Exam #3 - Lecture Questions

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Exam #3 - Lecture Questions
2012-04-22 19:42:45
italian Renaissance painting

Francis Martin
Show Answers:

  1. He was the leading artist in the second half of the 15th century.
    Andrea Mantegna
  2. The composition of this painting by Andrea Mantegna derives from Jacopo Bellini.
    Agony in the Garden
  3. The ceiling of Camera degli Sposi is this artists most astonishing perspective feature.
    Andrea Mantegna
  4. This frescoe by Andrea Mantegna climxes almost a hundred years of perspective
    Ceiling of Camera deglie Sposi
  5. This painting represents Mantegnas LATE style
    Madonna of the Victory
  6. His most significant technical innovation is printmaking
    Andrea Mantegna
  7. This artiost bathes his figures pictir qith atmospheric luminosity. He fuses together compositional qualities if Flemish painting and Piero's luninosity.
    Antonello Messina
  8. There was so much Netherlandish influence in this painting there was a debate on who the artst was.
    St. Jerome in His Study by Antonello Messina
  9. The principles established by the artist in the High Renaissance will influence artist for the next 300 years.
    da Vinci
  10. The High Renaissance dominates in this city.
  11. These three artists occupy new and lofy artistic ground.
    Da Vinci, Raphael, Michelangelo
  12. High Ren style is founded on research by this artist .
    da Vinci
  13. Born near Florence. He was in Verocchios bottega.
    da Vinci
  14. _______ decided for classical antiquity, he
    accepted neither authority of the church or the classical.
  15. The central plan idea originates with this artist.
    Da Vinci
  16. The distance in this painting by Da Vinci is rendered with this characteristic.
    Annunciation ; sfumato
  17. This unfinished painting by da Vinci is of of his most powerful expressions of his metaphorical thinking.
    St. Jerome
  18. Few figural compositions of the 15C have the same psychic impact as this painting by Signorelli.
    The Damned Cast into Hell
  19. This portrait by Perugino marks a new development in portraiture and is the ancestor to Raphael’s portraits.
    Francesco delle Opere
  20. This artist arrives at the threshold of the High Renaissance, but does not cross it.
  21. This painter is the first major Northern Italian artist to experience the full force of Florentine Italian Renaissance and is the leading painter in Florence? In the second half of the 15C.
  22. This city becomes the artistic capital, not Florence, and gives rise to the High Renaissance.
  23. The three great genii of the Italian Renaissance are
    da Vinci, Michelangelo, and Raphael.
  24. Da Vinci had practically no influence on French artists.

    True or False
  25. Bramante was one of the creators of the High Renaissance and he was a favorite of Pope Julius II.

    T or F
  26. Under Brunelleschi, Alberti, and Da Vinci, this artist develops the High Renaissance form of the central church plan.
  27. • Bramante lays the foundation for High Renaissance architecture.

    T or F ?
  28. • The new joy in nature and profound religious reverence in art, and landscapes of poetry is _______’s contribution.
  29. This guy never ceases to develop his technique and creates the Venetian Style.
  30. • The towering painter of the last 40 years of the 15C is
  31. ________ is the greatest Northern Italian Renaissance architect of Florence—he is the only 16C architect that ranks with Bramante and Michelangelo.
  32. Venetian architects built many of the palazzos in Venice

    True or False
    False. They built few of them
  33. ________ is the most original sculptor in working in Italy in his time
  34. ______________ is the greatest Mannerist sculptor of the period and for 200 years after his career he had a reputation comparable to Michelangelo’s.
    Giovanni Bologna
  35. _______ sums up Italian and French Mannerism.
  36. ________ influences European court portraits for 100 years.
  37. • The Palazzo Farnese by Sangallo, the Younger set the standard for High Renaissance architecture through the 16C for Palazzo’s.

    T or F
  38. In Raphael’s painting : __________ , the Medieval ideal of double scale is abandoned for the first time.
    School of Athens
  39. 16C Italian art is dominated by Raphael.

    T or F
  40. • Michelangelo’s Last Judgment set the pattern for devastation of this theme, but Signorelli could match the torment.

    T or F
    False. NO ONE could match the torment.
  41. Unlike _________who breaks away from, Michelangelo unifies sculpture.
  42. ________'s art began in the 15C and he idealized the High Renaissance, at the end of his life he broke the rules of and drifted towards Mannerism and Baroque.
  43. _________ is probably the only Renaissance artist to transfer rich color from panel painting to frescoes.
    Del Sarto
  44. ____________ is one of the most important and original painters in Northern Italy and develops a unique Northern Italian Renaissance art that is hard to classify.
  45. Pontormo is the leading painter in the middle 17C in Florence.

    T or F
  46. True
  47. Fiorentino works under the Florentine School of painting and introduces this style to Venice.

    T or F
    Falso ! He introduced this style to France.

    • Fiorentino
    • Florentino
    • Francino
  48. Fiorentino helped spread Italian Mannerism through Northern Italy.

    True or False
    Falso !

    He helped spread Mannerism through Northern Europe
  49. Da Vinci is the first Italian painter to take up etching.

    True or False
    Falso ! Parmigianino is
  50. With Bellini, Venetian art becomes the great compliment of Florentine and Roman schools.

    True or False
  51. The new joy in nature and profound religious reverence in art, and landscapes of poetry is Coreggio's contribution.

    It is Bellini's contribution
  52. • Distance is rendered with da Vinci’s use of sfumato, which was his particular brand of chiaroscuro.

    True or False