Definitions containing à bas
We've found 19 definitions:
| festoon | festoon A bas-relief, painting, or structural motif resembling such an ornament. — Wiktionary |
| boron arsenide | boron arsenide A binary compound of boron and arsenic, BAs, used as a semiconductor, sometimes alloyed with gallium arsenide. — Wiktionary |
| bas relief | bas relief Refers to any aspect of sculpture which is flat or in the bas relief style. — Wiktionary |
| Basso-relievo | Basso-relievo same as Bas-relief — Webster Dictionary |
| Bass-relief | Bass-relief some as Bas-relief — Webster Dictionary |
| plaquette | plaquette A small bas-relief metal tablet used as a decoration for book covers in the 15th-17th centuries. — Wiktionary |
| anaglyph | anaglyph A decorative ornament worked in low relief or bas relief, such as a piece of cameo jewelry. — Wiktionary |
| Toreumatography | Toreumatography a description of sculpture such as bas-relief in metal — Webster Dictionary |
| Toreumatology | Toreumatology the art or the description of scupture such as bas-relief in metal; toreumatography — Webster Dictionary |
| Ectype | Ectype a work sculptured in relief, as a cameo, or in bas-relief (in this sense used loosely) — Webster Dictionary |
| Anaglyptography | Anaglyptography the art of copying works in relief, or of engraving as to give the subject an embossed or raised appearance; -- used in representing coins, bas-reliefs, etc — Webster Dictionary |
| Isocephalism | Isocephalism a peculiarity in the design of bas-relief by which the heads of human figures are kept at the same height from the ground, whether the personages are seated, standing, or mounted on horseback; -- called also isokephaleia — Webster Dictionary |
| Foreground | Foreground on a painting, and sometimes in a bas-relief, mosaic picture, or the like, that part of the scene represented, which is nearest to the spectator, and therefore occupies the lowest part of the work of art itself. Cf. Distance, n., 6 — Webster Dictionary |
| Wedgwood ware | Wedgwood ware a kind of fine pottery, the most remarkable being what is called jasper, either white, or colored throughout the body, and capable of being molded into the most delicate forms, so that fine and minute bas-reliefs like cameos were made of it, fit even for being set as jewels — Webster Dictionary |
| Bandinelli | Bandinelli a Florentine sculptor, tried hard to rival Michael Angelo and Cellini; his work "Hercules and Cacus" is the most ambitious of his productions; did a "Descent from the Cross" in bas-relief, in Milan Cathedral (1487-1559). — The Nuttall Encyclopedia |
| Schwanthaler, Ludwig | Schwanthaler, Ludwig German sculptor, born at Münich, of an old family of sculptors; studied at Rome; has adorned his native city with his works both in bas-reliefs and statues, at once in single figures and in groups; did frescoes and cartoons also (1802-1848). — The Nuttall Encyclopedia |
| Robbia, Luca Delia | Robbia, Luca Delia Italian sculptor, born in Florence, where he lived and worked all his days; executed a series of bas-reliefs for the cathedral, but is known chiefly for his works in enamelled terra-cotta, the like of which is named after him, "Robbia-ware" (1400-1482). — The Nuttall Encyclopedia |
| Ghiberti, Lorenzo | Ghiberti, Lorenzo an Italian sculptor and designer, born at Florence; his first notable work was a grand fresco in the palace of Malatesta at Rimini in 1400, but his most famous achievement, which immortalised his name, was the execution of two doorways, with bas-relief designs, in the baptistery at Florence; he spent 50 years at this work, and so noble were the designs and so perfect the execution that Michael Angelo declared them fit to be the gates of Paradise (about 1378-1455). — The Nuttall Encyclopedia |
| Flaxman, John | Flaxman, John an eminent sculptor, born at York; was brought up in London, where his father carried on business as a moulder of plaster figures; his love of drawing and modelling soon marked him out as an artist, and helped by friends he devoted himself to art; exhibited at the age of 12, and won the silver medal of the Royal Academy at 14; for some years he supplied the Wedgwoods with designs for their famous pottery, and in 1787 he went to Rome, which for seven years became his home; in 1810 became professor of Sculpture to the Royal Academy; besides many fine statues of eminent men and much exquisite work in bas-reliefs, he executed a series of noble designs illustrating Homer, Dante, and Æschylus; he was a Swedenborgian by religious creed (1755-1826). — The Nuttall Encyclopedia |