The way a work of art feels to the touch, or seems like it would feel to the touch (the surface quality of the work), is known as what?

The surface quality of a work of art is known
as "texture." This is a word that in any case refers to the feel or consistency of a
surface in everyday English, but texture in a work of art can be actual or simulated (sometimes
called visual). A painting has actual texture where the appearance of the paint corresponds to
the way it feels when touched. A very rough texture is often created using an impasto technique,
with very thick layers of paint standing out from the canvas. This approach was particularly
favored by Vincent Van Gogh in paintings such as Starry Night. To create a
more sculptural quality, the artist may use gesso, which involves mixing plaster and/or glue
with the paint, or building up a plaster background, generally on wood.

Simulated texture is a trompe l'oeil, or optical illusion, where the effect of a
particular texture, such as ripples on the sea or the hide of an animal, is created without
actual texture. It is particularly common in Renaissance painting, where the effect of fine
fabrics, heavy velvet, or embroidered silk is used to emphasize the wealth and power of the
subject. Albrecht Durer is particularly well-known for his use of simulated texture, as, for
instance, in his famous watercolor of a young hare.