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

ESSAY 1. Start by giving a general definition of Romanticism. Then, discuss the characteristics of the movement in the art world, especially those impacting the Neoclassical-Romantic controversy. Refer to these and two other examples to show variety.

Romanticism was a movement split into multiple groups that were in a way two sides of the same coin.

   Romanticism was an art style that dealt with the grandiose, making things appear far more fantastical than they actually were. In some cases, the subject was actually fantasy.

   The first part of Romanticism was Neoclassicism, defined by David and his disciple, Ingres. Their work much reflected Classical Renaissance, being linear, on a plane, and having closed form. Ingres’ Grand Odalisque was a great example of linear work, shown in how much clearer the linear work is than the color or shading. The woman in the painting could be outlined easily. David’s Oath of the Horatii also demonstrates this, being very planer.

   The other side of the Romanticism is romanticism with a small “r”, being much more similar to Baroque in style. Delacroix’s Women of Algiers very much contrasts Grand Odalisque in this way, being diagonal and paying more attention to color and shadow than line. Another romantic work would be Gericault’s Raft of the Medusa, being almost a baroque work aside from its subject matter.

   While Neoclassicism and Romanticism differ greatly in style, they both shared similar subject matter, which is why they were both Romantic.

ESSAY 2. Characterize the 18th century BRIEFLY. Then, define the Grand Manner of history painting that dominates the period leading to Romanticism. Refer to at least three examples. Mention background aspects as you go.

   In the 18th century we can see movements such as Rococo, Romanticism, and the Grand Manner. These movements were based upon Renaissance-Baroque qualities, emotion, and a combination of those, plus subject matter.

   The period that lead to Romanticism was called The Grand Manner of history painting. Grand Manner referred to Renaissance and Baroque-like qualities, while the history painting was based on subjects that could be found in literature, history, mythology, or the Bible. One example is a piece done by Reynolds called Portrait of Lady Sarah of Bunbury. This is in the Grand Manner because the background is painterly in the Baroque manner, and there is a reference to mythology in the Three Goddesses on the Altar (reference to history painting).

Another piece is the work of West called The Death of General Wolf. This is in the Grand Manner because of the smokiness of the background which is also right in the middle of a dramatic scene.

   These pieces of art fit into the grand Manner movement of the 18th century due to history paintings, Renaissance-Baroque qualities, and emphasis on dramatic scenes.

ESSAY 3.  Discuss major characteristics of the Realist painting movement of the mid 19th century by referring to three Realist works and at least one Romantic painting, which you use for contrast in your essay.

The center work is plowing in the Nivernais by Rosa Bonheur. It is a realist painting and contains many of the characteristics of realist art. First of all, it is very tactile, very textural. You can almost feel the grass – it’s so vivid and 3-D looking. However, this particular painting is a little more tied to the past than some other realism works because it is still very symmetrical and traditionally laid-out.

   Other realist works include the works of Ilya Repin, a Russian realist, and Bouguereau, a French (academic) realist. Repin’s Bargehaulers on the Volga is a painting of just that – bargehaulers on the Volga, representing a cultural/historical element of Russia. However, comparing it to Goya’s Third of May, you can see immense differences between Repin’s realist style and Goya’s Romantic approach. Goya’s painting is much more emotional, and he’s painting the way he perceived that horrible day. There would be many ways to paint that event, depending upon who you were at that time in history. Repin’s painting is very straight forward – it is what it is.

ESSAY 4.  How much does 19th century photography capture “reality” and/or how much does it resemble painting? Cite, describe and discuss at least three examples of photographs and one or two examples of painting for comparison.

   19th century photography did not strive to capture reality, but instead strove to imitate the art world. In many of the early photographs, it is easy to see that the photographer wasn’t  interested in reality at all.

   In the photograph of Fox Talbot’s Broom in the Open Door, it is obvious by the parallel line of the broom and shadow, the nostalgic broom, and the unlit interior that not all is mere coincidence that Fox Talbot is going for an artistic look. The use of lines could be compared to Grünwald’s Isenheim Altar Piece where line was highly important.

   Another artist who strove to make her photos artistic was Cameron, who would unfocus her lens and do other strange things while taking a picture. A grand example of this painterly effect is her The Historian, Carlisle. Her painterly effect could be compared to Delacroix’ Women of Algiers.

   Another photo that imitated art was Rejlander’s Two Paths of Life. It is obvious that this is no snapshot of reality. The very subject is artistic and the way it was put together is artistic as well. Here this photo and its composition can be compared to Raphael’s School of Athens.

   With many photos showing artistic qualities and not so coincidental happenings, it is obvious to most everyone that the photos taken were not striving to capture our reality at all.

ESSAY 5.  Discuss the period style represented by this work: subject, style (quick contrast with what came before and after) and class of patronage.

   Fragonard’s work, The Meeting, possesses qualities of the French Rococo period in the 18th century. When looking at the Rococo period, it is important to contrast the characteristics with that of the preceding Baroque period. When comparing, Baroque is much larger, louder, and more epic. French Rococo is smaller, the subject matter is more trivial. There are similarities between the two, though; both are made for aristocracy and both are very painterly.

   More importantly, to understand the Rococo period, contrasting the Grand Manner which followed is imperative. The differences between consist of Grand Manner using multiplicity; for example, the grouping of women in Lady Sarah of Bunbury rather than the singularity of the figures in Fragonard’s The Meeting. As well, there are similarities between the two periods. The painterly aspect reflects the Baroque side of the Renaissance-Baroque tradition of the Grand Manner.

   Another example of French Rococo is Pilgrimage to Cythera by Watteau; the figures are very dainty, fashionable. The subject matter of pilgrimage is frivolous and the work is painterly. This work is a great example of all that defines Rococo.

ESSAY 6.  Identify by artist, title and geography. Then discuss how this group portrait compares with earlier portraits of royalty (name two). What does that tell us about changing politics of the period?

   This portrait is titled The Family of King Charles IV and was created by Goya in Spain during the 19th century. It is a depiction of the Spanish royal family at the time and also alludes to a previous work Las Meninas by Velazquez. You can tell that Goya had access to the work by Velazquez because the artist has painted a shadow of himself into the back left-hand corner of the portrait in the same pose Velazquez and Las Meninas.

   The Family of King Charles IV differs from Las Meninas because the people in Charles IV appear more human. Every person in Las Meninas was looking at the viewer and holding themselves with a sense of dignity. It looked as if the people had been startled by the sudden entrance of the King and Queen and so were paying their respect to these figures of absolute power. This essence of absolute power of the ruling family is also seen in Rigaud’s King Louis XIV as well.

   However, the feeling of absolute power is lost in Charles IV because the figures here seem very uninterested in what’s happening around them. The King and Queen aren’t standing next to each other, members of their family are looking in different directions or not at the viewer at all. And, many of them seem bored with the entire portrait too. These people seem very human to the viewer and in doing that, show the decline of the power the royal families had.

ESSAY 7.  Discuss three major directions that architecture took in the 19th century. Refer to named examples.

   Architecture took three paths in the 19th century. The first is characterized by Garnier’s Paris Opera.  This building is in the Grand Manner style. It uses many architectural elements from the past (classical, renaissance, baroque, and so on), and combines them together to create something new. Although the architectural style of the structure is “old” some new materials here were used to construct it.

   The other direction of architecture was a more pure restatement of the past. This Romantic Revival architecture is best represented by the houses of Parliament in London. This structure was built in a Neo-Gothic style that emulates the elements of the Gothic cathedrals of old.

   Finally, the last form of architecture is more purely “new”. It was a modern, “progressive”, “engineering” style. This is best represented by Eiffel’s Eiffel Tower in Paris. The structure is made of metal and looks skeletal and very modern and different in comparison to the other styles that imitate the past. But even though the tower seems completely new and original, some of its decorative elements seem to suggest ancient patterns.

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

ESSAY 1. Distinguish these two works by artist, title, period and century. Then, contrast them systematically according to Wölfflin’s five Principles of Art History. Do you have a preference for one or the other?

   The two works shown are the Sistine Ceiling by Michelangelo and The Triumph in the name of Jesus by Gaulli. The Sistine Ceiling is considered to be Classical Renaissance whereas The Triumph is Baroque.  These two works can be compared to Wölfflin’s Principles.

   To start off, The Triumph has the following characteristics: It’s painterly, open, has depth, unity and no clarity. This painting is open because there are figures spilling out of the frame. The depth comes from not really knowing where this piece really begins or ends. The unity aspect of this painting comes from all the figures overlapping one another creating movement through the piece. When viewing this piece it is really hard to make out what is going on because of the tremendous bright light present.

   The Sistine Ceiling has the following characteristics: multiplicity, clear, parallel, plane, and closed form. In this work, there are many figures present but none of them are overlapping enough to not see what they are doing. In this work, you can tell that there is a story being told. The figures are also being contained within the picture frame closing them off.

   One thing that is definitely similar between these two artworks is that illusionistic architecture is present in both of these. In the Sistine Chapel, its ignudi figures and in The Triumph, it is just random figures breaking the picture frame.

   These are the differences between these two works according to the Wölfflin’s Principles.

ESSAY 2. Identify, then contrast these two works by citing differences in their context (EXTRINSIC) and relating this background information to differences in formal qualities and subject matter (INTRINSIC). What conclusions do you have?

   The first work is The Raising of the Cross by Peter Paul Rubens. The second work is a self-portrait by Rembrandt. These works are both 17th c. Baroque, but differ in that Rubens was a Flemish artist and Rembrandt was Dutch.

  At this time, Flanders was still being influenced by Spain, so it was Catholic and Imperialist. The art created there was commissioned by the church or state; these big projects required that one lead artist would direct many assistants to do the work.

  On the other hand, Holland was Protestant and a Republic. This allowed social mobility and the creation of a middle class. These middle class merchants were buying art, so instead of religious themes like Flanders, they painted secular themes. This buying and selling of art also created an art market where many individual artists could make and sell work.

   We can see these influences in the examples. Rubens work is clearly religious as well as very large. This is because it was commissioned specifically for public viewing. The Rembrandt work is small and secular. This work could have been used to show off an artist’s talent in order to attract more work. Rubens shows an epic religious work whereas Rembrandt shows an intimate and personal approach.

   The conclusions that can be drawn from this is that art isn’t only influenced by its time period and the artistic movements of the time, but also external influences such as government, religion, geography, economics, and social structure.

ESSAY 3.  Define “Gesamtkunstwerk”. Describe these and at least one other example. How did they contribute to the Counter-Reformation?

   The two works are the Baldecchino and the Chair of St. Peter. These are examples of Gesamtkunstwerk, which means total work of art. They both incorporate architecture, painting, sculpture, as well as other media.

   The Baldecchinno is a huge cupola over the tomb of St. Peter. It is a wooden structure, which is inlaid with gold and paint over it. On the top are sculptures of saints and angels. The Chair of St. Peter is a wooden chair surrounded by sculptures of saints. A stained glass window uses natural light to make the work appear to change over time. The work also includes gold rods to emulate divine light. These rods are not fully stable, and move slightly with air currents, contributing to the illusion of movement. The whole work is the main Holy Altar, the center of all Christendom.

   Another example of Gesamtkunstwerk is Il Gesu church in Rome, the center of the Jesuit order. The whole of this church’s artwork is designed to draw the senses up to the Triumph of the Name of Jesus ceiling painting, creating the illusion of rising up to Heaven.

   These works were instrumental in the Counter-Reformation. The Protestant churches of the North didn’t allow any artwork. The Catholic Church commissioned art such as these pieces to bring people back to the church.

ESSAY 4.  Discuss the characteristics of the paintings of this artist. How did his work contribute to the Counter-Reformation? Name two artists and works influenced by him.

   This is The Entombment by Caravaggio (17th c. Baroque Italy). This is typical of Caravaggio paintings – they speak to the common people.

   As evidenced in The Entombment, Caravaggio was a master of a “dark manner”. The most literal interpretation of this is in consideration of the fact that he loved to play with light. In this piece, Jesus is the being with the most light, obviously symbolic of his being the light of the world. His lightness could also be attributed to death. The emphasis of light and dark in paintings is even more marked in the Calling of St. Matthew, where a ray of light follows Jesus’ finger to Matthew’s, literally piercing through the darkness. It underscores the Catholic idea of good and evil in the universe – the saved and the unsaved. Thus, to a degree, Caravaggio included ideals of the Counter-Reformation in his paintings.

    More than simply including ideals in his paintings, Caravaggio made Catholicism approachable. In his Conversion of St. Paul, the conversion happens in this world – a horse stall. The viewer can almost smell and hear the environment – it is relatable. Thus, the viewer would have been attracted to the painting, Paul’s story, and finally, Catholicism. In a Madonna and child piece, the virgin appears to have been interrupted from domestic work. She is a tangible Mary, one that is very much a part of this world. The pilgrims who fall at her feet are clothed with dirty garments and calloused feet. Here is that “dark manner” again – the realities of everyday life. Caravaggio takes that to the extreme in Death of the Virgin. In this he emphasizes Mary’s humanity in a death scene rather than the assumption. Additionally, he painted a dead prostitute as Mary, complete with rigor mortis – the gritty realm of life.

   Overall, Caravaggio’s paintings were champions of the Counter-Reformation because they emphasized humanity and everyday life. This made Catholicism attractive and approachable.

ESSAY 5.  Describe several layers of interpretation of this painting. Conclude with the one that you find most convincing.

   The on the right is Velazquez’s Las Meninas. There are a varied number of interpretations that can be inferred from the painting.

   Is the painter (with the cross of Santiago) painting the child, or has the child interrupted a painting by coming in to see how far the painting has progressed? It might be that the child is being painted, but that the painting has been interrupted by the entrance of the King and Queen, as can be seen by the mirror in the back. It could very well be that it is just an oil painting, as with the other ones in the background, and that the child has either interrupted a painting with her entrance and her entourage, or has decided to take a break. The servant who turns to look from the stairs: could it be because the king and queen have arrived to take a glance at the painting, or to see what else her princess needs? On the far right, are these children--or are they dwarfs? It would be safe to assume that the small beings are dwarfs, for courts collected oddities such as this throughout the world—about to kick the sleeping dog.  

   Here is what I think the painting is interpreted as: the painter was painting something and was interrupted by the daughter, and he is contemplating what else to draw. The servant paused to see what is going on – what the princess needs. The reason is because the artist is not looking at you (the viewer) he is looking at the painting. The image of the king and queen is a painting because of the image in the top right of the painting’s portrait, and everything was interrupted by the daughter and the entourage.

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

ESSAY 1. Discuss in depth ONE of the categories of this artist’s work. Name the artist, time, place and period. Briefly characterize what sets this individual’s art apart from that of his contemporaries.  If SCULPTURE, refer to three major works. Discuss this artist’s unusual technique and treatment of the human body.

   The slide that I have chosen to describe is Michelangelo’s David and St. Matthews, which was done in the Italian Renaissance 16th century. Overall, Michelangelo was an amazing artist, but he excelled through his works as a sculpture. He had an amazing ability to portray the human psyche of each and every sculpture he did. St. Matthew is a great example of how Michelangelo would work. He would literally carve his figures out of stone, but the way that he did it was odd. He would focus on certain areas, achieve what he wanted, and then move on. This was quite risky because there was no going back. In the sculpture Rondandini Pieta, I have a slight feeling that the end piece of the work was not what he wanted, thus he hacked away at it, and made it quite contemporary and unique.

   As I mentioned before, Michelangelo has an amazing ability to portray the human psyche. It is almost as though you can see the emotions of the figures within. Through most of his works, Michelangelo often portrays his sculptures with bulging biceps, at times inaccurate body sizes (such as in David) and also portrays a sense of movement (energy in repose). It appears that he is capturing them before they have a burst of energy. All of Michelangelo’s works display intricate details, which again help them to appear more human-like.

   Through all of the works that we have studied from Michelangelo, it is definitely easy to say that the man was a genius. His sculptures are so moving, and they give such extreme feelings of emotion. The way that he pays such close attention to detail really pulls me in!

ESSAY 2. Discuss in depth ONE of the categories of this artist’s work. Name the artist, time, place and period. Briefly characterize what sets this individual’s art apart from that of his contemporaries.  If ARCHITECTURE, refer to three major works. Discuss this artist’s unusual technique and treatment of the human body.

   The artist is Michelangelo and he did his work in Southern Europe. Michelangelo used three different styles in architecture through which gives him a sense of versatility that other artists do not possess. The first style of architecture that Michelangelo explored was the Classical Renaissance style. This is seen in St. Peter’s Basilica, which again is during the 16th century. This building or the part that Michelangelo designed reflects the shape of a circle, which is seen as a constant. Also, his design can be compared to Raphael’s School of Athens in the sense of the spatial atmosphere.

   Then Michelangelo also decided to work in a Mannerist style. This is seen in his work of the vestibule of Laurentian Library. This vestibule consists of many elements of Mannerism. The staircase resembles a waterfall, so the steps and appearance are inconsistent. The atmosphere is very compressed while on the walls there are sunken pillars that do not reflect normal architecture. Michelangelo takes something ordinary and makes it extraordinary.

   Lastly, Michelangelo works on architecture that focuses on proto-baroque period. This is seen in his design of Capitoline Hill. This design is in the shape of a trapezoid. In the center is the use of the oval shape, which reflects the period. Also, within the oval design, the viewer absorbs the feeling of his art, even if the viewer is unaware of it.

   Michelangelo’s versatility in architecture emphasizes how great his art truly is. To attempt all styles is impressive.

ESSAY 3.  Compare and contrast these two works. What historical categories do they represent? How are they related? Which do you prefer and why?

   Pontormo’s Entombment represents the Mannerist category. Raphael’s School of Athens represents a Classical Renaissance category. They are similar in the fact that they are painting, from the south, and have many people in the picture.

   The paintings are different in their bases. Pontormo has a base of one man, who quite deliberately has the weight of the painting on his shoulders. Raphael has given a broad base composition. So, even though both have awkward movements and poses, both display them differently. Pontormo’s looks awkward. Raphael’s painting looks graceful and almost natural. The colors are also starkly different. Pontormo uses tertiary colors for his scene and Pontormo does not. Views of human anatomy are also off. Pontormo’s people are distorted while Raphael’s are not.

   These could be related in one major way. Mannerist art often came from imitation. Pontormo could have been imitating Raphael and failed miserably, or Pontormo could have been rebelling against the standard that people like Raphael set.

   I much prefer Raphael’s painting. With its broad base, natural colors, and logical groups, it makes much more sense to my mind. I can take in the painting without being as overwhelmed as I am by Pontormo’s Entombment.

ESSAY 4.  Discuss what is meant by the unity of form and content in this image. How does it work?

   The slide on the left is the Isenhiem Altarpiece by Matthais Grunewald. It is of the German Renaissance style.

   This is probably one of the works that we have seen that best exemplifies form and content first. The painting displays Christ being crucified. He is in horrible pain. Look at how the colors coordinate with that. The background is dark, emphasizing the miserable mood of the situation. The only real prominent is red, which in the human mind is tied to pain and blood. Then, besides the main items in the content of the painting, Grunewald stuck a few things in, or used veiled symbolism to signify hope. The lamb by Christ’s feet is one example. Also, notice how everyone is looking up – maybe looking to God for hope? Grunewald’s form emphasized this as well. He highlighted the spot above Mary’s praying hands and made the symbols of hope lighter – white – like a bright spot in this horrible event.

   Grunewald does a really good job tying the content together with his form and I feel like this is a strong painting.

ESSAY 5.  Why is the top half of this altarpiece treated differently from the bottom? What does that tell us about how form and content are interrelated?

   The artwork by El Greco called Burial of Count Orgaz, the top and bottom are two different scenes going on at the same time; one in the present, the other of the journey of the dead.

   In the bottom, these two saints are ready to bury Count Orgaz, with his face pale, dressed in his royal armor. Friends, family, and anyone else of royal background is watching it happen. Every figure is shown in the proper attire for a funeral, the ruffles and embroidery stitches in the drapery show no movement, while the figures are still obeying gravity. Light shines off the armor from a single source, so the painting follows the rules of the physical life.

   The top half, however, is life after death, being returned to the Father where once he came. Figures are larger and smaller than usual. Figures float in the air, are scrunched together in groups that can’t fit in their space. Bright colors not usually used in paintings of sadness.

   The top half is reflecting the magnificence and unworldly power of the heavens, contrasting it with the mortal, physical world that we live in on the bottom.

ESSAY 6.  Explain how this work combines northern and southern traditions. Where specifically? Which tradition dominates?

   Albrecht Dürer considered himself the Leonardo da Vinci of the North. In some ways, he is close to discarding the Northern style, but is still encumbered by this tradition. In the etching Adam and Eve, pieces of North and South exist.

   Dürer’s treatment of the human form is identifiably Southern. Northern tradition emphasized the drapery over the indistinguishable human form much more thoroughly, leaving anatomy to “guesswork”.

   Dürer’s attentiveness to detail, especially surface detail, along with the use of veiled symbolism is traditionally Northern in style. In this piece, it seems the Northern tradition dominates the expressionless Adam and Eve, the detail down to the vine holding the modesty leaf is very Northern.

   It may be Dürer’s devotion to Martin Luther and the Lutheran church that influenced his adherence to the Northern tradition. The Lutheran church shunned Catholic art and Dürer taking on too much of the typically Catholic Southern style would be shunned also.

   Whether he was intentional in the choice is not evident, but he never did shed the Northern tradition completely.

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

ESSAY 1. Identify works by title. Compare and contrast the form (not the content) of these two works starting with a characterization of space and then going on to other aspects. Which image is tied more to the past, which to the future?

   The subject of this essay is to contrast two paintings, both painted roughly around the same

time. The painting on the left slide is titled Adoration of the Magi, while the one in the middle is titled Tribute Money. These images although painted at the same time show two very different artistic visions of looking at the world. The work, Tribute Money, is an example of what is to come later in the Southern Renaissance for a variety of reasons.

   A very important difference to note in the two paintings is how space was used. The Adoration of the Magi is very cluttered and chaotic, while Tribute Money is somewhat sparse by comparison. Tribute Money is also shown in the early beginnings of one point, that is linear perspective, while Adoration of the Magi has a tilted angle in the painting. Another important difference between the two works is the use of atmospheric perspective in Tribute Money. Tribute Money’s background is a thing of beauty; the scenery fades into a background of clouds and mountains (atmospheric perspective) while the background of Adoration of the Magi as opposed to the “big picture” outlook of Tribute Money.

   Tribute Money, clearly represents a newer school of artistic thinking than does Adoration of the Magi. Evident in Tribute Money are things that will come to define the Southern Renaissance, atmospheric perspective, linear perspective (one point), attention to the big picture, and less clutter, all of which the old thinking Adoration of the Magi, does not possess.

ESSAY 2. Identify these works by geography, then by title or artist. Discuss how they represent two radically different approaches to capturing the visible world.

   The two works are the Merode Altarpiece and the Giving the Keys to St. Peter. The Merode Altarpiece, from the North, is filled with incredible detail in every part of the painting. There are compound shadows, every fold in the drapery is shown and modeled light-to-dark, and the objects in the room could almost be recreated with only the painting as a blueprint. The Northern view of the painting was to work one detail at a time, and just let the final picture take shape out of the details.

   The Keys to St. Peter features one-point and atmospheric perspective. The lines of the painting flow toward the vanishing point in the door of the dome in the background. The figures are planned out nude, with drapery added, and feature weight shift. The painting as a whole is conceived and planned on a large scale, and details, figures, architecture, etc. are added according to the plan.

   The Keys to St. Peter is closer to the way I view the world, because trying to immediately take in all the detail of Merode Altarpiece is mind-boggling. The atmospheric perspective, with a horizon, is more accurate in my viewing of the world.

ESSAY 3.  Discuss the Renaissance qualities of the sculpture of this artist. Name the projected example and refer to at least two further examples by the same sculptor. In your opinion, which example gives most insight into the human condition?

   Donatello’s sculpture can be gruesome and shocking or it can be idealized and flawless. Another example which comes to mind is Mary Magdalene. These works are of grotesquely exaggerated figures bringing up feelings of horror and disgust. The extreme reactions they inspire prove the mastery with which they were constructed.

   The other aspect of Donatello’s sculpture is epitomized by David. This work is in the Classical style of the heroic nude male figure, which is idealized and without imperfection. In my opinion, his David is the best of all the attempts at this figure, especially because of the character added by the details (such as the hat or the decapitated head of Goliath underfoot).

   While both styles are breathtaking, the one that most identifies with the human condition would be the grotesque as in the Mary Magdalene. She appears crazed and is clothed in her own matted hair. It displays a despair, which can be found by observing people on the street. Humanity at its lowest.

ESSAY 4.  Describe the special qualities that distinguish this category of Renaissance art in history. Refer to details and features in all three examples. Is any of this art still “great”? Which? Why or why not?

   The Classical Renaissance is dominated by the curiosity and desire to move toward a better future from the artists of the time.

   Artists such as Leonardo wanted to learn to paint figures with a more convincing anatomy, so he dug up and dissected cadavers to attempt to understand bodies better. He also studied how light plays with a person’s features and so used sfumato modeling on his figures such as the Virgin with St. Anne the Christ Child and a young John the Baptist, giving the figures a life-like quiver.

   He also tried painting figures from different angles and tried to express emotions more subtly than it had been done in the past. This can be seen in his Last Supper where Judas is shown darker than the other disciples and with a lost profile, one of the most unflattering angles in which to be shown.

   In Raphael’s The School of Athens, he was able to show a love for learning through his content. All of the figures in the painting represent great thinkers throughout history. Raphael also painted away the walls by making it appear that the painting was a continuation of the room’s architecture. It appears as if you are looking through a window at these figures.

   I believe these works to be great examples of innovative thinking for their time, which carries over and makes them still great today.

ART 172/Quiz #1 - Examples of sound answers:

ESSAY 1. Identify, compare and contrast the two slides on the left. Start with differences, conclude with similarities. What is the point of the comparison?
 
   The two slides shown on the left and middle represent two very distinct art periods in history. The one on the left by Giotto is from the Early Renaissance in the 14th century, and the one in the middle is Christo and Jeanne-Claude’s Running Fence done in the 20th century.
   The piece done by Giotto reflected the main power structure of the society at that time: religion.
Most of the artpieces created at this time were about religion with a focus on Jesus and nativity scenes. Christo’s piece was done to raise environmental awareness: an idea not necessarily considered a power structure in 70’s America. These differences also include that Giotto’s is a painting whereas Christo’s is a physical object put up that one can see in the form of a photograph.
   Similarities of these two artworks are that they were done to try and show people what meant most to them. Giotto wanted to spread the concept of religion while Christo wanted to raise environmental awareness.
   Sometimes when comparing two pieces of art (such as these), it is useful to do so because by examining them, we can see how societies change their values over periods of centuries. In some cases, now centuries later, there is a revival of the classical style. By comparing Giotto and Christo, we see a shift from religion to environmental concern.
 
ESSAY 2. Discuss the dangers of using the word “realistic” in regard to imagery. Refer to two other images that make a similar point.
 
   The word realistic is a very dangerous term to use when describing or critiquing art. The painting The Human Condition shows/depicts a scene on an easel that overlaps the scene outside the window or “real” life. The problem with saying that this artwork is realistic is that real life is constantly changing and cannot be captured on 2-D. In this artwork, an example of that is if a bird flew past the window or a movement in the wind, which is impossible to convey.
   Another piece of artwork that people mistake for “realistic” is Thomas LaClear’s Interior with Portraits. This scene is of two children getting their picture taken. The children look life-like and the setting also resembles real life. After much research of the subject matter (in the artwork), the viewer finds out that the two children are drawn from memory because, in fact, at least one of them is dead at the time of the painting. This gives another insight to assuming a piece of artwork is “realistic”.
   Lastly, Rene Magritte’s artwork, This is a Pipe, signifies quite blatantly how real-life can never be captured. The artwork is of a pipe that resembles a pipe in real-life, but it isn’t real, it is art. The abstract title of this is not a pipe emphasizes that it is off, not a real pipe. The viewer must look past the “realistic” tendencies to the art that it is.
   “Realistic” is dangerous because it is impossible for art to portray real-life. Some art is life-like, but not “realistic”.
 
ESSAY 3.  What period style do these works represent? Where? When? Describe major characteristics of the form and content of this historic style. Conclude with a sentence about your reaction: do you identify with this vision? Or, is it foreign to the way you see the world?
 
   These three pieces (from left to right Portrait of Giovanni Arnolfini and His Wife by Jan van Eyck, The Ghent Altarpiece by Jan van Eyck, and The Merode Altarpiece by Robert Campin) all date from the 15th c. and are prime examples of Early Renaissance art in the north, particularly Flanders.
   The form of art is extremely polished with an exacting attention to detail. Northern artists were enamored with the surface look of things and beautifully reproduced what they saw. Witness the pearls on the clothing of Christ in The Ghent Altarpiece. However, this attention to the look of things sacrificed an exactitude in representation of human anatomy.
The modeling was inexact – instead of focusing on limbs and body structure, artists created volume with drapery instead. Foreshortening was extreme. Typically, the background is tilted, as in the case of the Merode Altarpiece, where the table is distorted at an odd angle.
   As for content, northern artists tended to celebrate genre scenes. The Portrait of Arnolfini is a good example – the subject is more or less secular, since religion is not the focus. In another instance, religious scenes are cast in genre scenes – in the Merode Altarpiece, the Annunciation appears in a 15st century middle class home. The artist has included scenes of everyday life, like a burning candle, water jugs, and has even pictured Mary reading a book. Symbolism is also central to the three pieces. In the Arnolfini portrait, a dog represents the faithfulness and loyalty central to a solid marriage.
   Personally, I think the northern style is delightful. The artists celebrate the beauty of the everyday.
 
ESSAY 4.  First identify this example of architecture as above. Then explain why it is considered a major, early monument of the Renaissance even though it is not in the Renaissance style.
 
   The slide on the left is of Brunelleschi’s dome, a part of Santa Maria del Fiore, in Florence, Italy. The dome was completed around 1486, making it one of the earliest examples of Renaissance architecture in southern Europe.
   When looking at the dome, it’s seemingly in the Gothic style, with pointed arches and ribbing. However, this was a clever design choice by Brunelleschi in order to camouflage the dome with the rest of the already existing cathedral. The Renaissance aspect comes in during the construction of the dome. Renaissance art is typified by a general rethinking of the way the world is seen. Figures become more substantial and scenes become more naturalistic. In architecture, that presents bigger ideas to be accomplished by different ideas. During the construction of the dome, Brunelleschi realized that the old ideas could not construct a dome of that size. Throughout the entire project he invented new methods of construction, implementing them in his project. He used new design ideas, herringbone brickwork, to hold the dome together. And he came up with new ways of reaching the very top, walkways inside the dome itself.
   Even though the dome does not appear in the Renaissance style, everything about its construction suggests otherwise. Brunelleschi was a pioneer in Renaissance architecture, paving the way in the 15th century for others to follow.
 
ESSAY 5.  Identify, then compare and contrast these two architectural styles. How does each building reflect its time period?
 
   The images on the right are that of the Milan cathedral and the Foundling Hospital in Florence. One represents the Gothic style of building and the other represents the Renaissance.
   The Milan cathedral represents the Gothic style of architecture and the hospital the Renaissance style of architecture. One difference found in them is that the Gothic style is very pointy and towers skyward. The belief was that the higher you were, the closer you were to God. The hospital displays the Renaissance style because it is very flat, more down to earth. The Gothic style was very detailed, so much so that it is hard to focus on only one part of the cathedral. The Renaissance style was very simple, and it was easy to look at a part (of it). The arches of the Gothic style were small and pointy whereas the arches of the Renaissance style were larger and round. Also, the Gothic style of architecture was about God and glorifying him, not about the people around it. However, the Renaissance architecture was level with the people and centered more on the earth and people than the Gothic style did.
   I find that I am drawn to both styles. I like the details and the light feeling in a structure that is found in the Gothic style. And, I also am fond of the Renaissance styles ability to factor people into the images, more than the Gothic style does.