name________________________________study web viewthe word renaissance means: ... panel from saint...

Name________________________________Study Guide for Midterm: Chapters 19, 20, 21

[email protected]: On the day of the midterm if you turn in this packet completed, you will be guaranteed not to receive a grade lower than 73%. The questions for the exam will be directly related to this packet. Please read your book. Concerns or questions please email me. I will be available for help class and exam prep. every day after school until 3:15 pm. The midterm will cover Gardner’s Art Through the Ages, 12 th Edition , Text Pages: 520-542 (Chapter 19), 544-571 (Chapter 20), & 572-611 (Chapter 21).

Chapter 19: From Gothic to Renaissance 14th Century Italian Art: Text Pages: 520-542

The word Renaissance means:___________________________. A revived interest in ________________ cultures was central to this rebirth.

The City States/Politics and EconomicsName four Italian city states that were very successful commercially during the late Gothic period:a. b.

c. d.

Disruption and Change/Letters and Learning1. What was the black death and what effect did it have on art?

2. What was humanism and how did it affect art?

The Movement Away from Medievalism in Art1. Which style dominated Medieval Italian painting?

List three of its stylistic characteristics

a.

b.

c.

mailto:[email protected]


2. Who was St. Francis?

List three episodes of his life that are illustrated in Berlingieri's altarpiece (fig. 19-1)

a.

b.

c.

3. Fig 19-1 : Know this one for Slide Identification

Bonaventura Berlinghieri, Panel from Saint Frances Altarpiece, Italy 1235, Tempera on Wood

4. The frontality, stiff poses, and lack of modeling as seen in Berlinghieri's Saint Francis Altarpiece can be

said to be fundamentally medieval because throughout the middle ages the ________________style

dominated Italian painting.

5. Identify two trends shown in the works of Nicola and Giovanni Pisano that later became significant in the development of Renaissance art:

a.

b.

6. Fig 19-2: Know this one for slide identification

Nicola Pisano, pulpit of Pisa Cathedral baptistry, Pisa, Italy 1259-1260, Marble

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Nicola Pisano, The Annunciation and the Nativity, detail of pulpit of Pisa, Cathedral bapistry, Pisa, Italy,

12-59-1260, Marble relief


Giovanni Pisano, The Annunciation and the Nativity, detail of the pulpit of Sant'Andrea, Pistoia, Italy,

1297-1301, Marble relief

9. The work of Giovanni Pisano as seen in his pulpit for Sant'Andrea Pistoia, (fig 19-4) shows a nervous energy and emotion not found in the work of his father. Describe the features that show Giovanni has an interest in burgeoning naturalism:

10. Fig. 19-6: Know this one for slide identification

Cimabue, Madonna Enthroned with Angels and Prophets, ca. 1280-1290, Galleria degli Uffizi,

Florence, Tempera on Wood

11. Although Cimabue was deeply influenced by the Italo-Byzantine style, he moved beyond it in the following ways:

a.

b.

12. True or false? Circle the answer. Cimabue's Madonna Enthroned with Angels and Prophets is the final

summary of Byzantine art before its transformation.

13. What seems to have been the artistic traditions that influenced Giotto and contributed to the shaping of his style?






Giotto Di Dondone, Madonna Enthroned, ca. 1310, Galleria degli Uffizi, Florence, Tempera on Wood

15. List two characteristics of Giotto's style as seen by comparing his Madonna Enthroned (fig 19-7) with Cimabue's version of the same subject (fig. 19-6).

a.

b.


Pietro Cavallini, Seated Apostles, detail of the Last Judgment, Santa Cecilia in Trastevere, Rome, Italy,

ca. 1291, Fresco

17. Seated Apostles by Cavallini describes the Roman school of painting that replaced Byzantine stylized

dignity with the careful depiction of _________________________.

18.




Fig 19-8: Know this one for slide identification

Interior of the Arena Chapel, Padua, Italy, 1305-1306

19. Giotto created a great fresco style cycle in the __________________________chapel in

_____________________________. It was consecrated in the year ___________. The subjects of the

framed scenes deal with:


Giotto Di Bondone, Lamentation, Arena Chapel, Padua, Italy, ca. 1305, Fresco

21. List four characteristics of Giotto's style as seen in the Lamentation scene (fig 19-9).

a.

b.

c.

d.

22. What is the difference between a "true fresco" and a "fresco secco"?





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Duccio Di Buoninsegna, Virgin and Child Enthroned with Saints, principal panel of the Maestà

altarpiece, from the Siena Cathedral, Siena, Italy, 1308-1311, Tempera on Wood (Center panel)


Duccio Di Buoninsegna, Betrayal of Jesus, detail from the back of the Maestà altarpiece, from the

Siena Cathedral, Siena, Italy, 1309-1311, Tempera on Wood, detail

25. The subject of Duccio's Maesta Altarpiece (figs 19-10 and 19-11) was:

List three stylistic elements he derived from the Byzantine tradition:

a.

b.

c.

List three ways in which Duccio modified it:

a.

b.

c.

26. Fig. 19-12: Know this one for slide identifcation

Simone Martini and Lippo Memmi (?), Annunciation, 1333 Tempera and gold leaf on wood, Florence

27. How did Simone Martini help to form the so-called International Style?

List four characteristics of the international style:

a.

b.




c.

d.

28. Does the Annunciation fig 19-12 depict the International Style? Yes or No (circle the answer)

and explain why or why not:


Pietro Lorenzetti, The Birth of the Virgin, from the Altar of Saint Savinus, Siena Cathedral, Siena, Italy,

1342, Tempera on Wood


Ambrogio Lorenzetti, Peaceful Country, detail from Effects of Good Government in the City and in the

Country, Sala della Pace, Palazzo Pubblico, Siena, Italy, 1338-1339, Fresco

31. Panoramic views of the city of Siena and its surrounding countryside were painted by

____________________ in the Palazzo Pubblico in Siena as part of a Fresco known as

__________________________________________. What revolutionary aspects are found in this

fresco (figs 19-15 and 19-16)?

32. How were artists trained in Italy during the 14th and 15th centuries?

33. What event is credited with perhaps ending the careers of Lorenzetti, Pietro and Ambrogio?





Arnolfo Di Cambrio and others, Florence Cathedral (view from the South), Florence, Italy, begun 1296

35. Who is the architect for the Cathedral of Florence?

36. The tabernacle of the Virgin Mary recalls a medieval association of precious materials with holy

themes. Is it the lavish ornamentation , naturalism, careful depiction of light, or the modeled figures

that supports this association? Circle the correct answer.

37. Which artist projected on a flat surface the illusion of space, and of solid bodies moving through that

space? Circle the answer: Duccio, Pitero Cavallini, Simone Martini, or Giotto?

38. Was the Or San Michele a guild church? YES or NO circle the answer.

39. Was Simone Martini known for his use of emphasis on drama or his use of elegant flowing contour?

Circle the answer.


Nave of Santa Maria Novella, Florence, Italy, ca. 1246-1470





Orcagna, tabernacle, Or San Michele, Florence, Italy, begun 1349, Mosaic, gold, marble, lapis lazuli.

Bernard Daddi, Madonna and Child with Saints, painted panel insert, 1346-1347

42. What historical event seems to be the subject of Triumph of Death in fig 19-21?


Francesco Traini (?) or Buonamico Buffalmacco(?), Triumph of Death, 1330's, Fresco Camposanto, Pisa.

Chapter 20: Piety, Passion, and Politics, 15th Century Art in Northern Europe and Spain: Text Pages 544-571

List two factors that contributed to the development of cities in the fifteenth century:a. b.

French Manuscript Illumination1. What is the Book of Hours?




2. Fig. 20-01 Know these for slide identification Fig 20-02 Limbourg brothers (Pol, Hennequin, Herman), January (on left ) and October (on right), from Les Très Riches Heures du Duc de Berry , 1413-1416. Ink on vellum, approx. 8 1/2" x 5 1/2". Musée Condé, Chantilly.

3. Les Très Riches Heures du Duc de Berry like many books of Hours contains a calendar. This section of this manuscript in particular depicts which of the following? Circle the answer.

courtly life, the rosary, seasonal tasks, the ancestry of the Duc de Berry

4. Name the artists who illuminated the Très Riches Heures du Duc de Berry shown in Figs 20-1 and 20-2:

5. Describe the stylistic characteristics that link the illuminations done by the Limbourg brothers with 14th century Sienese painting:

a.

b.

c.

d.

15th Century Flemish Art1. Name two northern dukes who are generally considered to have been the greatest patrons of the arts

in northern Europe in the late 14th and early 15th centuries:a. b.




2. Fig 20-3 Know this one for slide identificationCLAUS SLUTER, Well of Moses, Chartreuse de Champmol, Dijon, France, 1395-1406. Limestone with traces of paint, figures approx. 6' high.

3. What was the symbolic meaning of the Well of Moses at the Chartresuse de Champmol fig 20-3?

4. Fig 20-4 a & b Know this one for slide identificationMELCHIOR BROEDERLAM, outer wings of the Retable de Champmol . Annunciation and Visitation (left) and Presentation and Flight into Egypt (right), from Chapel of the Chartreuse de Champmol, Dijon, France, installed 1399. Panels, each 5' 5 3/4"x 4' 1 1/4". Musée de la Ville, Dijon.

5. What new feature is seen in Broderlam's wings from the Retable de Champmol fig 20-4?

Name two medieval conventions Broderlam retains:

a.

b.

Define the following terms:polyptych:

retable:



triptych:

1. Fig 20-5 Know this one for slide identificationJAN VAN EYCK, Ghent Altarpiece (closed), Saint Bavo Cathedral, Ghent, Belgium, completed 1432. Oil on wood, approx. 11' 6" x 7' 6".

2. Fig 20-6 Know this one for slide identificationJAN VAN EYCK, Ghent Altarpiece (open), Saint Bavo Cathedral, Ghent, Belgium, completed 1432. Oil on wood, approx. 11' 6" x 15'.

3. The following phrase from Revelations, "Pure river of water of life, clear as crystal, proceeding out of the throne of God and of the Lamb" is depicted on the Altar of the Lamb from the Ghent Altarpiece. Circle the answer True or False

4. What is the general theme of the Ghent Altarpiece (figs 20-5 and 20-6)?

Write the subjects of the various panels in the corresponding space below of fig 20-6:




5. What is symbolized by the following groups on the lower wings?

hermits:______________________________ judges:______________________________

pilgrims: ______________________________ knights: _____________________________

6. Fig. 20-7 Know this one for slide identificationROGIER VAN DER WEYDEN, Deposition , from Notre-Dame hors-les-murs, Louvain, Belgium, ca. 1435. Oil on wood, approx. 7' 3" x 8' 7". Museo del Prado, Madrid.

7. What painting technique was perfected by 15th century Flemish painters?

Briefly describe the technique:

In what respects did it prove superior to the tempera technique?

8. In contrast to the complex symbolism of Jan van Eyck, what did Rogier van der Weyden stress in his paintings?



List three characteristics of Rogier van der Weyden's style:a.

b.

c.

9. Fig 20-8 (a left) & (b right) --------------a------------------------------- ----------b------------------

Know this one for slide identificationROGIER VAN DER WEYDEN, Last Judgment Altarpiece (open), Hôtel-Dieu, Beaune, France, ca. 1444-1448. Panel, 7' 4 5/8" x 17' 11". Musée de l'Hôtel-Dieu, Beaune.

10. Describe the role played by the guild of Saint Luke in the life of the northern painters in the 15th century and the way in which a young man attained membership in the guild:

11. How did most women artists receive their training during the 15th and 16th centuries?

12. Name the two 15th century Flemish painters who demonstrated the greatest interest in the depiction of space and cubic form:

a.

b.


13. Fig 20-09 Know this one for slide identificationDIRK BOUTS, Last Supper (central panel of the Altarpiece of the Holy Sacrament), Saint Peter's, Louvain, Belgium, 1464-1468. Oil on wood, approx. 6' x 5'.

14. Scholars believed that ________________________________________was the first northern artist to utilize a single vanishing point for construction of an architectural interior.

15. Fig. 20-10 Know this one for slide identificationHUGO VAN DER GOES, Portinari Altarpiece (open), from Sant'Egidio, Florence, Italy, ca. 1476. Tempera and oil on wood, 8' 3 1/2" x 10' (center panel), 8' 3 1/2" x 4' 7 1/2" (each wing). Galleria degli Uffizi, Florence.

16. The Portinari Altarpiece contains medieval pictorial devices, small scenes that stress the meaning and significance of the depicted event. What is the symbolic meaning of the following items in the central panel of the Portinari Altarpiece fig 20-10?

a. Iris and Columbine:

b. Sheaf of Wheat:

c. Harp of David:

17. Hugo van der Goes's Portinari Altarpiece is characterized by which of the following? Circle the answer.

a. its joyful angels and muted colors b. an exclusive concern with formal problems

c. a flat gold background d. its rich colors and somber mood

18. In what sort of subject matter did Hans Memling specialize?

19. Briefly describe Hans Memling's style:



20. Fig 20-11 Know this one for slide identificationHans Memling, Virgin with Saints and Angels, center panel of the Saint John Altarpiece, Hospitaal Sint Jan, Bruges, Belgium, 1479. Oil on wood, approx. 5' 7 3/4" x 5' 7 3/4" (center panel), 5' 7 3/4" x 2' 7 1/8" (each wing).

21. List two factors that contributed to the great demand for images for private devotion:a.

b.

22. What effect did the blending of sacred and secular have upon the way devotional images were painted?

23. Who was the Master of Flémalle?

24. List three characteristics of Flémalle's style:a.

b.

c.

25. What do the book, candle, water jug and towels symbolize in the Mérode Altarpiece fig 20-12?


26. Fig 20-13 Know this one for slide identificationJAN VAN EYCK, Giovanni Arnolfini and His Bride, 1434. Oil on wood, approx. 2' 8" x 1' 11 1/2". National Gallery, London.

27. What is the probable purpose of the painting Giovanni Arnolfini and His Bride fig 20-13?

28. List four symbols contained in the painting and give their meanings:a.

b.

c.

d.

29. Fig 20-14 Know this one for slide identificationJAN VAN EYCK, detail of Giovanni Arnolfini and His Bride, 1434.

30. Fig 20-15 Know this one for slide identificationPETRUS CHRISTUS, A Goldsmith in His Shop, Possibly Saint Eligius, 1449. Oil on wood, approx. 3' 3" x 2' 10". Metropolitan Museum of Art, New York (the Robert Lehman Collection, 1975).

31. What is the setting of Christus' painting that is identified with the legend of Saint Eligius fig. 20-15?





32. Who might have commissioned it?

33. What is new and significant about the pose of the Man in a Red Turban fig 20-16?

34. Fig 20-17 Know this one for slide identificationROGIER VAN DER WEYDEN, Portrait of a Lady, ca. 1460. Oil on panel, 1' 1 3/8" x 10 1/16". National Gallery, Washington (Andrew W. Mellon Collection).

35. List the Flemish characteristics of Rogier's Portrait of a Lady fig 20-17 that distinguish it from the work of Italian such as Ghirlandaio fig 20-31:

a.

b.

c.

36. Fig 20-18 Know this one for slide identificationHIERONYMUS BOSCH, Garden of Earthly Delights. Creation of Eve (left wing), Garden of Earthly Delights (central panel), Hell (right wing), 1505-1510. Oil on wood, center panel 7' 2 5/8" x 6' 4 3/4". Museo del Prado, Madrid.



37. What are the primary subjects of the panels of Bosch's Garden of Earthly Delights fig 20-18?a. Left:

b. Center:

c. Right:

d. Exterior:

38. Recently scholars have indicated that many of the images of Bosch's Garden of Earthly Delights are most likely based on which of the following? Circle the answer.

stories from the Golden Legend alchemical symbolism visions of St. Bridget of Sweden Ovid's Metamorphosis

39. 15th Century French ArtList two features of Fouquet's panel fig. 20-19 that are similar to Flemish donor portraits:

a.

b.

40. Fig 20-19 Know this one for slide identification left wing right wing

JEAN FOUQUET, Melun Diptych. Étienne Chevalier and Saint Stephen, (left wing), ca. 1450. Oil on wood, 3' ½" x 2' 9 1/2". Gemäldegalerie, Staatliche Museen, Berlin. Virgin and Child, right wing of Melun Diptych, ca. 1451. Oil on wood, 3' 1 1/4" x 2' 9 1/2". Koninklijk Museum voor Schone Kunsten, Antwerp, Belgium.

41. 15th century German ArtName two groups of people who were primary patrons in 15th century Germany:

a.

b.

42. Describe the stylistic features that differentiate Lochner's version of the Madonna in the Rose Garden fig 20-20 with Giotto's Madonna Enthroned fig 19-7



43. Fig 20-21 Know this one for slide identificationKONRAD WITZ, Miraculous Draught of Fish, from the Altarpiece of Saint Peter, from Chapel of Notre-Dame des Maccabées in the Cathedral of Saint Peter, Geneva, Switzerland, 1444. Oil on wood, approx. 4' 3" x 5' 1". Musée d'art et d'histoire, Geneva.

44. List three characteristics of the style of Konrad Witz:a.

b.

c.

45. What subject did Stoss depict in the center of the Krakow altarpiece? fig 20-22

46. List three typical Late Gothic characteristics of his style:a.

b.

c.

47. Fig 20-23 Know this one for slide identificationTILMAN RIEMENSCHNEIDER, The Assumption of the Virgin, center panel of the Creglingen Altarpiece, parish church, Creglingen, Germany, ca. 1495-1499. Carved lindenwood, 6' 1" wide.

48. In Riemenschneider's Assumption of the Virgin, the artist had successfully incorporated which of the following elements? Circle the correct answer:

Italian illusionism Byzantine spirituality Roman classicism Gothic intricacy


49. What mood is most typically expressed in the figures carved by Riemenschneider fig 20-23?

Define the following terms associated with graphics:burin:

engraving:

etching:

intaglio:

relief:

woodcut:

50. What is the Nuremburg Chronicle and what was its content?

51. What technique was used to produced it?

52. Fig 20-25 Know this one for slide identificationMARTIN SCHONGAUER, Saint Anthony Tormented by Demons, ca. 1480-1490. Engraving, approx. 1' 1" x 11". Metropolitan Museum of Art, New York (Rogers Fund, 1920).

53. In what medium did Martin Schongauer work?

a. Briefly characterize Martin Schongauer's style:


54. Fig. 20-26 Know this one for slide identificationPortal, Colegio de San Gregorio, Valladolid, Spain, ca. 1498.

55. The huge pomegranate tree found on the façade of the Colegio de San Gregorio in Valladolid is a symbol for which city?

56. 15th Century Spanish ArtName and describe the architectural style that was popular in Spain during the late 15th and 16th centuries:



Chapter 21: Humanism and the Allure of Antiquity, 15th Century Italian Art: Text Pages 572-611

1. List three tenants that underlay Italian Humanism:a.

b.

c.

2. What 15th century German invention facilitated the distribution of books and the knowledge they contained?

3. What was the basis of the wealth of the Medici family?4. List four roles played by the arts in the 15th century Italian princely courts:

a.

b.

c.

d.

Florence

1. Fig 21-1 Know this one for slide identificationFILIPPO BRUNELLESCHI, Sacrifice of Isaac, competition panel for east doors, baptistery of Florence Cathedral, Florence, Italy, 1401–1402. Gilded bronze relief, 1’ 9” x 1’ 5”. Museo Nazionale del Bargello, Florence.

2. Name the two finalists for the commission of the north doors of the Baptistry of Florence and briefly describe their styles:

Name Style a.

b.


3. Fig 21-3 Know this one DONATELLO, Feast of Herod, from the baptismal font of Siena Cathedral, Siena, Italy, ca. 1425. Gilded bronze relief, approx. 1’ 11” x 1’ 11”.

4. List three elements that constitute the greatness of Donatello's art:a.

b.

c.

5. Donatello's feast of Herod fig 21-3, done in 1425, marked the advent of ___________________.6. The invention of linear perspective is generally attributed to ____________________________.

Define the following:Atmospheric perspective:

Linear perspective:

Orthogonals:

Horizon line:

Vanishing point:

7. Fig 21-5 Know this one


LORENZO GHIBERTI, Isaac and His Sons (detail of FIG. 21-4), east doors, baptistery, Florence Cathedral, Florence, Italy, 1425–1452. Gilded bronze relief, approx. 2’ 7 1/2” x 2’ 7 1/2”. Museo dell’Opera del Duomo, Florence.

8. In Ghiberti's Isaac and his Sons from the East doors of the baptistry, he arranged the figures in front of grandiose architecture. Which of the following architects stated "The grandeur of the architecture reflects the dignity of the events shown in the foreground"? Circle the answer:

a. Michelozzo b. Brunelleschi c. Alberti d. Andrea da Sangallo

9. Which of the following describes Ghiberti's use of the medieval narrative method? Circle the answer:

a. The figures on either side gracefully turn in opposite directions

b. The figures gracefully move in the same direction

c. The figures in varying degrees of projection and postures, move gracefully through a

convincing space

d. The center figures point to the sides and include them in the dialog

10. The artist who created the doors of the Baptistry of Florence Cathedral that best demonstrate the new principles of linear perspective was _________________________________.

What name did Michelangelo give to the doors?

11. Viewers identified saints from their symbolic attributes. Write the names of the following saints after the appropriate description. Augustine, Francis of Assisi, George, Jerome, Peter, Stephen.

Has a stigmata and wears a long robe, tied at the waist:

Young knight in armor with a cross on his shield, slaying a dragon:

Carries keys:

Scholar at his desk or a hermit in the wilderness:

Holds a stone:

Wears a bishop's vestments and mitre:


12. Ghiberti's competitive panel shows classical references that indeed reflect the influences of humanism. Which of the following is a classical reference seen on Ghiberti's panel? Circle the answer:

a. The drapery flowing from the body of Isaac b. the elongated S curve of Issac's body

c. the profusion of cloth puddled around Abraham d. the naked figure of Issac

13. Name the patrons and the artists who created the following figures for Or San Michele:

Artist Patron

Saint george:

Saint Mark:

Quattro Santi Coronati:

(4 crowned saints)

14. In what figure did Donatello first realize the principle of weight shift (ponderation?)

Describe contrapposto:

15. How does Nanni di Banco reconcile the Roman (Antique) models he used for his Four Crowned Saints? Circle the answer:a. He sought to interpret the Roman model, not copy directly

b. He sought to copy directly not reconcile

c. He sought to copy directly as a form of praise for the ancient traditions

d. Roman models were exemplars of Florentine aesthetics, therefore they were frequently copied.



NANNI DI BANCO, Four Crowned Saints, Or San Michele, Florence, Italy, ca. 1408–1414. Marble, figures approx. life-size. Modern copy in exterior niche. Original sculpture in museum on second floor of Or San Michele.

17. Fig 21-7 Know this one21-7 DONATELLO, Saint Mark, Or San Michele, Florence, Italy, 1411–1413. Marble, approx. 7’ 9” high. Modern copy in exterior niche. Original sculpture in museum on second floor of Or San Michele.

18. Fig 21-8 Know this oneDONATELLO, prophet figure, Habbakuk (Zuccone), from the campanile of Florence Cathedral, Florence, Italy, 1423–1425. Marble, approx. 6’ 5” high. Museo dell’Opera del Duomo, Florence.

19. List three ways in which Donatello's Zuccone fig 21-8 differs strikingly from traditional representations of prophets:

a.

b.

c.

20. Donatello was commissioned to create five statues for the bell tower (Campanile) of Florence Cathedral. How did he account for the height factor?

21. How does Gentile da Fabriano reconcile the Adoration of the Magi with the current trends in Florentine Renaissance art?

22. Gentile da Fabriano's Adoration of the Magi fig 21-9 is considered a masterpiece of the

_____________________________________ style.

23. In contrast to Gentile's conservatism, Masaccio's Tribute Money fig 21-10 was revolutionary. List three of his innovations:

a.


b.

c.

24. Although an artistic descendant of ______________________________________. Masaccio used light to model his bulky figures in an entirely new way. Describe his method:

25. Masaccio's figures for the Branacci Chapel recall the work of which earlier artist? Circle the answer

a. Duccio b. Cavallini c. Giotto d. Ambrogio Lorenzetti

26. In Masaccio's Trinity the vanishing point can be found at which of the following? Circle the answer

a. between the dove of the holy spirit and God the father

b. above the head of God the father

c. at the foot of the cross

d. on the face of the crucified Christ

27. What two Renaissance interests are summed up in Masaccio's Holy Trinity fresco fig 21-12?a.

b.

28. Why did Brunelleschi design the dome of Florence Cathedral with an ogival rather than a semi-circular section?


29. Fig 21-14 Know this oneCutaway view of dome of Florence Cathedral (after P. Sanpaolesi).

30. Which of Brunelleschi's buildings most clearly approximates the centralized plan?

Write down three phases that describe its interior fig 21-19:

31. Fig 21-15 Know this oneFILIPPO BRUNELLESCHI, interior of Santo Spirito (view facing northeast), Florence, Italy, begun ca. 1436.

32. Fig 21-19 Know this oneFILIPPO BRUNELLESCHI, interior of the Pazzi Chapel (view facing northeast), Santa Croce, Florence, Italy, begun ca. 1440.



MICHELOZZO DI BARTOLOMMEO, facade of the Palazzo Medici-Riccardi, Florence, Italy, begun 1445. 34. Who designed the Palazzo Medici-Riccardi (figs 21-20, 21-21)?

35. The design of the courtyard shows the influence of _____________________________________.

36. What is rusticated stone and how was it used on the Palazzo Medici-Riccardi?

37. The Florentine artist who combined training in the International Style with a Passion for perspective was _____________________________________________.

38. Fig 21-22 Know this onePAOLO UCCELLO, Battle of San Romano, ca. 1455. Tempera on wood, approx. 6’ x 10’ 5”. National Gallery, London.

39. Fig 21-23 Know this oneDONATELLO, David, late 1420s – late 1450s. Bronze, 5’ 2 1/4” high. Museo Nazionale del Bargello, Florence.

40. What was the major significance of Donatello's bronze statue of David fig 21-23?


41. Describe the classical characteristics that are apparent in the figure:

42. It was commissioned for the courtyard of _______________________________________.

43. One of the most important Italian sculptors of the second half of the 15th century, who was also a painter, was ________________________________________.

44. How does his David fig 21-24 differ from Donatello's version fig 21-23a.

b.

c.

45. List three adjectives that characterize the effect created by Pollaiuolo's Hercules and Antaeus fig 21-25:a.

b.

c.

46. What seems to have been his primary artistic interest?

47. Fig 21-7 Know this oneSANDRO BOTTICELLI, Birth of Venus, ca. 1482. Tempera on canvas, approx. 5’ 8” x 9’ 1”. Galleria degli Uffizi, Florence.

48. A literary source for Botticelli's Birth of Venus fig 21-27 was _________________________________________, while a visual model was____________________________________, which appealed to his cultivated patrons.

49. List three characteristics of Botticelli's style:a.

b.

c.


50. Fig 21-30 Know this oneANDREA DEL VERROCCHIO, Bartolommeo Colleoni (equestrian statue), Campo dei Santi Giovanni e Paolo, Venice, Italy, ca. 1483–1488. Bronze, approx. 13’ high.

51. Fig 21-28 Know this oneSANDRO BOTTICELLI, Portrait of a Youth, early 1480s. Tempera on panel, 1’ 4” x 1’. National Gallery of Art, Washington (Andrew W. Mellon Collection).

The Rise of Portraiture

1. Fig 21-32 Know this oneDOMENICO GHIRLANDAIO, Birth of the Virgin, Cappella Maggiore, Santa Maria Novella, Florence, Italy, 1485–1490. Fresco.

2. A secularization of traditionally sacred themes can be seen in the portraits of Florentine women as represented in the fresco The Birth of Venus fig 21-32 by___________________________________.

3. It has been said that the work of Ghirlandaio summed up the state of Florentine painting at the end of the 15th century. List three of Ghirlandaio's achievements in painting:

a.

b.

c.

4. Italian cities commissioned portraits to commemorate famous condottieri. Two of the most famous are bronze equestrian figures. List the condottieri, the artist, and the city:


Condottieri Artist City

Further Developments in Architecture

1. Three principles advocated by Leon Battista Alberti in his De re aedificatoria were:

a.

b.

c.

2. What feature does the Palazzo Rucellai fig 21-33 share with the Roman Colosseum?

3. In what way is it markedly different?

4. Which Romanesque church seems to have influenced Alberti when he designed the façade of Santa Maria Novella figs 21-34 and 21-35?

5. In what way did he modify the Romanesque original to create a highly sophisticated Renaissance design?

Images of Piety and Devotion

1. The monk who painted a series of devotional frescos in the monastery of San Marco was:_________________________________.

2. Briefly characterize his style:

3. Under the influence of reliefs by Ghiberti and Donatello, Fra Filippo Lippi abandoned a style based on Masccio's massive forms and developed his mature style, which is characterized by:

4. The 15th century sculptor_____________________________, is best known for his production of glazed terra-cotta reliefs.


5. Fig 21-39 Know this oneLUCA DELLA ROBBIA, Madonna and Child, Or San Michele, Florence, Italy, ca. 1455–1460. Terracotta with polychrome glaze, diameter approx. 6’.

6. Fig 21-40 Know this onePERUGINO, Christ Delivering the Keys of the Kingdom to Saint Peter, Sistine Chapel, Vatican, Rome, Italy, 1481–1483. Fresco, 11’ 5 1/2” x 18’ 8 1/2”.

7. What was the subject of Perugino's fresco for the Sistine Chapel fig. 21-40?

8. What was its political significance?

9. How does the work illustrate the principles of linear perspective?

The Princely Courts

1. Fig 21-43 Know this oneLEON BATTISTA ALBERTI, interior of Sant’Andrea, Mantua, Italy, designed ca. 1470.

2. List two projects commissioned by Ludovico in Mantua:a.

b.

3. The two Roman architectural motifs that Alberti locked together on the façade of Sant' Andrea in Mantua were:

a.


b.

4. How does the plan of the church break with a centuries old Christian building tradition?5. Explain the following terms with reference to Mantegna's Camera degli Sposi in Mantua (figs 21-45 and

21-46):

trompe l'oeil

di sotto in su

6. Fig 21-46 Know this oneAndrea Mantegna, ceiling of the Camera degli Sposi (Room of the Newlyweds), Palazzo Ducale,Mantua, Italy, 1474. Fresco, 8’ 9” in diameter.

7. What two concerns did Mantegna integrate in his painting of the Dead Christ (fig 21-48)?a.

b.

8. Fig 21-49 Know this onePIERO DELLA FRANCESCA, Finding of the True Cross and Proving of the True Cross, San Francesco, Arezzo, Italy, ca. 1455. Fresco, 11’ 8 3/8” x 6’ 4”.

9. Piero della Francesca's great Fresco cycle in San Francisco at ________________________________ represents episodes from ______________________________.

10. List three characteristics of Piero's style:a.

b.

c.

11. Piero's Brera Altarpiece fig 21-50 was commissioned by ______________________________. List two devices that Piero used to refer to his patron's dead wife:

a.

b.


Turmoil At The End Of The Century

1. Fig 21-51 Know this oneLUCA SIGNORELLI, Damned Cast into Hell, San Brizio Chapel, Orvieto Cathedral, Orvieto, Italy, 1499–1504. Fresco, approx. 23’ wide.

2. What effect did the preaching of Savonarola have on the people of Florence?

3. In what way could the frescos painted by Signorelli in Orvieto Cathedral fig 21-51 be said to echo Savonarola's sermons?

4. The text Signorelli's "foreshortening". What does that mean?

5. Which artist was most interested in depicting the human body in violent action? Circle the answer

a. Fra Angelico

b. Signorelli

c. Mantegna

d. Perugino

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