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Art History Test 1 > IHUM 202 Midterm Review > Flashcards

IHUM 202 Midterm Review Flashcards

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1
Q

Neoplatonism

A

Blending pagan philosophy with scripture (renaissance)

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2
Q

Plato Teachings

A

Harmony

Chain of being - imperfect to perfect, simple to complex

Realm of forms on outer spheres

(renaissance)

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3
Q

Ficino Teachings

A

Neoplatonism

Humans in the middle of great chain of being

(renaissance)

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4
Q

Music of the Spheres

A

Cosmos hold harmonies with each other. Planets are in perfect order

Based on Pythagoras

(renaissance)

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5
Q

Copernicus

A

Heliocentric Model

(renaissance)

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6
Q

Kepler

A

Elliptical orbits

(rennaisance)

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7
Q

Brunellschi

A

Linear Perspective

(renaissance)

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8
Q

Alberti

A

Art Realism - more credit to those who can imitate gold rather than use it

Art is liberal art, not a manual craft

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9
Q

Renaissance Humanism

A

An education focusing on classical rhetoric, moral philosophy, history, grammar, for elites.

Liberal Arts

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10
Q

Leonardo Da Vinci

A

Proportions of the human figure

(renaissance)

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11
Q

Renaissance Art

A

Naturalistic Figures

Order, symmetry

Mathematical Realism
Linear Perspective
Vanishing Point
Ideal Form/Proportions

Anatomical Realism
Contrapposto
Chiaroscuro

Dynamic Stability

Restrained Emotion

Diffuse Lighting

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12
Q

Renaissance Music

A

Non-Dominant Polyphony

Often with just voices

Sacred Music

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12
Q

Sfumato

A

Glazing that smooths out lines, borders, brushstrokes

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13
Q

Pico della Mirandola

A

Oration on the Dignity of Man

Humans as Chameleon - We are what we choose to be

(radical renaissance)

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14
Q

Marlow’s Faustus

A

Written in the Reformation

Chain of Being Vs. Self Creation (He tried to step out the great chain of being)

Faust as archetype for tragic striving - he is a sympathetic character

Free will is up in the air - he was free to sin, but not to repent. Or was he?

Popularized Blank Verse

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15
Q

Radical Renaissance Art

A

Nudity - humans as object of beauty

Rise of Self Portrait

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16
Q

Renaissance Summary

A

Harmony and Order

Push for Education

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17
Q

Radical Renaissance Summary

A

Self-Creation and Self-Awareness

Fascination with uniqueness of human condition

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18
Q

Radical Renaissance Literature

A

Iambic Pentameter

Tragedy

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19
Q

Key Pillars of Roman Catholicism

A

Mass

Sacraments

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20
Q

John Wycliffe

A

Vernacular Bible (read by common man)

Predestination

Attacked church wealth, papacy

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21
Q

Erasmus

A

Biblical Translation

Personal Devotion

Diminished role of sacraments, complicated theology

Christian Humanist

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22
Q

Calvin

A

Predestination

Men are totally lost, basically no free will

Iconoclasm

God is unknowable

TULIP

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23
Q

Martin Luther

A

Faith, not works (Faith alone

No Free will (grace alone)

Truth revealed in scripture, not church (scripture alone)

Rejection of sacramental system

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24
Q

Erasmus vs Luther

A

Erasmus - free will

Luther - No free will

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25
Q

TULIP

A

Total Depravity

Unconditional Election

Limited Atonement

Irresistible Grace

Perseverance of the Saints

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26
Q

Christian Humanism Vs Protestant Reformation

A

Christian Humanism tried to reform the church from within

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27
Q

Jan Hus

A

Like Wycliffe, but executed

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28
Q

Diet of Worms

A

Martin Luther refused to take back statements

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29
Q

Council of Trent

A

Final attempt to prevent schism, but protestants didn’t show up.

End up reaffirming catholic doctrine (and the purposes of religious art)

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30
Q

Catholic Renewel

A

Stop Heresy

Strengthen normal Catholics

Convert non-christians

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31
Q

Southern Baroque art

A

Dramatic, didactic, devotional

Lighting
Dramatic Tenebrism
Supernatural Light Source
Bold, Rich Colors

Movement/Moment in Time
Dramatic Diagonals
Shallow Foreground
Action exceeds frame

Emotional Realism
Humans are dramatic and supercharged

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32
Q

Spiritual Excecises

A

Jesuit way to experience God with all five senses.

Ignatius of Loyola

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33
Q

St. Teresa of Avila

A

Mysticism - Encouraged using images to talk to God so that we may more readily understand his nearness

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34
Q

Counter-Reformation Music

A

Contrapuntal Polyphony - Independent melody lines (rather than one dominant with supporting harmonies)

Applying secular genres to sacred texts

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35
Q

Southern Baroque Summary

A

Closely associated with the counter-reformation and was a way for the Church to verify its authority

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36
Q

Calvin on Religious Art

A

Religious Art = Idols

But nature is God’s country

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37
Q

Northern Baroque Center

A

Dutch Republic

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38
Q

Northern Baroque Art

A

Genre Paintings - Everyday life

Lighting and Color
Natural Light
Earthier Color Scheme

Movement/Moment in Time
Usually more subtle, but still spontaneous
Attention to detail, texture, volume

Subtle Emotional Realism

Landscapes

Still Lifes

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39
Q

Renaissance Science

A

To understand nature is to understand God

God created universe according to harmonic principles

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40
Q

Catholic reading of Scripture

A

Our senses are aided by grace, scripture, and church to correctly perceived God

God is transcendent, but accommodates our understanding to be knowable

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40
Q

Protestant Reading of Scripture

A

God is transcendent

God’s glory is hidden in nature

Our senses are too fallen to perceive Him

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41
Q

Francis Bacon

A

Induction

Empirical Observation

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42
Q

Rene Descartes

A

Deduction

Rational Thinking

“Of what I can certain” more than “what is true”

43
Q

Blaise Pascal

A

Logical Pessimism

Use rational methods within limited means to identify best outcomes.

No certainty but from God.

Wrote the Wager on God

44
Q

Scientific Revolution Summary

A

Creation of science as a field

Science is still tied to religion

Nature shifted from knowable to secretive machine

45
Q
A
46
Q

Baroque Music Philosphy

A

Music as Rhetoric

Music Serves the Text

Passionate Themes and Stories

47
Q

Baroque Music Elements

A

Contrast (tempo, dynamics, timbre)

Ornament (flourishes, etc)

Basso Continuo

Complex counterpoint, bass, passion

48
Q

Baroque Music Developments

A

Monody

Homophony

Polyphony (Counterpoint)

Harpsicord

Organ

String Emphasis

49
Q

Monody

A

Single Voice with simple accompaniment

50
Q

Homophony

A

Melody + Choral Accompaniment

51
Q

Baroque Polyphony

A

Counterpoint polyphony - Much more complex.

52
Q

Renaissance Polyphony

A

Equally independent melodies

53
Q

Basso Continuo

A

Melody and Bass line are written out together, helping harmonies.

54
Q

Baroque Musical Forms

A

Opera

Oratorio

Cantata

Sonata

Concerto

Suite

55
Q

Opera

A

Musical Story on stage

56
Q

Oratorio

A

Musical drama on religious subjects

57
Q

Cantata

A

Extended piece with many recitatives and set pieces (duets, choruses, etc)

58
Q

Sonata

A

Work in several movements for one or more instruments and basso continuo

59
Q

Concerto

A

Work in several movements for one instrumental soloist and orchestra

60
Q

Suite

A

A series of dances in the same key

61
Q

Baroque Lit

A

Startling conceits

Complex syntax

Paradox

Irony

Wit

Dramatic Contrast

Allusions

Anne Bradstreet, John Donne

62
Q

Paradise Lost

A

John Milton

Epic

Blank Verse

Freedom, responsibility, human nature

Satan as a sympathetic character.

Free will vs. Predestination - God equipped humans with reason and freedom to choose

Knowledge - temptation to know more than our station

63
Q

Court Baroque Summary

A

Propaganda for absolutist monarchs because This time period was a state of crisis

Court Baroque -> Neoclassicism -> Roccoco

64
Q

Primary Court Baroque Monarch

A

Louis XIV

French Monarch

After his death the aristocracy moved back to country villas

Versailles

65
Q

Rococo Art

A

Retains Baroque elements of movement, energy, and diagonals, but replaces the gravitas with frivolity

Grace, elegance

Sensuality and eroticisim

Light and sentimental themes

Curved lines, light colors, asymmetry

Rapid Brushwork

Greco-Roman Mythology

66
Q

Salons

A

Rococo era rooms used to entertain and impress

67
Q

Fete Galant

A

Outdoor pastimes, courtship

68
Q

Rococo Architecture

A

Ornamentation and décor before architecture

Heavy use of gilded features and mirrors, chandeliers

69
Q

Rococo Music

A

Light, repetitive dance tunes on the harpsicord

Graceful, delicate

Feature ornamental details (trills)

Style galant - courtly style

Themes of Love and Romance

70
Q

Rococo Influences

A

Death of Louis XIV and his court baroque led to to aristocrats regaining cultural and political influence

71
Q

Neoclassical Art

A

Sober Colors

Refined, smooth brushwork

Strong Verticals and Horizontals

Virtue, sacrifice, heroism

Shallow Space

Neoclassical Architecture in background

Anatomical Realism
Idealized figures

Deathbed scenes

Reason AND emotion (biggest difference between this and renaissance)

72
Q

Neoclassical Context

A

Art needed to be moral and noble

People viewed children as having potential to give to society.

We have a duty to humankind above all else.

73
Q

Madam De Pompadour

A

Salon Culture

Mother of Rococo Art

74
Q

Fete Champetre

A

Outdoor Party

75
Q

Angelica Kauffman

A

Neoclassical Artist

76
Q

Neoclassical Architecture

A

Simplicity

Symmetry

Mathematical proportions

Domes, columns

77
Q

Classical Music

A

Distaste for baroque music

Gradual, subtle dynamic changes

Piano!!

More homophonic, clearer musical structures, more contained, constrained shifts in dynamics and tempo

Much clearer, the melodies are simpler than Baroque music.

Usually no basso continuo

Symphonic Orchestra

Immediate Appeal, Hummable

78
Q

Enlightenment main principle (4)

A

Re-establish correspondence between nature and human nature

Optimism, confidence in progress

New individualism

Deism

79
Q

Isaac Newton (3)

A

Produced “universal laws”

Cemented Inductive reasoning as dominant approach

Based ideas on both Bacon and Descartes

80
Q

John Locke

A

Empiricism

Receive ideas by experience (senses, reflection)

We can control this process of getting ideas (thus education is essential, and different people need different education)

We arrive in the world as blank slates

Man’s natural state: liberty, equality, insecurity

81
Q

Condorcet

A

Built on Locke, progress is in our nature and in our control. It is limitless and only goes in one direction

82
Q

Enlightenment Pessimism

A

The breakdown of “natural laws” and doubt about progress.

Rousseau, Voltaire, and others, believed that human nature was too complex or contradictory to operate in natures machine. Mean that we will all continue suffering

83
Q

Rasselas

A

Enlightenment

Philosophical novella about finding happiness

Characters find that there will always be suffering and there is no way to really find real happiness.

For example, when one finds happiness, he becomes restless if he has not known misery.

Written by

84
Q

Samuel Johnson

A

Rasselas Author

85
Q

Enlightenment Art and Literature

A

Satire (A modest proposal)

Philosophical novella (Rasselas)

Visual Satire

86
Q

Rousseau

A

Rights of Man

Social Contract - Government comes from the free individuals coming together to give up some freedoms for security and order. They form a collective, general will

Inspired French Revolution

87
Q

Classical Symphony

A

Exposition

Development

Recapitulation

Coda (tail)

88
Q

3 Revolutions at end of enlightenment

A
89
Q

Kant

A

We only know phenomenal - things we can know by senses

There exists noumenal - things not known by senses

A cross between empiricism and rationalism

In summary, subjectivity. It’s hard to know the real truth.

90
Q

Romantic Music

A

Fuller Orchestras

Emotion expression center of music

Stories (programmatic)

Nationalist music

Symphony

More intense contrast and dynamics

91
Q

Symphony

A

Dominant in the Romantic period, started in classic

4 Movements

Each movement had:
Exposition

Development

Recapitulation

Coda (tail)

Classical: Haydn, Mozart

Romantic: Beethoven

92
Q

Romantic Literature

A

Subjective

Emotional Perception

Lyric Poem, Emotional Narrative, autobiographical

93
Q

Romantic Poetry

A

Unity - science, spirituality, nature, passion, reason

Subject Experience - Exploration of feelings

Beauty

Lyric Poem
First Person
Speech of Common people

94
Q

Romantic Instrospection

A

Trying to find the natural, real self

Authority of experience and feeling

Unity of reason and passion

95
Q

Wordsworth

A

Poet - used common speech and focused on emotion

Thought he real person was found in the childhood

96
Q

Herder

A

Language as “co-creating”

Experienced shaped by language, and language shaped by experience

97
Q

Romantic Art

A

Loss, “painterly” brushstrokes

Soft Edges

Thicker paint

Natural world,

Art as creation, not as imitation of real life

Contemporary politics

98
Q

Industrial Revolution

A

Enlightenment viewed it as a key step forward, Romantics viewed it as stripping away human nature

99
Q

Edmond Burke

A

Beauty vs Sublime

100
Q

Protestant Reformation emphasis

A

Corruption of human nature

Unknowability of God

101
Q

Scientific Revolution Takeaways

A

Science as it’s own discipline

Nature needs to be decoded

Human reason needs purging and help

Science is ethical an spiritual, both for individual and collective betterment

102
Q

Alexander Pope

A

Reaffirms great chain of being

Very positive, all is right

103
Q

Romantic Context

A

Political Revolutions (French, American, Haitian)

Industrial revolution

Intellectual Revolution

104
Q

Romantic Takeaways

A

Quest for self, unify passion and reason

Sources of self, childhood, solitude, ‘selfing’

Sublime vs Beautiful

105
Q

Classical Tragedy

A

Main hero caught between equally justifiable ethical forces

106
Q

Shakespearean Tragedy

A

Conflict is within the self or the self vs the world

107
Q
A

Art History Test 1 (3 decks)

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