Art HIST II Blinn 1304 Exam 1

Both works were carefully structured, are basically symmetrical and are contained in a gabled shape. They both use gold embellishment common to Byzantine art. Most importantly they have the same content and composition to a large extent.

Cimabue constructed space for the Madonna and surrounding figures to inhabit with the structural design of the throne. Both Cimabue and Giotto figures have height and width, but only Giotto figures have depth and mass through his greater use of chiaroscuro. There is also greater depth in Giotto's work in the perspective used in the groups of angles used by both artist. Their location in space is from front to rear rather than atop one another as in Cimabue's composition.

Cimabue's slender Virgin, is fragile beneath the thin rippling of her drapery, where as Giotto has replaced her with a godly mother, a figure that has substance dimensionality and bulk even to the swelling of her bosom. Giotto's Madonna sits firmly on her throne, with the unshakable stability of an ancient marble goddess. The throne is deep enough to contain this monumental figure, its nich-like structure encloses her on three sides with the outlines of her body and the drapery forms realistically around the figure. Cimabue's Madonna sits unsurely not solidly, the body lacks the correct perspective and depth making one unsure of the form beneath the drapery that is done in a stylized technique so that it also lacks depth and form.

When we look at the at the Late Gothic work Madonna Enthroned by Cimabue and the Early Renaissance work Madonna Enthroned by Giotto, we see both similarities and differences. Both works can be considered transitional works. What is true:

Several devices were used to lead the viewer to the focal point the head of Christ in the work of art which is dynamically off center. The strong diagonal of the rocky ledge, concentrates the viewer's attention on the group around the head of Christ. The massive bulk of the seated mourner in the painting's left corner arrests and contains all movement beyond this group. The seated mourner to the right establishes a relation with the center figures, who by gazes and gestures, draw the viewer's attention back to Christ's head.

Giotto moves away from the formal Italo-Byzantine style by placing figures seen from the back in the low in the picture plane. These figures emphasize the foreground, aiding the visual placement of the intermediate figures farther back in space. This device, the very contradiction of the old frontality, in effect puts viewers behind the 'observer figures,' who, facing the action as spectators; reinforce the sense of stagecraft as a model for painting.

Light falls upon the upper surfaces of the figures and passes down to dark in their draperies, separating the volumes one from the other and pushing one to the fore, the other to the rear. The graded continuum of light and shade, directed by an even, neutral light from a single steady source gave the his figures volume (first step to the development of chiaroscuro in the Renaissance)

Giotto's frescoes served as textbooks for generations of Renaissance painters, in the Lamentation we see some of the devices he used to make his work and the reason he influenced so many other painters. (Test will ask which is NOT)

is presented as if it occurred in a contemporaneous Italian household. The careful observation of domestic details placed the event in an actual household.

Pietro Lorenzetti's Birth of the Virgin __________________

the civic meeting hall

In the 14th century Europe as it was in the time of the great pilgrimage churches of the Romanesque period there was much civil pride laid in the city's cathedral. But many cities also took civil pride in _________________.

The Italian architect did not consider the façade as an integral part of the structure. They considered the exterior as a mere screen that could be added later at any time.

Why were so many Italian church facades left uncompleted during the 14th Century?

portraiture

Which art form grew in popularity partially because of its ability to memorialize the sitter?

the adoption of oil-based pigments as the leading medium for painting and the blossoming printmaking as a major art form.

Art thrived in Northern Europe during that the 15th century. Two developments were of special significance

the illusionistic depiction of three-dimensional objects and the naturalistic representation of landscape.

Despite these lingering medieval pictorial conventions of Melchior Broederlam's the Retable de Champmol, the altarpiece is an early example of many of the artistic developments that preoccupied European artists throughout the 15th century, especially __________________.

The artist of Flanders are known for their supreme realism and this artist shows a meticulous rendering of details and in this work he has played attention to the precise replication of objects.

This work is a historical biblical painting in which the figures are placed in contemporary dress, usually the dress from the time period and culture of the artist.
In this piece we see the integration of religious and secular concerns. We have the biblical scene of the Annunciation tacking place in a Flemish home.

This painting has a historical biblical theme in which the owners or patrons of the work are depicted, but who could not have been alive at the time of the event. Donor portraits became very popular in the 15th century.

This work is full of symbolism, such as the vase of lilies is a symbol for Mary's purity.

The Merode Altarpiece: the Annunciation with Donors and St. Joseph, is a work from northern Europe and the early Renaissance believed to be by Robert Campin.

Which of these statements is true about this work?

The dog

Jan van Eyck's, Giovanni Arnolfini and His Bride contains many symbols. Which of the following is an allusion to fidelity?

space

Rogier van der Weyden, Deposition imitated large scale sculptured shrines popular in the fifteenth century. It served his purpose of expressing maximum action within a limited ___________.

Christus went to great lengths to produce a historically credible image. For example, the variety of objects depicted in the painting serves as advertisement for the goldsmiths' guild.

Saint Eligius was the patron saint of metal workers of all types. The date of the painting coincides with the reconsecration of the guild's chapel in Bruges.

Most scholars now believe that A Goldsmith in His Shop by Petrus Christus, was a vocational painting and that was likely not made for a married couple but rather a goldsmiths' guild in Bruges. Which of statement or statements supports this?

the exact location shown in this work of art.

Konrad Witz's the Miraculous Draught of Fish is one of the first fifteenth-century images to depict and identifiable site. He represented the landscape so carefully that art historians have been able to determine __________________.

It was the history of the world.

The Nuremberg Chronicle is a tribute to the new craft of the printed illustrated book. What was the content of the Nuremberg Chronicle?

the naked figure of Isaac

Ghiberti's competitive panel for the Baptistery doors of the Florence Cathedral shows classical references that reflect influences of humanism. Which of the following is a classical reference seen on Ghiberti's panel?

Donatello in Saint Mark

The Classical principle of contrapposto, or weight shift, was reintroduced into Western art by the sculptor __________________.

creating an atmospheric effect using incised lines

By ______________ Donatello revolutionized relief sculpture in his image of Saint George Slaying the Dragon.

Pollaiuolo

Which of the following artists departed from the rule of frontality that dominated sculpture since the Middle Ages?

It is the application of mathematics to pictorial organization of perspective.

In Masaccio's Trinity, he embodies two principal Renaissance interests. One is realism based on observation. Which of the following is the other?

linear style

perspective and anatomy

the seascape in Birth of Venus is a flat backdrop devoid of atmospheric perspective

Botticelli's style is clearly distinct from the earnest search many other artists pursued to comprehend humanity and the natural world through a rational, empirical order. Indeed, Botticelli's elegant and beautiful ________________ seems removed from all the scientific knowledge 15th-century artists had gained in the areas of ____________________. For example, _________________________.

module

Most scholars regard Brunelleschi's Ospedale degli Innocenti as the first building to embody the new Renaissance architectural style. Both plan and elevation conform to a ___________ that embodies the rationality of classical architecture.

Camera Picta

Baroque

In the ________________, Mantegna performed a triumphant feat by producing the first completely consistent illusionistic decoration of an entire room. By integrating real and painted architectural elements, Mantegna illusionistically dissolved the room's walls in a manner foretelling 17th-century __________________ decoration. Mantegna's trompe l'oeil (French, "deceives the eye") design; the room's decoration with the first perspective of a ceiling seen from below.

Mantegna, Foreshortened Christ. While at first glance this appears to be a realistic study in foreshortening, careful scrutiny reveals that the artist sidestepped the perspective system. He reduced the size of Christ's feet, which would have covered much of his body if represented according to the rules of perspective.

How did this artist "temper naturalism with artistic license"?

propagandistic

Pope Julius II "warrior-pope" fully appreciated the ______________________ value of visual imagery and, upon his election, immediately commissioned artworks that would present an authoritative image of his rule and reinforce the primacy of the Catholic Church.

Leonardo

Michelangelo

In the Fifteenth century there was a debate over mediums of sculpture and painting by two major artist of this time. Although working in a variety of media, these artist engaged in a debate over the importance of painting and sculpture as art forms. ____________, preferred painting over sculpture, which he denigrated as manual labor.
____________, who viewed himself primarily as a sculptor considered sculpture superior to painting because the sculptor shares in the divine power to "make man".

It shows a complete command of the techniques of linear perspective but subordinates them to the dramatic presentation of the image.

The orthogonals converge on Christ's head, which is also framed by the light of the window and the curved pediment.

Leonardo groups the Apostles dramatically and has them react to Christ's announcement that one of them would betray him.

By the placement of Judas on the same side as Christ and the other Disciples.

What feature does not mark this work as High Renaissance? Leonardo da Vinci's Last Supper. (test will ask which one is not)

Each figure was individualized.

In Leonardo's Last Supper, the numerous preparatory sketches and studies he made for the work indicate how carefully he thought about this work as a complete entity representing the entire story and its theme. Based on this which of the following would describe Leonardo's conceptualization of the figures from his Last Supper?

Michelangelo

This artist broke sharply from the lessons of his predecessors and contemporaries in one important respect. He mistrusted the application of mathematical methods as guarantees of beauty in proportion.

Venetian

Florence and Rome

The _________________ instrument was color and its artists painted the poetry of the senses and delighted in nature's beauty and the pleasures of humanity; the instrument of the _______________ was sculpturesque form the artists gravitated toward more intellectual themes—the epic of humanity, the masculine virtues, the grandeur of the ideal, and the lofty conceptions of religion involving the heroic and sublime.

pyramidal composition

In Madonna in the Meadow Raphael adopted Leonardo's __________________, which became a favorite compositional device of painters of the High Renaissance?

Sofonisba Anguissola

___________________ introduced a new kind of group portrait of irresistible charm, characterized by an informal intimacy and subjects that are often moving, conversing, or engaged in activities.

Both works use chiaroscuro the balance of light and shade in a work to represent light falling across a curved or rounded surface to create very realistic figures and forms in their compositions. But Tintoretto increases the use of contrast between highlights and shadows, which enhances the sense of drama.

Leonardo's apostles seem posed for the occasion when contrasted with Tintoretto's spontaneously gesturing figures who look like they should move any moment.

In Tintoretto's work the space is sliced by a sharp diagonal, it has asymmetrical balance which only enhances the energy and movement of the composition. Leonardo's work appears static in comparison with the space divided down the middle and its symmetrical balance, only adds to the balance between emotion and restraint in his composition.

Tintoretto depicts Christ just as he offers his body and blood, in the form of bread and wine, to the disciples. Leonardo chose to depict Christ the moment he said "One of you will betray me." Leonardo chose a moment signifying death, Tintoretto a moment signifying life, depicted with in an atmosphere that is teeming with life.

A comparison of Tintoretto's The Last Supper with Leonardo's The Last Supper will show the dramatic changes that had taken place in both art and the concept of art over almost a century. Which of these is an example of these changes?

Giovanni da Bologna, Abduction of the Sabine Women

This sculpture was the first large-scale group since classical antiquity designed to be seen from multiple viewpoints, to appreciate the sculpture fully, the viewer must walk around it, because the work changes radically according to the viewing point.

Mannerist

Giulio Romano's Palazzo del Tè of _______________architecture breaks the rules of good design by creating ambiguities and tensions.

Michelangelo

Which sculptor believed that the artist must proceed by first finding the idea the image locked in the stone and then release it by chipping away the stone?

Albrecht Dürer

The lawsuit ________________ brought in 1506 against an Italian artist for copying his prints reveals his business acumen. Scholars generally regard this lawsuit as the first in history over artistic copyright.

iconoclasm

The Protestant concern about the role of religious imagery was in many cases outright hostile. Martin Luther spoke about destroying images. This destruction of religious imagery also occurred during the Byzantine period. Which of the following defines this act?

Protestant leadership felt images would distract the worshipper from the direct communication with God, which was the sole purpose for their presence in church, so churches were relatively bare.

Catholics embraced church decoration as an aid to communicating with God and endorsed images in their churches.

How did Protestant views of religious art differ from Catholics and what effect did their views have on the appearance of their churches?

This image of the artist, with his short beard and long hair evoked devotional images of Christ.

The focus on his hand alluded to its status as a creative instrument.

The portrayal of himself as a Christ-like figure evoked humanistic views of the artist as divinely inspired.

Which of these statements show how Dürer represented himself in this Self-Portrait and what it said about the artist's craft? (test will ask which do not)

Melancholy's face is obscured by shadow, underscoring her state of mind, but Dürer also included a burst of light on the far horizon behind the bat, an optimistic note suggesting that artists can overcome their depression and produce works of genius like this engraving.

All around the brooding figure of Melancholy are the tools of the artist and builder compass, hammer, nails, and saw among them, but they are useless to the frustrated artist while he is suffering from melancholy.

In 1510, in De occulta philosophia, Heinrich Cornelius Agrippa of Nettesheim [1486-1535] identified three levels of melancholy. The first was artistic melancholy, which explains the Roman numeral on the banner carried by the bat— a creature of the dark— in Dürer's engraving.

In one of his most famous engravings Dürer explores the nature of artistic creativity. Which of these is an example of this? (test will ask which do not)

skull

What anamorphic symbol appears in Holbein's French Ambassadors?

religious references

In Pieter Aertsen's Meat Still-Life, the artist has created what appears to be a descriptive genre scene, a butcher's shop displaying its products, as well as fish and pretzels. This work also has embedded within it which of the following?

The Colegio de San Gregorio

During the 15th century and well into the 16th, a Late Gothic style of architecture, the Plateresque, prevailed in Spain. Plateresque derives from the Spanish word platero (silversmith), and delicately executed ornamentation resembling metalwork is the defining characteristic of the Plateresque style _____________________________ handsomely exemplifies the Plateresque manner, which Spanish expansion into the Western Hemisphere also brought to "New Spain"

He also did not render the architectural structures in great detail as other Renaissance artists did.

The only pure landscape the artist ever created, it breaks sharply with tradition. Although he incorporated some of the monuments of the city, he rearranged some of their positions.

He created an eerie atmosphere in broad brushworks which were typical of his late style.

El Greco's View of Toledo departed from traditional landscape paintings of his time. Which of these is an example of this? (test will ask which is not an example)

Venetian art

Mannerist

In El Greco's Burial of Count Orgaz, the artist has successfully merged his early and late styles. The artist treated the earthly and heavenly realm in two different manners. For the earthbound figures his relatively sumptuous and realistic presentation of the earthly sphere is still strongly rooted in ___________________, but the abstractions and distortions El Greco used to show the immaterial nature of the heavenly realm characterize his later style. His elongated figures existing in undefined spaces, bathed in a cool light of uncertain origin, explain El Greco's usual classification as a _________________.

14-6, CIMABUE, Madonna Enthroned with Angels and Prophets

14-7, GIOTTO DI BONDONE, Madonna Enthroned

14-8, GIOTTO DI BONDONE, Lamentation, Arena Chapel

14-10A, DUCCIO DI BUONINSEGNA, Entry into Jerusalem

15-1, ROBERT CAMPIN (MASTER OF FLEMALLE), Merode Altarpiece

15-2, CLAUS SLUTER, Well of Moses

15-7, JAN VAN EYCK, Man in a Red Turban

15-16, LIMBOURG BROTHERS (POL, JEAN, HERMAN), October, from Les Très Riches Heures du Duc de Berry

16-12, DONATELLO, David

16-13, ANDREA DEL VERROCCHIO, David

16-19, MASACCIO, Tribute Money

17-3A, LEONARDO DA VINCI, Vitruvian Man

17-5, LEONARDO DA VINCI, Mona Lisa

17-13, MICHELANGELO, David

17-17, MICHELANGELO BUONARROTI, Ceiling of the Sistine Chapel

17-18, MICHELANGELO BUONARROTI, Creation of Adam detail of the ceiling

17-19, MICHELANGELO BUONARROTI, Last Judgment

17-39, TITIAN, Venus of Urbino

18-1, HIERONYMUS BOSCH, Garden of Earthly Delights

18-5, ALBRECHT DÜRER, The Fall of Man