ARTS 1101 - Quiz 4

Orthogonals

The lines of perspective that appear as diagonal lines in perspective diagrams, which all converge as they recede back into space.

Vanishing point

The point where all lines of perspective converge, and where objects receding into space appear to disappear.

Actual space

The space and three dimensions (height, width, and depth) in which we live and move.

Impasto

The thick application of paint so that an actual texture is built up on the surface, as seen especially in the paintings of Vincent van Gogh.

Dramatic use of light Motion Space Concept of time Passionate theatricality

Which of the following are the most important characteristics of Baroque art?

The figures in the lower half of The Burial of Count Orgaz, representing those on earth, are only somewhat distorted and elongated, but still within the bounds of realism, while the heavenly figures above are extremely attenuated (unnaturally thin). El Greco was a late Renaissance artist working in Spain who was known for his distortion of figures and use of ambiguous space that speak for his interest in a style called Mannerism. El Greco's The Burial of Count Orgaz combines mysticism and realism, with a canvas divided into two halves separating heaven (mysticism) and earth (realism). The emphasis on emotionalism within The Burial of Count Orgaz links El Greco to the onset of the Baroque era, as his work contains a dramatic, theatrical flair.

Which of the following statements are true of El Greco and his painting, The Burial of Count Orgaz (pictured below)?

Photorealism

An artistic style in which subjects are rendered through drawing or painting with hard, photographic precision.

Kinetic sculpture

Artwork that actually moves, by use of a motor, wind, or other method.

Vertical positioning

A method of creating the illusion of space by placing objects designated as being farther from the viewer toward the upper edge of the composition.

Trompe L'oeil

Literally meaning "trick of the eye," an artwork that creates such a realistic image that the viewer may wonder whether it is real or an illusion.

True

T/F? Chuck Close's Big Self-Portrait (pictured below) is a large-scale photorealistic painting that was created by using a grid technique to enlarge a photographic image and transfer it onto the canvas in painstaking detail.

False

T/F? In two-point perspective, there are two vanishing points and also two horizon lines.

True

T/F? Sculptors of the Late Classical period in ancient Greece, such as Praxiteles, were known for their skill in depicting variations in texture out of hard marble, such as the solid, toned muscles of a man versus the soft, cuddly flesh of a child.

True

T/F? The Rococo style is recognized as a more distinct style within the Baroque that began shortly after the dawn of the 18th century, which strayed further from Classical principles, was even more ornate, and characterized by sweetness, gaiety, and light.

True

T/F? The hazy, desaturated green colors of the trees in the far background towards the center of the painting below is an example of atmospheric perspective.

False

T/F? When discussing the texture of the Venus de Milo sculpture (pictured below), the actual texture would refer to the illusion of soft skin and flowing fabric, while the visual texture would refer to the hard marble material that it is created out of.

Vantage point

The actual or apparent spot from which a viewer observes an object or picture.

Linear perspective

The creation of the illusion of depth in a two-dimensional artwork using a formal system of lines that appear to converge as they recede from the viewer, and based on the fact that objects appear smaller when they are farther from the viewer.

Atmospheric perspective

The creation of the illusion of depth using an indistinct and hazy effect produced by distance, though the use of a texture gradient, brightness gradient, and color saturation.

Horizon line

The horizontal line where all lines of perspective converge, and the imaginary line perceived where the earth and sky meet.

Pictorial space

The illusionary space that provides a sense of three-dimensional depth in a two-dimensional composition, such as a painting or drawing.

Motion and space are considered in Bernini's David because of how the figure is no longer in the Classical contrapposto stance, but rather extends into the surrounding space away from a vertical axis. In The Ecstasy of St. Theresa, Bernini described vastly different textures out of marble including the roughly textured clouds, the heavy folds of Theresa's woolen garment, and the "wet-look" drapery of the angel. Bernini's The Ecstasy of St. Theresa commemorates a mystical event in which Theresa, a Carmelite nun, believed she was being stabbed by an angel of God with a fire-tipped arrow. Bernini's David differs from earlier Renaissance versions of the same subject in that Donatello's David is presented after battling Goliath, Michelangelo's David is presented before the battle, but Bernini's is presented in the process of the battle. Bernini's David differs from earlier Renaissance versions of the same subject in a distinctly Baroque manner, as implied motion, a different way of looking at space, and the concept of time are all greatly considered.

Which of the following statements are true of Gianlorenzo Bernini and his sculptures, The Ecstasy of St. Theresa (pictured below in detail) and David (also pictured below)?

Laocoon and His Sons shows the Trojan priest Laocoon, who is being punished by the gods for his attempt to warn his people against bringing the giant wooden horse gifted by the Greeks into their city. In three-dimensional Hellenistic art, the space surrounding the figures was treated as an extension of the viewer's space, narrowing the fine line between art and reality. Hellenistic art is characterized by excessive, theatrical emotion and the use of illusionistic effects to heighten realism, as seen in the high drama and unleashed passion of Laocoon and His Sons. Unlike earlier Greek artistic styles, Hellenistic artists did not focus on a balance between emotion and restraint, but instead portrayed human excess.

Which of the following statements are true of Hellenistic art, such as Laocoon and His Sons (pictured below)?

The orthogonals of The Last Supper converge at the head of Jesus at the center of the composition, and he is depicted in a triangular form which catches the viewer's eye. The Last Supper displays the Renaissance ideals of Classicism, humanism, and technical perfection coming to full fruition, with the use of one-point linear perspective and a balance between emotion and restraint. The Last Supper depicts the moment when Jesus told his disciples, "One of you will betray me," while they gesture expressively and react to the accusation. Leonardo was not only an artist, but also known for his capabilities in engineering, the natural sciences, and music, and even designed prototypes for airplanes and submarines. The condition of The Last Supper today is poor because of Leonardo's experimental fresco technique, and also perhaps because of the steaming of pasta for centuries on the other side of the wall.

Which of the following statements are true of Leonardo da Vinci and his painting, The Last Supper (pictured below)?

Raphael was an artist who freely adopted whatever suited his purpose and combined techniques from other Renaissance masters, including assimilating the lessons offered by Leonardo, and was even accused by Michelangelo of copying him. The School of Athens was commissioned for the Stanza della Segnatura at the Vatican, and was executed by Raphael at the same time that Michelangelo was working on the Sistine Chapel ceiling. The School of Athens presents various famous figures from Classical Greece modeled after Renaissance contemporaries, including Plato (modeled after Leonardo), Euclid (modeled after the architect Bramante), and Hericlitus (modeled after Michelangelo). The orthogonals depicting space in The School of Athens draw the viewer's attention towards the two figures in the center, Plato and Aristotle.

Which of the following statements is true of Raphael and his painting, The School of Athens (pictured below)?