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A tondo (pl.: tondi or tondos) is a Renaissance term for a circular work of art, either a painting or a sculpture. The word derives from the Italian rotondo , "round". The term is usually not used in English for small round paintings, but only those over about 60 cm (two feet) in diameter, thus excluding many round portrait miniatures – for ...
Composition can apply to any work of art, from music through writing and into photography, that is arranged using conscious thought. In the visual arts, composition is often used interchangeably with various terms such as design, form, visual ordering, or formal structure, depending on the context.
Landscape painting is a term that covers the depiction of natural scenery such as mountains, valleys, trees, rivers, lakes, and forests, and especially art where the main subject is a wide view, with its elements arranged into a coherent composition. In other works, landscape backgrounds for figures can still form an important part of the work.
Composite art depicts a figure composed in whole or part of different creatures, including human beings, animals, birds, reptiles, insects, or dinosaurs such as Brontosaurus. [3] The origin of the style is unknown and debated by scholars. [4] Composite art has a history in two prominent traditions – Hindu and Mughal.
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In the religious art of Ancient Greece, Ancient Rome, Christianity, Hinduism, and Buddhism (among other religions), sacred persons may be depicted with a halo in the form of a circular glow, or flames in Asian art, around the head or around the whole body—this last form is often called a mandorla.
In painting, a pentimento (Italian for 'repentance'; from the verb pentirsi, meaning 'to repent'; plural pentimenti) is "the presence or emergence of earlier images, forms, or strokes that have been changed and painted over". [1] Sometimes the English form "pentiment" is used, especially in older sources.
Italian composer and arts theoretician Stefano Vagnini has developed a theory of open-source composition based on modular aggregation. [18] The concept of a musical work of art being something closed, limited and immobile disappears in favor of a process of numerous aggregations that allow a composition to become infinite in principle.