Art 111: Short Answer/Essay Questions Exam #2

20-30 of these questions will appear on the exam either as slide identification questions or as a list of questions for you to answer. Answers to these questions should also be incorporated into your essay.

 

 

CHAPTER 20: RENAISSANCE ART IN 15TH CENTURY ITALY

 

1.         Describe the status of the artist in the 15th century?

 

2.       Which major architectural structure was completed during the 15th century and why was its completion important to the people of Florence?

 

3.     Define Duomo?

 

4.     Describe the design of the Florence Cathedral (very detailed).

 

5.     Why are the circle and the square important symbolically and functionally?

 

6.     Describe BrunelleschiÕs engineering achievements seen in the dome of the Florence Cathedral.

 

7.     Who was Vitruvius?

 

8.     Define pietra serena?

 

9.     Define loggia?

 

10.  Why was Michelozzo di Bartolommeo awarded the commission for the Palazzo Medici over Brunelleschi?

 

11.  Describe the factors that influenced the design of the Medici Palace and in what way?

 

12.  Define rusticated stone?

 

13.  Describe the symbolic meaning associated with the overall design of the Medici Palace?

 

14.  Describe the activities that took place at the Medici Palace that contributed to the growth of Humanism?

 

15.  What major competition took place in 1401 and who sponsored this competition?

 

16.  Why was the Sacrifice of Isaac theme chosen for the doors? (artistically, religious content and historical)

 

17.  Why did Ghiberti win the competition for the baptistery doors? (Compare Ghiberti and BrunelleschiÕs competition panels)

 

18.  What ÒfirstÓ is portrayed in GhibertiÕs panel?

 

19.  Define relief sculpture?

 

20.    Who was Vitruvius?

 

21.  What was the second major commission that took place in the early 1400s in the city of Florence?

 

22.  Why were the sculptural figures in the niches of Or San Michele and the creation of the Baptistery doors important to the city of Florence?

 

23.  Why are the Four Crowned Saints significant historical figures (religiously and artistically)?

 

24.  Describe the way Nanni di Banco humanizes the Four Crowned Saints/Martyrs?

 

25.  What ÒfirstÓ is Donatello accredited with?

 

26.  Describe the ways DonatelloÕs representation of David demonstrates heroism and virtue in relation to 15th century Florence?

 

27.  Which Ancient Roman statue was a model for 15th century equestrian statues?

 

28.  Define the term equestrian statue and condottieri.

 

29.  What effect did Donatello achieve in his equestrian statue Gattamelata?

 

30.  Compare DonatelloÕs Gattamelata to VerrocchioÕs Bartolommeo Colleoni. How do the messages differ? (see powerpoint for Colleoni image).

 

31.  Who called GhibertiÕs east doors for the Florence Baptistery the ÒGates of ParadiseÓ and why?

 

32.  Describe the naturalistic elements in GhibertiÕs Jacob and Esau panel for the East Doors?

 

33.  Describe the Hellenistic and Baroque (later style) elements in PollaiuoloÕs statue of Hercules and Antaeus.

 

34.  Describe the ways in which PollaiuoloÕs Hercules and Anateus sculpture is representative of the city-state of Florence?

 

35.  Describe the characteristics of BotticelliÕs style.

 

36.  Describe the symbolism and overall meaning of BotticelliÕs Primavera.

 

37.  Describe the story of the Birth of Venus and who inspired Botticelli to create this subject?

 

38.  Define Venus pudica?

 

39.  Why were Botticelli and other artists able to create mythological works of art in spite of church restrictions?

 

40.  What event caused Botticelli to destroy many of his paintings?

 

41.  Who was Girolamo Savonarola and what affect did he have on Florence?

 

42.  Describe the ÒBonfire of the vanitiesÓ and who was responsible for the event?

 

CHAPTER 21: 16th CENTURY ART IN ITALY

 

43.    How did the status of the artist change from the 15th to 16th century?

 

44.    Describe the conflict arose in the Catholic church in the early 16th century?

 

45.    Describe some of LeonardoÕs interests that he documented in his notebooks?

 

46.    Why is Leonardo da Vinci called a ÒRenaissance/Universal ManÓ?

 

47.    Describe LeonardoÕs views on reality?

 

48.    Leonardo stated, Òa good painter has two chief objects to paint – man and the intention of his soulÓ how did he feel a painter could capture the intention of the soul.

 

49.    Describe the techniques Leonardo utilizes to draw the viewer to all of the key characters in the Virgin of the Rocks?

 

50.    Define cartoon (not the comic strip)?

 

51.    Describe the importance of disegno/drawing to Italian artists in the 16th century?

 

52.    Describe and analyze the numerical and figural symbolism is portrayed in LeonardoÕs Last Supper?

 

53.    Discuss the design elements of the supper that make the image balanced that also emphasize its symbolic meaning.

 

54.    Define sfumato?

 

55.    Describe the gender rules broken by Leonardo when he painting the Mona Lisa.

 

56.    Describe some of the theories as to the identity of Mona Lisa?

 

57.    Who were the key Papal patrons of the 16th century?

 

58.    Describe the two developments that affected the art market in the 16th century?

 

59.    Who was the intended audience for RaphaelÕs Madonna paintings, what was the message of the paintings and why this message controversial? (See Madonna of the Goldfinch)

 

60.    Describe the influences from Leonardo and Michelangelo that are seen in RaphaelÕs paintings?

 

61.    Why was Raphael considered the ÒidealÓ Renaissance artist?

 

62.     Define stanze?

 

63.    Why was Raphael called to Rome?

 

64.    Who were the key figures in RaphaelÕs Philosophy and what were their views?

 

65.    Describe the statement Raphael and Julius II made in the Philosophy fresco (note the placement of figures and their ideologies).

 

66.    Describe the other paintings inside the Stanza della Segnatura and the overall message of the entire cycle of paintings.

 

67.    Why is Julius II an important yet controversial figure of the High Renaissance?

 

68.    Describe Julius IIÕs major commissions?

 

69.    How did Michelangelo and LeonardoÕs ideas on art differ?

 

70.    Why was Michelangelo considered a Renaissance man?

 

71.    Briefly describe the process Michelangelo used to create sculpture?

 

72.    Describe the idea Michelangelo expressed with his bound slaves?

 

73.    Describe the differences between MichelangeloÕs David and DonatelloÕs David.

 

74.    Which work led to Michelangelo being chosen as the painter of the Sistine ceiling and why?

 

75.    Describe the biblical and mythological figures were portrayed on the ceiling?

 

76.    Describe the family symbols representing Julius II that were painting on the ceiling?

 

77.    Describe the sequence of biblical stories that are portrayed on the ceiling of the Sistine Chapel and why there portrayed in this order.

 

78.    Describe the characteristics of MichelangeloÕs style as seen in the Sistene Chapel fresco.

 

79.    Describe the figures portrayed in the cape behind God in ÒThe Creation of AdamÓ? (opinion)

 

80.    Describe the architectural design techniques Michelangelo used in St. Peters?

 

81.    Describe the major architectural restoration projects Michelangelo was responsible for in Rome? (at least 2)

 

82.    Describe the architectural design element Bramante incorporated into his ÒTempietoÓ building to make it organic and sculptural?

 

83.    Describe the mannerist elements in Guilio RomanoÕs Palazzo del Te.

 

84.    Define keystones?

 

85.    Describe the purpose of the Palazzo del Te?

 

86.    Describe the role women played in the arts and what types of works did wealthy women commission?

 

87.    Describe a few differences between the art of Venice and that of Rome and Florence?

 

88.    Describe the types of subjects did the Venetians paint?

 

89.    Why did the Venetians focus on color (colorito)?

 

90.    Describe an image that is an example of a sacra conversazione (sacred conversation)?

 

91.    Why was the Bellini family important in the development of Venetian art?

 

92.    Describe Arcadia? (not the location but the idea)

 

93.    Define poesia and describe its appearance in Venetian paintings.

 

94.    Who is considered the ÒSupreme master of colorÓ of all the Venetian artists?

 

95.    What painting surface did Titian adopt and why?

 

96.    Describe TitianÕs approach when applying paint.

 

97.    Describe the formal elements that Titan utilizes to balance the nude in the ÒVenus of UrbinoÓ?

 

98.    Compare and contrast TitianÕs Venus of Urbino compare to GiorgioneÕs Sleeping Venus (compared in powerpoint).

 

99.    Describe the techniques Titian used to transform Venus into a contemporary rather than mythological figure and how does this change the interpretation of the painting.

 

100. Who were TitianÕs major patrons and how did their commissions help advance his career?

 

101. Describe some of the obstacles that hindered the development of a female artistÕs skills.

 

102. Describe the Mannerist style.

 

103. List some of the theories as to the rise of Mannerism.

 

104. Why is PontormoÕs ÒEntombment of ChristÓ Mannerist? (discuss details relating to formal elements)

 

105. Besides Venus and Cupid, describe the figures in BronzinoÕs Venus, CupidÉ.and what do they symbolize?

 

106. Describe the themes in BronzinoÕs Venus, CupidÉ image.

 

107. Why was Sofonisba Anguissola able to become a successful artist?

 

108. Describe the types of subjects Sofonisba is most known for that changed the history of art (see powerpoint)?

 

109. Why was it difficult for women to enter artistic professions in both Italy and the North?

 

110. What type of training was available to women?

 

111. Define miniatures.

 

112. In which court did Sofonisba hold the position of court painter?

 

113. Why is MichelangeloÕs Last Jugdement an example of the Mannierist style?

 

114. What personal statement did Michelangelo make in his Last Judgement fresco?

 

115. Why was VeroneseÕs Christ in the House of Levi rejected by the patron (content and formal elements)?

 

116. Describe the ways TintorettoÕs Last Supper differs from LeonardoÕs Last Supper.

 

117. Describe TintorettoÕs brushstroke and the resulting visual effects.

 

118. Describe the characteristics of TintorettoÕs style of painting.

 

119. Describe the baroque elements in TintorettoÕs Last Supper.

 

120. Why was the original title of VeroneseÕs painting (Last Supper) changed to Christ in the House of Levi?

 

121. Describe the classical elements in PalladioÕs Church of San Giorgio Maggiore.

 

122. Describe the harmonious elements in the Church of San Giorgio Maggiore.

 

123. Which ancient structure influenced Palladio when designing Villa Rotunda and what modern structures are modeled after the Villa?

 

124. Describe the ways PalladioÕs architectural ideas spread throughout the western world.

 

125. Which ancient architect did Palladio study when designing the Villa Rotunda?

 

126. Describe the way the Villa Rotunda is both symmetrical but also asymmetrical (think placement and surroundings).

 

127. Describe the ways PalladioÕs Villa Rotunda differs from his typical design for country villas.

 

128. Why were the Venetians able to create a variety of subjects that differed from the subjects produced in Florence and Rome?

 

CHAPTER 22: 16th CENTURY ART IN NORTHERN EUROPE AND THE IBERIAN PENINSULA

 

129. Describe the key events that lead to the Protestant Reformation?

 

130. Who was Martin Luther and what role did he play in the Protestant Reformation?

 

131. Describe the effects the Protestant Reformation had on art in Northern Europe?

 

132. Describe the techniques did Matthias Grunewald used to increase the viewerÕs emotional response to his Isenheim Altarpiece?

 

133. Describe the purpose of the Isenheim Altarpiece?

 

134. Why were Saints Sebastian and Anthony used in the painting?

 

135. Who was considered the ÒLeonardo of the NorthÓ and why?

 

136. Describe DurerÕs painting style when painting portraits.

 

137. What did Durer try capture in his portraits?

 

138. Describe the printing techniques Albrecht Durer mastered.

 

139. Describe the iconography portrayed in DurerÕs Adam and Eve.

 

140. Describe the classical references Durer incorporated into the design of Adam and Eve?

 

141. Which tool did Durer use to create the images for his engravings and woodcuts?

 

142. Why is the ÒFour ApostlesÓ a good example of a Protestant painting? (both formal elements and content)

 

143. Why did Hans Baldung go by the nickname ÒGrienÓ?

 

144. Describe the connection between Baldung Grien and Durer and how is this connection captured in GrienÕs Death and the Matron.

 

145. Describe the content/message of GrienÕs Death and the Matron and how is this enhanced by the formal elements and also subject matter in the painting?

 

146. Describe the ways France differed from Germany in terms of painting styles.

 

147. Describe a chateaux.

 

148. Describe the classical elements in the Chateau of Chenonceau.

 

149. Describe the activities that took place at the Chateau and who was responsible for these activities?

 

150. Describe the ÒmodernÓ elements in the design of the west wing of the Cour Carree of the Louvre.

 

151. Describe the French Flamboyant style elements in the wing (must go to chapter 18 to define style).

 

152. Name a few characteristics of El GrecoÕs style? (note which styles he was introduced to during his travels)

 

153. Identify and describe the two ÒspheresÓ represented in El GrecoÕs The Burial of Count Orgaz.

 

154. Describe the different visual effects El Greco achieved when he painted the upper and lower portions of the ÒThe BurialÉÓ and how these formal elements enhance the message of the painting.

 

155. Why is the Burial of Count Orgaz an ideal Counter Reformation painting?

 

156. BoschÕs Garden of Earthly Delights is a precursor of which style?

 

157. Describe the ideologies and cultural practices that influenced Bosch when designing the Garden of Earthly delights?

 

158. Describe the various iconography/symbolism in BoschÕs Garden (be specific in your answer)?

 

159. Describe some of the Netherlandish proverbs and how they are represented visually.

 

160. Describe the ways BruegelÕs Return of the Hunters pre-modern? (modern in terms of a modernist art style (not contemporary times)

 

161. Describe the subject matter Pieter Bruegel the Elder known for (2 types).

 

162. Why did Bruegel choose to highlight the working class?

 

163. Describe the characters Bruegel represented in his paintings.  

 

164. Describe HolbeinÕs painting skills that are portrayed in his French Ambassadors?

 

165. Describe the symbols and their meaning in HolbeinÕs French Ambassadors.

 

166. Describe the conflict represented in HolbeinÕs French Ambassadors?

 

167. Define anamorphic.

 

168. Describe the core message in HolbeinÕs French Ambassadors.

 

CHAPTER 23: ITALY AND SPAIN 1600-1700 (BAROQUE)

 

169. Identify the geographic locations that make up the Baroque period.

 

170. Describe the historical factors that influenced the rise of the various Baroque styles.

 

170.        Describe genre paintings.

 

171.        Name a few of the characteristics of the Baroque style.

 

172.        Describe the symmetrical elements Maderno added to St. PeterÕs Basilica and how BerniniÕs plaza design enhances MadernoÕs ideas.

 

173.        Describe the other ÒoccupationsÓ (besides sculptor) Bernini held that influenced his Baroque style.

 

174.        Compare and contrast MichelangeloÕs David and BerniniÕs David, note the differences that make BerniniÕs David baroque.

 

175.        Describe the formal elements in the Ecstasy of St Theresa that dramatize the event.

 

176.        Define proscenium.

 

177.        Describe the Baroque manner in which the Cornaro Family is represented in the St. Teresa Chapel?

 

178.        Describe the unique design of BorrominiÕs Church of San Carlo Alle Quattro Fontane.

 

179.        Describe composite capitals.

 

180.        Describe a cartouche.

 

181.        Define the term tenebrism and which artist is associated with that term?

 

182.        Why was Caravaggio called the first ÒBohemianÓ artist?

 

183.      Describe the characteristics of the CaravaggioÕs style.

 

184.      Why were the characters in CaravaggioÕs paintings so controversial? (the models and the manner in which they were painted?)

 

185.      Describe the relationship between Caravaggio and Artemesia Gentilleschi and what she borrowed from this artist.

 

186.      Who enabled Artemesia to enter the art world?

 

187.      Why is Artemesia sometimes referred to as the first feminist artist?

 

188.      Describe the characteristics of ArtemisiaÕs style.

 

189.      Describe the connection between the painting Susanna and the Elders and ArtemisiaÕs personal life.

 

190.      Describe the image that influenced the ceiling by Pietro da Cortona (Triumph of the Berberini) and in what way.

 

191.      Identify the iconography and its meaning in figure CortonaÕs Triumph of the Barberini.