102ExamOneReview

102ExamOneReview - AHIS 102 Spring 2011 REVIEW...

Info iconThis preview shows page 1. Sign up to view the full content.

View Full Document Right Arrow Icon
This is the end of the preview. Sign up to access the rest of the document.

Unformatted text preview: AHIS 102 Spring 2011 REVIEW CHECKLIST FOR EXAM I (Tuesday, February 8) Scantron answer sheets will be provided for you, but you will need to bring a number 2 pencil. At the end of this review sheet you will find a checklist for the first exam: it contains, in compact form (i.e., no Gardner plate numbers or dates) the works, terms and concepts over which you will be tested. If we do not get through all of the listed material before the exam, you will not be asked about that material not covered (I will lecture on it after the exam, and you will be tested on it in Exam 2). The test itself will consist of 50 multiple choice questions. Around twelve of these will be slide identifications, for which a slide will be shown, and you will be asked to choose the correct artist & title, and/or period style (e.g., thirteenth ­century Italian; fifteenth ­century Flemish). Note that you DO NOT have to remember specific dates for the works. The other exam questions will involve issues of meaning, context, style, and media/technique, and may involve the terms listed below. For an explanation of what these involve, you should consult the Study Tips section of the course website (where you will also find sample questions). Some of these will have slides, and others will not. In studying for this exam, you should concentrate on the following: 1) Be sure you are familiar with the specific historical and/or physical context for the following works, and have a general idea of how that affects their meaning (i.e., why were the works commissioned, or where were they intended to be placed; do either of these determine the choices the artist made in terms of what style to use, how to present them, etc.): Nicola Pisano, Pisa Baptistery Pulpit Filippo Brunelleschi, Sacrifice of Isaac Giotto, Arena Chapel Frescoes Lorenzo Ghiberti, Sacrifice of Isaac Duccio, Maestà Donatello, S. Mark; David 2) How can the style of each artist on your list of works be characterized? In studying, you should make a list of stylistic traits found in the works of each artist. Giotto, for example, A) created figures that appear monumental; B) modeled his figures boldly to create the maximum illusion of three ­dimensionality; C) didn’t use a great deal of ornamentation; D) composed his narratives with an eye to clarity and legibility E) used gazes and glances as a means of communication between figures, which also enlivens the implied space between them. We obviously talked a lot about Giotto, and you might not have as many things to itemize about other artists. The qualities listed above, however, are examples of the types of things you should be able to list for each of the artists we have studied. 3) What are the basic procedures involved in, and qualities associated with, each of the following media: fresco painting bronze casting (cire perdue) egg tempera painting oil painting /glazing (if covered before test) You will want to know the medium (materials or technique) of particular works only if that element is a significant feature of that work. You should know, for instance, that Giotto’s narrative cycle in the Arena Chapel was created using fresco technique. You should also remember that Ghiberti's sculptures were cast in bronze and exhibit a great deal of chasing on their surface. Remember that Gentile da Fabriano's Adoration of the Magi or Duccio’s Maestà are painted in tempera on panel, because that fact has a bearing on the large amount of ornament found on them. And know that the works of Flemish artists in the 15th century are done in oil, because this medium sets them apart from Italians during the same period, and is central to the illusionistic effects the artists are able to create). AHIS 102 Exam 1 Review ­ ­2 Even if you do not remember the medium for every work, understanding the technique will allow you to identify the medium when you see it (e.g., a metal sculpture is likely to be cast bronze; a very ornate and detailed painting is likely to either be oil or tempera on panel, and if the painting displays very convincing illusions involving reflections it is probably oil). 4) For each of the terms on the list below, be sure not only that you can define it, but also that you know with which artists or works it can be associated. A polyptych, for example, is an altarpiece composed of many individual panels; examples are Duccio's Maestà, and Van Eyck's Ghent Altarpiece. Similarly, optical modeling depicts a three ­dimensional object as it is seen from a distance (i.e., in schematic patterns of light and dark) rather than with all the subtleties the artist knows it possesses; it was used almost exclusively by Masaccio. Contrapposto is a pose that shifts the weight onto one leg, suggesting the possibility of movement; it is first seen in the sculpture of Donatello. WORKS AND TERMS FOR EXAM ONE: 13TH ­ AND 14TH ­CENTURY SCULPTURE IN ITALY FIFTEENTH ­CENTURY ITALIAN SCULPTURE Works: Works: Nicola Pisano: Filippo Brunelleschi: Pisa Baptistery Pulpit Sacrifice of Isaac (Competition panel) Annunciation & Nativity Lorenzo Ghiberti: Giovanni Pisano: Sacrifice of Isaac (Competition panel) Pistoia Pulpit East Doors, Florence Baptistery (Gates of Sibyl Paradise): Annunciation & Nativity Isaac and his Sons (Jacob and Esau) Donatello: Concepts & Terms: hierarchy, imitation, St. Mark (for Orsanmichele) emulation, dual nature of Christ, Tuscany, relief David (for Medici Palace) sculpture, classical (style), ornament, antithesis Terms: bronze casting, chasing, contrapposto, guilds, linear (one ­point) perspective, orthogonals, 13TH ­ AND 14TH ­CENTURY ITALIAN PAINTING vanishing point Works: Giotto: FIFTEENTH ­CENTURY ITALIAN PAINTING Arena Chapel Frescoes, Padua Works:  ­Expulsion of Joachim from the Temple Gentile da Fabriano:  ­Joachim in the Wilderness Adoration of the Magi (Strozzi Altarpiece)  ­Lamentation Masaccio: Madonna Enthroned Brancacci Chapel Frescoes Cimabue: Expulsion of Adam and Eve from Eden Madonna Enthroned w/ Angels & Prophets Tribute Money Duccio: Holy Trinity Maestà Altarpiece, for Siena Cathedral Fra Angelico: Virgin & Child Enthroned with Saints (front) Annunciation Betrayal of Jesus (back) Piero della Francesca: Brera Altarpiece Terms: altarpiece, elevation of the host, patron, Andrea Mantegna: expiation, fresco technique: intonaco, giornata; Camera degli Sposi (wall and oculus) panel painting technique: gilding, egg tempera paint, chrysography, polyptych, modeling, Terms: sfumato, stippling, atmospheric (aerial) chiaroscuro, monumentality, foreshortening, perspective, optical modeling, donor portrait, difficultà, Italo ­Byzantine (style) sacra conversazione, di sotto in su AHIS 102 Exam 1 Review ­ ­3 FIFTEENTH ­CENTURY ITALIAN ARCHITECTURE Works: Filippo Brunelleschi: Dome, Florence Cathedral Santo Spirito, Florence Leon Battista Alberti: Sant' Andrea, Mantua Terms: centering, modularity and proportion, classical orders, Vitruvius, colossal (or giant) order, longitudinal (basilica plan) church FIFTEENTH ­CENTURY FLEMISH PAINTING Works: Limbourg Brothers: Les Très Riches Heures du Duc de Berry: Calendar page for February Jan van Eyck: Ghent Altarpiece Man in a Red Turban Giovanni Arnolfini and his Bride Terms: oil painting technique, glazing, "disguised symbolism," naturalism ...
View Full Document

This note was uploaded on 03/29/2011 for the course PHYS 102 taught by Professor Gatt during the Spring '11 term at UNO.

Ask a homework question - tutors are online