Chapter 25 (20) Homework Quiz

In what guise did Rembrandt portray himself and what statement does it make about his craft?

- He presented himself as a working artist. In his hands he holds the tools of his craft - his brushes, palette and maulstick. - His distinctive use of light and assertive brushwork suggests his confidence and self-assurance. - The circles on the wall may allude to a symbol of artistic virtuosity - the ability to draw a perfect circle. - Rembrandt's numerous self-portraits reflect his deeply personal connection to his craft.

In the 17th century __________________ became the financial center of the continent with the founding of the _____________________________. It initiated transfer banking and allowed a wider distribution of wealth through broader and easier acquisition of merchandise.

Amsterdam; Bank of Amsterdam

______________________________ transformed a forest, the surrounding countryside where the original hunting lodge was located, into a park. He transitioned the dense and wild growth with meadowlands to serve as distant views. The grounds closer to the palace were tightly designed and controlled.

André Le Nôtre

Rubens has synthesized the styles of Italian artists in his Elevation of the Cross. Which of the following describes this work?

- Rubens, deeply impressed by Michelangelo's twisting sculpted and painted figures, showed his prowess in representing foreshortened anatomy and the contortions of violent action. •Rubens placed the body of Christ on the cross as a diagonal that cuts dynamically across the picture while inclining back into it. •The whole composition seethes with a power that comes from strenuous exertion, from elastic human sinew taut with effort. The tension is emotional as well as physical, as reflected not only in Christ's face but also in the features of his followers. •Bright highlights and areas of deep shadow inspired by Caravaggio's tenebrism, hallmarks of Rubens's work at this stage of his career, enhance the drama.

Hendrick Ter Brugghen an artist in the Dutch Republic did produce religious art. He painted the Calling of Saint Matthew a Caravaggio theme. Hendrick followed Caravaggio's composition in many aspects. Which of these statements or statement is an example of an aspect that he did not follow?

- The Dutch painter compressed the figures into a small but well-lit space, creating an intimate effect compared with Caravaggio's more spacious setting. - He dispensed with Caravaggio's stark contrasts of dark and light and instead presented the viewer with a more colorful palette of soft tints. - The moment of the narrative chosen and the naturalistic depiction of the figures echo Caravaggio's work. 1) He did not use tenebrism which was very important in Caravaggio's paintings and in Italian Barorque

Inigo Jones created a clear and dignified design for the Banqueting House at Whitehall. He superimposed two orders by using columns in the center and pilasters near the ends. The balustrade roofline has an uninterrupted horizontal sweep that predates which of the following structures?

East façade, Louvre

_________________ perfected the medium of etching, Rembrandt was among those who knew and learned from his work. He created one of the first pictorial records of the human disaster armed conflict creates. His etchings created detailed powerful statements, and his work was widely known and influential.

Jacques Callot

The fluid articulation of human forms in the work Consequences of War and the energy emanating from the chaotic scene are hallmarks of ___________________________ mature style.

Peter Paul Rubens ??

_______________ was the leading proponent of classicism in 17th-century Rome. His "grand manner" paintings are models of "arrangement and measure" and incorporate figures inspired by ancient statuary.

Poussin

How does perspective control what we see in this painting? Why?

The perspective orthogonals direct the viewer's attention neither to the woman's head nor her treasures, but to the hand in which she holds a balance for weighing gold. The scales, however, are empty, in perfect balance, the way Ignatius of Loyola advised Catholics (Vermeer was a Catholic convert in the Protestant Dutch Republic) to lead a temperate, self-aware life and to balance one's sins with virtuous behavior.

In Rembrandt's Anatomy Lesson of Dr. Tulp, he has clustered the participants on the left side and has placed Dr. Tulp on the right side with the diagonally placed foreshortened corpse disrupting the strict horizontal, planar orientation. This is in sharp contrast to which of the following traditions of group portraiture?

The subjects were placed evenly across the canvas

Wren synthesized the design elements from the Italians, French, and Inigo Jones into a unified monumentality for which of the following churches?

St. Paul's, London

Vermeer was known to have used which of the following tool?

camera obscura

The proportions of the building, the symmetry the accent on horizontal lines and the central pavilion that is shaped like a classical temple are ________________________. The scale, the shadowy depth created behind the colonnade, the doubling of the columns, and the tripartite division with central emphasis and salient end pavilions are __________________________. This structure is a blend of _________________________________________ and reflects the style and taste of Louis XIV.

classical elements; Baroque features; classical and Baroque elements

Jacob van Ruisdael specialized in which of the following genres?

landscapes

17th-century Dutch art centered on genre scenes, landscapes, portraits of middle-class men and women, and still lifes, all of which appealed to the newly prosperous Dutch merchants.

True

In Jan Steen's The Feast of St. Nicolas the artist has captured the joy and chaos of Christmas holidays. He has also added a subtle satirical jab at adult society by using children and their behaviors to mirror adult behaviors. Which of the following behaviors did Steen allude to in this painting?

selfishness

How did Georges de la Tour eliminate dogmatic significance and traditional iconographic meaning in his Adoration of the Shepherds?

the absence of halos

In contrast to Catholic religious images Rembrandt's Return of the Prodigal Son can be said to be which of the following?

It is a painting of inward turning contemplation.

Hardouin-Mansart's Church of the Invalides in Paris marries of which of the following styles?

Italian Baroque and French classical architectural