Test 2

Question 1

Answer 1

Nicola Pisano; “Nativity”; Pisa Baptistry; 1260; Italian Medieval. (13th Century Italy)

Question 2

Answer 2

Cimabue; “Madonna Enthroned”; c. 1280-1290; Tempera on wood. (13th Century Italy)

Question 3

Answer 3

Giotto; “Madonna Enthroned”; c. 1310; Tempera on wood; (Florence) Italy. (14th Century Italy)

Question 4

Answer 4

Giotto; “Nativity”; c. 1305; Fresco; Arena Chapel (Padua) Italy. (14th Century Italy). Depth signifies shift towards renaissance style.

Question 5

Answer 5

Giotto; “Last Judgment”; c. 1305; Fresco; Arena Chapel (Padua) Italy. (14th Century Italy)

Question 6

Answer 6

Giotto; “Last Judgment” detail; c 1305; Fresco; Arena Chapel (Padua) Italy. (14th Century Italy)

Enrico Scrovegni lifts a model of the Arena Chapel and presents it to the Virgin and 2 other figures

Question 7

Answer 7

Duccio; “Kiss of Judas”; 1308-1311; Tempera on Panel; (Siena) Italy. (14th Century Italy). Byzantine era.

Question 8

Answer 8

Giotto; “Kiss of Judas”; c. 1306; Fresco; Arena Chapel (Padua) Italy. (14th Century Italy)

Question 9

Answer 9

Limburg Brothers; “January”; 1413-1416; (Chantilly) France; International Gothic Style; illuminated manuscript.

Question 10

Answer 10

Masaccio; “Holy Trinity”; c. 1425; Fresco; Santa Maria Novella (Florence) Italy; nicknamed “sloppy tom”

Question 11

Answer 11

Andrea Mantegna; “Dead Christ”; c. 1500; Tempera on canvas; (Milan) Italy; early renaissance

Question 12

Answer 12

Masaccio; Left side of the Brancacci Chapel, Santa Maria del Carmine, Florence (after restoration, 1989). upper left pilaster= “Expulsion from Eden” (c. 1425); below is “Saint Peter in Prison”; large scene to the right of Expulsion is from the New Testament Gospel of Matthew (17:24-27); Below, Peter raises a boy from the dead in the center of the fresco and is enthroned at the right; The two scenes (far right) show Saint Peter Preaching (above) and Saint Peter Curing by the Fall of His Shadow (below); Florence; Fresco

Question 13

Answer 13

Donatello; “David”; c. 1430-1440; Bronze; Florence; The David is the first nearly life-size, naturalistic nude sculpture that we know of since antiquity.

Question 14

Answer 14

Andrea Del Castagno; “The Youthful David”; c. 1450; tempera on on leather mounted on wood;

Question 15

Answer 15

Andrea del Verrocchio; “David”; Early 1470s; Bronze; (florence) Italy

Question 16

Answer 16

Paolo Uccello; “Sir John Hawkwood”; Florence Cathedral; 1436; Fresco transferred to canvas.

Question 17

Answer 17

Piero della Francesca; “Battista Sforza and Federico da Montefeltro”; after 1475; Oil and tempera on panel. They are connected to their landscape (shown through the pearls)

Question 18

Answer 18

Piero della Francesca; “Annunciation”; c. 1450. Fresco; Arezzo, Italy.

Question 19

Answer 19

Fra Angelico; “Annunciation”; c. 1440; Fresco; Florence, Italy. Gothic.

Question 20

Answer 20

Andrea Mantegna; ceiling tondo of the “Camera Picta” (“Camera degli Sposi”); Ducal Palace, Mantua; 1474; Fresco

Question 21

Answer 21

Sandro Botticelli; “Birth of Venus”; c. 1482; Tempera on canvas, Florence, Italy

Elongated, elegant, even languid - as if just waking up. Her flowing hair, echoing the elegant drapery curves and translucent waves, conveys a linear characteristic of Botticelli’s style.

Question 22

Answer 22

Robert Campin; “Mérode Altarpiece”; c. 1425-30; Tempera and oil on wood

Question 23

Answer 23

Jan van Eyck; “Arnolfini Portrait”; 1434; Oil on wood; London, England

Question 24

Answer 24

Leonardo da Vinci; “Embryo in the Womb”; c. 1510; Pen and brown ink; Royal Collection, Windsor Castle, Royal Library, England

Correctly drew the position of the fetus in the uterus and the shape of the uterus.

Question 25

Answer 25

Leonardo da Vinci; "Last Supper"; refectory of Santa Maria delle Grazie, Milan; c. 1495-98; Fresco Geometry and perspective are significant: sets of 3 and 4. Judas seen as bad guy, head is lower than the others and is the only one with a shadow. Arch behind Jesus is a halo and being in the center of the window sheds light on him.

Question 26

Answer 26

Leonardo da Vinci; "Mona Lisa"; c. 1503-5; Oil on wood; Musée du Louvre, Paris, France Eyes seem to watch you everywhere. Stolen in 1911 and created a hug scandal which brought it fame. On the face: Chiaroscuro- light and dark shading defines form and volume. In the background: Sfumato- "toned down" or "vanished in smoke"

Question 27

Answer 27

Michelangelo; "David"; 1501-4; Marble; Florence, Italy Standing in contrapposto, links to Greek and Roman artwork. Very exaggerated in body proportions

Question 28

Answer 28

Michelangelo; ceiling of the Sistine Chapel; Vatican, Rome; 1508-12; Fresco Series of paintings recounting the Old Testament

Question 29

Answer 29

Michelangelo; "Creation of Adam"; c. 1510 God extending out to Adam. God is framed by a sweeping dark-red cloak containing a crowd of nude figures including a woman (identified by some scholars as Eve). Adam reclines languidly on the newly created Earth, for he has not yet received the spark of life from God’s touch

Question 30

Answer 30

Raphael; "School of Athens"; 1509-11; Stanza della Segnatura; Vatican, Rome; Fresco His Style: Clear and precise areas of large clean colors and intensely beautiful. Represents philosophy. Image of Plato (left) and Aristotle (right) in center. Put the faces of Renaissance artists on Greek philosophers

Question 31

Answer 31

Titian; "Venus of Urbino"; c. 1538; Oil on canvas; Galleria degli Uffizi, Florence, Italy Roses and myrtle are a symbol of the goddess

Question 32

Answer 32

Jacopo da Pontormo; "Entombment"; 1525-28. Oil on panel; Capponi Chapel, Santa Felicità, Florence, Italy

Question 33

Answer 33

Parmigianino, "Madonna and Child with Angels (Madonna of the Long Neck)"; c. 1535; Oil on panel; Galleria degli Uffizi, Florence, Italy

Question 34

Answer 34

Agnolo Bronzino, allegory called "Venus, Cupid, Folly, and Time"; c. 1545; Oil on wood; National Gallery, London, England. Style: mannerism. Dove and golden apple mean Venus is central woman. Son cupid touching her. Old man time pulling back a blue curtain

Question 35

Answer 35

Giambologna; 'Mercury"; c. 1576; Bronze; Florence, Italy. Balanced on the air

Question 36

Answer 36

El Greco; "Burial of the Count of Orgaz"; 1586-88; Oil on canvas; Church of Santo Tomé, Toledo, Spain

Question 37

Answer 37

Andrea Palladio; Villa Rotonda; Vicenza; 1566-70 Purely recreational building, used exclusively for entertaining, it did not have the functional additions found in Palladio’s other villas

Question 38

Answer 38

Hieronymus Bosch, "The Garden of Earthly Delights", triptych, c. 1510-15. Left panel: "Garden of Eden"; center panel: "World before the Flood"; right panel: "Hell". Oil on wood; Madrid, Spain. SUPER COMPLEX AND CONTROVERSIAL. Commissioned in a private home of a wealthy patient, not a church. Lower Left side, representation of book of Genesis. Right hand panel, is Bosch’s vision of hell, central figure is the tree man torso looks like broken egg shell, scholars believe face is self portrait of Bosch. Central panel, vision of life on Earth

Question 39

Answer 39

Caterina van Hemessen; "Self-Portrait"; 1548; Oil on panel; Switzerland

Question 40

Answer 40

Pieter Bruegel the Elder; "Landscape with the Fall of Icarus"; c. 1554-55; Oil on panel; Brussels, Belgium Bottom right, Icarus drowning after his wings melted from getting too close to the sun

Question 41

Answer 41

Pieter Bruegel the Elder; "Netherlandish Proverbs"; 1559; Panel; Berlin, Germany. Colors used as symbols. Each instance of red = sin. Blue = deceit or foolishness. Contains several stories and is moralistic

Question 42

Answer 42

Albrecht Dürer; "Self-Portrait"; 1498; Oil on panel; Museo del Prado, Madrid, Spain Wearing fancy clothing showing his high ranking

Question 43

Answer 43

Albrecht Dürer; "Melencolia I"; 1514 Engraving print. Depiction of the typically personality of an artist. Melancholic at the time- introverted, perfectionist, very sensitive

Question 44

Answer 44

Albrecht Dürer; "Erasmus"; 1526 Engraved a portrait of Erasmus writing in his study, surrounded by the books that denote his substantial intellect and scholarship

Question 45

Answer 45

Matthias Grünewald; "Crucifixion with Saint Sebastian"; c. 1510-15; Oil on panel; Colmar, France. Crucifixion (center), Saint Sebastian (left), Saint Anthony (right), and Lamentation (below). Shows somber scenes

Question 46

Answer 46

Matthias Grünewald; "Annunciation, Virgin and Child with Angels and Resurrection"

Question 47

Answer 47

Lucas Cranach the Elder," Crucifixion"; 1503; Panel; Munich, Germany Thieves on the left and Christ on the right who looks a lot stronger and more vibrant

Question 48

Answer 48

Hans Holbein the Younger; "Henry VIII"; c. 1540. Oil on panel; Rome, Italy Significant pose: body takes up entire frame to convey strength and power. Showing off jewels and fabric of embroidering

Question 49

the activity, spirit, or time of the great revival of art, literature, and learning in Europe beginning in the 14th century and extending to the 17th century, marking the transition from the medieval to the modern world

Answer 49

Renaissance

Question 50

a Renaissance cultural movement that turned away from medieval scholasticism and revived interest in ancient Greek and Roman thought

Answer 50

Humanism

Question 51

an image, often in the form of a skull, to remind the living of the inevitability of death.

Answer 51

Memento Mori

Question 52

the converging lines that meet at the vanishing point

Answer 52

orthogonal

Question 53

The point where two converging lines meet

Answer 53

Vanishing Point

Question 54

refers to a physical/visual boundary where sky separates from land or water. It is the actual height of the viewer's eyes when looking at an object, interior scene, or an exterior scene

Answer 54

Horizon Line

Question 55

a mathematical system devised during the Renaissance to create an illusion of depth in a twodimensional image, through the use of straight lines converging toward a vanishing point in the distance

Answer 55

Linear Perspective

Question 56

a perspective system involving a single vanishing point.

Answer 56

One-Point Perspective

Question 57

a cross in which the vertical arm is longer than the horizontal arm, through the midpoint of which it passes

Answer 57

Latin Cross

Question 58

a paint in which the pigments are mixed with egg yolk and water

Answer 58

Tempera Paint

Question 59

denoting attitudes, activities, or other things that have no religious or spiritual basis

Answer 59

Secular

Question 60

a technique for creating an illusion of distance by the use of less distinct contours and a reduction in color intensity

Answer 60

Aerial/Atmospheric Perspective

Question 61

an altarpiece or painting consisting of one central panel and two wings.

Answer 61

Triptych

Question 62

a painting or relief, usually an altar piece, composed of more than three sections.

Answer 62

Polyptych

Question 63

a technique of painting on the plaster surface of a wall or ceiling. In buon fresco, the paint is applied while the plaster is still damp so that the pigments bond with the wall

Answer 63

Fresco

Question 64

slowdrying and flexible paint formed by mixing pigments with the medium of oil

Answer 64

Oil Paint

Question 65

the meaning of the subject matter

Answer 65

Iconography

Question 66

(a) a circular painting; (b) a medallion with relief sculpture.

Answer 66

Tondo

Question 67

the subtle gradation of light and shadow used to create the effect of three dimensionality

Answer 67

Chiaroscuro

Question 68

the definition of form by delicate gradations of light and shadow

Answer 68

Sfumato

Question 69

excessive or self-conscious use of a distinctive style in art, literature, or music

Answer 69

Mannerism