Test 1- ARTS 1304

What features mark this work as High Renaissance? Leonardo da Vinci's Last Supper !!!All of these answers mark this work as High Renaissance. One will be wrong on the test. Test asks which one does NOT, so DO NOT choose any of these answers on the test!!! A. It shows a complete command of the techniques of linear perspective but subordinates them to the dramatic presentation of the image. B. The orthogonals converge on Christ's head, which is also framed by the light of the window and the curved pediment. C. Leonardo groups the Apostles dramatically and has them react to Christ's announcement that one of them would betray him. D. By the placement of Judas on the same side as Christ and the other Disciples

!!!All of these answers mark this work as High Renaissance. One will be wrong on the test. Test asks which one does NOT, so DO NOT choose any of these answers on the test!!!

In one of his most famous engravings Dürer explores the nature of artistic creativity. Which of these is NOT an example of this? A. Doubtless deeply affected by the new humanistic view that had emerged in Renaissance Italy of the artist as a divinely inspired genius, Dürer responded by painting himself as a Christ like figure. B. Above the brooding figure of Melancholy is an hourglass with the sands of time running out. 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. C. 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. D. 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.

A. Doubtless deeply affected by the new humanistic view that had emerged in Renaissance Italy of the artist as a divinely inspired genius, Dürer responded by painting himself as a Christ like figure.

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? A. Each figure was individualized B. He grouped the figures in threes and they all expressed the same emotion C. He used the emotions of rage and sorrow for each figure appearing at each end of the table D. All the figures expressed only rage

A. Each figure was individualized

In Masaccio's Trinity, he embodies two principal Renaissance interests. One is realism based on observation. Which of the following is the other? A. It is the application of mathematics to pictorial organization of perspective. B. It is the use of antique elements as components of the work. C. It is the introduction of the donors into the context of the work. D. It is using architecture as a frame.

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

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? A. Michelangelo B. Benvenuto Cellini C. Giovanni da Bologna D. Christoforo Foppa Caradosso

A. Michelangelo

Which art form grew in popularity partially because of its ability to memorize the sitter? A. portraiture B. reliquaries C. Small altarpieces D. Church construction

A. Portraiture

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" A. The Colegio de San Gregorio B. Chateay de Chambord C. El Escorial D. El Greco

A. The Colegio de San Gregorio

Art thrived in Northern Europe during that the 15th century. Two developments were of special significance: A. the adoption of oil-based pigments as the leading medium for painting and the blossoming of printmaking as a major art form. B. the establishment of deals of master craftspeople and apprentices in artists' studios. C. the creation of the International Style and its use a weightless figures in golden space-less settings. D. the introduction of gold ground panel painting and the use of tempera paint.

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

Jan van Eyck's, Giovanni Arnolfini and His Bride contains many symbols. Which of the following is an illusion to fidelity? A. the dog B. the bedpost C. The whisk broom D. The mirror

A. The dog

El Greco's View of Toledo departed from traditional landscape paintings of his time. Which of these is NOT an example of this? A. The spectator encounters a mesmerizing array of activities reminiscent of the topsy-turvy scenes like Bosch. B. 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. C. He also did not render the architectural structures in great detail as other Renaissance artists did. D. He created an eerie atmosphere in broad brushworks which were typical of his late style.

A. The spectator encounters a mesmerizing array of activities reminiscent of the topsy-turvy scenes like Bosch.

The Merlode 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? (Select multiple) -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 places 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 taking 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.

ALL of these statements are true

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. (fill in the blank)

Albrecht Dürer

Which of these statements does NOT show how Dürer represented himself in this Self-Portrait and what it said about the artist's craft? A. This image of the artist, with his short beard and long hair evoked devotional images of Christ. B. Artists were " saturnine"— eccentric and capable both of inspired artistic frenzy and melancholic depression. C. The portrayal of himself as a Christ-like figure evoked humanistic views of the artist as divinely inspired. D. The focus on his hand alluded to its status as a creative instrument.

B. Artists were " saturnine"— eccentric and capable both of inspired artistic frenzy and melancholic depression.

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 with Mantegna's trompe l'oeil (French, "deceives the eye") design and the room's decoration with the first perspective of a ceiling seen from below. A. Camera Picta; linear style B. Camera Picta; Baroque C. Interior of Sant' Andrea; linear style D. Interior of Sant' Andrea; linear perspective

B. Camera Picta; Baroque

Giulio Romano's Palazzo del Tè of _______________architecture breaks the rules of good design by creating ambiguities and tensions. A. Baroque B. Mannerist C. High Renaissance D. Venetian Renaissance

B. Mannerist

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 statement or statements supports this? (Select multiple) A. The bride's betrothal girdle lies on the table as a symbol of chastity, and the woman reaches for the ring the goldsmith weighs. B. 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. C. A halo once encircled the goldsmith's head, seemingly confirming the religious nature of this scene. D. 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.

B. 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. D. 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.

___________________ 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. A. Isabella d'Este B. Sofonisba Anguissola C. Isabella of Aragon D. Lucrezia Tornabuoni

B. Sofonisba Anguissola

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. The question on the test will be: Which of these are NOT true statements about Giotto's Lamentation? A. 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. B. the rhythm of expanding and contradicting forms of the drapery folds in the garment and backdrop produces a most vivid effect of motion and change, but he held it in check by the regularity of the design and by the dominating motif of the inscribed cross. C. 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. D. 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 his figures volume (first step to the development of chiaroscuro in the Renaissance).

B. the rhythm of expanding and contradicting forms of the drapery folds in the garment and backdrop produces a most vivid effect of motion and change, but he held it in check by the regularity of the design and by the dominating motif of the inscribed cross.

In Madonna in the Meadow Raphael adopted Leonardo's ___________________________, which became a favorite compositional device of painters of the High Renaissance? A. A flat triangular composition and dusky modeling B. A trapezoidal composition and lighter tonalities and blue skies C. A pyramidal composition and modeling of faces and figures in subtle chiaroscuro D. An oval composition and modeling of faces and figures in subtle chiaroscuro

C. A pyramidal composition and modeling of faces and figures in subtle chiaroscuro

By ______________________ Donatello revolutionized relief sculpture in his image of Saint George Slaying the Dragon. A. Placing his work in a quatrefoil B. Gliding the surface C. Creating an atmospheric effect using incised lines D. Including many episodes of one scene

C. Creating an atmospheric effect using incised lines

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? A. Idolatry B. Iconography C. Iconoclasm D. Iconology

C. Iconoclasm

Pierre Lorenzetti's Birth of the Virgin ______________________. A. is elegant shape, radiant color and flowing line and becomes a metaphor for the courtly style of the French Gothic painter. B. is the difference between a secular moment presented as a religious dialog. C. is presented as if it occurred in a contemporaneous Italian household. The careful observation of domestic details placed the event in an actual household. D. Although it is fictionalized and allegorical, the artists have given us glimpse in the wide separation of social strata as well as the inevitability of death.

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

The Nuremberg Chronicle is a tribute to the new craft of the printed illustrated book. What was the content of the Nuremberg Chronicle? A. It was the history of Nuremberg. B. It was the history of Germany. C. It was the history of the world. D. It was the history of the illustrated book.

C. It was the history of the world.

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. A. Leonardo B. Raphael C. Michelangelo D. Titian

C. Michelangelo

Which of the following artists departed from the rule of frontality that dominated sculpture since the Middle Ages? A. Piero della Francesca B. Paolo Uccello C. Pollaiuolo D. Andrea del Castagno

C. Pollaiuolo

How did Protestant views of religious art differ from Catholics and what effect did their views have on the appearance of their churches? (select multiple) A. In addition to the intellectual arguments presented by the Protestants, there was also an attempt to curb interior decorative programs of Protestant churches at times to outright iconoclasm. B. The major difference between Protestant and Catholic churches is the imagery and the decided lack of imagery in a Protestant church. C. Protestant leadership felt images would distract the worshipper from the direct communication with God, which was the sole purpose for their presence in church. D. Catholics embraced church decoration as an aid to communicating with God.

C. Protestant leadership felt images would distract the worshipper from the direct communication with God, which was the sole purpose for their presence in church. D. Catholics embraced church decoration as an aid to communicating with God.

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? A. Political references B. Social references C. Religious references D. Cultural references

C. Religious references

What anamorphic symbol appears in Holbein's French Ambassadors? A. Skeleton B. Seal of Francis I C. Skull D. Seal of Henry VIII

C. Skull

The Classical principle of contrapposto, or weight shift, was reintroduced into Western art by the sculptor ___________. A. Ghiberti in Saint Mark B. Verrocchio in Saint Mark C. Pollaiuolo in Saint Mark D. Donatello in Saint Mark

D. Donatello in Saint Mark

When we look 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. The test will ask, which of these statements is NOT true about these works? A. both works are carefully structured, are basically semetrical and are contained in gabled shape. They both use gold embellishment common to Byzantine art. Most importantly they have the same content and composition to a large extent. B. 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 the rear rather than atop one another as in Cimabue's composition. C. 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 unshakeable stability of an ancient marble goddess. The throne is deep enough to contain this monumental figure, its niche-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 unsure Ly not solidly, the body lacks the correct perspective and depth making one unsure of the form beneath the drapery that is done in stylized technique so that it also lacks depth and form. D. Giotto's greater use of graded continuum of light and shade makes for a more naturalistic composition.

D. Giotto's greater use of graded continuum of light and shade makes for a more naturalistic composition.

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. A. Michelangelo Buonarroti, Bound Slave B. Cellini, Genius of Fontainebleau C. Benvenuto Cellini, Saltcellar of Francis I D. Giovanni da Bologna, Abduction of the Sabine Women

D. Giovanni da Bologna, Abduction of the Sabine Women

How did this artist "temper naturalism with artistic license"? A. 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 increased the size of Christ's head. Since this was the focal point of the painting. B. Mantegna, Foreshortened Christ, this is a realistic study in foreshortening, that is why it is so believable. C. There is not a perspective system in use for foreshortening that is based on mathematical formulas there is just a rationalization of sigh. D. 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.

D. 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.

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. A. Historical B. Visual C. Teaching D. Propagandistic

D. Propagandistic

Why are so many Italian church facades left incomplete during the 14th century? A. Because 60% of the population died during the Black Death there were not enough people left the finish building the churches. B. Because of the Great Schism split the church into two branches at this time there was not enough money to finish the churches. C. It was a combination of two factors that took place during this century, Black Death which did not leave t enough people left the finish the churches and the Great Schism that did not leave the church with enough money. D. 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.

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

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 _________________. A. The exterior panels with the unusual amalgam of different styles, locales, and religious symbolism. B. The solid gold background and flat golden halos for the holy figures, regardless of the positions of their heads C. In the right panel, a statue of a Greco-Roman god falls from the top of a column as the holy family approaches D. The illusionistic depiction of three-dimensional objects and the naturalistic representation of landscape

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

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? A. The drapery flowing from the body of Isaac B. The elongated S curve of Isaac's body C. The profusion of cloth puddled around Abraham D. The naked figure of Isaac

D. The naked figure of Isaac

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, _________________________. A. linear style; perspective; the seascape in Birth of Venus is a flat backdrop devoid of atmospheric perspective B. painterly style; perspective and anatomy; the Florentine allegorical pageants that were chivalric tournaments structured around allusions to classical mythology C. linear style; perspective; the Florentine allegorical pageants that were chivalric tournaments structured around allusions to classical mythology D. linear style; perspective and anatomy; the seascape in Birth of Venus is a flat backdrop devoid of atmospheric perspective

D. linear style; perspective and anatomy; the seascape in Birth of Venus is a flat backdrop devoid of atmospheric perspective

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 in over almost a century. Which of these is NOT an example of the changes? A. In Tintoretto's work the space is sliced by a sharp diagonal, it has imbalance 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. B. 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. C. 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. D. Leonardo's apostles seem posed for the occasion when contrasted with Tintoretto's spontaneously gesturing figures who look like they should move any moment. E. Both works have diagonals that lead toward a single horizon point and are balanced by strong horizontals and verticals in the architecture and figural groupings, lending a feeling of Classical stability and predictability.

E. Both works have diagonals that lead toward a single horizon point and are balanced by strong horizontals and verticals in the architecture and figural groupings, lending a feeling of Classical stability and predictability.

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". (fill in the blank)

Leonardo da Vinci; Michelangelo

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. (fill in the blank)

Module

Roger van deer Weyden, Deposition imitated large scale sculptured shrines popular in the fifteenth century. It served his purpose of expressing maximum action within a limited ________________. (fill in the blank)

Space

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 ____________________. (fill in the blank)

The civic meeting hall

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 _________________. (fill in the blanks)

Venetian art; Mannerist

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. (fill in the blanks)

Venetian; Florence and Rome

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___________________. (fill in the blank)

the exact location shown