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A Northern Renaissance technique of giving a spiritual meaning to ordinary objects in the painting, so these detail can carry the spiritual message
paint pigments mixed in a viscous, slow-drying oil medium which dries by oxidation and blends easily. It can be used as a glaze or a heavy impasto
a technique which made it possible to represent three dimensional objects on a flat surface in a systematic way, so that all the lines receding at right angles on the picture plane converge at a vanishing point on the horizon
Atmospheric or aerial perspective
a Renaissance technique gives a sense of distance. The further from the viewer the object was placed, the hazier and grayer it became (due to dust particles and water vapor)
is related to printmaking-engraving, etching, lithography, serigraphy and woodcut. All these images can produce multiple copies
the carving of a woodblock so the background is removed. The raised image is inked with a roller and then put through a press
V shaped grooves are cut into a metal plate with a tool ballad called a burin. The ink is then rubbed into the grooves, the surface of the plate is wiped then printed unto wet paper, which picks up the image
an acid bath eats into the exposed parts of a plate where the artist has drawn through the acid resistant coating
an Artist from the north whose work was one the last profound expressions of the medieval world. Based on landscape it is full of religious iconography and symbol
Campin, Robert ("Master of Flemalle")
very early Netherlandish painter probably invented grisaille painting and used disguised symbolism
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