Exam 1

Question 1

Answer 1

Giotto, Ognissanti Madonna, c. 1310

Question 2

Answer 2

Simone Martini, Annunciation, 1333

Question 3

Answer 3

Lorenzo Ghiberti, Gates of Paradise, 1425–55

Jacob and Esau

Question 4

Answer 4

Donatello, St. Mark, 1411–13

Question 5

Answer 5

Masaccio, Holy Trinity, 1425

Question 6

Answer 6

Gentile da Fabriano, Strozzi Altarpiece, 1423

Question 7

Answer 7

Domenico Veneziano, St. Lucy Altarpiece, 1445

Question 8

Answer 8

Sandro Botticelli, Birth of Venus, 1480

Question 9

Answer 9

Leonardo da Vinci, Last Supper, 1495–98

Question 10

Answer 10

Leonardo da Vinci, Mona Lisa, 1503–05

Question 11

Answer 11

Raphael, School of Athens, 1510–11

Question 12

Answer 12

Michelangelo, David, 1501–04

Question 13

Answer 13

Michelangelo, Moses, Tomb of Julius II, 1513–16

Question 14

Answer 14

Jacopo Pontormo, Descent from the Cross, 1525–28

(Entombment)

Question 15

Answer 15

Parmigianino, Madonna of the Long Neck, 1535

Question 16

Answer 16

Giovanni Bologna, Rape of the Sabine Women, 1583

Question 17

Answer 17

Giorgione/Titian, Pastoral Concert, 1508–10

Question 18

Answer 18

Titian, Pesaro Madonna, 1526

Question 19

Answer 19

Jan van Eyck, Giovanni Arnolfini and His Bride, 1434

Question 20

Mannerism vs. Renaissance

Answer 20

Mannerism

Space: Crowded

Figure: Elongated, unreal

Colors: Arbitrary, unnatural, clashing

Subject: Complex, odd, twisting and strange poses

on balls of feet, unreal, makes you feel uneasy. evoking emotions and symbolism rather than being visually acurrate or possible. Twisiting of bodies.

Renaissance:

Space: Order, realistic, correct perspective

Figure: Real and accurate porportions

Colors: Natrual, harmonious

Subject: traditional, real, contropposto, natural positions

Question 21

15th Century Italian South vs North

Answer 21

SOUTH: elegant use of flowing lines, pictorial space, and antique “revival of the nude”, inspirired by the greek and romans, heavily focused on the church, vatican. Representing holy figures in a holy way. This Italian social change and rise in humanism led a shift in power to Rome and Italian artists to consider scientific principles behind individual composition such as proportion, anatomy, and perspective. accurate anatomical proportions, even balance, and linear perspective. Wealth and noble standing. realistic art with shadows and action. “Heroes” “Ideal”. Fresco. Getting it right, not necesarrily details, focus on the figure. Controposto: dynamic, having the weight shifted, more weight on one foot than the other.

NORTH: elegent, minute attention to detail beauty in nature, the natural, common man in artwork. Movement in the daily life. Peasants. naturalism and knowledge of the self and present rather than the past. Embracing the common man. Local Landscape, peasant food and dress. Less focus on the person and more focus on a common life. s-curve, mannequin like. Medium: with oil in the north they were able to do greater detail and take their time, rather than fresco in italy. ultra realism

Question 22

Answer 22

Grunewald, Crucifixion [from Isenheim Altar] 1510

Question 23

Answer 23

Durer, Knight, Death, and The Devil, 1513

Question 24

Answer 24

Bruegel, Return of the Hunters, 1565