Art History Test 2

Front 1

Back 1

Fra Filippo Lippi, “Tarquinia Madonna”

Front 2

Back 2

Fra Filippo Lippi, “Funeral of St. Stephen” Prato Cathedral

Front 3

Back 3

Fra Angelico, “The Annunciation”

Front 4

Back 4

Fra Angelico,“St. Sixtus Entrusts the Church Treasures to Lawrence” / “St. Lawrence Distributing Alms”

Chapel for Nicholas

Front 5

Back 5

Domenico Veneziano, “The St. Lucy Altarpiece” (main painting)

Front 6

Back 6

Domenico Veneziano, “The Miracle of St. Zenobius” (predella from The St. Lucy Altarpiece)

Front 7

Back 7

Andrea del Castagno, “Last Supper”

Front 8

Back 8

Andrea del Castagno, “Resurrection”

Front 9

Back 9

Andrea del Castagno,“David with the Head of Goliath”

Front 10

Back 10

Andrea del Castagno, “Niccolo da Tolentino Memorial”

Front 11

Back 11

Paolo Uccello, “Sir John Hawkwood Memorial”

Front 12

Back 12

Paolo Uccello, “Battle of San Romano” Series

Front 13

Back 13

Domenico di Bartolo, “Madonna of Humility”

Front 14

Back 14

Giovanni di Paolo,“St. John Entering the Wilderness”

Front 15

Back 15

Sassetta, “St. Francis Renounces his Earthly Father”

Front 16

Back 16

Piero della Francesca, “Baptism of Christ”

Front 17

Back 17

Piero della Francesca, “Resurrection”

Front 18

Back 18

Piero della Francesca, “The Flagellation of Christ”

Front 19

Back 19

Piero della Francesca, “Battista Sforza and Federigo da Montefeltro”

Front 20

Back 20

Andrea Mantegna, “Martyrdom of St. James”

Front 21

Back 21

Andrea Mantegna, “St. Zeno Altarpiece”

Front 22

Back 22

Andrea Mantegna, “Camera degli Sposi Ceiling”

Front 23

Back 23

Andrea Mantegna, “Lamentation over the Dead Christ”

Front 24

Back 24

Roger van der Weyden, “Descent from the Cross (Escorial Deposition)”

Front 25

Back 25

Roger van der Weyden, “Portrait of a Women with Winged Bonnet”

Front 26

Back 26

Anonymous, “The Dying Man Tempted to Impatience” from an Ars Moriendi

Front 27

Back 27

Master ES, “Madonna Watching the Child being Bathed”

Front 28

Back 28

Martin Schongauer, “Temptation of St. Anthony”

Front 29

Back 29

Antonio Pollaiuolo, “Battle of the Nude Men”

Front 30

Back 30

Albrecht Dürer, “Four Horsemen of the Apocalypse”

Front 31

Back 31

Albrecht Dürer, “Artists Drawing a Lute”

Front 32

Back 32

Albrecht Dürer, “Adam and Eve (The Fall of Man)”

Front 33

Back 33

Albrecht Dürer, “Melancholia”

Front 34

Back 34

Jacopo della Quercia, “Tomb of Ilaria del Carretto”

Front 35

Back 35

Jacopo della Quercia, “Fonte Gaia”

Front 36

Back 36

Jacopo della Quercia, “Annunciation to Zacharias”

Front 37

Back 37

Luca della Robbia, “Ascension”

Front 38

Back 38

Luca della Robbia, “St. James”

Front 39

Back 39

Bernardo Rossellino, “Bruni Tomb”

Front 40

Back 40

Antonio Rossellino, “Tomb of Cardinal of Portugal”

Front 41

Back 41

Mino da Fiesole, “Tomb of Count Ugo of Tuscany”

Front 42

Back 42

Mino da Fiesole, “Portrait Bust of Nicolo Strozzi”

Front 43

Back 43

Antonio and Piero Pollaiuolo, “Tomb of Sixtus IV”

Front 44

Back 44

Antonio and Piero Pollaiuolo, “Tomb of Innocent VIII”

Front 45

Back 45

Verrocchio, “David”

Front 46

Back 46

Verrocchio, “Colleoni Monument”

Front 47

Back 47

Verrocchio, “Colleoni Monument”

Front 48

1. Fra Filippo Lippi’s “Madonna of Humility” (1431-37), “Madonna and Child (Pitti Tondo)” (1452) and“Madonna Adoring Child in a Wood” (1455-57) – all nativities – have a poetic quality, being more meditations upon, rather than ____________________ of, the scene.

Back 48

representations

Front 49

2. Fra Angelico’s “Scenes from the Lives of Saints Lawrence and Stephen” (1447-49) possesses a logical realism in their ____________________ settings, clarity of scale and narrative content, and restraint in their vigor.

Back 49

perspective

Front 50

3. Domenico Veneziano’s “St. Lucy Altarpiece” (1445-47) gives the impression of a man starting with acomposition in color as much as in form or spatial geometry, and organizing his picture, not for its richness of effect or its variety of movement and emotion, but purely in ____________________ terms, with all else subordinated to that end.

Back 50

visual

Front 51

Andrea del Castagno’s “Last Supper” (1445-50) is a curious mixture of grandeur and____________________ realism, simplicity and realism . . . [everything] combines to create a vivid andharsh reality.

Back 51

harsh

Front 52

Uccello’s three big battle pieces, painted about 1454-57, are conceived as decorative ____________________ first and last . . . [and] the color is as irrational as the composition is fantastic.

Back 52

patterns

Front 53

In Sassetta’s series of the “Life of St. Francis” (1437-44), the narrative is really made no clearer by the attempts at a logical setting, for the haunting loveliness of each of the scenes lies in the use of pattern, of magical color, of delicate detail, and of the expression of the ___________________ .

Back 53

mood

Front 54

Giovanni di Paolo’s “St. John Entering the Wilderness” . . . goes into a fantasy world where scale, proportion, representational form, and color are abandoned for the creation of a ___________________ world more real, because [it is] more important than the everyday world.

Back 54

dream

Front 55

Piero della Francesca’s “Resurrection” (1463/65) is the same composition as Castagno’s “Resurrection” (1447), but Piero stresses the _______________ more than Castagno, makes his landscape background more explicit, more local, places his Christ deeper into the tomb . . . and so designs the tomb itself that it becomes like an altar with, therefore, overtones that the Castagno’s perspective effect misses.

Back 55

frontality

Front 56

Piero della Francesca’s “Baptism of Christ” (1440s) contains elements of his own invention: the solemn nobility of the figures, the confrontation of absolute frontality with absolute profile, the stressing of the ____________________-like figure of Christ by its juxtaposition with the bole of the tree, and the majesty and repose of the three angels.

Back 56

column

Front 57

Piero della Francesca’s “Flagellation” (late 1450s/early 1460s), a small panel, painted with great richness of color and the most painstaking technique, is iconographically a _______________ .

Back 57

mystery

Front 58

1. What makes [the work of] Roger van der Weyden so entirely different from [the work of] Jan van Eyck isthe greater elegance of his ___________________, and the profound pathos of his characterizations.

Back 58

figures

Front 59

As a portrait painter [Roger van der Weyden] is supreme. The ____________________ of characterization that makes the “Magdelen” (1452) from the Braque Triptych so memorable appears constantly in his overt portraits.

Back 59

tenderness

Front 60

A block with picture and caption cut in one can be used as one page of a complete book, and such a book is called a “____________________ - book;” the disadvantages are that mistakes usually involve scrapping a whole page, perhaps after much work, and the fact that the block is useable for only one book.

Back 60

block

Front 61

4. The process of engraving on metal (almost invariably copper) is simple, but it is almost the exactopposite of woodcut. In woodcut, or any relief method, the parts cut away are those which print as whites:in any of the ___________________ methods, the actual lines gouged out of the surface of the plate andthen filled with printing ink are those which print black.

Back 61

intaglio

Front 62

Albrecht Dürer’s “Four Horsemen of the Apocalypse” (1497/98) adapted the techniques that he used in the engravings to woodcuts, making them infinitely richer and more ______________________ in effect.

Back 62

dazzling

Front 63

Albrecht Dürer’s “Adam and Eve” (1504) is/was intended to be read as a ____________________ , with no detail so minute that it does not contribute to the significance, and with the complication of a basis of in obscure medieval systems of thought.

Back 63

book

Front 64

Albrecht Dürer’s greatest engravings, “The Knight, Death and the Devil,” “St. Jerome in his Study,” and “Melancholia,” were produced in 1513-14, and here again the multilayers of thought embedded in the iconography have to be read, at the same time as the _________________________ quality of the print makes its impact.

Back 64

aesthetic

Front 65

1. Jacopo della Quercia’s stone reliefs around the door of San Petronio in Bologna (1425), through low relief, expressive line, an avoidance in the background of pictorial effects, enable him to achieve a style of rare force and ___________________.

Back 65

simplicity

Front 66

The Rossellino Brothers created two large and important tombs (The Bruni Tomb – 1447 – and Cardinalof Portugal Tomb – 1461) which involved ___________________ almost as much as sculpture.

Back 66

architecture

Front 67

Mino da Fiesole’s tomb of Count Ugo of Tuscany (1469-81) shows the influence of the ____________________ , a result, presumably of the years he spent in Rome.

Back 67

antique

Front 68

Antonio and Piero Pollaiuolo’s Tomb of Innocent VIII (1492-98) breaks new ground. Instead of the customary ____________________ on a sarcophagus surmounted by a relief, the base consisted originally of the seated figure of the Pope, hand raised in blessing, surrounded by reliefs of the Virtues.

Back 68

effigy

Front 69

A comparison between Donatello’s David (1430-40) and Verrocchio’s David (1476) reveals Donatello’s as all relaxation and understatement; the Verrocchio is ____________________ , alert, the expression mischievous.

Back 69

tense