains, the stream, forest, or architectural forms . . .]

Continuous Representation [or Continuous Narrative]

Contrapposto

Conversation Piece

Cool Art

Corrente

Cosmati Work

Counterproof

Craquelure

Crayon Manner

Creusets

Cubism

Cubist-Realism

Cubo-Futurism

Cumberland Market Group

Cun - "Texture stroke. See also cunfa."[Three Thousand Years of Chinese Painting. Yale University and Foreign Language Press. 1997]

Cunfa - "A method of shading and modeling with brushtrokes to reveal the texture of tree trunks, rocks, and mountains."[Three Thousand Years of Chinese Painting. Yale University and Foreign Language Press. 1997]

Cuyp - "The name of a family of Dutch painters of Dordrecht, of which three members gained distinction. Jacob Gerritsz. Cuyp [1594-1631/2] was the son of a glass painter and a pupil of Abraham Bloemaert at Utrecht. He is thought of today mainly as a portrait painter --his portraits of children are particularly fine --but in old biographies is lauded principally for his views of the countryside around Dordrecht . . . . "[Osborne, Harold, editor. The Oxford C ompanion to Twentieth-Century Art. Oxford University Press. 1988.]