Addendum (II)

STUDY-GUDIES for Each Test in the Course

 

STUDY-GUIDE for FIRST TEST:

 

The first test will cover material from the Introductory Section on through Section One of the course. Carefully review related material in class handouts and in your notes. On the web-site, give particular attention to: (1) the illustrations of the individual works of art covered in class; (2) the related sections on the more detailed, scrolling time-line, (click this reference on the home page of the course site); and (3) the review questions listed below.

 

PART I

Test yourself by answering the following questions:

 

What words other than, chroma refer to brightness in color?

 

What is the meaning of chiaroscuro?

 

What term describes the “illusion of space on a flat surface?”

 

Does a cool color seem to project toward the viewer?

 

Did Filippo Brunelleschi invent atmospheric perspective?

 

Is hatching a means by which one can create value?

 

Does Neolithic art emphasize animal imagery?

 

Who was the pharaoh who believed in only one god?

 

Is the kiva of the indigenous Native Americans of the southwestern

United States a type of “Sacred High Place” or “Sacred Space”?

 

Are most prehistoric images, tribal images, and images from the first great civilizations conceptual? If so, why?

 

Who was the pharaoh, who commissioned the great pyramid at Giza, Egypt?

 

What is a mastaba?

 

What is a hue?

 

Which word is synonymous with the word form?

 

Approximately, when did the first great civilizations begin?

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PART II

Click on the coded references below, highlighted in cyan (light blue), to see the illustrations of the possible choices:

 

Which sculpture conveys plastic qualities? RVA01 or RVA02

 

Which is Paleolithic? RVA03 or RVA04

 

Which is an example of artificial (non-representational)

texture? RVA05 or RVA06

 

Which is an example simulated texture? RVA07 or RVA08

 

Which work of art is pragmatic in function? RVA09 or RVA10

 

Which work shows hatching? RVA11 or RVA12

 

Which is a bas-relief sculpture? RVA13 or RVA14

 

Which work contains the tao-tieh mask motif? RVA15 or RVA16

 

Which is a depiction of an Egyptian hypostyle hall? RVA17 or RVA18

 

Which is an example of a Neolithic cromlech? RVA19 or RVA20

 

Which work conveys glyptic sculptural qualities? RVA21 or RVA22

 

Which is a cast brass sculpture from the no longer existing African Kingdom of Ife? RVA23 or RVA24

 

Which painting is an emphatic example of foreshortening? RVA25 or RVA26

 

Which work is a clear example of the use of

value to create the illusion of volume? RVA27 or RVA28

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STUDY-GUIDE for Mid-Term Exam

 

The mid-term exam will cover material from Section One through section Four of the course. Carefully review related material in class handouts and in your notes. On the web-site, give particular attention to: (1) the illustrations of the individual works of art covered in class; (2) the related sections on the more detailed, scrolling time-line, (click this reference on the home page of the course site); and (3) the review questions listed below.

 

 PART I

Test yourself by answering the following questions:

 

What is a royal portal?

 

Is Romanesque art the same as Roman art? If not, why not? If so, why?

 

What is a metope?

 

Is Romanesque imagery abstract or representational?

 

Who was the architect of the Parthenon, the temple in Athens dedicated to Athena?

 

To what does the term, “twisted perspective” refer?

 

What is the ideal related to a Classical image of a Greek god or goddess?

 

Which images of Christ are not iconographically clear, in relation to their scriptural sources, (ie. "NS" types)?

 

When did the Carolingian period occur?

 

Who was Phidias?

 

What is the most necessary structural element in Gothic architecture?

 

Of the works of architecture studied in class, which was designed by Le Corbusier?

 

Who were the three great pioneers of modern architecture?

 

What is a transept?

 

What is a clerestory?

 

What is a frontispiece?

 

What is a Pantocrator?

 

Who were the architects of Hagia Sophia?

 

What is a cubiculum?

 

Which Greek order of architecture contains volutes in the capitals of its columns?

 

What is an agora?

 

What is used to make true tempera paint?

 

What is a good four word definition of the Byzantine Empire?

 

What significant, medieval, architectural structure is associated with

the iconographical image of, “Mary Seat of Wisdom?”

 

What is the term used to indicate a symbolic hand position on an image of Buddha?

 

What is an apse?

 

PART II

Click on the coded references below, highlighted in cyan (light blue), to see the illustrations of the possible choices:

 

Which is a polyptych? RVB01 or RVB02

 

Which was designed by Frank Lloyd Wright? RVB03 or RVB04

 

Which shows a Corinthian column? RVB05 or RVB06

 

Which image of Christ is more iconographically

related to descriptions in scriptural sources, (an “S” image)? RVB07 or RVB08

 

Which is an example of the Amarna style of Egyptian art? RVB09 or RVB10

 

Which is an example of repousee’ sculpture? RVB11 or RVB12

 

Which is a Doric frieze? RVB13 or RVB14

 

Which is a depiction of a ziggurat? RVB15 or RVB16

 

Which is an Archaic Greek sculpture of a kouros? RVB17 or RVB18

 

Which is Byzantine? RVB19 or RVB20

 

Which sculpture is by Ghiberti? RVB21 or RVB22

 

Which did Masaccio paint? RVB23 or RVB24

 

Which did Brunelleschi design? RVB25 or RVB26

 

Which did Jan van Eyck paint? RVB27 or RVB28

 

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STUDY-GUIDE for Third Test:

 

The third test will cover material from the Section Five through Section Seven of the course. Carefully review related material in class handouts and in your notes. On the web-site, give particular attention to: (1) the illustrations of the individual works of art covered in class; (2) the related sections on the more detailed, scrolling time-line, (click this reference on the home page of the course site); and (3) the review questions listed below.

 

PART I

Test yourself by answering the following questions:

 

What is used to paint a fresco?

 

What is a tympanum?

 

What is a lunette?

 

What is a triptych?

 

When did the High Renaissance occur?

 

Who commissioned Michelangelo to paint the Last Judgment fresco in the Sistine Chapel?

 

What is are ignudi?

 

Which subject matter did Leonardo da Vinci prefer?

 

During what period of the Italian Renaissance did Giotto work?

 

Who painted the fresco, The School of Athens?

 

In which country did Northern High Renaissance artists find their initial patronage?

 

Who was the first architect of the present St. Peter’s Basilica in Rome?

 

PART II

Click on the coded references below, highlighted in cyan (light blue), to find the proper choice for the following questions:

 

Which is a Mannerist work? RVC01 or RVC02

 

Which work is by an Early (15th century) Italian

Renaissance Painter? RVC03 or RVC04

 

Which work is a portrait painted by Hans Holbein

the Younger? RVC05 or RVC06

 

Which is a work of High Renaissance art? RVC07 or RVC08

 

Which is an ancona altarpiece? RVC09 or RVC10

 

Which scene of a deposition is in the Mannerist style? RVC11 or RVC12

 

Which is an image of an ignudo? RVC13 or RVC14

 

Which of the frescos shown is located in a lunette? RVC15 or RVC16

 

Which is a sculpture of Michelangelo’s late period? RVC17 or RVC18

 

Which is a medieval, Northern, European pieta’? RVC19 or RVC20

 

Which Hellenistic Greek sculpture may have influenced

Michelangelo’s depiction of the torso of Christ his Last Judgment

fresco in the Sistine Chapel? RVC21 or RVC22

 

Which is a scene from Giotto’s fresco series in the

Arena Chapel in Padua, Italy? RVC23 or RVC24

 

Which work is by Matthias Grunewald of the

German High Renaissance? RVC25 or RVC26

 

Which is a Baroque sculpture? RVC27 or RVC28

 

PART III


Additional Review Material for Third Test:

 

(I)   HIGH RENAISSANCE ART:

 

(A)  Stylistic Aspects:

1.  Closed-Composition, as contrasted with Open-Composition of the Early Renaissance

2. Other Composition Aspects , based on large geometrical compositional groupings

3.  Figure Types, few in number, placed close to the picture plane, and appearing to be more interactive with one another, both physically and emotionally.

4.  Greco-Roman Classical Types, used to emphasize ideal proportions.

 

(B) Differences between Leonardo da Vinci and Michelangelo:

Leonardo (1452-1519) Michelangelo (1475-1564)
1. Philosophically
Empirical and Inductive in reasoning,  using Aristotle as a model Idealistic, in a Neo-platonic sense, using Plato as a model and deductive reasoning
2.   Preferred Artistic Medium
Oil Painting Carved Marble Sculpture
3.   Preferred Subject Matter
Ideal Classical Female Face Muscular Male Figure
4.    Personality Characteristics
Reflective and Analytical Passionate and Melancholy
5.    Spiritual Convictions
A sincere agnostic, (One who is not certain of the existence of God.).  Yet, before his death,  Leonardo did express  belief in God in his writings. A devout Christian, faithful Roman Catholic, and mystic, who increasingly sought to abandon his life to God.
6.    Sexually
Never married, was a known homosexual, and was once jailed for being so. Never married, yet had close friendships with both men and women.  There is no clear evidence to indicate that Michelangelo had any other than heterosexual inclinations - despite the views of certain revisionists,  who vainly try to indicate otherwise.
7.    Patronage
Free-lance artist, who received major commissions from the nobility and from various, churches in throughout Italy. Devoted most of his time and energies to immense projects in sculpture, painting, and architecture and mostly commissioned by the Medici family in Florence and by the popes in Rome.
8.   Avocations
Though both were equally facile and creative in painting, sculpture, and architecture, both also were gifted in many other areas of study and creativity. For example, Leonardo emphasized scientific experimentation and mechanical invention; while Michelangelo expressed himself in well-written and thoughtful sonnets.  Both also wrote music and invented musical instruments, (sadly none of the music or instruments has survived).  In addition, both were excellent engineers.  

Some Significant Artists of the High Renaissance:

In Italy:  *Leonardo da Vinci,  *Michelangelo Bounarotti,  *Raphael Santo,  and  *Donato Bramante, *first architect of the present St. Peter’s Basilica in Rome. 

In Northern Europe:   *Albrecht Durer;  *Hans Holbein, the Younger, *(one of the greatest portrait painters of all time);   *Mathias Grunewald.  *(Know these artists well).

 

(C) The Sistine Chapel:

Three Major Areas of Fresco Painting in the Sistine Chapel:

1.   The Frescos of the Early Renaissance, located below the Windows:

      (a)   Subject:  on the Left side of the Chapel, looking toward the altar are the,
              Scenes from the Life of Moses; these paralleled on
              the Right side of the Chapel, with the, Scenes from the Life of Christ. 
      (b)   Patron:  Pope Sixtus the IV, who also commissioned the Sistine Chapel to be built.
      (c)   Date:     1481.
      (d)   Style:     Early Renaissance.           
      (e)   Artists:   many of the most accomplished artist in Italy of the fifteenth century, including:                   
              Botticelli,  Ghirlandaio,  and Perugino, who also was supervisor of the entire project.

2.   The Ceiling Fresco:

      (a)   Subject:  The Creation, featuring nine central scenes from the Biblical Book of Genesis.    
      (b)   Patron:    Pope Julius II. 
      (c)   Dates:      1508-1512. 
      (d)   Style:      High Renaissance.
      (e)   Artist:     Michelangelo, working alone.                            
              (It took three and a half years to complete the painting, which contains over 300 figures).

3.   The Altar Wall Fresco:  

      (a)   Subject:  The Last Judgment.  
      (b)   Patron:   Pope Paul III.   
      (c)    Dates:     1534/6 - 1541. 
      (d)    Style:      Mannerist. 
      (e)    Artist:     Michelangelo, working alone.

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(II) Mannerism, 1520 - 1600: (The beginning of Mannerism in Italy, was supported mainly by Florentine patronage; whereas. the begriming of Mannerism in Northern Europe was supported mainly by Flemish patronage. Soon afterward the Mannerist style spread throughout the rest of Italy and the rest of northern Europe).

(A) Artistic Aspects of Mannerist Art: 

  1.   Lack of Central Focus in Composition.

  2.   Crowding,  (a sense of horror-vacui in the composition).

  3.   Distortions   in the depiction of anatomy, space, architecture, etc.

  4.   Strange Facial Expressions.

  5.   Disturbing Subject Matter.

  6.   Sense of Precariousness,  (seeming lack of balance in positioning of figures and objects).

  7.   Seemingly illogical Spatial Relations.

  8.   Seemingly illogical Relations in Proportion.

  9.   Rude Expressions and Gestures

10.   Unnatural Color Schemes.

11.   Unresolved Diagonal, Directional Lines in Composition.      

12.   Use of Extreme Detail, distracting the viewer. The resultant emotional experience is one of Tension).                                                 
  

(B)  Three Historical Influences on the Development of Mannerism:

1.  The Sack of Rome in 1527 by mercenary troops of Emperor Charles V

2.  New Outbreaks of Bubonic Plague  

3.  The Division within Christendom

(The Reformation, begun in October of 1517 by Martin Luther, not only resulted in a break between the followers of Luther and the Roman Catholic Church; but it also resulted in many divisions within Protestantism. The consequent suspicions, mistrust, and direct hatred led to divisions in religious communities throughout Europe.  In many instances prolonged, brutal religious wars resulted.  A consequent sense of deep anxiety and tension spread throughout Europe.  The strange subject matter, distortions in proportion, seeming lack of balance, and other illogical aspects of Mannerist art undoubtedly reflect the anxieties of the time.  *The Mannerist style began in Florence after 1520 and lasted through the rest of the century.  The influence of Mannerism spread quickly through the rest of Italy; and, shortly afterward, throughout Northern European, via Flanders).

(C) Some Mannerists Artists           

(1) In Italian painting:   Michelangelo,   Jacopo Pontormo,  Parmigianino,  Il Rosso Fiorentino,

In Italian sculpture:  Bevenuto Cellini and Giambologna.    

(2) In Northern European painting:   Pieter Bruegel, the Elder,  Lucas Cranach, and  Albrecht Altdorfer.

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RENAISSANCE AND BAROQUE ART:

Time-Line Review                  

The “Renaissance Tradition:

The entire Renaissance Tradition, spanning the time from 1300–1348/ and1400–1700 CE, was one of the greatest creative periods in European history.  However, one must keep in mind that this development was stopped for a half of a century, owing to the worst outbreak of the Bubonic Plague in 1348–1400 CE.  The term, Renaissance, (in Italian Rinascimento) literally means, “Rebirth.”  Yet, the ideals of the Renaissance were not only based on revitalizing   (a) Greco-Roman (“Classical”) thought, forms, and principles,  but also on (b) a closer study of natural phenomena and individual psychological experience.  Within these rather consistent tendencies toward idealism and naturalism, a great variety of artistic expression occurred.  The richness of this variety is evidence to the vast intellectual, artistic, social, and psychological changes, which took place during this time formative time in Western history.  

                                            

 (A) Four distinctly different Phases in Renaissance Art are Discernible: 

 (1)   The Early Renaissance of the fifteenth century, (1400s) began simultaneously in Florence, Italy in the South of Europe and in the province of Flanders in Northern Europe, (sees the previous outline, indicating some differences between aspects of Italian and Northern Early Renaissance art).  The Basic Artistic Concern of this time was related to a growing interest in individual of perception.  This concern is reflected in the techniques developed by the artists to create an ever greater illusion of the phenomenal world.  Among these techniques were the use of chiaroscuro lighting effects, open-composition, contrapposto stance, one point perspective, and psychological expressiveness.  As example, see Masaccio’s fresco, the Tribute Money located in the Brancacci Chapel of the Church of Santa Maria del Carmine in Florence).

(2)   The High Renaissance developed mostly within or near the first twenty years of the sixteenth century, (c. 1500 – 1520).  (The dating is approximate because Leonardo da Vinci’s work reveals High Renaissance qualities at least 10 or 15 years prior to 1500).

In Italy the major development of the High Renaissance began in Rome, owing to the exile of the Medici, the very influential banking family, from Florence and owing to an increase in Papal Patronage.              
In Northern Europe, the High Renaissance began in Germany, owing to the influence of Lutheran Princes, Electors, and other German nobility.  The Basic Artistic Concern of High Renaissance artists was the idealization of perception.  This goal was achieved through the use of softer line; more subtle use of chiaroscuro;  closed-composition; and greater emphasis given to Classical (Greco-Roman) composition, imagery, and introspective expressions.  As examples, see Leonardo da Vinci’s, paintings of the Mona Lisa, Virgin of the Rocks, and The Modonna St Ann, and the Child.  Also, see Michelangelo’s,  Vatican Pieta,’  and his  Sistine Chapel Ceiling Fresco.          

(3)  The Period of Mannerism occurred during the last three quarters of the sixteenth century, (c. 1520–600 CE). 

In Italy  it began in Florence. 
In Northern Europe  it began in Flanders, particularly in the city of Antwerp.  From these two centers, this new stylistic expression spread throughout Europe. The Basic Artistic Concern of Mannerism was the distortion of perception, achieved through the use of varied Mannerist Techniques, (see Aspects of Mannerist Art, listed above).

(4)  The Baroque Development, c. 1500/1580-1700 CE.:

(a) The Proto-baroque Phase was a prelude to the baroque period, which occurred earliest in Venice, during most of the 16th century; and later in other Northern Italian cities and towns, during the last twenty years of the sixteenth century.As example see, The Supper at the House of Levi by Paulo Veronese.

 (b) The Baroque Period (c. 1600–700). The period began in Rome and, shortly afterward, spread throughout the rest of Europe.  The Basic Artistic Concern of Baroque artists was the dramatization of perception, achieved through a return to representational Illusionism, with added dramatic emphasis.  See, Gianlorenzo Bernini’s sculpture of David, as contrasted with Michelangelo’s High Renaissance sculpture of David; also see, a quadratura baroque Illustionistic ceiling painting, such as  Padre Pozzo’s,  Triumph of St Ignatius in the Church of Saint Ignatius in Rome, as contrasted with the High Renaissance Sistine Ceiling Fresco by Michelangelo). Also, especially see the illustrative references in the text to the paintings of Rubens and Rembrandt.

 

Other Aspects of Baroque Art:

(1)  Variety in the Expression of Light, often of symbolic import.  

(a)  Theatrical,    ie. the paintings of Caravaggio,
(b)  Mystical,       ie. the paintings of Rembrandt, 
(c)  Poetic,           ie. Dutch and Flemish landscapes, such as those by Rubens or Hobbema.

(2)  Four New Iconographical Types (subject matter) that were initiated by
              Evangelical Protestantism, in particular those countries influenced by the teachings of John Calvin.
              The four new types of subject matter are:

(a) landscape,  (b) genre scenes,  (c) still-lives,  (d) group portraits.

 

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SUTDY-GUIDE for the Final Examination:

The Final exam will cover material from the Section Five through Section Nine of the course. Carefully review related material in class handouts and in your notes. On the web-site, give particular attention to: (1) the illustrations of the individual works of art covered in class; (2) the related sections on the more detailed, scrolling time-line, (click this reverence on the home page of the course site); and (3) the review questions listed below.

 

PART I  

Test yourself by answering the following questions:

 

Which are some basic techniques that were used by the Impressionist painters?

 

Who were the two most important and most influential Neo-Classical painters?

 

Who were the two 19th century painters, who were described in class as being ”emotional-realists?”

 

What are the major frescoed areas in the Sistine Chapel in Rome; who commissioned each; in what stylistic period were they painted; what is the subject matter of each?

 

What are features of the style Art Deco and when did it occur?

 

What are major stylistic features of the art of Caravaggio?

 

How dose Analytical Cubism differ from Synthetic Cubism?

 

What is Fauvism?

 

Is an engraving an intaglio or a plano graphic method of printmaking?

 

Which term is synonymous with expressionism?

 

Who was a Proto-Impressionist, Edouard Manet or Claude Monet?

 

Did Italian Early Renaissance artists or Northern Early Renaissance artists emphasize meticulous detail in their work?

 

How can a set of two complementary colors be found without the aid of a color diagram?

 

With which painting did Edouard Manet create a scandal in the Salon of 1863?

 

What were the four new types of subject matter that Dutch Baroque painters introduced into 17th century European art?

 

Did Picasso ever paint a non-representational work of art?

 

Who painted the Raft of the Medusa? What style is it an example of ?

 

Which 20th century artistic movement is related to dream-like imagery?

 

Was Vincent van Gogh an Impressionist or an Expressionist?

 

What is the basic feeling conveyed by Mannerist art?

 

PART II  

Click on the coded references below, highlighted in cyan (light blue), to see the illustrations of the possible choices:

 

Which is an Impressionist painting? RVD01 or RVD02

 

 

Which is a Romantic work of art? RVD03 or RVD04

 

 

Which is a quadratura? RVD05 or RVD06

 

 

Which of the following is an example of trompe l’oeil painting? RVD07 or RVD08

 

 

Which is an example of Analytical Cubism? RVD09 or RVD10

 

 

Which is a non-representational work of art? RVD11 or RVD12

 

 

Which work is by the Proto-Impressionist

painter, Edouard Manet? RVD13 or RVD14

 

 

Which is an example of the style Art Nouveau? RVD15 or RVD16

 

 

Which is an example of Surrealist art? RVD17 or RVD18

 

 

Which is a work of Fauve, (French expressionist) art? RVD19 or RVD20

 

 

Which is a work of Picasso’s expressionist period,

which many believe to be his masterpiece? RVD21 or RVD22

 

 

Which did Pope Julius II commission from Michelangelo? RVD23 or RVD24

 

 

Which is an example of a Baroque work of art that implies an invisible complement? RVD25 or RVD26

 

 

Which work was painted by El Greco? RVD27 or RVD28

 

 

Which is a work of Superrealism? RVD29 or RVD30

 

 

Which is a Dadaist work of art ? RVD31 or RVD32