Final exam study guide arth206 PDF

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The List of Questions from the Study Guides that are Candidates for the Final Exam The numbers refer to the number of the question in the relevant study guide sheet. The question that follows several of the study guide questions listed below is the question form of that particular study guide subject. Study Guide for Baroque Art: 2, 3, 4, 7, 9, 10, 16, 18, 20, 23, 24, 26, 27, 30, 31, 34, 38, 40, 41, 45, 47, 48, 51, 52, 57, 59, 60 2. Study and learn the characteristics associated with Baroque art. Several are mentioned in your text. What are they? Other important characteristics will be presented in the lectures. Read carefully the section “Baroque” to discover some of those characteristics. The new way in which light is used in art is an important feature of the period. To help you towards an understanding of its significance, tie into your reading the following quote from page 722, 2005 edition of Stokstad: “The new understanding of the relationship of Earth and the Sun reaffirmed the expressive power of light, not as in the Middle Ages, but as a natural phenomenon to be treated with realism and drama.” 1. A dramatic movement 2. Strong contrasts of light and dark (tenebroso) 3. Perquisite heightened and active emotional involvement on the part of the viewer 4. Fascination with and dramatization of space 5. New concept of time (as a part of nature as opposed to ecclesiastical time. 3. The role of the spectator changed in the Baroque period. As one feature of this change, the very space surrounding painting, sculpture and architecture became psychologically charged, engaged the viewer in a new way. Explain. With respect to the manifestation of the facination with and dramaization of space in works of art, it should be observed that they tend to reach out into space and in effect dramatize, psychologically charge the space that extends beyond the work. ex) Bernini’s david. There is an expectation for baroque art more intensely than before to reachout and engage the viewer’s emotions. This is a consequence of the dramatization (psychological charging) of space. The emotional involvement/engagement of the work had become an expectation/requirement There is a new emphasis on the fleeting moment in works on scenes and actions that will change “at the blink of an eye” 4. Considering the role of the viewer, in what general way are some subjects in Catholic and Protestant countries alike. Pg 714 In catholic countries, representation of horrifying scenes of martyrodom or the passionate spiritual life of mystics in religious ecstacy sought to inspire viewers to a reinvigorated faith by making them feel what was going on, not simply by causing them to think about it. In protestant countries, images of communcal parades and city views sought to inspire pride in civic audiences in a theater, vicariously but completely, as the work of art drew them visually and emotionally into its orbit. 7. Compare Michelangelo’s David with the David by Bernini. One should very readily perceive what remarkable new direction Baroque artists have taken in their work. David is an example of a new type of composition. Explain. ** BERNINI’S DAVID is an example of the “brief fleeting moment” excentuating the emphasis on the fleeting moment that could change at the blink of an eye. He introduces a new

type of 3-d composition that intrudes forcefully into the viewer’s space. Unlike michelangelo’s david, bernini’s more mature david, with lean, sinewy body, tightly clenched mouth, and straining muscles is all tension, action and determination. The twisting figure caught in movement allowed bernini to incorporate the sourrounding space within his composition, implying the presence of an unseen adversary somewhere behind the viewer. Thus, the viewer becomes part of the action rather than its displaced and dispassionate observer. 9. What is the source for the iconography of Gianlorenzo Bernini’s Saint Teresa of Ávila in Ecstasy? St. teresa of avila swoons in ecstasy on a bank of billowing marble clouds with an angel tugging open her robe aiming a gilded arrow at her breast. Scene represents a famous vision described with startling physical clarity by Teresa, in which an angel pierced her body repeatedly with an arrow, transporting her to a state of ecstatic oneness with god, charged with erotic associations. Pg 713 10. What characteristics of the Baroque are to be seen in Saint Teresa of Ávila in Ectasy? Dramatic movement pg 714 Bernini effectively used the configuration of the garment’s flds to convey the saint’s swooning, sensuous body beneath, even though only Teresa’s face, hands and bare feet are actualy visible. Pg 718 16. What features of the gallery ceiling of the Palazzo Farnese are derived from Michelangelo’s Sistine Chapel ceiling and what features recall the work of the Venetians Titian and Veronese? Inspired by the sistine chapel ceiling, the figure types, true to their source, are heroic, muscular, and drawn with precise anatomical accuracy, but instead of michaelangelo’s cool illumination and intellectual detachment, the carracci ceiling glows with a warm light that recalls the work of the Venetian painters Titian and Veronese, and seems buoyant with optimism and lively engagement. Pg 722 18. What are the general characteristics of Caravaggio’s religious paintings? Powerful, sometimes brutal, naturalism. Dramatic lightening effects. Bold shaddows and great deal of black to give relief to the forms. He never brought out his figures out into the daylight, but placed them in the dar brown atmosphere of a closed room, using a high light that descended vertically over the principal parts of the bodies while leaving the remainder in shadow in order to give force through strong contrasts. Interprested his religious subjects directly and dramatically, combining intensely observed figures, oses, and expressions with strongly contrasting effects of light and color. Developed the technique known as tenebrism, where forms emerge from a dark background into a strong light that often falls from a single source outside the painting like a theatrical spotlight. Pg 723 20. The hand of Christ in The Calling of Saint Matthew was derived from what Renaissance source? The creation of adam in the sistine chapel ceiling 1511 michelangelo 23. Although the subjects are very different, Saint Serapion by Francisco de Zurbáran and Still Life with Quince, Cabbage, Melon, and Cucumber by Juan Sánchez Cotán share certain formal characteristics and convey a similar mood. Explain what these have in common.

A strong light against impenetrable darkness, this highly artificial arrangement of strikingly lifelike forms suggest not only a fascination with spatial ambiguity but also a contemplative sensibility and interest in the qualities of objects that look forward to the work of Zurbaran and Velazquez. Zurbaran’s piece has a timelessly immobile composition which is like a tragic still life, a study of fabric and flesh become inanimate, silent, and at rest. 24. Zurbaran’s St. Serapion is a deeply moving, evocative and beautiful painting. What Baroque characteristics are the be found therein? Strong contrasts of light and dark, perquisite heightened and active emotional involvement on the part of the viewer, facination with and dramatization of space, new concept of time (being timelessly immobile like a tragic still life. 26. Las Meninas is one of the best known paintings of Diego Velázquez. In what way did he utilize the representation of light that was contrary to the classical manner? (Refer to the caption for the painting.) He used a minimum of underdrawing, building up his form with layers of loosely applied paint and finishing off the surfaces with dashing highlights in white, lemon yellow, and pale orange. Rather than using light to model volumes in the time-honored manner, he tried to depict the optical properties of light reflecting from surfaces. Pg 733 27. In addition to the lively brushwork, what other formal features contribute to making Las Meninas a painting that is full of vitality and one that engages the viewer in an active dialogue? (rf. to the lectures) 30. The painting Still Life with Flowers, Goblet, Dried Fruit, and Pretzels by Clara Peeters is a still life of what type? “Breakfast pieces” showing a table set for a meal of bread and fruit. Pg 742 31. Dark, neutral backgrounds serve what function in still lifes? The neutral almost black backgrounds emphasize the fall of light over the contrasting surface textures. Pg 742 34. The Dutch “taste for art” and “demand for art” had certain consequences for the production of art. Explain. The taste for art stimulated a free market for paintings that functioned like other commodity markets. Artists had to compete to capture the interest of the public by painting on speculation. Specialists in particularly popular types of images were most likely to be financially successful and what most Dutch patrons wanted were paintings of themselves, their country, their homes, possessions, and the life around them-characterized by active trade, bustling mercantilism, Protestant religiosity, and jarring class distinctions. The demand for art also gave rise to an active market for the graphic arts, both for original compositions and for copies of paintings since one copperplate could produce hundreds of impressions and wore out plates could be reworked and reused. Pg 743 38. Study the formal structure of The Night Watch. How has he unified the work psychologically? How has he composed the scene so that it is full of life and vitality? To the dramatic group composition, showing a company forming for a parade in an Amsterdam street, Rembrant added several colorful but seemingly unnecessary figures. While the officers stride purposefully forward, the rest of the men and several mischievous children

mill about. The radiant young girl in the left middle ground, carrying a chicken with prominent claws, may be a pun on the kind of guns that gave the name to the company. Chicken legs with claws also are part of its coat of arms. The complex interactions of the figures and the vivid, individualized likeness of the militiamen make this one of the greatest group portraits in the dutch tradition. 40. Rembrandt explored the expressive possibilities of what two printing techniques? Beginning in 1627 he focused on etching, which used acid to inscribe a design on metal plates. About a decade later, he began to experiment with making additions to his compositions in the drypoint technique, in which the artist uses a sharp needle to scratch shallow likes in a plate. Pg 749 41. Study the text box “Technique: Etchings and Drypoint.” In what ways do the two print techniques employed by Rembrandt resemble the character of drawing? Pg 748 Etching: a printmaking process in which a metal plate is coated with acid-resistant resin and then inscribed with a stylus in a design, revealing the plate below. The plate is then immersed in acid, which eats away the exposed metal. The resin is removed, leaving the design etched permanently into the metal and the plate ready to be inked, wiped, and printed. Drypoint: a sharp needle is used to scratch lines directly into the metal. However the burr (metal pushed up by the drypoint needle) is left in place. Unlike engravings, in which the burr is scraped off here both the burr and groove hold ink. Creating a printed line with a rich black appearance impossible to create in etching or engravings. **Rembrandt’s earliest prints were entirely etched, but later he added drypoint to develop tonal richness. Since drypoint burr is fragile and no more than a dozen prints can be made before it flattens and loses its character he had already had prints of his etchings prior. **Because these two tehniques allow the artist to work directly on the plate, the style of the finished print can have the relatively freehand and spontaneous character of a drawing. ***Rembrandt alone took charge of the creative process, from the preparation of the plate to its inking and printing and he constantly experimented with the technique with methods of inking and with papers for printing. 45. Jan Vermeer’s Woman Holding a Balance may be considered a metaphor for eternal judgment and as a vanitas on what grounds? Pg 752 Her hand and the scale are central, but directly behind her head, on the wall of the room, is a painting of the last judgement highlighting the figure of Christ the Judge in a gld aureole above her head. The juxtaposition seems to turn Vermeer’s genre scene into a metaphor for eternal judgement, a sobering religious reference that may reflect the artist's own position as a catholic living a protestant country. The womans moment of quiet introspection in front of the gold and pearls displayed on the table before her, shimmering with reflected light from the window, also evokes the vanitas theme of the transience of earthly life, allowing the painter to comment on the ephemeral quality of material things. 48. By what means has Ruisdael represented the interplay of hope and transience in his Jewish Cemetery? Answering this question requires careful note taking as the relevant information will be presented in the lectures. The image is in MDID

47. The artistic portrayal of a landscape is always an act of selection. For what purpose would the artists portray nature as different from the observed reality? Landscape painters worked in their studios rather than in nature, and they were never afraid to rearrange, add to, or subtract from a scene in order to give their compositions formal organization or a desired mood. **To make the painting particularly appealing to the patriotic local market. In many cases with the glorification of the industriousness of citizens engaging in labor. 51. Still-lifes can commonly represent what moral concept? What features might represent this concept? Still life paintings might carry morlizing connotations and commonly had a vanitas theme, reminding viewers of the transience of life and material possessions, evenart. Or wealth - Moth, insects, Meticulously painted timepieces could suggest deeper meaning- it alludes to human technologial achievement, but also to the inexorable passage of time and the fleeting nature of human life, thoughts also prompted by the inturupted breakfast, casually placed knife, and toppled tableware. 52. Why can it be said that Dutch still-lifes are “almost never straightforward depictions of actual fresh flowers? Artists made color sketches of fresh examples of each type of flower and studied scientifically accurate color illustrations in botanical publications. In the studio, using their sketches and notebooks, they would compose bouquets of perfect specimens of a variety of flowers that could never be found blooming at the same time. The short life of the flowers was a poignant reminder of the fleeting nature of beauty and of human life. Pg 757 57. Very carefully read the text box “Art and Its Context: Grading the Old Masters.” A firm understanding of the issues that divide the rubénistes from the poussinistes is very important for this course. What are the issues? Members of the french royal academy of painting and sculpture considered ancient classical art to be the standard by which contemporary art should be judged. By the 1680s younger artists of the academy began to argue that modern art might equal or even surpass the ancient art. A debate arose over the relative merits of drawing and color in painting. Poussinistes: Conservatives argued that drawing was superior to color because drawing appealed to the mind while color appealed to the senses. Rubenistes: Young artists who admired the vivd color claimed that painting should deceie the eye and since color achieves this deception more convincingly than drawing application of color should be valued over drawing. Resulting in Poussinistes and Rubenistes.

60. What is Claude Lorrain’s “favorite and much imitated device”? Was to place one or 2 large objects in the foreground- a tree, building, a figural group, or hillpast which the viewer’s eve enters the scene and proceeds, often by diagonal paths, into the distance. Pg 764 59. What is the true subject of Poussin’s paintings?

The subject is not the writing evangelists but the balance and order of nature

Study Guide for the Art of South and Southeast Asia after 1200: 1, 2, 4, 7, 9, 11. For question 11 the question to be answered is the following: What is the relationship between Krishna and the gopis as illustrated in the Hour of Cowdust and in the selection in Blackboard of the Bhagavata Purana (in Documents)? 1. What aspect of Tantric (Vajrayana) Buddhism contributed to the development of iconographic images? The technique resonates with an aspect of the devotional practices of 13th –15th century Europe. Explain. The practices of Tantric Buddhism, which include techniques for visualizing deities, encourage the development of images with precise iconographic details such as the 12th century giltbronze scuplture “the bodhisattva avalokiteshvara. Pg 772 2. Avalokiteshvara is a bodhisattva, a type of being in Mahayana Buddhism. What is the goal of Mahayana Buddhism and what role does a bodhisattva play in achieving this goal? Bodhisattvas are compassionate beings who are well advanced on the path to buddhahood (enlightenment) and who have vowed to help others achieve enlightenment. The goal is to achieve buddhahood or enlightenment. Avalokiteshvara is the Bodhisattva of freatest compassion, who vowed to forgo buddahood until all others become buddhas. 4. Who is Mahavira, what is a tirthankarai and what is the ultimate goal of Jainists? Mahavira is the Jain religion spiritual leader whom it regards as the last in a series of 24 saviors known as pathfinders or tirthankarai. Jainists seek through purification and moral ation to become worthy of escaping the cycle of rebirth. 7. What social force contributed to the increase in the number and height of Gopuras? Successive rulers often seeking to outdo their predecessors, donated taller and taller gopuras. 9. One of the most beautiful architectural monuments in the world is the Taj Mahal. Study its history and the architectural features that comprise the Taj Mahal. (rf. pp. 771, 779-780) Built in 1632-1648 by Mughal ruler Shah Jahan on the banks of Jamuna river as a mausoleum for his favoite wife, Mumtaz Mahal who died in childbirth. Evokes both personal loss and imperial authority being its most remarkable strengths with features that collectively evoke paradise on earth. 11. Examine closely the iconography and formal features of the Hindu manuscripts Krishna and the Gopis from the Gita Govinda (rf. long caption) and The Hour of Cowdust. For this course and for understanding these works, the selection from the Bhagavata Purana is required reading. You will find it in Canvas. What is the relationship between Krishna and the gopis as illustrated in the Hour of Cowdust and in the selection in Blackboard of the Bhagavata Purana (in Documents)?

Study Guide for Chinese Art After 1280: 1, 6 (The question: “What are the Confucian and Daoist elements in The Ronxi Studio?”), 10, 11, 12, 13, 15, 19 (“Shitao intended each brushstroke to convey what?”—refer to the study guide question for the answer).

1. Study in its entirety the discussion of Wang Hui’s A Thousand Peaks and Myriad Ravines. It is important to attend to the following: the range of subjects in Chinese landscape painting, the importance of the past artists Dong Yuan and Juran as a source for Wang Hui’s style, the scholars connection to Confucianism and Daoism, the delineation of that to which literati painting refers. A very important aspect of Chinese literati landscape painting is mentioned. This aspect concerns the artist’s intention to convey to the viewer a central factor for understanding many literati landscape paintings: the experience called ch’i yün (also qi yün). Qi may be partially defined as the life force by which the cosmos was spontaneously generated and which suffuses the cosmos. Qi yün (cosmic consonance) is the dissolution of the self in the flow of the cosmos or the becoming one with qi. The artist strives to achieve and express the experience of being one with the qi. This concept will be discussed in the lectures...