Chapter 19 Study Guide

The Baroque in Italy and Spain

Baroque Italy

• Bernini, David, 1623
• Bernini, Ecstasy of Saint Teresa, 1645-1652
• Caravaggio, Calling of Saint Matthew, c. 1597-1601
• Gentileschi, Judith Slaying Holofernes, c. 1614-1620
• Gentileschi, Self-Portrait as the Allegory of Painting, c. 1638-1639

Baroque Spain

• Velazquez, Las Meninas (The Maids of Honor), 1656

Short Answer

1. Name three characteristics of the Baroque style in Italy and Spain.
2. What do the two colonnades that Bernini designed for Saint Peter’s Piazza symbolise?
3. Bernini’s baldacchino serves as marker over which important religious site?
4. The Baroque style in Catholic countries was generally associated with which religious movement?
5. Identify three specific ways in which Borromini’s San Carlo alle Quattro Fontane reflects the Italian Baroque style.
6. What is unusual about Annibale Carracci’s artistic training compared to the artistic training of painters we have previously examined?
7. Define tenebrism.

Chapter 18 Study Guide

High Renaissance and Mannerism in Northern Europe and Spain

Northern Renaissance

• Bosch, Garden of Earthly Delights, 1505-1510
• Durer, Melencolia I, 1514
• Durer, Self-Portrait, 1500
• Cranach the Elder, Law and Gospel, c. 1530
• Holbein, The French Ambassadors, 1533
• Bruegel, Netherlandish Proverbs, 1559
• El Greco, Burial of Count Orgaz, 1586

Short Answer

1. Identify one detail in Grunewald’s Isenheim Altarpiece that acknowledges the patients at the hospital for the which the work was commissioned?
2. Who was the first non-Italian artist to achieve international fame? What artistic medium allowed for the widespread distribution of his work?
3. How does Durer show his support for Lutheranism (Protestantism) in his painting Four Apostles?
4. How did Catholic and Protestant attitudes towards religious art differ?
5. Define iconoclasm.
6. What optical illusion appears in Holbein’s The French Ambassadors?
7. What is a genre scene?

Essay Titles/Questions

Choose ONE of the questions below and answer it in an essay that is between 3 and 4 pages long. Use specific examples of works of art and/or architecture which we have looked at in class and that are relevant to your argument.

(Typed, 12 pt font, double spaced, Times New Roman/Arial, 1 inch margins)

1. The Evolution of the Donor Portrait: Track the evolution of religious works of art from the late Medieval through Renaissance periods in which portraits of the works patrons have been inserted (donor portraits). Choose 3-5 works that include donor portraits which we have examined in class and discuss how the portrayal of the patron[s] reflects the attitudes, preoccupations, beliefs, etc. of the culture in which each piece was made. Consider placement, size, and prominence of the patrons when discussing each work.

2. The Renaissance Nude: The nude human form, which had become exceedingly rare in the Middle Ages, made its return in Italy during the Renaissance. Using 3-5 examples from the course, discuss the development of the nude figure from its return to prominence in the Quattrocento through the Cinquecento. Analyze how the reemergence of the nude is reflective of the cultural environment and shifting attitudes in Italy during this time period. Consider the changes in form and association the nude figure underwent over the course of the time period. Keep historical context in mind.

3. Classicism in Renaissance Architecture: How did classicism (elements of classical Greece and Rome) influence the architecture of the Italian Renaissance (Early, High and/or Venetian), and to what extent did Renaissance architects deviate from their classical predecessors? Use 3-5 examples of Renaissance architecture to support your argument.

(40 points)

Due: Tuesday 27 October*

* If submitting electronically, essay must be received by midnight. Send to lauren.vaughan@rccd.edu