review exam 1

Review exam 1 - ARTS 150 Exam 1 Review As you prepare for this first exam keep these things in mind a percentage of the questions on the exam will

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Unformatted text preview: ARTS 150 Exam 1 Review As you prepare for this first exam, keep these things in mind: a percentage of the questions on the exam will come directly from the review, verbatim. This means that you should completely master the questions on this exam. Other questions will come from lecture/discussion, posted PowerPoint presentations (including notes) and MyArtKit quizzes. Try to get as many answers as you can, study with classmates and use the discussion board to post questions and respond to your classmates' calls for clarifications. Among the numerous elements that identify this structure as [1], the [2], which facilitate weight distribution and the [3], which reinforce the effect of the soaring height of the building are among the most common to this type of church. [1] (a) Early Modern (b) Renaissance (c) Gothic (d) Florentine (e) English [2] (a) spires [3] (b) aisles (c) nave (d) flying buttresses (e) rose windows (a) spires (b) aisles (c) nave (d) flying buttresses (e) rose windows [4] Which of the following statements best characterizes the differences between the early modern design for Florence Cathedral and its Gothic predecessors? (a) By constructing the dome first, the architects who designed Florence Cathedral guaranteed that its appearance would differ from the spiky, spindly verticality of Gothic cathedrals. (b) By minimizing exterior decoration and emphasizing horizontality, the architects who designed Florence Cathedral wished to convey the idea of the church as part of the earthly realm rather than the heavenly realm. (c) By choosing construction and roofing materials that distinguish the building from those that surround it, the architects made the Florence Cathedral stand out from the surrounding urban topography in ways that differed from the dominance of Gothic cathedrals. (d) Unlike Gothic cathedrals, the interior spaces of Florence Cathedral reflect an emphasis on engineering rather than design. (e) None of these statements accurately characterizes the differences between Florence Cathedral and its Gothic predecessors. [4] [59] Match the following events and circumstances to their respective effects and/or consequences for European society: [5] Relocation of the papacy from Rome to Avignon in 1309. (a) increased focus on human potential in the earthly realm [6] The rise of the Italian citystate. (b) subversion of entrenched socioeconomic hierarchies [7] Expansion of trade across maritime and land routes. (c) challenge to the idea of the Christian church as immutable [8] The printing press, humanistic texts and vernacular literature. (d) relocation of political power [9] The spread of bubonic plague [the Black Death] across Europe. (e) greater access to and wider distribution of personal wealth The [10] used in Duccio's Nativity with Prophets Isaiah and Ezekiel (13081311) suggests [11] influence, while the representation of the central narrative in [12] identifies the work as early modern or Renaissance. [10] (a) full profile (b) fresco (c) gold leaf (d) canvas (e) cave [11] (a) GrecoRoman (b) East Asian (c) early modern (d) ItaloByzantine (e) Romanesque [12] (a) a predella (b) an altarpiece (c) a diptych (d) synoptic narrative (e) a shed or manger Ambrogio Lorenzetti's Allegory of Good Government in the City appears in the [13] of the [14]. In addition to its use of [15] in the representation of figures, this [16] includes recognizable [17] elements from the city of Siena. The scale of this work and its specific location and intended audiences reflect the influence of [18] on the arts in the fourteenth century in Italy. [13](a) Sala della Pace [14] (a) Piazza della Signoria [15] (a) stylization (b) Wenceslas Chapel (b) Loggia dei Lanzi (b) idealization (c) Scrovegni Chapel (c) Camposanto (c) Realism (d) Chartreuse de Champmol (d) Palazzo Pubblico (d) naturalism (e) courtyard (e) Palazzo Medici (e) portraiture [17] (a) ecclesiastical [18] (a) the bubonic plague (b) decorative (b) the pope's relocation from Rome to Avignon (c) zoomorphic (c) increased trade over land and sea (d) strategic (d) vernacular literature (e) architectural (e) the rise of citystates [1923] Match the statement to the painting to which it best applies: [16] (a) oil painting (b) cartoon (c) fresco (d) tempera painting (e) tapestry [19] Master Theodoric [20] Giotto [21] Cimabue [22] Duccio [23] Bonaventura Berlinghieri Saint Luke Madonna Enthroned Madonna Enthroned Betrayal of Jesus Saint Francis Altarpiece (a) The synoptic narrative of this painting takes on a new meaning in light of a recent rediscovery of the manuscript "Book of Judas." (b) In its representation of the dissolution of boundaries between the heavenly and earthly realms, this painting suggests that the power of the divine cannot be contained within a wooden frame. (c) The hierarchical representation of figures and the framing of narrative episode in this painting qualify it as ItaloByzantine in style. (d) The hierarchical representation of figures, the abundance of gold leaf and the absence of profile in the representation of human figures qualify this painting as ItaloByzantine in style. (e) Though this painting includes hierarchical representation of figures and an abundance of gold leaf, it also includes modeling, spatial recession and naturalistic representation of interaction between the figures, all of which combine to qualify the work as early modern. [2425] Select the list of characteristics that best relates to each of these works: [2425] (a) precious materials, portability, public devotion, grisaille (b) grisaille, portability, private devotion, two narrative cycles (c) precious materials, public devotion, heraldic elements (d) two narrative cycles, ritual, grisaille, oil painting (e) heraldic design, grisaille, precious materials, public devotion [24] [25] [26] Though produced in different media for different uses, these works were both created for use by European monarchs. (a) True (b) False [27] King Wenceslas of Bohemia changed his name to Charles IV as a gesture of admiration for the king who commissioned The Book of Hours for Jeanne d'Evreux. (a) True (b) False The objects pictured at left demonstrate the extent to which [28] influenced the visual arts in early modern Europe (a) classical mythology (d) vernacular literature (b) GrecoRoman history (e) sacred poetry (c) the apocrypha [29] Orcagna's Tabernacle, created to house Bernardo Daddi's Madonna and Child, connects to which of the following sets of groups, events, circumstances and impulses? (a) a monumental acknowledgment of the renewed influence of the pope (b) a monumental acknowledgment of the Black Death (c) religious confraternities, merchants' guilds and public financing for religious objects (d) Gothic architectural and ornamental forms and precious materials (e) b, c and d [30] Which of the listed works most closely compares to February from the Trs Riches Heures of the Duke of Berry? (a)Robert Campin, Mrode Altarpiece (b) Unknown artist, Vesperbild (c) Ambrogio Lorenzetti, Allegory of Good Government in the City and Countryside (d)Rogier van der Weyden, Deposition (e) Bronzino, Allegory with Venus and Cupid Melchior Broederlam's altarpiece, which represents the [31] and the Visitation in the left panel and the Presentation in the Temple and the [32] in the right panel was made for the [33], for which Claus Sluter made [34]. (a) Four Crowned Martyrs (d) Annunciation (b) Chartreuse de Champmol (e) Flight into Egypt (c) Well of Moses [35] The unusual shape of the diptych panels can be attributed to the shape of the sculpture installed behind the altarpiece. (a) True (b) False [36] Though produced in different centuries in different parts of Europe, Robert Campin's Mrode Altarpiece and Michelangelo's David share which of the following characteristics? (a) Both illustrate narratives from the New Testament. (b) Both demonstrate the concept of "precision of narrative moment." (c) Both naturalize and domesticate the sacred. (d) Both use linear perspective to reinforce the "visual authority" of the image. (e) Both use contrapposto in the naturalistic representation of the human figure. Despite their apparent differences, both of these images represent [37] and both instruct the viewer through [38]. The image on the left [39], while the image on the right [40]. 37](a)The Virgin and Child with saints and prophets [38](a) an inscription (b) the fulfillment of a promise by the patron (b) a gesture (c) the desire of the artist justify immoral behavior (c) chiaroscuro (d) the domestication of the sacred (d) specificity of place (e) The Virgin and Child in the presence of one or more angels (e) precision of narrative moment [39](a) dissolves boundaries between sacred and profane [40](a) includes subtly coded references to the Illuminati (b) shows the wife of the French king as the Virgin Mary (b) combines Platonic philosophy with a message of Christian salvation (c) was produced as one panel in a triptych (c) refers to an early Christian martyr (d) promotes prayer and carrying the message (d) was commissioned by a peasant who rose to the highest levels of society (e) was destroyed during World War II (e) demonstrates the simplicity and legibility of Italian Renaissance painting [41] As originally produced, both of these works were oil on wood panel. (a) True (b) False [42] The concept or idea that best connects these works is: (a) the Black Death (b) the rise of citystates (c) the relocation of the pope to Avignon (d) the fulfillment of individual human potential (e) increased personal wealth from trade on land and sea Konrad Witz's Miraculous Draught of Fishes demonstrates the principle of the [43] of the sacred by setting the narrative [44]. (a) mystical experience (a) on the shores of Lake Geneva in Switzerland (b) domestication (b) on the banks of the River Jordan (c) localization (c) against a backdrop painted for an Italian opera troupe (d) dissolution (d) in the presence of Flemish warehouses on the docks (e) nationalization (e) in terms of vernacular literature All three of these works include a representation of [44]. Of the three, only the work made from [45] incorporates a mistranslation of the scriptures. [44](a) Moses [45](a) marble (b) the biblical King David (b)bronze (c) Saint Stephen (c) concrete (d) Goliath (d) plaster (e) contrapposto (e) limestone [46] The term used to identify a figure from Christian narrative (such as horns, a stone, arrows, etc.) is: (a) accoutrement (d) assimilation (b) association (e) annunciation (c) attribute [4751] Match the work to the statement that characterizes it: [47] [48] [49] [50] [51] (a) A rare example of relief sculpture produced by a female artist. (b) An example of heroic nudity devoid of biblical reference. (c) The first freestanding, lifesize nude sculpture produced since ancient Rome. (d) A humanistic rejection of the principle that limits such statues to rulers of the Roman and Holy Roman Empires. (e) A turning point in the history of art in which connections to classical mythology justified representations of nudity. The interior decoration of Toledo's San Juan de los Reyes by Juan Gas and the Chichester Constable chasuble dissolve the boundary between the sacred and the secular by incorporating [52] into ecclesiastical architecture and textiles. (a) heraldry (d) northern European iconography (b) semiprecious jewels (e) synoptic narrative (c) saintly attributes Though not as valuable as paintings and sculptures in today's art markets, works such as these [53] of Saint Anthony Tormented by Demons by Martin Schongauer and Battle of the Ten Nudes by Antonio Pollaiuolo demonstrate the importance of [54] to the development of [55] in early modern Europe. [53](a) grisaille [54](a) vernacular literature [55](a) ecclesiastical iconography (b) engravings (b) the plastic arts (b) linear perspective (c) etchings (c) the graphic arts (c) humanism (d) moveable type printing presses (d) the mastery of oil painting (d) visual literacy (e) apprenticeship (e) heroic nudity (e) the sciences of anatomy and physiology [56] Revolutionary for its presentation and distribution of images of heroic male nudity without any reference to biblical narrative, Pollaiuolo's Battle of the Ten Nudes also allowed its viewers from outside Italy's urban areas to better understand anatomy by accurately depicting muscular contraction and joint flexion. (a) True (b) False [57] Linear perspective organizes images along orthogonals that are drawn according to mathematicallyderived proportions based on human anatomy. (a) True (b) False [58] Linear perspective accurately represents the way that the human brain processes visual stimuli. (a) True (b) False [59] In terms of reception, linear perspective permanently altered artists' and audiences' expectations of visual culture. (a) True (b) False [58] [59] [61] [63] In addition to "rediscovering" the [57] that he used when designing the [58] and [59], [60] solved the construction problems associated with the dome of [61] by designing the machinery necessary to completing the job. Despite his genius, this artist lost to [62] in the competition for the east doors of the baptistry of [61] and to Michelozzo di Bartolomeo in his bid to design [63]. [57](a) Vitruvian principles [58](a) Church of Santo Spirito [59](a) Church of Santo Spirito [60](a) Palladio (b) linear perspective (b) Church of Sant'Andrea (b) Church of Sant'Andrea (b) Bramante (c) atmospheric perspective (c) Church of San Lorenzo (c) Church of San Lorenzo (c) Brunelleschi (d) foreshortening (d) Church of San Giorgio Maggiore (d) Church of San Giorgio Maggiore (d) Donatello (e) orthogonals (e) Florence Cathedral (e) Florence Cathedral (e) Giulio Romano [61](a) Church of Santo Spirito [62](a) Donatello [63](a) Palazzo Pubblico (b) Church of Sant'Andrea (b) Michelangelo (b) Palazzo Farnese (c) Church of San Lorenzo (c) Leonardo (c) Palazzo della Signoria (d) Church of San Giorgio Maggiore (d) Ghiberti (d) Palazzo Rucellai (e) Florence Cathedral (e) Cellini (e) Palazzo MediciRiccardi In his panels for the east doors of the baptistry of San Giovanni, Lorenzo Ghiberti created a sense of [64] by using [65] to represent the figures in the foreground, [66] in the representation of the architectural setting and [67] to reinforce the illusion of [68]. By representing the human figures in [69] and [70], Ghiberti's episode of biblical narrative reverses earlier proscriptions against [71] in the representation of Christian themes. [64](a) hierarchy (b) threedimensionality (c) ecclesiastical authority (d) ambient light conditions (e) mysticism [68](a) mysticism (b) synoptic narrative (c) dematerialization (d) ecclesiastical authority (e) spatial recession [65](a) stylization (b) low relief (c) high relief (d) synoptic narrative (e) dematerialization [66](a) linear perspective (b) atmospheric perspective (c) high relief (d) Vitruvian Man (e) drapery [67](a) high relief (b) linear perspective (c) atmospheric perspective (d) drapery (e) symmetry [71](a) stylization (b) mysticism (c) deformity (d) marble (e) GrecoRoman models [69](a) naturalistic form (b) stylized form (c) Romanesque form (d) anatomical disproportion (e) gilding [70](a) classical drapery (b) marble (c) gilding (d) modern costume (e) hierarchical arrangements [73] [74] In Christ Delivering the Keys to Saint Peter, [72] uses linear perspective to reinforce the idea of [73], which had not been fully restored upon the pope's return to Rome in 1377. In [74], the Masaccio uses linear perspective to clarify the [75]. (a) Ghirlandaio (d) ecclesiastical authority (b) Perugino (e) importance of tax revenues to funding wars between the citystates (c) The Tribute Money In his representation of Dead Christ, [76] used exaggerated [77] to achieved the desired visual effect of placing the viewer at Christ's feet. [76](a) Domenico Ghirlandaio [77](a) atmospheric perspective (b) Piero della Francesca (b) aerial perspective (c) Fra Angelico (c) foreshortening (d) Andrea Mantegna (d) linear perspective (e) Perugino (e) anatomical illustration [78] The term used to identify Mantegna's innovative approach to the Camera Picta is called: (a) perspettiva oculare (b) camera degli sposi (c) contrapposto (d) di sotto in s (e) tempietto [79] The term used to identify this church plan is: (a) Roman Catholic (b) Latin Cross (c) Celtic Cross (d) transept (e) Capella Scrovegni [80] The inclusion of Greek and Roman decorative elements in this fresco by Filippino Lippi dissolves the temporal, spatial and philosophical boundaries between the classical pagan past and the early modern Christian era. Who disagreed with this artist's practice so vehemently that he was willing to suffer torture and execution by the church for which he served as a priest? (a) Lorenzo de'Medici (d) Girolamo Savonarola (b) Fra Angelico (e) Fra Filippo Neri (c) the Duke of Urbino [81] by [82] represents an imaginary gathering of the greatest minds of western civilization. By bringing these figures together in a single image in the [83] of [84], the artist and patron claimed [84]. [81] [81](a) The Last Supper [82](a) Michelangelo [83](a) Sala di Costantino [84](a) the Museo Capitolino (b) Procession of the True Cross (b) Archimedes (b) Sala della Pace (b) San Pietro in Vincoli (c) Miraculous Draught of Fishes (c) Raphael (c) Sala di Commune (c) San Paolo fuori le mura (d) School of Athens (d) Leonardo (d) Sala dell'Abbodanza (d) the Vatican (e) The Ceiling of the Sistine Chapel (e) Giorgione (e) Stanza della Segnatura (e) San Giorgio Maggiore [85](a) All the greatest achievements of mankind for the God of Christianity. (b) The equality of humanistic texts to the Christian bible. (c) The elevation of early modern artists and relatives of the pope to the realm of philosophers, poets, mathematicians and astronomers. (d) The final rejection of Greek and Roman philosophy. (e) a and c [86] These images convey the Italian High Renaissance notion of (a) Humanism as the basis for scripture. (b) The secret familial lineage of Christ. (c) Man as the ultimate expression of God's creative genius. (d) The subordination of faith by reason. (e) none of the above The [87] by [88] is a good example of the Renaissance use of purely [89] forms for a purely [90] monument. Commissioned by [91] to mark the site of [92], the structure incorporates the influences of [93] by way of [94]. [87](a) Palazzo Farnese (b) Tempietto (c) Basilica of St. Peter (d) Pantheon (e) Dome of Florence Cathedral [92](a) the conversion of St. Paul (b) the flagellation of Christ (c) the procession of the true cross (d) the crucifixion of St. Peter (e) the massacre of the innocents [88] (a) Michelangelo (b) Bronzino (c) Giovanni Bellini (d) Bramante (e) Titian [93](a) Vitruvius (b) Brunelleschi (c) Palladio (d) Giulio Romano (e) Leon Battista Alberti [89](a) classical (b) Christian (c) Isabelline (d) Flemish (e) ItaloByzantine [90](a) classical (b) Christian (c) Isabelline (d) Flemish (e) ItaloByzantine [91](a) Isabella d'Este (b) Ferdinand and Isabella (c) Battista Sforza (d) Lisa Gherardini (e) Sofonisba Anguissola [94](a) Vitruvius (b) Brunelleschi (c) Palladio (d) Giulio Romano (e) Leon Battista Alberti [96] The term used to identify this element of landscape architecture is (a) Giotto (b) Grotto (c) Maderno (d) Tempietto (e) Arezzo [95] is the organizing principle of this composition, which identifies the work as [96]. (a) disegno (b) Roman (c) Florentine (d) Venetian (e) colore [97] The title of this work indicates the artist's and the patron's desire to elevate its subject to the realm of classical mythology. Otherwise, viewers might have considered the painting immoral or even pornographic. (a) True (b) False [98] The term "synoptic narrative" refers to (a) stories from the first four books of the New Testament, also called the "synoptic gospels," because they parallel one another in their telling of the life of Jesus Christ (b) the representation of more than one episode of a story that provides a visual synopsis (c) visual representations intended to trigger intense reactions in the nervous system (d) a and b (e) none of the above [99] Which of these characteristics applies to the works above? (a) beauty without any overt moral function (b) exaggerated poses (c) enigmatic gestures and expressions (d) unusual colors and juxtapositions (e) all of the above This painting, originally titled [100] caught the attention of church officials, who called the artist, [101], before the Inquisition Tribunal. In a demonstration of the high status of the artist in Venetian society in 1573, [101] refused to accept the tribunal's demand that he alter the appearance of the work, choosing instead to change the title of the painting to [102]. [100](a) Feast in the House of Levi [101](a) Tintoretto [102] (a) Feast in the House of Levi (b) Wedding Feast at Cana (b) Lavinia Fontana (b) Wedding Feast at Cana (c) The Last Supper (c) Parmigianino (c) The Last Supper (d) Supper at Emmaus (d) Jacopo da Pontormo (d) Supper at Emmaus (e) Christ Enthroned with Virgin and Saints (e) Paolo Veronese (e) Christ Enthroned with Virgin and Saints In addition to the preceding questions, be prepared to answer questions on these churches. Leon Battista Alberti Andrea Palladio Church of Sant'Andrea San Giorgio Maggiore (14701472) (15651580) Mantua Venice Also, familiarize yourself with the advantages and disadvantages of fresco, tempera and oil paint. ...
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This note was uploaded on 04/26/2009 for the course ARTS 150 taught by Professor Caffey during the Spring '08 term at Texas A&M.

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