ART 172 : Examples of sound answers:

ART 172/Quiz #6 - Examples of sound answers:

ESSAY 1. Compare and contrast these two historical styles that dominate the early and the mid-19th century in form and content.

In the slides, we see David’s Napolean Crossing the St. Bernard, which is done in the Romantic style. Russian artist Repin’s work is an example of political realism, another dominating historical style in the 19th century. At the beginning of the century, David’s work typified the romantic idea. The depiction of Napolean is dramatic and beautiful. The event is captured in that historicizing manner that commands respect. Compositionally, it is rendered very illusionistically as it is well modeled. We see the use of dramatic lighting from the upper left corner. This emphasizes the billowing cape and flowing horse-hair in idealized proportions. The stark background adds to this heightened drama and feeling of nobility. Barghaulesr of the Volga is a different story. Unlike Napoleon as the subject, these men are ordinary, lower class individuals who are portrayed in an historical manner. They are downtrodden, which is a common subject of political realism; they show ordinary people. In this style, the colors are subtle and muted. Where we saw the pyramidal composition before, this has changed into haphazard linear composition. The brushwork is free and loose when before we saw the “licked surfaces”. Detail is replaced by rendering hints of shadows. The air of nobility of Napoleon becomes the stark reality of those in the lower class. When comparing and contrasting these two styles, it is hard to believe how different the styles of form and content are. This goes to illustrate the changing ideals and values in the early and mid 19th century.

ESSAY 2. What’s wrong with this painting? How does it reflect its times? Refer to earlier relevant works and one other image of the artist.

Goya’s Family of Charles IV is an important reflection of the period’s political unrest. The absolute authority of Spanish royalty was being called into question by its people and, as a political realist, Goya depicted this in his painting. The royal family looks foolish in this portrait because not everyone is even looking in the right direction. There are some people hidden and the subjects are by no means shown as very dignified. This is comparable to Velasquez’s Maids of Honor as Goya is pictured in the background but the sense of absolute awe for the royal family is completely missing. Goya was also known for other political statements such as Third of May 1888 and Sleeping Reasons Makes Monsters. He depicts the massacre of Spanish innocents by the French in Third of May and his one focal subject almost glorified as Jesus in religious works. He was very upset by the unfairness and expressions that plagued the people. In his etching of Sleeping Reason, he tries to send a message for people to make up and change the horrific downslide that had taken over. His message went unheard and he even was called into question about one of his earlier works by the newly established conservative rule. Finally, he gave up in the end.

ESSAY 3. Did early photography finally show the world what “reality” was about? Refer to several examples to illustrate your essay.

Photography is all about catching the reality of a specific moment in time, but early photography, no matter how it may seem, is anything but that. In the slide Rejlander’s The Two Paths of Life, you are not seeing a unique snapshot, but rather a well thought out subject that was set up by the artist. The piece seems to be a play on Last Judgment depicting one side good, the other evil, displaying the two choices in paths you can take in life. Some other early photographs: Daguerre’s The Artist Studio and Fox-Talbot’s The Open Door also show this unrealistic aspect of early photography. Daguerre’s The Artist Studio is like any still-life painting of earlier times, but instead of painting, it was photographed. The still-life didn’t just happen, but was well thought out and set up by the artist. Everything in it’s own place! In Fox-Talbot’s The Open Door, it appears as though you have just come across an open door of an old cottage, but this must be questioned. Could the broom have just happened to perfectly fall along the same lines as the shadows on the door? Through these pieces, we can see the truly unrealistic quality displayed in early photography.

ESSAY 4. Discuss varieties of 19th century architecture by citing examples and explaining how they are tied to tradition or to innovations of their period.

The architecture at this time was growing more impressive as new building materials became widely available through mass production, and other processes. The example of architecture shown is the Paris Opera House designed by Garnier. He used a historicizing style when creating this building. It was not traditional Grand Manner and did not mimic any works of the past. Instead, Garnier described it as a whole new style to praise the successful and opulent rule of Napoleon the III. The interior was luxurious with grand staircases and golden statuette candle scones. Tall columns, arches, and decorative paneling all reflected the building’s use – housing an extravagant art form such as the opera. Another historicizing piece of architecture was the House of Parliament in London. Other architecture of the time utilized steel, iron, large mass-produced wooden framing & wound-wire roping such as the Brooklyn Bridge by the Roeblings, the Crystal palace in London designed by Paxton, etc. This was all part of the Progressive movement – incorporating new science and technology into modern art forms and building techniques. The Eiffel Tower was built simply as a showcase of human technological advancement for an exhibition. The Brooklyn Bridge, as an example, combined old with the new; using gothic style pointed arches and high rises along with the massive amounts of iron and know-how of modern technology.

ESSAY 5. Discuss varieties of Realist painting. In your opinion, is any of it more “realistic” than others?

The so-called “Realist” painting of the 19th century can be broken down into three easy categories: Academic Realism, Romantic Realism, and Political Realism. Academic Realism is, in my opinion, the least “real” of the three sub-categories. Bouguereau’s Nymphs and a Satyr, for example, is composed of completely idealized figures in an entirely imagined setting. The only thing even close to what would possibly be called “real” is the almost “photographic” treatment of the surfaces. Romantic realism, as could be guessed from the name, is romanticized. It is, however, fairly accurate in its depiction of real landscapes. Frederick Edwin Church’s Niagara gives us a fairly accurate, albeit romanticized picture of a real place. Political Realism, though leaving in some cases towards impressionism, as far as the form is concerned, is the most “real” of the three in my opinion. I say this because it depicts social, political, and human realities, or at least, it tries to. Daumier’s The Third Class carriage shows the real life of people on the train where sometimes different classes were forced to mingle. All in all, it is impossible for art to show something “real” in the visual sense. Therefore, it is the art that tries to show something real about the world through its’ content, seems the “real” to me.

ESSAY 6. What was controversial about this artist’s work? What transitions does he represent?

Manet’s Realist works like Luncheon on the Grass and Olympia, illustrate the notable transition from Realism to Impressionism. Luncheon on the Grass seemed to make people uncomfortable. Though it is taken from the Venetian Renaissance work, The Pastoral Concert, which was highly regarded, the people seemed to be moving away from such ideas, both in terms of form as well as content. The figures seem out of proportion, especially the woman in the background. She is much too large for the distance away she is and it seems strange that she is bathing, for the water is too shallow. Also, in terms of form, the sky in the background, which should look far away, seems to be right in front of us. In terms of content, however, people were simply uncomfortable with the idea of two naked women and two men. Not only was it not a representation of the time, but their clothes were shown, making the painting less idealized. In Manet’s Olympia as well, the “courtesan” seems much more like a person than the idealized Venus of Urbino. She seems to be looking in the eyes of her “purchaser”, the viewer, which made people very uncomfortable. And she too, is a bit out of proportion. Her features are awkward, making the entire painting a bit awkward. So it is no wonder why this Realist style began to fade and Manet himself became more of an Impressionist, which broke away from the idea of academic acceptability and began to see the world, and the world of art, as a reflection of the subjective interpretation of the individual.

ESSAY 7. Discuss the characteristics of this period style in form and content. What non-European influence does it reflect? How is it related to the changing world-view of its times?

Impressionist art, which developed during the end of the 19th century, included major stylistic changes that were caused by the influence of different artistic styles and new ways of looking at the world. This can be seen by looking at Cassatt’s Maternal Embrace and other Impressionist works. Impressionist artists used the natural world only as a reference, interpreting reality through their own consciousness. They were not as concerned with expressing completely accurate depictions, instead they were interested in personal styles and interpretations of reality. They were influenced by art from Japan and other newly discovered styles. Cassatt’s print shows a lot of influence from Japan. It has the viewer looking down on the scene from above and perspective is skewed. Also, there is no modeling and the scene depicts an everyday event that previously would have been considered trivial. Because the artist is only using reality as a reference, she can do such things as use unusual color and continue patterns in unrelated areas. As an Impressionist artist, she has a specific style that can be differentiated from other artists such as Manet and Renoir. She also has a specific interest that she chooses to depict. Almost all of her work, including Maternal Embrace, Woman in a Loge concern the depiction of women. Renoir, on the other hand, was interested in people, while Manet liked to observe the changes in light. Impressionist artists created works that were different in both form and style and content to those of the previous periods. This difference came about as people began to question their reality through the introduction of new ideas and technologies.

ART 172/Quiz #5 - Examples of sound answers:

ESSAY 1. What contribution did this artist’s painting make to the history of art? How did his art, while controversial, fulfill Counter-Reformation aims? Give names of artists whom he influenced. The Italian artist Caravaggio who painted such baroque works as The Calling of St. Matthew, had an enormous effect on the artistic world due to his handling of light and dark. His style, known as tenebrism, was very dramatic. It created the effect of figures rising out of darkness or shadow and being illuminated by a bright light source, usually only from one place. This effect can be seen on the right side of the picture. Caravaggio’s work was so controversial because he used common, unkempt people from the streets as his models. He didn’t idealize religious figures and even had a tendency to add erotic impressions or images into his religious art. Although there was a darker side to his work and some of his work was completely rejected, as a whole, he was fairly successful in creating interesting art that was filled with excitement in order to draw people back to the Catholic church. Caravaggio’s tenebrism style influenced other artists across Europe. Artemisia Gentileschi, another Italian artist, used tenebrism is such works as Judith and Her Nurse with the Head of Holofernes. In Spain, the artist Velazquez also showed signs of influence in such works as The Water Carrier of Seville. Even in Holland, where people had broken away from the Catholic church, artists like Rembrandt experimented with Caravaggio’s unique treatment of light. Caravaggio was fairly successful and influential throughout the artistic world, even though some of his art was rejected as obscene.

ESSAY 2. Discuss a variety of interpretations of this painting. Velazquez’s honor has several different interpretations. As to what he was really trying to say we may never know but there are some facts important to lay out first. Valesquez did not have high status in Spain and ate with the regular servants. This painting would have been displayed in the royal sanctum. Velazquez worked a lot with these subjects that are in painting. The first point is that with this being a royal commission that only the king and queen would see it. So we can view this painting as absolute obedience to absolute authority. As the king and queen walk into the room, everyone stops, looks, and gives them reverence. It could be Velazquez showing his status. We know that he went back and painted the cross on his chest when he won the right to do so. He could be showing his closeness to the royal family and superiority over the artists whose paintings are shadowed on the wall. Velazquez could also be painting the king and queen and their reflection is shown to us in the mirror. Their daughter and all of her attendants are getting ready for the next painting, the subject would be the princess. As we can see, there are many different interpretations. These are only a couple of them.

ESSAY 3. Use these and other examples of your choice to describe three to five varieties of Baroque regional styles. During the Baroque period, a number of styles from various geographic regions made their mark on the overall movement. European countries including Italy, France, Spain, Flanders, and Holland all contained Baroque artists, and although similarities exist, a number of quirks of the regions can be identified. In Italy, Caravaggio and Artemisia Gentileschi made their mark by the use of tenebrism (which transferred to other regions as well). Their emphasis on individuals and regular, everyday scenes introduced a new understanding of the Baroque period. French painters like Poussin used a more restrained style like that found in Landscape with St. John on Patmos. Velazquez, in works like Water Carrier of Seville, also was influenced by Caravaggio in terms of both form and content. The average worker with individual features contained in a “dark manner” style, shows such influence. In Flanders, Ruben’s works, like The Raising of the Cross, has a more obvious Catholic religious ideal. It is an almost “all at once” work, with loud, exuberant emphases. This is much different than the “little Dutch Masters”, including painters like Judith Leyster, Albert Cuyp, and certainly Vermeer and Rembrandt. This style tended to be much more quiet, reflective, and humble. Self-portraits by artists like the Avenue at Middelhaims, Maas at Dordrecht, and View at Delft. But even Rembrandt was influenced by the “dark manner”. So although the various regions are diverse in terms of both form and content, some similarities make them all part of the Baroque style.

ESSAY 4. Concentrate on the two regions represented by the two right-hand slides. The two regions of Holland and Belgium, though close geographically, produced paintings that differed greatly in style and themes. Holland was a Protestant country and diverged from focusing on religion in the art work. There were quite a few “little Dutch Masters”, but two of the big names were Vermeer and Rembrandt. Vermeer did only a few paintings and his focus was mainly on domestic scenes involving intimate views of women in their homes. For example, The Woman with the Pearl Earring or The Woman with a Balance. Both seem to be about nothing in particular but on closer examination have of symbolism and mystery. Rembrandt had many paintings among those many self-portraits. These portraits were unflattering and had a great contrast of dark and light inspired by the tenebrism of Caravaggio. Hobbema was another Dutch artist who liked, (like many Dutch painters), landscapes and celebrating the beauty of their country. Landscapes were not rendered exactly as reality, but reaaranged to bring out highlights and organization. The quiet paintings of the Dutch contrasted with the loud, action filled paintings of Belgium. The main painter in this region was Rubens who did paintings such as Henry IV receiving a portrait of Marie Medici. This region was Catholic and usually had religious subjects as in Raising of the Cross also by Rubens. These followed more in the Italian style with vibrant colors and theatrical renditions.

ESSAY 5. Define and discuss this western tradition: its variations in formal style, content and context. The Grand Manner or the Renaissance-Baroque tradition, is an historically conscious style that tried to define art as a certain set of principles and techniques taken from the Baroque and Classical Renaissance period. This period in art, in the 18th century, represents the plateau of the Renaissance-Baroque tradition. It is a very classical style that sought to dictate what was “real” art and who the “real” artists were through the creation of the academy. The academy insured that only wealthy, elite people would be able to fully understand “art” as defined by the period, let alone paint it. For one thing, you had to have enough money to go on the “grand tour” to visit Renaissance and baroque works throughout Europe. This concentration on predetermined ideals made for a great decrease in originality compared with the previous centuries. Artists were essentially borrowing bits and pieces from the last two centuries in European painting. This is not to say that the Grand Manner is without variation. Joshua Reynolds’ work was much more toward the “classicising” end of the spectrum which stressed timelessness. The more contemporary and current (as for content) side of the spectrum is represented by Romantic painters like Benjamin West and David.

ART 172/Quiz #4 - Examples of sound answers:

ESSAY 1. What distinguishes this regional style from others in the same period and geographic area? What modern qualities are associated with this school? Venetian Renaissance art stands apart from other art in its era because of its more modern and secular take. The Tempest by Giorgione (his most famous work) is a great example of how peaceful landscapes and nude female figures painted in a softer style became more common in Venetian pieces. The female body was not appreciated in this time by other artists, for example, Michelangelo who used modified male bodies for female figures and so the fact that it appears nude and more accurate is rare. This can also be seen in Titian’s work (another Venetian artist who studied by Giorgione’s expertise). Titian and Giorgione produced a piece called Pastoral Concert which depicts two nude women, clothed minstrels and a country landscape. There seems to be a peaceful, dream-like quality to these works. Titian also was more modern in his ideas because he portrayed Venus of Urbino, a female nude, as an erotic figure as well as nude (Giorgione’s Tempest actually has more of a maternal portrayal). The fact that females here being appreciated and a more secular take definitely differed from the male dominated, religious works of Classical Renaissance.

ESSAY 2. Analyze this painting in depth by listing the background and influences of the artist; describing how the formal treatment of the painting varies from one part to the other; explaining why the artist chose to vary the formal treatment in that way. The slide is of a painting by El Greco called The Burial of Count Orgaz. El Greco was probably influenced by a number of styles including those typical of Byzantine art as well as Venetian Renaissance and Mannerism. The painting itself can be thought of as divided into two separate regions. The lower region depicts the actual burial of the Count. It is painted in a fairly typical Renaissance style with crisp lines and high detail. The faces are painted in portrait-like quality and great attention is given to the details of the clothing. The upper region of the painting depicts the Count’s soul’s ascension into heaven. Since this depicts an entirely different realm or plane of existence it is painted in a completely different style. Figures are elongated and out proportion with one another in typical mannerist style. El Greco used a much more painterly approach to the top half as well in a proto-baroque style.

ESSAY 3. Define “Gesamtkunstwerk”, then describe examples in depth. “Gesamtkunstwerk” refers to something being a total work of art. This means that what creates the space as a moving artistic experience relies not only on the formal features of art – painting, sculpture and architecture, but other factors we don’t normally think of, but substantially affects the viewing. In St. Peter’s Basillica, we see all aspects of painting, sculpture and architecture one could ever want. From Bernini’s magnificiently sculpted Baldochino to the Chair of St. Peter, to the gilded ceilings, this space is amazing and moving. Your state of mind, the company you are in, whether or not music is playing, the time of day, position of the light, etc., is an example of added aspects that create the total work of art. The light, for example, changes continuously through the windows. This affects the viewing of the Chair sculpture. The painterly sculpture is so detailed and multi-dimensional, that light variations cause huge differences in what is noticed. The brass rods will also pick up the light differently and help in combining to create a total feeling for the art that changes continuously. Baroque artists such as Bernini focused a lot on this idea of “total” works of art. We see in the Cornaro Chapel the same use of painting, sculpture and architecture, but also relies on basically anything that affects viewing art to create this “Gesamtkunstwerk”. Baroque artists were able to create multi-dynamic works that constantly change to delight and move the viewer. This was created in the “total work of art”, so well done by Bernini on many occasions.

ESSAY 4: Compare and contrast these works. What is the point of the comparison? Bosch’s Garden of Earthly Delights is a typically Northern renaissance piece in that it is extremely busy and contains a lot of veiled symbolism. Michelangelo’s Last Judgment is typically Classical Renaissance with the figures showing the artist’s attention and understanding of the human anatomy. How are they alike and how are they different? They both display some torments of hell. Bosch is much more adament about it however. Bosch shows grotesque detail of what he sees as happening after depth, whereas Michelangelo seems to show more psychological torment than physical. Bosch is very busy and Michelangelo is more rationally plotted out. Bosch brings about surreal concepts such as Satan eating and digesting people for all eternity, where Michelangelo has Jesus doubly condemning sinners. Michelangelo pays homage to the human anatomy. You can see muscle tone and actual imaging the postures of his figures. Bosch shows us Pillsbury Dough-Boy figures that only seem to be people because of recognizable features such as arms, legs, etc. The point of comparison is to show how different people approach art; how they depict things differently, but not to place a higher valve on one over the other.

ESSAY 5: Compare and contrast these works systemically. What is the point of the comparison? Michelangelo’s ceiling in the Sistine Chapel is fundamentally different from Gaulli ceiling within the church of Il Gesú. That is because they were painted during different artistic periods. Michelangelo’s depictions of the story of Genesis are Renaissance works, while the ceiling of Il Gesú was painted during the Baroque period. Art historians have identified five major differences between the two styles. One difference is that Renaissance art is linear while Baroque is painterly. This can be seen by looking at the figures. Michelangelo’s figures have definite contours. Each aspect is clearly defined from the other. In the Baroque ceiling, the figures are not as defined, aspects blend each other. Michelangelo’s works are parallel to the picture plane while Gaulli’s have more depth and protrude both backward and forward from it. Gaulli’s art is not controlled or closed within the frame of the work, instead it spills forth. In the Sistine Chapel, each work is closed, a separate image. It shows multiplicity, not only in each separate image, but also in the composition of each scene that has several sections linked, but separate. In Gualli’s work, the entire image is more unified. Michelangelo’s subject matter and depictions are more straightforward or clear, while the ceiling of Il Gesú seems less certain. While there is some understanding, there is a slight confusion by the softer modeling and the image’s overall composition. Michelangelo’s High Renaissance work is stylistically different from the ceiling of Il Gesú because each artist was working during different time periods that had different ideals and ideas of how art should express ideas and be constructed.

ART 172/Quiz #3 - Examples of sound answers:

ESSAY 1. Describe the mural campaigns of this artist. Then get into the specifics that make the project monumental and memorable. Michelangelo’s main focus was on sculpture and so created quite a few popular pieces to this day. One of the most famous sculptures of Michelangelo’s is David, which celebrates the male torso but is out of proportion. The hands and head are too big for the body, which may be exaggerated to show the young adolescence of the biblical hero. Michelangelo also was known for putting his words in a suspenseful “action in repose”, which illustrates the subjects right before climatic action breaks out. In this case David has two expressions depending on the angle he is viewed. Head on, he is confidant and heroic looking, but to the side, nerves and fear can be seen as he gets ready to battle Goliath. The sculpture in the foreground of David is also by Michelangelo and it’s called St. Matthew. He had an interesting way of “lifting” the figure from the stone; usually started with the torso (which was finished to perfection before most other parts). He has known for hardly ever truly finishing his works and St. Matthew is a prime example of this. The “Pieta” is also a very famous work of Michelangelo’s and it too is out of proportion and some logical sense. Mary is too young and too large compared to her son Jesus, but this liberty is taken because they are divine and can break such rules. Again he captures the emotion beautifully and makes the image stick with the viewer forever. Therefore, Michelangelo was a great sculptor who captured the moment by using “energy in repose” and emotions.

ESSAY 2. Discuss the sculpture of this artist. What distinctive concepts make it extraordinary? Be sure to refer to a number of examples. In the center slide we see Michelangelo’s “David”. Michelangelo’s sculpture is perhaps the most celebrated ever. The technique, form, and meaning of his work has forever set a high bar in sculpture. When viewing “David” we see the ideal, heroic torso, but then one is struck with how awkward it looks with huge hands. The surfaces of the marble are very finished and polished in appearance. The attention to detail of anatomy is seen in the careful modeling of the body, down to the veins of the hand as well as the weight shift. In “David” and the statue “Moses” the viewer can really feel Michelangelo’s talent for “energy in repose”. “David” looks tense, his face is drawn and worried, even his hair displays turmoil as he’s about to face Goliath. “Moses” as well seems as if he will move in the next second and break the ten commandments in rage. All of this is possible through that amazing use of modeling and detail to anatomy, especially in motion. His use of space and positioning are also a big point of style. “Pieta” shows a situation crafted exquisitely, the detail, anatomy and bunching of drapery on Mary look far too real. Yet, when you step back, the position is very awkward, much like “David”, Mary’s lap is huge and must be to support Christ, while still being a young woman herslf. Michelangelo’s ability to see things was amazing. The sculpture of Michelangelo has been, and will be, an icon of art history most likely forever. His ability to see what is contained in the marble and set it free is amazing seen in all of his talent for seeing and creating.

ESSAY 3. This architect did not stick to one historical style. Using this example for starters, go on to explain stylistic variations in the structures he designed. Refer to three projects by style and name. Michelangelo’s architecture is not limited to the Classical Renaissance style, but encompasses the Mannerist and, even, Proto-Baroque styles. Michelangelo’s portion of St. Peter’s Basilica in the Vatican is very much in the Classical Renaissance style. His portion of this monumental piece of architecture, taken apart from the rest, is a central plan church. This conforms with the ideals of the period in that it is balanced and rational. It has four equal sides, and each level of the architecture (vertically) is checked so the viewer can “”make sense” of the work. It is not too tall for the width or vice versa. His vestibule of the Corentian Library deliberately plays with and subverts the aforementioned renaissance ideas. It has an unsettling and irrational feel due to the fact that seems in part too tall for the width while the stairs seem too wide and dangerously open for their height. There are playful elements of classical architecture that in no way serve their intended purpose such as columns sunk into the wall that don’t support anything. His Capitoline project is called “proto-baroque” because it uses the ever-changing oval within a trapazoid instead instead of the reliable Renaissance circle.

COMMON TOPIC: What is meant by the unity of form and content in this image? In the Isenheim Altarpiece by Grünewald, a number of aspects of form correlate, or are unified with the content. This idea, namely, “unity of content and from”, is important in the Renaissance period and can clearly be expressed in this work. For example, the use of the line, which outlines Jesus’ arm, or the crown of thorns is jagged, harsh and unsettling. This is similar to the work as a whole, the content of this piece emphasizes the suffering of Christ, and the anguish of his crucifixion. Also, the use of space is notable. The empty black background, devoid of images, etc. represents this dark, unsettling, void in the subject subject matter. Color is also key when thinking of “unity of content and from”. The portrayal of the black background was already mentioned, but the use of red is important. From the red drapery on the figures to the red tear in Christ’s flesh, the color shifts the viewer’s eye from one to the next in an unsettling anxious manner. And finally, Mary Magadene’s hair, which is long, somewhat jagged, and again, unsettling. The brush strokes emphasize quick, anxious lines, similar again with the overall content of the piece. The Isenheim Altarpiece, as well as many other works, operate on such unity, emphasizing the psychological level on which the work presents both in form and content.

CHOOSE ONE: How did this artist picture his role in the Renaissance? Did he succeed in his goals? Refer to specific qualities of his images to support your points. This is an engraving of “Adam and Eve” by Albert Dürer. Dürer thought very highly of himself during the German renaissance period, so much as to call himself the “Leonardo of the North”. He did several self-portraits, some of which he portrayed himself as Christ-like oran Italian prince – which also hints at his ego. Dürer signed all of his works very clearly and incorporated new styles and techniques to prove that he could accomplish them, including intricate wood cuts and engravings, such as “Adam and Eve”. In this piece, he portrays the figures nude, which is traditional Italian and pays close attention to weight shift and anatomy. The piece is a bit Northern as well because it is a close-up view; it has a detailed background that is very detailed and busy. Dürer’s other works support his definitive role during the German Renaissance. The “Four Horsemen of the Apocalypse” was a common fear of people around 1500. His “Melancolia” incorporated perspective on strangely-shaped objects and mystical elements. His “Four Apostles” stated his religious stance at the time, which was a newfound devotion to Protestantism (the rise of the Reformation and Martin Luther). I think Dürer accomplished his goal of being a famous and admired painter. His images are still seen today, such as the praying hands and the hare, which I recognized immediately because of the signature.

CHOOSE ONE: Compare and contrast these two images. What is the point of the comparison? The two images “Madonna of the Goldfinch” and “Madonna with the Long Neck” by Parmiaginino are very different pieces even though they both depict the same subject and were both made in the same time period. One of the things that makes these two pieces so different from each other is that they were made in different styles. Parmiaginino’s piece is Mannerist while the other is Classical Renaissance. Each of these styles have different aspects which can be seen. The Classical Renaissance work has a broad base easily identified colors, a good sense of space, good anatomy and the Madonna is showing humility in her face. The Mannerist piece does not have a broad base (Madonna is balancing on a toe!), the anatomy is distorted (Madonna’s lap is huge and doesn’t fit her upper body and the baby is much too large and strange looking). Also, the colors used aren’t very easy to recognize, as in most Mannerist pieces tertiary colors are used. There isn’t a very good sense of space; you’re not sure where you are. The Madonna is more haughty looking than the other one. Also, there is a lot of sexuality shown in the Mannerist piece, with the Madonna’s erect nipples, the placing of her hand and the nude angel leg on the side. One last point of contrast is that in the Classical piece you can follow the gazes of the figures and they follow a path while the mannerist piece has the figures all looking in different places.

ART 172/Quiz #2 - Examples of sound answers:

ESSAY 1. Discuss the Early Renaissance approach of this artist to sculpting the human figure. Refer to a number of other works to illustrate his distinctive Renaissance characteristics.

In Donatello’s masterpiece, El Zucchone, we see his characteristic approach to the Italian Renaissance. Donatello often referred to this work as his greatest accomplishment. The reason this work is so important, is because it truly is the definition of this era. There is a grand consideration of form and structure in El Zucchone, much like in Donatello’s David. Being a nude, David had to have great anatomy and there was no worry for clothing or externals. El Zucchone does have clothes, but they are modest, especially for him being a prophet. In the north, Claus Sluter was making grandiose robes on his figures as in The Well of Moses. The other idea of modesty works in, when speaking of the figure itself. El Zucchone is not larger than life. He has no flowing robes, he is stubby and that is just the beginning of his head problems. He has no flowing locks; instead a sagging eye. He is not your traditional Biblical figure. Donatello interpreted differently, much as his work of Mary Magdalene. He gave Mary serene facial features, did not highlight her hair and made her to look like an ascetic. This all makes it a major example of Italian Renaissance sculpture. Donatello’s masterpiece makes us feel differently; it isn’t a glorification, it is a personification.

ESSAY 2. Name, compare and contrast these two architectural styles. How does each relate to the world-view of its era?

The two pieces of architecture, Milan Cathedral and the Foundling Hospital, built by Brunelleschi represent quite clearly the different cultural eras of the Gothic period and the Renaissance. Milan Cathedral, as seen at first glance is very intricate, with attention paid to each individual column, door, pointed arches, etc. The meticulousness of the Cathedral is striking, as are many monuments from the Gothic period. The Gothic period emphasized the “Heavens”, or ideas of the spiritual realm. The cathedral has a vertical orientation, like it is actually reaching to the Heavens. People of this age were constantly focusing on things outside of “this world”, and Milan Cathedral is one of the most extreme examples of this. The space is confusing, busy, and quite distinct from the Foundling Hospital of the Renaissance. Brunelleschi, in his architectural work, created a very rational space. In fact, like much of the architecture of the Renaissance, it is mathematically symmetrical. The space is clear and concise, and quite straightforward with round arches. It is very much in line with the Renaissance mentality. After the Gothic age, oriented in the “Heavens”, Renaissance art began to return to this world. The Foundling Hospital has a horizontal orientation, signifying its emphasis on Earth. The two periods, with very different cultural emphases can be illustrated with the Milan Cathedral and the Foundling Hospital very reasonably.

ESSAY 3. Refer to one, two or three of the projected slides to discuss in depth the way artists used artistic devices typical of the period to “paint way the walls.”Describe space, anatomy, perspective, modeling, light, etc. in depth. Conclude by indicating where the work(s) stand(s) in the 15th century: is it/are they advanced?

A. The best way to answer this question is to refer to some of the highlights in each work. In Uccello’s Battle of San Romano, it is literally a battle of artistic style at the time. He used new and old methods. Some of the new include placing objects on the orthogonal to create perspective, showing anatomy of the horses, and studying form in the characters. Yet, he still used the old method, such as pulling up the background, placing detailed characters in the front and back, and the Northern style of “close-up” painting. In Perugino’s Christ Giving the Keys to St. Peter, mostly new methods were used. The plaza seems very large because of the one-point linear perspective he created with the tiles on the ground. At the time, a plaza this large was uncommon. There are idealized architectural buildings in the background. In reality, they do not exist together. Perugino studied the anatomy of the people in the foreground and idealized those closest to Jesus. He also incorporated the old style if emphasizing drapery. He also used weight shift and modeling. In Botticelli’s Birth of Venus, he attempted to use some of the new techniques, but failed. There is not much perspective, but there is a horizon line. No weight shift in Venus – she could be falling over. Venus is painted in soft style, with little modeling to accentuate facial and other features. Bottacelli’s work tends to look Northern due to the close-up view – he still details clothing and tree leaves very well. The water is extremely stylized; he uses symbolic pieces like angels, flowers, and so on.

B. The Brth of Venus is a very interesting, but a typical Renaissance piece. The water is highly simplistic and is almost devoid of the illusionist tendencies of the time. The trees are the same way; they look more like green cotton candy on sticks than trees, which have been studied directly. The modeling in this work is not on par for its time. The hair of Venus looks like a plastic mold. The drapery looks stiff, heavy, and too bulky to be true. The figures have a more northern European feel because of this. However, we can see weight shift in Venus herself. Yet her special relationship to the shell is more like a collage than a painting. It seems then, that this piece might not be as Renaissance-esque, then, wouldn’t it? No, Botticelli has moved into a new mode – ambiguous content. He is breaking tradition and thinking anew. It was not that he didn’t have the skills to do a traditional Renaissance piece, but he was working through the guise of neo-Platonism, trying to get us in touch with the divine, using the traditional baptism scene in combination with sensual subject matter.

ESSAY 4. Contrast the difference in approach between northern and southern artists of the same century. Refer to these and other examples.

Works by the northern and southern artists of the Renaissance are very different, even made in the same century. A good example of this difference is shown in contrasting Tribute Money and the Merode Altarpiece. Northern works, like the Merode Altarpiece, focused more on surfaces and outside appearance than structure. This can be seen in the way that the people are depicted. They are given heads, but then they are just a vast pile of cloth. Northern artists didn’t have much knowledge of anatomy, and so made up for it with their love and attention to mass drapery. Another thing is that Northerners had a very tilted background and they paid attention to how even something far away can be seen in detail. Northern work doesn’t really make much sense of proportion or perspective. On the other hand, Southern works pay close attention to the structure of things first, and then, to outside appearances. This is seen in human figures. Southerners had a good knowledge of anatomy and you can tell that they made sure that the figure was correct, adding the clothing afterward. Also, you get a much better sense of space with this and other pieces of southern work. The mountains in the background actually look farther back – they aren’t detailed like they would be in the North.

ESSAY 5. This work is a popular icon. Discuss how it exemplifies the stylistic ideals of its period. To conclude, characterize your interactions with the image.

This painting, The Last Supper, created by Leonardo da Vinci at the beginning of the 16th century illustrates the stylistic ideals of the period. One aspect of the painting that shows a common trait of the period is the conical or pyramid shaped composition; the figures form the bottom of the structure while the one-point perspective draws the eye into the center angle. Another stylistic ideal was the tendency to cause all of the figures within a piece to be caught up in similar emotions. In most cases, figures would all be considering the fact that they were partaking in a major religious event. The shared emotion in this picture is created through daVinci’s use of sfumato modeling. His technique is described as smoky or soft, creating a readable expression that still allows for interpretation and some ambiguity. The sfumato modeling also applies to the drapery of the figures, creating some confusion where one stops and the other begins. This allows for more unity between each figure as well as an interesting effect helping to create the conical composition. One major aspect of the painting grew out of the 15th century’s emphasis on form and content unity in painting first discussed in Alberti’s On Painting. This not only shows up in the one-point perspective, which was utilized to create space, but also in the placement of figures on each side of Christ, in groups of threes. This mathematical division was meant to create symmetry that would be pleasing to the eye, while still giving the illusion of reality. I have a very personal connection to this work because a copy of it hangs near my dining table at home. I associate this image which I saw every day of my childhood with happiness and love.

ART 172/Quiz 1 - Examples of sound answers:

ESSAY 1. Identify, compare and contrast these two works. Start with the differences, conclude with the similarities. What is the point of the comparison?

Jean Claude Christo’s Running Fence and the Arena Chapel filled with works by Giotto seem, and in many ways, can be very different. Yet surprisingly, similarities can be found in the two works as well. One of the key differences between the two lies in the purpose (within the content of the art). In Running Fence, the emphasis is on the process of making art. To organize such a big project in my mind, is art in itself. Giotto’s paintings of the Arena Chapel have an emphasis on the product. Giotto painted to end with a complete work, or in this case, chapel, as most art especially in the Proto-Renaissance period. One of the most striking differences, however, is the difference in styles – that is – illusionism vs. abstraction. Giotto’s Christ in Judgment has foreshortening, modeling, lines, shapes, etc. The forms are also symbolic, representing images and stories that the viewer can understand and may already know. Running Fence, however, is oriented in abstraction. Though the subject matter, or content can be guessed, no one can absolutely say what is really being represented. And, it certainly lacks all the qualities of illusionistic art, besides possibly modeling due to the material in the elements. With all these differences, both are still art. Both convey a message, and regardless of what it is or how it is done, there is no question that it is.

ESSAY 2. Discuss the dangers of using the word “realistic” in regard to imagery. Refer to the TWO images on the LEFT.

There are dangers in using the word realistic because first of all, not every person could have the same definition of realistic. It is especially risky to use “realistic” when referring to artwork, because pieces of art are bound to be interpreted critically as such. One could argue that a painting of pipe, as shown in Magrite’s work on the left, is not a pipe, it is only a painting of one and that does not make a pipe. The painting would be realistic in the sense that it closely resembles an actual pipe but is not the 3-D object that an actual pipe is. Reality is an issue in Thomas LeClear’s Interior with Portraits because of a time issue. The children depicted in the painting are no longer alive when the painting was done. There is a dog entering, the photographer is bent over, they are in a studio – all these clues in the painting give it a sense of immediacy. The painting also suggests the photographing was popular at the time, but the work itself is a painting, which painting portraits is not a reality any more. Paintings are always at the discretion of the artist – altered here and there – and can never resemble reality exactly.

ESSAY 3. Discuss the differences between form and content, and between illusionistic and abstract art. Begin by referring to the slide on the RIGHT, then to any other examples of your choosing.

Form is the lines, shapes, colors, and objects (among other things) of a piece, while content Is the ideas or meanings within the piece. In Barbara Kruegers Untitled piece, the form includes a hand in black and white, appearing to hold a bright red rectangle with the words: “I shop, therefore I am” written on it in large white letters. The content can be very different to many people, but to use it like this hand, which is generic and could be anyone. It is holding a credit card and the words are hinting that this is materialistic. This is what defines them, but they are no worse than anyone else, or better for that matter. This piece not only combines form and content, but also illusionistic and abstract ideas. The hand in the piece is in black and white and almost looks like a real photo of someone’s hand, but it is actually a black and white painting. The abstract part of this piece is the red rectangle and words. These parts were not painted on and are not on the same level as the hand. They were separately placed on in some way.

ESSAY 4. Using these and other images of your choice, discuss the characterics of this period style in BOTH form and content. Be sure to mention the century and geographic area involved plus the names of key artists and works.

All three of these pieces belong to the early Renaissance movement that took place in northern France and Belgium during the 15th century. This style had a very specific style that helps to identify these works. In Robert Campin’s painting Merode Altarpiece we can see the styles tendency to include large amounts of drapery on their figures, creating a distorted figure underneath. This is known as the soft style of figure painting. The reason for this distortion was the styles emphasis on the surface of objects rather than on the interior structure. Also present in this painting is the style’s use of intuitive perspective in the architecture of the tendency to highlight objects like tables so that more of its contents can be shown. The period also saw the investigation of shadows in art as well as closely observed light and dark patterns with modeling. In Van Eyck’s piece Man in a Turban you can see this period’s tendency to depict almost overly naturalistic depictions of the surface. Every wrinkle and hair is observed and included in the work, creating an up close, almost personal experience. In Hugo van der Goes’ painting Portaneri Altarpiece and in van Eyck’s painting, Arnolfini Wedding Portrait, we can see the style’s inclusion of veiled symbolism within the paintings. The flower and vase in Goes’ work symbolizes the virgin. The shoes in both pictures signify sacredness and the broom within Eyck’s work signifies domesticity, expressing themes and ideas to the viewer that they would have easily chosen at that time. These characteristics were common in all art that came from northern France in the 15th century.