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

ESSAY 1. Name the artist and period, and then describe in depth the individual style for which he is famous. Name at least two artists who were under his influence.

The artist is Caravaggio, the piece is called The Calling of St. Matthew. He is famous for the style of darkness and light. It is called the dark manner of Caravaggio by today's art scholars. His dark manner is created by the lighting effects he uses. He shows people that are important in a brighter light so that they are noticed as the center of attention. Caravaggio was a painter during the Baroque period, and this is why his work wasn't very well received at the time. He went against the Baroque style of painting for richer more influential people by drawing his figures from normal people he would observe on the street. The dark manner he used was also very different from Baroque style. He was the first to really use a lot of shadows in his paintings, and this made him an outcast. However, he was still one of the more influential artists of his time. His dark manner heavily influenced the artists that came after him. The Italian Baroque artist Artemesia Gentileschi was one of the people he influenced. Her painting of La Pittura's background is completely showed in dark colors. Caravaggio also influenced the artist Rembrandt in his own self-portrait. Rembrandt painted himself in the dark manner. Rembrandt was also not afraid to show real people, just like Caravaggio. Rembrandt painted reality: he showed all the wrinkles and lines that came from aging. Artemesia also showed reality, she showed women as not being dainty and pretty. Both Artemesia Gentileschi and Rembrandt took a lesson from Caravaggio by using his dark manner and showing what is real.

ESSAY 2: Explain in depth what qualifies this monument as a Baroque Gesamtkunstwerk.

A Gesamtkunstwerk is defined as a “total work of art”, one that uses all medias to create a single piece of work. Versailles can be considered a prime example of a Baroque Gesamtkunstwerk for a number of reasons. First, one of the most important characteristics of a Gesamtkunstwerk is the massive size of the work. Versaille is most notable for its size, the reflecting pool in the gardens is over a mile long! Complimenting this massive pool are acres of well-planned and perfectly maintained gardens, all which frame the enormous castle. Secondly, the use of various materials throughout the castle add another Gesamtkunstwerk characteristic to Versailles. Paintings along the walls and ceilings, beautifully hung draperies, gold-embellished walls and ceilings, an entire hall lined with mirrors and chandeliers, as well as the decorative exterior of the castle all combine to make it Versailles, unlike any other place in the world. Thirdly, as part of the definition for Gesamtkunstwerk, it must be one, complete piece. Versailles meets this characteristic due to the fact that there are no hallways, just rooms that lead into more rooms. In order to get from one end of the castle to the next, one must walk through countless rooms to get there. The massive size, use of many medias, and the one-complete piece feeling of Versailles help label the castle as a Baroque example of a Gesamtkunstwerk.

ESSAY 3: Identify the artist of this painting, his period and region of origin. Then, discuss a variety of interpretations of this painting.

The Maids of Honor by Diego Velazquez is a Spanish work. Many interpretations of this famous work have been speculated. In this Spanish Baroque art we are given a glimpse of Spanish court life. To the left, we see a self-portrait of the artist, standing in back of a canvas. The central focal point is a little blonde toddler, the Spanish princess. One of the interpretations of this painting is that it is a portrait centering about the princess. This is apparent in the way the lady's maids are trying to coax the little girl out. Another viewpoint is that the princess is simply taking a rest from having her portrait drawn. However, one of the most emphasized themes is that the portrait is really of the King and Queen of Spain. They are standing in our space and we are seeing what they are indeed seeing. This is apparent because of the rear wall mirror, or oil painting, we can see the two figures that can only be standing in our own space. Another interpretation is that the King and Queen of Spain have just arrived and everyone stops to acknowledge this absolute power that is the sovereign monarch. We can see this in how the servant in the background just stops to observe and acknowledge the presence of the royalty. It is a stolen moment that has been captured, for the little boy is about to kick the dog and the scene will change. The last interpretation is that it is a self-portrait of Velazquez while he was at the Spanish court. We see this in the cross he later added in.

ESSAY 4: Contrast the historical circumstances and art practices of the two regions represented by the works of art slides. Name the regions, religions, political and economic systems, artists, subjects, sizes, etc. involved.

Henri IV Receiving the Portrait of Marie and Avenue of Middelharnis are two paintings of the same century and period, but are quite different due to their geographic location. Henri IV Receiving the Portrait of Marie was painted by Rubens who was from Flanders. The Flemish Baroque style was very unique in that the paintings were typically large and focused on either religious subjects or authoritative figures. The paintings were also more extroverted and showy. This painting screams “look at me!” with painterliness, openness, and diagonals (typical of Baroque style). Flemish Baroque paintings were also based on monarchy and the Catholic Church. It idealized poverty also. For the most part, these works were full of motion and life and were very visual. In contrast, Avenue of Middelharnis was painted by Habbema who was from Holland. Dutch Baroque paintings were almost completely opposite of Flemish Baroque works. The paintings were small and the subject matter focuses on landscapes, still-lifes and genre painting. These paintings were more introverted and still this painting looks like nothing is happening. They were also painted for the middle-class and were dominated by multiple artists. Although the paintings represent two different styles, they both have characteristics of the Baroque period based on Wölfflin's Principles.

ESSAY 5: Describe the characteristics of the historical style. What social class and what moment in history does it reflect?

This Painting of Pilgrimage to the Island of Cythera in the Rococo style of France in the 18th century was very representative of the era. First of all, the Rococo style had many characteristics that marked its being. For example, the very painterly aspects and the imaginary or made up location in which the scene is taking place. Furthermore, it is representative of the aristocratic class. It is a lot to do about nothing. Up until this point, paintings in France represented an event, an important facet of society. But now with reform and aristocrats allowed to live outside the palaces, many were fascinating their homes with meaningless, decorative paintings. This one, for example, is a prime demonstration of how the aristocratic class could afford to take the day off and go for a picnic on this beautiful island to visit the bust of a Greek goddess. This shows the infusion of Greek mythology into the developing era. One of the biggest things to take away from this painting in the idea that it represented a break for society. For centuries people had painted religious scenes of Christ, the resurrection and the last judgment. For years, people have viewed scenes of hardship and overall aspects of a depressing nature. This was the escape. Now artists painted picnics and pilgrimages such as young people flirting (Whose thinking about the Grape from the Chicago Art Institute?). All around, artists depicted the joys and privileges of the upper class. To sum up, it was one thing to merely paint much about nothing, but Rococo was done in a way that brought back excitement and simple pleasure to the upper class (many who would later be beheaded).

ESSAY 6: What are the ingredients of the Grand Manner in form and content?

Grand Manner was created in the newly formed art academies during the Romantic period of art. Grand Manner took the styles, techniques, subjects, and principles of classical and older periods of art, using them to teach students how to produce art. The arts also used these older techniques to create hundreds of hybrid works of art. A good example of a piece that used Grand Manner is Lady Sarah Offering. The work's style can be considered neo-classical. Lady Sarah is shown large in the center of the painting like any commissioned portrait. However, instead of any Christian religious influence, the artist chose a more secular, classical theme. The Lady Sarah is giving an offering to the three Greek muses. Lady Sarah herself is wearing a Greek-style toga rather than any period clothing. Technique-wise the painting is mostly linear such as classical art, though the top left is more painterly. The work has many diagonals like in Baroque art. The expressions on the figures faces are more expressive such are the faces of Baroque painting. The painting stands as a unity. Not all Grand Manner art was like Lady Sarah at the Offering. Some were more Baroque with that style's painterly effect. Some used dark manner with its mysterious light source to give the painting a dynamic feel. Subjects were numerous and often reflected older famous works. Grand Manner seemed to be an academic style for great artists to learn from the old masters and create their own newer style to be studied by their students.

ESSAY 7: Use Wölfflin's principles to explain the differences between the painting at left and the one at right. What two moments in history are represented by each?

The paintings Pilgrimage to the Island of Cythera and David's The Oath of Horatii each demonstrate a different moment in the history of the 18th century. The Pilgrimage shows the Rococo and The Oath is a step toward the revolution. These two moments in history can be contrasted with Wölfflin's 5 Principles. The Pilgrimage represents open space (the aristocrats are scattered and exploding out of the frame). The Oath is composed within a frame and the figures are in line with the architectural elements in the painting. The Oath figures also have a sculptural quality to their bodies, whereas The Pilgrimage has painterly light and darks (not as sharply outlined), is feathered and fuzzy compared to the sharp sculptural outlines of David. A third principle is the diagonal line and composition of the background and figures in The Pilgrimage contrasting the parallel line in David's work. The Oath also is all in focus and clear in all parts of the image, while The Pilgrimage is similar to the way the eye works, with the background not as clear and the focus is on the center aristocrats. The fifth principle is unity versus multiplicity. In David's The Oath, the characters are individual and although they communicate with each other, they are not as intertwined and dependent as in The Pilgrimage. The figures are intertwined and blended, and could not be easily broken apart. The 19th century went from the styles of Rococo to Revolution/Romaticism and these two paintings, The Pilgrimage to the Island of Athens and The Oath of Horatii demonstrate this contrast with Wölfflin's Principles.

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

ESSAY 1. What is the period style represented by this slide? What is its relationship to the Classical Renaissance? What are its major characteristics? Do you prefer it to classical? Why/why not?           

The Madonna with the Long Neck by Parmigianino represents the mannerist period style in 16th century Italy. The mannerist style is hard to define because each one is unique; however, at this time, mannerists typically went against the traditional characteristics of the Classical Renaissance. Some usual characteristics of mannerists can be seen by the elongated torsos of the figures (e.g. Madonna’s long neck and the baby she is holding are stretched out of proportion). The instability of the falling baby as well as the unfinished architecture (standing alone) in the background is also an example of mannerist characteristics.The instability and lack of organized space can be demonstrated in another mannerists work The Entombment by Pontormo.  The figures have no clear background and are placed in a bleacheresque effect everywhere.An additional mannerist characteristic in The Madonna with the Long Neck is the subtle eroticism: the eyes of the angel on the left are “possibly” staring at the baby’s genitalia. The Madonna herself is a sensual (non-traditional for Madonna pictures). She has a haughty, aristocratic appearance, similar to the mannerist painting by Bronzino in Portrait of a Young Man.There are so many manneristic characteristics and rules that are broken in mannerists’ art. I enjoy mannerists’ art for its individuality and I think it inspires other artists to expand past traditional characteristics for art in their period/location. The irrationality and creative thought displayed in mannerists’ art is very appealing.  

COMMON TOPIC: Compare and contrast these works as examples of northern and southern art of the Renaissance. What is distinctive about each? What statements about the human condition do they make? Do you find yourself aligning yourself with one or the other of the interpretations?        

Bosch and Michelangelo’s depictions of heaven and hell vary tremendously. Through each of their interpretations we can see characteristics of their homeland and how they lend themselves to the painters’ interpretations of life after death. Hieronymous Bosch’s painting, Garden of Earthly Delights, shows the typically northern characteristics. Like northern art, this painting has a tilted landscape, which lets us view an abnormal amount of activity. Also, symbolism is present, even if it is not understandable by the viewer. For example, the black and white birds have obvious symbolism, but what they mean, we are not sure. The figures are another characteristic of northern art, and they show that there was no study of anatomy, and seem emotionless. Even though these people are involved in weird surroundings, no emotion is reflected on their faces. Also, like northern art, we see the characteristic attention to details. The southern art is distinctive in the way that emotions are expressed through the expressiveness of the human figure. You can tell that anatomy was studied closely, which is the opposite way of the northern style. It is also very naturalistic, demonstrating a unity of form and content. The Bosch piece shows in regard to the human condition that we all end up in hell. He doesn’t bother to show a heaven, whereas Michelangelo shows both heaven and hell and the possibility of going to a pleasant place after death. I don’t find myself agreeing with either interpretation, but I am more interested in Bosch’s portrayal, just because of its creativity. Although these paintings depict the same subject, it is easy to see how a person’s beliefs can change the interpretation.

COMMON TOPIC:  Compare and contrast these works systematically according to Wölfflin’s Principles (formal level only, please).          

Wölfflin’s Principles can greatly explain the differences of these two great works of art. Between Michelangelo’s Sistine Chapel and Gauli’s Triumph at the Name of Jesus, we see completely different works of art.Michelangelo’s works is more closed where the pictures are all carefully ended and no bodies are cut off by the frame, whereas in Gauli’s, the people are all over: half in, half out, hovering on architecture.Michelangelo’s paintings are also parallel to the picture plane whereas Gauli’s are more diagonal and not ridged straight across. In Gauli’s painting, it seems to be done more painterly with flowing lines and fabric starting and stopping everywhere. With Michelangelo, it is very detailed and you’re able to see every contour line, allowing you to see the entire body.With Michelangelo’s painting there is multiplicity. You can take out one person or thing and it wouldn’t matter. The painting does not rely on that one person. Whereas in Gauli’s painting, if you took one person out, the picture would fall apart. Finally, Michelangelo’s painting is clear. The lines are all there, it is proportionate, mathematically set up and the work is also very detailed. Unlike Gauli’s, whose painterly style leads to a relatively unclear feeling where lines start and stop everywhere, making it hard to tell where things are.

ESSAY 1. Using one, two or all three of these examples, explain and describe the basic characteristics of Classical/High Renaissance art in form and content. In your opinion, is anything “great” about it?

The basic characteristics in form and content of the High/Classical Renaissance can be described by using examples of Bramante's Tempietto, DaVinci's Virgin and St. Anne w/Christ child and John the Baptist and Raphael's School of Athens. In my opinion, Classical/High Renaissance is great because of the unique relationship between form and content in this style of work. In each of these examples, you can see that there is an intertwined relationship between form and content. This emphasis on the unity of form and content gives the viewer an experience with the work of art, which tells them what they see is what they get. It lacks unveiled symbolism found in the 15th century northern Renaissance art. In DaVinci's work, he uses modeling with smokey edges on his figures to give the illusion of movement. He also intermixes the characters gazes with one another, giving the viewer insight into the emotions. In the School of Athens, the expressive body language can also be found. This period is known for expressive mood and state. It also has a deep sense of space, and the artist carefully constructs it before painting (this can also be seen in DaVinci's Last Supper). The monumental architecture of School of Athens didn't exist at the time, and demonstrates how these works of art were perceived. Idealized proportions during this period can be seen in the Tempietto. It has a broad base, which gets narrow (triangular composition). This composition can also be found in another High Classical/Renaissance work of art Madonna of the Goldfinch by Raphael. The greatness of the High/Classical Renaissance is demonstrated through each of these three pieces because the stressed relationship between psychological emotion and the unity of form and content in the art with the viewer.

ESSAY 2. You are a tour guide in the Sistine Chapel: Give your group a general orientation to the paintings, then point to major aspects of the works of Michelangelo. Include a statement about his distinctive way of representing the human figure.

The décor of the Sistine Chapel was made possible through Pope Julius II, intent upon exhibiting a new appreciation of the arts during his holding of the papal seat. He gave the magnificent task of painting both the ceiling and east wall with the altar to the esteemed and distinctive Michelangelo. The ceiling was the first phase of the Sistine painting, which Michelangelo himself accomplished. Scenes of the Old Testament, beginning with the Creation through the Inebriation of Moses traverse the middle of the ceiling in reverse chronological order with depictions of various prophets and sybills flanking the outer perimeter. Mike uses illusionistic architecture with coffers and frames that divide and interact with each scene, placing four gnudi at the corners. Within the scenes themselves, figures appear as energy in repose - on the brink of action. This energy in repose is best exhibited in The Creation of Adam, when God's finger is about to align with Adam's. Michelangelo places focus especially on nude male figures because for him they embody the pure essence of man in its highest form. On the east fall marking the location of the Altar, Mike's second and final stage in the décor of the Sistine Chapel appears. His portrayal of the Last Judgment is one of a vengeful Christ, focused on damning the damned. The central layout with Christ himself in the middle is typical, but his dynamic and emotional anger is atypical for scenes of this nature. Mike's execution of the ceiling and altar wall of the Sistine Chapel brings to light a deeper understanding of man and his existence, which revolutionized the world of art for ages to come.

ESSAY 3. How did sculpture figure in Mike's life? What was distinctive about his approach? Explain using at least three examples.

Sculptures were very important in Michelangelo's life. He was mainly a sculptor and would argue that sculpture was the most important form of art. As seen in his unfinished statue of an unknown saint, Michelangelo had a strange way of sculpting. He would sculpt as if his figures were rising out of a bathtub. He would go from front to back. He would completely finish and smooth out the front of the statue, working his way back. Michelangelo was known to show his statues in a state of “energy in repose”. This state is a sort of ready to go into motion. They may be statues, but because of their action in repose, they look like they are ready to spring to life. Another piece of art by Michelangelo was his sculpture of David. This is one of the most famous statues in the world. An interesting thing about the statue is that it is out of proportion. David is supposed to be a young boy, yet has the physique of a full grown man. David's head and arms are also too large. Michelangelo made his art very detailed. David's arm has veins that are visible and Michelangelo put great detail into the muscles and flesh of this statue. David also shows “action in repose” and weight shift. David looks like he is ready to come alive. He shows the calm complexion of a warrior on one side of the statue, and on the other side, his head is totally chaotic which shows the worry of the ensuing fight with Goliath. Another piece that shows the style of Michelangelo is his Pieta - this is a piece that was never completed. He was a very self-doubting person and he never thought he was good enough and had no confidence. He actually destroyed part of the Pieta statue because of his self-doubt - part of Jesus' arm is missing and the figures of Jesus and many were never completed, though Jesus' torso is positioned due to the style of emerging from the bathtub.

ESSAY 4. Mike's architecture can be placed into three stylistic categories. What are they? Which buildings? How do they differ from each other?

Michelangelo's works, St. Peter's Basilica, the Vestibule of the Laurentian Library, and Capitoline Hill each represent a unique period style. St. Peter's Basilica is still presented in the Renaissance/High Classical period with its very proportionate design with four sides and a dome. The space was well-balanced and rational, and there existed a logical sense of placement of the levels vertically. In other words, it is not too tall or too wide. In contrast, the vestibule of the Laurentian Library is irrationally designed. The room is very narrow, yet tall and the stairs are dangerously wide for the size of the room. The stairs also take the form of a downward waterfall. They don't seem to function as stairs. The columns sunken in the walls also do not serve their purpose of supporting. These all represent the mannerist characteristics. His Capitoline Hill is another architectural monument also not limited to the styles of Classical renaissance. It is Proto-Baroque in that the use of an oval was placed inside a trapezoidal shape. This is entirely opposite of the mathematically symmetric and constant circle of the Renaissance. Michelangelo is considered one of the greatest artists of all time partly due to that the fact he was not restricted to the styles of one period. He was brilliant enough to take the viewers outside the box and, for that, his works will always be monumental.

ESSAY 5. Explain what is meant in the Western tradition by the “unity of form and content.” Concentrate on this example. Name one other example of your choice.

The artwork in the left slide is called Isenheim Altarpiece by Matthias Grunewald. This piece is a wonderful display of how the western world unified form and content. For starters, the piece is supposed to represent a very painful and weary point in Christ's life. Christ has just died and the viewer is made to feel uneasy about it. The form of this work matches this feeling. For example, the lines in the painting by his arms show much discomfort. It looks as though his arms are dislocated. Also, Christ's fingers are spikey and he looks like he is in immense pain. This form of body lines and spikey fingers shows/displays the content of the piece of the pain that is connected to this piece. Secondly, the color of the background is black, which makes the viewer feel a great deal of dreariness. However, at the time of Christ's death (according to Bible studies), the skies turned black sky at this moment when Christ died. Finally, the colors used for the clothing in the work are very unnatural. This piece uses a lot of red and white. The use of this red and white causes the viewers eyes to dart around frantically while looking at this piece. The content for this piece is that we are supposed to feel uneasy with the thought that we killed the Savior of the world. The uneasy jumping around because of color connects the form to the uneasy reality of the situation of the content. Another example of this kind of work is the Last Judement by Michelangelo. This piece also shows unity of form and content. A major example of this can be seen in the expressions on the faces of the characters. People are scared at this point by the choice that might be made concerning their fate and this is seen in the form of the faces, which connects the form with the content.

ESSAY 6. In your opinion, did this artist truly become the Leonardo of the North? Why or why not? Refer to these and other works by the same artist.

Albrecht Dürer was a German artist who was very intent on bringing the characteristics of Italian art into the North. Wishing to be a Leonardo of the North, he made a number of trips to Italy to study their stylistic characteristics. One of the best examples of how he tried to incorporate South into the North is evident in his depiction of Adam and Eve. Some of the Southern or Italian characteristics of this piece include nudity, human figure, weight shift, and the scene as a whole. In the South (Italy), the human figure was important and a main focus of attention. While normally covered in drapery in the North, German artists had no reason to study the body. Yet, Albrecht Dürer in his attempt to be like DaVinci demonstrated the musculature of the human figure, and unlike his Northern counterparts, pictured them nude. He also shows weight shift in the figures, which again is a Southern trait. While he may have captured some of the Southern essence, much of the Northern tradition shines through. For example, when first looking at the piece, it is confusing and full of detail (e.g. the snake's teeth are even engraved). This meticulous attention to detail is an extremely Northern factor. Also, there is much symbolism. In another of these works, the Four Horsemen of the Apocalypse, a mass chaos of space is also evident. I think that although Albrecht Dürer was a very good artist who knew it. He did a better job of synthesizing the two as opposed to being a true Leonardo. His use of figure and nudity is very Southern while his attention to detail and symbolism overpower the piece.

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

ESSAY 1. Using one, two or all three of these examples, explain and describe the basic characteristics of Classical/High Renaissance art in form and content. In your opinion, is anything “great” about it?

The basic characteristics in form and content of the High/Classical Renaissance can be described by using examples of Bramante's Tempietto, DaVinci's Virgin and St. Anne w/Christ child and John the Baptist and Raphael's School of Athens. In my opinion, Classical/High Renaissance is great because of the unique relationship between form and content in this style of work. In each of these examples, you can see that there is an intertwined relationship between form and content. This emphasis on the unity of form and content gives the viewer an experience with the work of art, which tells them what they see is what they get. It lacks unveiled symbolism found in the 15th century northern Renaissance art. In DaVinci's work, he uses modeling with smokey edges on his figures to give the illusion of movement. He also intermixes the characters gazes with one another, giving the viewer insight into the emotions. In the School of Athens, the expressive body language can also be found. This period is known for expressive mood and state. It also has a deep sense of space, and the artist carefully constructs it before painting (this can also be seen in DaVinci's Last Supper). The monumental architecture of School of Athens didn't exist at the time, and demonstrates how these works of art were perceived. Idealized proportions during this period can be seen in the Tempietto. It has a broad base, which gets narrow (triangular composition). This composition can also be found in another High Classical/Renaissance work of art Madonna of the Goldfinch by Raphael. The greatness of the High/Classical Renaissance is demonstrated through each of these three pieces because the stressed relationship between psychological emotion and the unity of form and content in the art with the viewer.

ESSAY 2. You are a tour guide in the Sistine Chapel: Give your group a general orientation to the paintings, then point to major aspects of the works of Michelangelo. Include a statement about his distinctive way of representing the human figure.

The décor of the Sistine Chapel was made possible through Pope Julius II, intent upon exhibiting a new appreciation of the arts during his holding of the papal seat. He gave the magnificent task of painting both the ceiling and east wall with the altar to the esteemed and distinctive Michelangelo. The ceiling was the first phase of the Sistine painting, which Michelangelo himself accomplished. Scenes of the Old Testament, beginning with the Creation through the Inebriation of Moses traverse the middle of the ceiling in reverse chronological order with depictions of various prophets and sybills flanking the outer perimeter. Mike uses illusionistic architecture with coffers and frames that divide and interact with each scene, placing four gnudi at the corners. Within the scenes themselves, figures appear as energy in repose - on the brink of action. This energy in repose is best exhibited in The Creation of Adam, when God's finger is about to align with Adam's. Michelangelo places focus especially on nude male figures because for him they embody the pure essence of man in its highest form. On the east fall marking the location of the Altar, Mike's second and final stage in the décor of the Sistine Chapel appears. His portrayal of the Last Judgment is one of a vengeful Christ, focused on damning the damned. The central layout with Christ himself in the middle is typical, but his dynamic and emotional anger is atypical for scenes of this nature. Mike's execution of the ceiling and altar wall of the Sistine Chapel brings to light a deeper understanding of man and his existence, which revolutionized the world of art for ages to come.

ESSAY 3. How did sculpture figure in Mike's life? What was distinctive about his approach? Explain using at least three examples.

Sculptures were very important in Michelangelo's life. He was mainly a sculptor and would argue that sculpture was the most important form of art. As seen in his unfinished statue of an unknown saint, Michelangelo had a strange way of sculpting. He would sculpt as if his figures were rising out of a bathtub. He would go from front to back. He would completely finish and smooth out the front of the statue, working his way back. Michelangelo was known to show his statues in a state of “energy in repose”. This state is a sort of ready to go into motion. They may be statues, but because of their action in repose, they look like they are ready to spring to life. Another piece of art by Michelangelo was his sculpture of David. This is one of the most famous statues in the world. An interesting thing about the statue is that it is out of proportion. David is supposed to be a young boy, yet has the physique of a full grown man. David's head and arms are also too large. Michelangelo made his art very detailed. David's arm has veins that are visible and Michelangelo put great detail into the muscles and flesh of this statue. David also shows “action in repose” and weight shift. David looks like he is ready to come alive. He shows the calm complexion of a warrior on one side of the statue, and on the other side, his head is totally chaotic which shows the worry of the ensuing fight with Goliath. Another piece that shows the style of Michelangelo is his Pieta - this is a piece that was never completed. He was a very self-doubting person and he never thought he was good enough and had no confidence. He actually destroyed part of the Pieta statue because of his self-doubt - part of Jesus' arm is missing and the figures of Jesus and many were never completed, though Jesus' torso is positioned due to the style of emerging from the bathtub.

ESSAY 4. Mike's architecture can be placed into three stylistic categories. What are they? Which buildings? How do they differ from each other?

Michelangelo's works, St. Peter's Basilica, the Vestibule of the Laurentian Library, and Capitoline Hill each represent a unique period style. St. Peter's Basilica is still presented in the Renaissance/High Classical period with its very proportionate design with four sides and a dome. The space was well-balanced and rational, and there existed a logical sense of placement of the levels vertically. In other words, it is not too tall or too wide. In contrast, the vestibule of the Laurentian Library is irrationally designed. The room is very narrow, yet tall and the stairs are dangerously wide for the size of the room. The stairs also take the form of a downward waterfall. They don't seem to function as stairs. The columns sunken in the walls also do not serve their purpose of supporting. These all represent the mannerist characteristics. His Capitoline Hill is another architectural monument also not limited to the styles of Classical renaissance. It is Proto-Baroque in that the use of an oval was placed inside a trapezoidal shape. This is entirely opposite of the mathematically symmetric and constant circle of the Renaissance. Michelangelo is considered one of the greatest artists of all time partly due to that the fact he was not restricted to the styles of one period. He was brilliant enough to take the viewers outside the box and, for that, his works will always be monumental.

ESSAY 5. Explain what is meant in the Western tradition by the “unity of form and content.” Concentrate on this example. Name one other example of your choice.

The artwork in the left slide is called Isenheim Altarpiece by Matthias Grunewald. This piece is a wonderful display of how the western world unified form and content. For starters, the piece is supposed to represent a very painful and weary point in Christ's life. Christ has just died and the viewer is made to feel uneasy about it. The form of this work matches this feeling. For example, the lines in the painting by his arms show much discomfort. It looks as though his arms are dislocated. Also, Christ's fingers are spikey and he looks like he is in immense pain. This form of body lines and spikey fingers shows/displays the content of the piece of the pain that is connected to this piece. Secondly, the color of the background is black, which makes the viewer feel a great deal of dreariness. However, at the time of Christ's death (according to Bible studies), the skies turned black sky at this moment when Christ died. Finally, the colors used for the clothing in the work are very unnatural. This piece uses a lot of red and white. The use of this red and white causes the viewers eyes to dart around frantically while looking at this piece. The content for this piece is that we are supposed to feel uneasy with the thought that we killed the Savior of the world. The uneasy jumping around because of color connects the form to the uneasy reality of the situation of the content. Another example of this kind of work is the Last Judement by Michelangelo. This piece also shows unity of form and content. A major example of this can be seen in the expressions on the faces of the characters. People are scared at this point by the choice that might be made concerning their fate and this is seen in the form of the faces, which connects the form with the content.

ESSAY 6. In your opinion, did this artist truly become the Leonardo of the North? Why or why not? Refer to these and other works by the same artist.

Albrecht Dürer was a German artist who was very intent on bringing the characteristics of Italian art into the North. Wishing to be a Leonardo of the North, he made a number of trips to Italy to study their stylistic characteristics. One of the best examples of how he tried to incorporate South into the North is evident in his depiction of Adam and Eve. Some of the Southern or Italian characteristics of this piece include nudity, human figure, weight shift, and the scene as a whole. In the South (Italy), the human figure was important and a main focus of attention. While normally covered in drapery in the North, German artists had no reason to study the body. Yet, Albrecht Dürer in his attempt to be like DaVinci demonstrated the musculature of the human figure, and unlike his Northern counterparts, pictured them nude. He also shows weight shift in the figures, which again is a Southern trait. While he may have captured some of the Southern essence, much of the Northern tradition shines through. For example, when first looking at the piece, it is confusing and full of detail (e.g. the snake's teeth are even engraved). This meticulous attention to detail is an extremely Northern factor. Also, there is much symbolism. In another of these works, the Four Horsemen of the Apocalypse, a mass chaos of space is also evident. I think that although Albrecht Dürer was a very good artist who knew it. He did a better job of synthesizing the two as opposed to being a true Leonardo. His use of figure and nudity is very Southern while his attention to detail and symbolism overpower the piece.

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

ESSAY 1. Name, compare and contrast these two architectural styles. How does each relate to the world-view of its era?     

The Milan Cathedral and Brunelleschi’s Foundling Hospital both represent two cultural eras quite distinct from one another. The Milan Cathedral is from the Gothic period and the Foundling Hospital represents the Renaissance.    The defining characteristics of the Milan Cathedral are its intricacy and attention to detail. Each pointed arch, door, and column was constructed as an individual part. Another quality would be its vertical orientation. During the Gothic period, the emphasis was on the “heavens” and spiritual realm.    Therefore, the Milan Cathedral was like a staircase to the “heavens”. When looking at the Milan Cathedral, the space appears very busy and irrational, which is the total opposite of the Foundling Hospital.    The Foundling Hospital is a definition of the Renaissance era. It represents a new way of thinking and it begins with the round arches. Like much of the works from the Renaissance, it is very mathematically symmetrical, again referring to the round arches. The Foundling Hospital is also horizontally oriented, which brings it more down to earth and seems more humanly accessible. Also, when looking at the piece of architecture at a glance, the space is clear, concise and rational.  There is nothing overwhelming.    The Milan Cathedral and Foundling Hospital are two very distinctive pieces of architecture. One represents a time to reach toward the “heavens”, while the other represents a new way of humanistic thinking.  

ESSAY 2. Discuss the Early Renaissance characteristics of this artist using the slide on the right AND at least two other examples of his work. What is distinctive about his approach? What were his “firsts”?     

Donatello is one of the Renaissance’s most celebrated artists. Using various mediums, from marble to wood to bronze, Donatello was one of the first Renaissance sculptors to depict individuality. The pieces are so individual that if you put them all together in one room, it would seem impossible to have been done by just one artist. For example, Donatello’s Mary Magdelain is completely different from his David.    In the Feast of Herod, Donatello is one of the first to make sculpture close to the effects of a painting. The figures in the foreground are much more prominent, they are carved more deeply. As the figures recede to the background, they become much less prominent, until finally the brick in the background is lightly engraved.    Donatello’s versatility is not common for the Renaissance era. For example, the paintings of Jan van Eyck – van Eyck’s portraits are of emotionless faces, with the same figures covered in drapery. Donatello’s works, however, are distinctly individual. The hair-shirt of Mary Magdelan and the painful expression are nothing like the robes of Zuccone and his irregular figure.    Donatello was the first to do many artistic devices and will continue to be celebrated for generations to come.  

ESSAY 3.  Refer to one, two or three of the projected slides to discuss in depth the developing window concept of painting characteristic of the Early Renaissance in Italy. Name the specific artistic devices that make illusionistic art possible. What role does one-point perspective play? Which aspects of which works are tied to the past? Which to the future of painting?    The Early Renaissance was a beginning to a different approach to painting, but also it is a transition point. These three paintings: Tribute Money, Adoration of the Magi and The Battle of San Romano show a time that is trapped between two worlds.    These three paintings represent the window concept, and are like an extension of the world we live in. One device used is turning the backs of some people towards the viewer, making them feel like they are inside the paintings we see this in the Battle of San Romano and Tribute Money. Another device used is one point perspective, which creates a world similar to ours. A good example of this is Tribute Money, which shows things pointing toward a center axis while showing the background getting more distorted the further the distance is.    You can also see old aspects in the paintings, especially in the Battle of San Romano and the Adoration of the Magi.  These paintings are crowded with too much happening. The Battle of San Romano also tries very hard to use one-point perspective accurately, but the lines do not match up, and we see a jumble that is confusing and, at the same time, disturbing.    The Tribute Money painting is closely tied to the future, using expressive faces and one-point perspective and space directly.    The Early Renaissance is stuck in a transitional state, just on the brink of a revolution, but still holding on to characteristics of the past.            

ESSAY 4.  Contrast the difference in approach between NORTHERN and SOUTHERN artists of the fifteenth century. Refer to these and other examples.      The Trinity by Masaccio and Jan van Eyck’s Wedding Portrait are both a good way to display differences in fifteenth century Northern and Southern Europe. It was the time of the Early Renaissance. Jan van Eyck’s painting represents the North and the details within it are exquisite and abundant. The Trinity by Masaccio represents Southern Europe and its view of the larger context and generalities.       Other differences between North and South are found in the Ideal City (South) and the Merode Altarpiece (North). The Ideal City is simple, balanced and open, whereas the Merode’s city behind Joseph’s carpentry shop is tilted and done in small precise detail.       Art in the North focuses on surface (such as abundant drapery on the virgin in the Merode Altarpiece) and in the South on structural detail such as the buildings in the Ideal City. They are more proportionate to the figures and not tilted. North uses irrational space, hierarchy of importance determines the size of objects, while the South uses atmospheric touches and one-pointperspective to determine proportions.       The North also ignores anatomy, while the South focuses on it using filtered clothing. In Tribute Money or The Battle of the Nudes, all the muscles are showing from multiple angles.       A final difference between the North and South is that the North uses unveiled symbolism to display meaning and context, while the South uses the “through the window” concept (what you see is the story). In the Early Renaissance, both the North and South produced many wonderful original works of art. Following the Renaissance way of thinking, however, there are a variety of different characteristics.    

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.     

Botticelli really steps out of the Early Renaissance conventions in his work Primavera to capture the essence of Neo-Platonic thinking that has lasted to our modern age.    The human figure becomes Botticelli’s focus of attention in this work as well as his Birth of Venus. This became especially sacrilegious due to the fact that he portrayed secular subject matter in secular settings with little or no reference to the religious heritage of the preceding art styles.       He portrays the human figure (often nude) in alluring, sensual poses that are a far cry from the often stiff, stern poses of the Early Renaissance (as in the frescoes of Camera Picta for example). By placing the human figure at the center of his artistic universe, Botticelli sees in it the ideal beauty of life, the essence of higher understanding by which one achieves an enlightenment of the higher realm.       Botticelli’s found inspiration in the human body and in particular, the feminine beauty. It became an icon in the secular world of art. Although he is archaic in his portrayal (touching on the grace and elegance of Praxiteles), he is taking a giant step back into a time when holistic thinking was acceptable and the ideal male and female youth were revered for their beauty as well as their power. Even today, we focus on the young, ideal, beautiful figures as those who the world’s future depends upon.