Study Guide

ART 101 - FALL 2013 - STUDY GUIDE FOR ALL TESTS
This study guide contains all of the images that will be covered in Tests 1, 2 and 3. Two
weeks before each test I will specify which images (from the list below) will be covered
on that test.
Each of these can be found in your book (the number given below is the
illustration
number). Also, for each image I have given a list of questions that you need
to be able
to answer. You are also always responsible for knowing the ARTIST, TITLE,
and DATE
(given in bold) for each artwork. These are not the exact questions that will
be on the
test, but if you are comfortable answering all of these questions you will be
well
prepared. You will find the information you need in your lecture notes and in
your
textbook. I will ask multiple questions about each of the images. Questions
will be
multiple choice and true/false.
On the day of the test, please bring a skinny, red scantron purchased at the
OCC
bookstore (see the example posted outside of the classroom at the top of the
stairs), a
#2 pencil, your student id# and your student id card.
1. illustration #12.4, GIOTTO, Madonna Enthroned, 1310
-We categorize Giottos work as proto-renaissance, what does the word
Renaissance
mean? What does proto-renaissance mean?
-What is reborn in the Renaissance?
-How is Giotto a precursor to the Renaissance?
-How does Giotto depict space differently than the artists who preceded him?
-What is chiaroscuro and how does Giotto use it?
-What medium is used to make this altarpiece?
2. illustration #12.19, GIOTTO, Kiss of Judas, Arena Chapel, 1305
-What medium is used to make this artwork?
-Explain the process used to make this kind of painting.
-How does this medium affect the style of the image?
-What story does this image depict?
-What belief system does it represent?
-Why did Enrico Scrovegni have the Arena Chapel built? (hint: see illustration
12.11)
-In what ways does Giotto create an illusion of space in this painting?
-Describe Giottos figures: are they more massive in form or less massive
than the
figures of artists who preceded him?
-Developments visible in Giottos art are not embraced until the early 1400s,
more than
60 years after his death. What was the cause of this delay in his influence?
3. illustration #13.4 Exterior of Florence Cathedral, begun late 13th
century,
completed early 15th century.
-This is located in what Italian city? What was the form of government at the
time?
-Name the artist/architect that designed and oversaw the building of the
dome.
-What were the engineering obstacles that had kept the dome from being
built for so
long?
-What solutions did the architect design to address these problems?
-This architects ideas were influenced by his studies of Classical architecture
in what
Italian city? Which ancient building held particular interest for an architect
interested in
solving the problems of the dome of the Florence Cathedral?
4. illustration #13.7 BRUNELLESCHI, Hospital of the Innocents,
begun 1419
-Who was the artist/architect who designed this building?
-What period does this work belong to (proto-Renaissance? Early
Renaissance? High
Renaissance?)
-This artist/architect spent a few years in Rome what did he do there? What
did he
learn there?
-This building is an example of the artist/architects preference for what kind
of ratios
and shapes? What were some of the specific ratios used in his designs?
-What is this artist/architects relationship to Classical architecture?
-What kind of arches did he design rounded or pointed? What was each of
these
styles associated with? Why this preference? What effect did this kind of arch
create?
-What is a loggia?
-The loggia is divided into bays what shape does each bay form? What
architectural
elements delineate each bay?
-Where do we see direct references to Classical architecture in this buildings
design?
-How would you describe the decoration of the buildings faade?
-What is a tondo? Who made these and what do they depict? How do they
correspond
to the function of the building?
-What place does this building have in the architecture of the Renaissance?
5. illustration #13.15 LEONARDO DA VINCI, perspective study for the
Adoration
of the Magi, 1481
-What is the grid-like system visible in this preparatory drawing by Leonardo?
-What kind of illusion does this system create?
-Who is given credit for reinventing this perspective system for Renaissance
artists?
-How does this relate to the Renaissance idea of a painting as a window?
-What is an orthogonal?
-What is a vanishing point?
6. illustration #13.20 MASACCIO, Holy Trinity, 1425
-Masaccios work showed the strong influence of what earlier artist?
Renaissance? High
Renaissance?)
-What is a memento mori, and how does it relate to the tomb shown below
the Trinity?
-What is the Holy Trinity?
-Who are the two figures closest to us, shown kneeling and in profile?
-Who are the two standing figures on either side of the cross?
-How does Masaccio create the illusion of an architectural niche receding
beyond the
surface of the wall?
-Where is the vanishing point in this painting?
-How is the influence of classical culture present in this work?
7. illustration #13.24 MASACCIO, Expulsion from Eden, Brancacci
Chapel, 1425
Renaissance? High
Renaissance?)
-What is a giornata (it relates to the question of medium)? How many
giornata did it
take to make this scene?
-Where did Masaccio get the idea for the pose that Eve is in?
-What is humanism, and how is it evident in this image?
-What is chiaroscuro, and how is it used in this painting?
-Describe Masaccios style: what are his figures like? who is he influenced
by? is he
interested in conveying human emotion?
8. illustration #13.29 DONATELLO, David, 1430-1440
-This is the first ______________________ since antiquity.

Renaissance? High
Renaissance?)
-Who commissioned this work?
-What is the medium used to make this artwork?
-What is Renaissance humanism? (see p. 480-81)
-How does the combination of the story and the way it is depicted reflect
Renaissance
humanist interests?
-What is the relationship between the story depicted in this work and the city
of
Florence?
-What was controversial about this work? Why was Donatello able to take
such risks?
-What is contrapposto?
9. illustration #13.47 PIERO DELLA FRANCESCA, Battista Sforza and
Federico
da Montefeltro, Duke of Urbino, after 1475
-What media are used to make these paintings?
Renaissance? High
Renaissance?)
-How do state portraits made during the Renaissance reflect an interest in
Classical
culture?
-Who is depicted in these images? What was their relationship to the art of
the period
and what was their relationship to Renaissance humanism?
-What is a condottiere?
-How are these paintings displayed? What other paintings are connected to
these two
and what do those paintings depict?
-How does the artist use form to create links between figure and landscape?
How does
this affect the content of the image?
10. illustration #13.48 PIERO DELLA FRANCESCA, Annunciation,
1450
Renaissance? High
Renaissance?)
-Why is Mary so large?
-What are some of the allusions to impregnation in this image?
-How does the architecture depicted in the painting relate to Renaissance

humanism?
11. illustration #13.49 FRA ANGELICO, Annunciation, c. 1440
- What period does this work belong to (proto-Renaissance? Early
Renaissance? High
Renaissance?)
-Who was Fra Angelico? What does his name mean?
-Where is this painting located? How does its location relate to its function
and
meaning?
-What story is being depicted? How is this story adapted to relate more
closely to the
location it is painted in?
-In the painting, who is the figure observing the holy scene?
-Describe the artists style, how does it relate to the stylistic lineage of Giotto
and
Masaccio?
-What role does light play in the story being depicted? How does the artist
use form to
help the viewer to focus on light?
12. illustration #13.59 BOTTICELLI, Birth of Venus, 1480
Renaissance? High
Renaissance?)
-What is the story being depicted? Who are the figures? What belief system
does it
belong to?
-How does this painting reflect Renaissance humanism?
-Where did Botticelli get the idea for the pose that Venus is in?
-Botticelli based this composition on traditional images of which specific
Christian story?
-What was The Platonic Academy, and what was the philosophy of
Neoplatonism
-Why did Botticelli move away from Classical subject matter later in his life?
13. illustration #14.13 LEONARDO DA VINCI, Last Supper, 1495-1498
Renaissance? High
Renaissance?) What does the High Renaissance refer to?
-Why do we refer to Leonardo as a Renaissance Man?
-How does this painting differ from a true fresco? How successful was this
experimental
technique? Why did he try this experimental variation on fresco?
-Where was this painted, who was it for?
-What moment in the story of the last supper is being depicted in this mural?
-Where is the vanishing point? Why is it located there?

-How does Leonardo create a strong sense of visual balance in this work?
-How does Leonardos placement of the figure of Judas depart from
convention?
14. illustration #14.15 LEONARDO DA VINCI, Madonna and Child
with Saint
Anne, 1503-1506
Renaissance? High
-Who are the figures depicted in this image?
-What kind of geometric form is created by the placement of the figures?
What is the
effect of organizing figures this way?
-What does the lamb symbolize?
-What is sfumato and how does Leonardo use it here?
-How does Leonardo create a degree of softness unprecedented in Christian
art?
-See the description of formal parallels between figures and landscape in
Leonardos
paintings. For Leonardo, the human body was a metaphor for what? How do
we see
this in this particular painting?
15. illustration #14.16, LEONARDO DA VINCI, Mona Lisa, c. 15031505
Renaissance? High
-According to Vasari, who is being depicted in this painting? Why has it been
given the
Italian nickname La Gioconda?
-Where is this painting today?
-What kinds of shifts are visible, in terms of light and perspective, between
the figure
and the landscape?
-What is sfumato and how does Leonardo use it here?
-What formal parallels are visible between the figure and the landscape?
-How does Leonardo create a degree of softness unprecedented in Christian
art
(Adams, 536-37))?
-See the description of formal parallels between figures and landscape in
Leonardos
paintings (Adams, 537) For Leonardo, the human body was a metaphor for
what? How
do we see this in this particular painting?
-How did this painting end up in the French royal collection?
-Is the painting in its original format or has it been altered? If so, how, and to
what
effect?
16. illustration #14.19 MICHELANGELO, David, 1501-1504
-Michelangelo was known to have carefully studied the frescoes of which
artist? What
stylistic trait did the two artists share?
Renaissance? High
Renaissance?)
-What medium did Michelangelo prefer to work in?
-What story is depicted in this image?
-Who commissioned the work? What did it symbolize to them?
-This was the ______________________ since antiquity.
-What is contrapposto?
17. illustration #14.23 MICHELANGELO, Creation of Adam, 1510
Renaissance? High
Renaissance?)
-Where is this located?
-Who commissioned this work?
-What stories are depicted in the nine main narrative scenes that occupy the
center of
the vault?
-What is the story being depicted in this image?
-Why is the figure on the left so relaxed?
-What is Michelangelo most interested in, the figure or the landscape?
-What is the key characteristic of Michelangelos figures?
-What controversial project, related to this painting, was begun in 1980?
18. illustration #14.30 RAPHAEL, Madonna of the Meadow, 1505
Renaissance? High
Renaissance?)
-How does Raphaels style differ from that of Leonardo and Michelangelo?
-Who are the figures depicted in this scene?
-How does this painting show the influence of Leonardo?
-How does Raphaels treatment of landscape differ from that of Leonardo?
-What is the symbolism of the cross that the two children hold? And of the
red poppies
growing to the right of the figures?

-What is the symbolism of the clothing worn by the woman depicted?
19. illustration #14.35 RAPHAEL, School of Athens, 1509-11
Renaissance? High
Renaissance?)
-Where is this work located? Who commissioned it?
-What is History Painting, is this work a good example?
-What is the subject of this painting?
-Who are the two figures framed by the most distant arch?
-Where is the vanishing point?
-How do this painting, and this location, combine to reflect Renaissance
humanism?
-Raphael includes a few portraits of his own contemporaries in this work
who does he
depict? Do these depictions shed light on the character of these individuals?
-Raphael is known for his emphasis on clarity, balance, and classical
idealism: how is
that evident in this painting?
20. illustration #13.62, CAMPIN, Mrode Altarpiece (open), c. 14251430
-This painting is associated with the Northern Renaissance, why is it given
that
designation?
-Were artists like Campin as impacted by the Classical revival as artists in
Italy were?
Why or why not?
-Was this altarpiece used in a church or in a private household?
-What medium is used to make this?
-Look at the detail of this in your book (fig. 13.63). What is being depicted
here? What
is the symbolism?
-What is the story being illustrated in this painting?
-What is unusual about the setting of the central panel?
-Who are the people kneeling outside the door in the left panel?
-Who is the man in the right panel? What is he doing and what is the
symbolism of it?
21. illustration #13.69, VAN EYCK, Arnolfini Portrait, 1434
that
designation?
-Were artists like Van Eyck as impacted by the Classical revival as artists in
Italy were?
Why or why not?
-What major societal shifts were occurring in the 15th century in Northern
Europe?
-What medium is used to make this work?
-How is the medium suited to the artists style?
-This artist used a technique called glazing explain the technique.
-How would you describe Van Eycks style?
-What are some of the symbols of fertility or abundance depicted in this
image?
-What is written on the wall above the mirror?
-What does the convex mirror reveal?
-How would you describe the depiction of texture in Van Eycks work?
-Van Eycks paintings are very detailed, is that typical of Netherlandish
painting?
22. illustration #13.64, VAN EYCK, Ghent Altarpiece (open),
completed 1432
that
designation?
-Were artists like Van Eyck as impacted by the Classical revival as artists in
Italy were?
Why or why not?
Europe?
-This artist used a technique called glazing explain the technique.
-How is the medium suited to the artists style?
-How would you describe Van Eycks style?
-How would you describe the depiction of texture in Van Eycks work?
-Van Eycks paintings are very detailed, is that typical of Netherlandish
painting?
-What is a polyptych?
-Is it possible to see the whole altarpiece at once? Why or why not?
-What is depicted in the lower, central panel, the largest panel in the
altarpiece? What
does it symbolize?
-Who is depicted in the seven panels in the upper register of the altarpiece?
-What is the symbolism of the panels that are visible when the altarpiece is
open (as it is
in this image)?
-How do Van Eycks Adam and Eve compare with those painted by Masaccio
in the
Brancacci Chapel?
23. illustration #13.72 VAN DER WEYDEN, Saint Luke Depicting the
Virgin, c.
1435-1440

that
designation?
-Were artists like Van Der Weyden as impacted by the Classical revival as
artists in Italy
were? Why or why not?
Europe?
-Van der Weyden was trained in the workshop of which artist?
-How does the artist connect the deep distance of the landscape in the
background with
the intimate architectural space in the foreground?
-Who is depicted in this painting?
-What leads some historians to conclude that Saint Luke is also self-portrait
of the
artist?
-Saint Luke is the patron saint of _____________, because tradition has it that
he had
___________________________. (see your book to help fill in the blanks)
-What time and place seems to be the setting of this scene?
24. illustration #13.73a/b MEMLING, Tommaso Portinari and Maria
Baroncelli
Portinari, 1470
-What medium was used to make this artwork?
-Who are the figures depicted in the two panels?
-What is the general assumption about how these two panels would have
originally
been displayed? In a related question, why do the two figures appear to be in
prayer?
-What is the term for the position that the figures are presented in? How does
this
compare with Piero Della Francescas portraits of Battista Sforza and Federico
da
Montelfetro?
25. illustration # 14.48, GIORGIONE, Sleeping Venus, c. 1509
-What city did this artist work in?
-does this work belong to the Renaissance period?
-What does disegno vs. colorito refer to?
-Would Giorgione be a better example of disegno or of colorito, why?
-What was the primary medium of painting in this city? How does this show
in the color
and texture of such paintings? (see p. 558)
-What does it mean to say that a painting is painterly?
-Giorgione was working on this painting when he died, who finished it?
-A recurring theme in Western Art is that the female body is a metaphor for
what?
26. illustration # 14.50, TITIAN, Assumption of the Virgin, 1516-1518
-What city did this artist work in?
-does this work belong to the Renaissance period?
-What does disegno vs. colorito refer to?
-Would Titian be a better example of disegno or of colorito, why?
-the painters of this city tended to infuse their works with a certain kind of
light, how is
that light described?
-How does Titian create the sense that Mary is surrounded by a sun-like circle
of golden
light?
-How does Titian use the color red to unite the three distinct levels in this
painting?
-How is Marys pose different from the traditional way she was depicted in
images of the
Assumption? Is Titians choice more, or less energetic?
27. illustration # 16.3, BOSCH, Garden of Earthly Delights, 15101515
-Where did Bosch live?
-What is being depicted in the left panel? Who are the three human-like
figures in the
foreground?
-What is being depicted in the panel on the right?
-What are the main themes in the central panel?
-How did Bosch know about exotic animals like the giraffe, and elephant
depicted in the
left panel?
-How does Bosch create a sense of continuation from one panel to the next?
-What is the possible symbolism of the egg man in the panel on the right?
28. illustration #16.9, BRUEGEL, Landscape with the Fall of Icarus, c.
1554-55
-Where was Bruegel from?
-What is the story of Icarus? How is it visible in this painting?
-How does the story of Icarus relate to the rest of the imagery depicted in
this painting?
What is the main message of the painting?
-What is hubris and how is it related to this painting?
-When Bruegel visited Italy, what did he focus on drawing?
29. illustration # 16.16, GRNEWALD, The Isenheim Altarpiece
(closed),
1510-1515
-Where was Grnewald from?
-What was this altarpiece commissioned for?
-What was Saint Anthonys fire? and how does it relate to the way that
Jesus is
depicted?
-What is the symbolism of the dark sky behind the Crucifixion?
-Who are the figures on the side panels and why are they included here?
-This is a view of the altarpiece when it is closed, when would these outer
wings have
been opened?
-How was the depiction of Jesus different on the inner panels of this
altarpiece? What
significance would this transformation have in the context in which the
altarpiece was
viewed?
30. illustration # 16.13, DRER, Self-Portrait, 1500
-Where is this artist from?
-Is this artist a linearist or a colorist? How can you differentiate?
-What is the medium used to make this work?
-Was it typical or unusual for this artist to make a self-portrait?
-This self-portrait is very similar to what other kind of image?
-What effect does the black background have on the image overall?
31. illustration #16.24, HOLBEIN, Henry VIII, 1540
-Where is this artist from?
-Is this artist a linearist or a colorist? How can you differentiate?
-What is the medium used to make this work?
-Who is being depicted in this image?
-What genre of painting (landscape, history, portrait, still life, etc) was this
artist most
known for?
-How does the composition accentuate the presence of this figure?
-What is the main source of variety in this image and what does it
convey?
-How does Holbein handle the background? Is this typical or unusual for him?
32. illustration # 17.29, CARAVAGGIO, Conversion of Saint Paul,
1601
-What movement is this work associated with?
-What is the story being illustrated in this image?
-What was the Counter-Reformation and how does this work relate to it?
-What is tenebrism? Is this work a good example of it?
-What does Caravaggio do to increase the dramatic impact of this scene?
-What are some of the oppositions that Caravaggio oscillated between?
-In this painting, as well as in figure 17.28, what is the light a symbol of?
33. illustration # 17.18a and 17.18b, BERNINI, Pluto and Proserpina,

1622
-What are the characteristics of this movement that are visible in this work?
-How does this story relate to the mythological explanation of the seasons?
-What is a figura serpentinata (see p. 624), and how does it relate to this
image?
34. illustration # 17.30, GENTILESCHI, Judith Slaying Holofernes,
1614-20
-What was the Counter-Reformation and how does this work relate to it?
-What is tenebrism? Is this work a good example of it?
-Which artists style was Gentileschi most influenced by?
-How does this story relate to the artists own history?
35. illustration # 17.34, RUBENS, The Raising of the Cross, 1609
-This composition is organized around a strong, central, ______________ line.
-How does Rubens use light to help convey the message of the painting?
-How does Rubens convey a sense of the heaviness of Jesus on the cross?
36. illustration # 17.42, REMBRANDT, Self-Portrait as Saint Paul
(aged fifty-five),
1661
-Where did Rembrandt live?
-What movement is his work associated with?
-We know that Rembrandt worked predominantly for Protestant patrons: what
is the
Reformation, and what is the relationship between Catholicism and
Protestantism?
-What was the Dutch East India Company, and how did it impact Holland in
the
Seventeenth century?
-Is this a good example of tenebrism?
-If you include all the media he worked in, how many self-portraits did
Rembrandt
make? Was that common in his time?
-Look closely at the texture of this painting, do you think Rembrandt is a
linearist or a
colorist (in other words, is he more attuned to disegno or colorito?)
37. illustration # 17.55, VELZQUEZ, Venus with a Mirror (Rokeby
Venus), c. 1648
-Where did Velzquez live?

-Was his country aligned with the Reformation or the Counter-Reformation?
-Velzquez had great admiration for Titian, how is that visible in his work?
-Would Velzquez be better described as a colorist or a linearist (in other
words, is he
more attuned to disegno or colorito)?
-Paintings of female nudes were quite rare in seventeenth-century Spain,
why would
that be so?
-Velzquez had traveled in Italy, and he loved Venetian painting, which
paintings
specifically influence this work?
-How does Velzquez modify the traditional female nude?
-How would you describe the texture of this painting?
38. illustration # 17.58, VELZQUEZ, Las Meninas, 1656
-Where did Velzquez live?
-Was his country aligned with the Reformation or the Counter-Reformation?
-What was Velzquezs relationship to Philip IV, and how does he express that
relationship in this painting?
-Look closely at the way Velzquez paints the costumes of the figures in the
foreground,
would it be accurate to say he has a painterly style? In other words, does
Velzquez
let the viewer see the way that he uses paint to create texture?
-What does Las Meninas translate to mean?
-Describe the scene, who are the different figures depicted?
-What are some of the things that Velzquez does to complexify the space of
the
painting?
-We see the back of a large canvas that Velzquez is working on, there are at
least two
different compositions he could be working on, what are they?
-What do you think it means that this is a painting about the art of painting?
-What was the status of the art of painting in seventeenth-century Spain, and
how does
this painting provide an argument for raising the status of painting?
39. illustration # 18.7, FRAGONARD, The Swing, 1766
-Where did Fragonard live?
-What movement is this associated with?
-What is going on in this scene?
-Your book explains that Fragonard enlivens nearly the entire picture plane,
how does
he do that?
-Some consider this movement to be a refinement of the Baroque style, are

there any
elements of Baroque composition visible in this work?
40. illustration # 19.3, DAVID, Oath of the Horatii, 1784-1785
-By the eighteenth century, what city had become the center of the Western
art world?
-Where did David live most of his life?
-What are the tendencies of this movement, and how are they visible in this
work?
-What is this movement reacting against?
-What are the two radical political shifts that David is involved in?
-What is the story being depicted here?
-How is the composition organized?
-What do the implied lines in the composition converge upon?
-How are the men portrayed, how are the women portrayed?
-Look closely at the crispness and clarity of Davids painting style, would he
be
considered a linearist or a colorist (in other words, is he more attuned to
disegno or
colorito?)
-What genre of painting is this (portrait, self-portrait, still-life, landscape,
history
painting)?
41. illustration # 19.5, DAVID, Death of Marat, 1793
-By the eighteenth century, what city had become the center of the Western
art world?
-Where did David live most of his life?
-What are the tendencies of this movement, and how are they visible in this
work?
-What is this movement reacting against?
-What are the two radical political shifts that David is involved in?
-What is the specific political context of this painting?
-What is the story being depicted here?
-How is the composition organized?
-Is this a propagandistic image?
-How does David use the details to elicit a sympathetic response for Marat?
-The positioning of Marats body is also designed to elicit a powerful,
sympathetic
response in that it literally quotes the depictions of another specific figure in
a specific
scene, which figure and what scene?
42. illustration # 19.13, INGRES, Grande Odalisque, 1814
-Where did this artist live?
-What does the word Odalisque mean?
-While this artist is often associated with Neoclassicism, what does this
painting have in
common with Romantic tendencies?
-Is this artist a linearist or a colorist?
-Why was this kind of nude figure acceptable in French society?
43. illustration # 20.8, GRICAULT, Raft of the Medusa, 1819
-What movement is this artist associated with?
-What characteristics of this movement are visible in this painting?
-Describe the composition of this painting, where do the implied lines direct
your gaze?
-Why was this artist so good at painting corpses?
44. illustration # 20.12, DELACROIX, Liberty Leading the People,
1830
-Who is the woman carrying the flag?
-What geometric form does this composition of figures take? What is at the
apex of this
form?
-What are the colors that stand out against the muted brown and black
tones? What is
the significance of these colors?
45. illustration # 20.17, GOYA, Executions of the Third of May, 1808,
1814
-How does this artist use composition to distinguish between the two groups
of figures
depicted in this image?
-What is the role of light in this painting?
46. illustration # 20.19, FRIEDRICH, Two Men Contemplating the
Moon, 1819
-What genre does this painting belong to?
-What is the sublime and how is it present in this painting?
-What was the relationship between landscape and spirituality in this artists
work?
47. illustration # 20.21, TURNER, The Fighting Tmraire Tugged

to Her Last
Berth to be Broken Up, 1838
-What are the broader themes underlying the story depicted?
-Is this artist a linearist or a colorist (no one is allowed to miss this!)
48. illustration # 21.14, NADAR, Sarah Bernhardt, 1864
-What medium is used to make this image?
-What does the word photography mean?
-What is a camera obscura?
-While the camera obscura existed for centuries, what was the important
advance made
in the 1820s and 30s?
-What genre does this image belong to?
-How was this artists style different from most of his contemporaries?
-Was photography immediately recognized as a form of art?
49. illustration # 21.4, COURBET, Burial at Ornans, 1849
-How did the Industrial Revolution, along with the social, economic, political
and
scientific changes that arrived in its wake, contribute to the development of
a movement
like this?
-What is being depicted in this image?
-How does the subject matter of this image relate to the scale of this image?
-Why is this artist one of the figures we discussed relating to the beginning of
the idea of
the avant-garde, as well as the beginnings of modern art?
-Who said Show me an angel and Ill paint one, and how does that relate to
this
painting?
50. illustration # 21.25, MANET, Le Djeuner sur lHerbe (Luncheon
on the Grass),
1863
the idea of
-What is being depicted in this image, and how does it diverge from earlier
paintings of
pastoral scenes such as Giorgiones Fte Champtre (image 14.49)?

-How did this image strike a nerve related to concerns about contemporary
life in this
city?
-How does the nude figure in this image relate to nude figures in earlier
European
paintings, such as Ingres Odalisque or Titians Venus?
-What was the Salon of the Refused, and how does it relate to this
painting?
51. illustration # 21.26, MANET, Olympia, 1863 (*note: your book
says that
Olympia was painted in 1865, however, it was painted in 1863 and
first
exhibited in 1865)
the idea of
-What were some earlier paintings that influenced this painting? How does
this painting
compare to the earlier ones?
-Describe the quality of lighting depicted in this painting, how does it
compare to the
lighting in the earlier paintings?
-How did this image strike a nerve related to concerns about contemporary
life in this
city?
-How does the nude figure in this image relate to nude figures in earlier
European
paintings, such as Ingres Odalisque or Titians Venus?
-What did Courbet think of this painting?
52. illustration # 22.16, MONET, Impression: Sunrise, 1872
-What genre does this painting belong to?
-What is broken color and how is it evident in this painting?
-What does it mean to paint plein air, is this painting an example of this?
-What development in the manufacturing of oil paint supported desires to
paint plein air?
53. illustration # 22.10, DEGAS, Dancing Lesson, 1883-1885
-What did this artist have in common with the Impressionists?
-In what ways was he distinct from the Impressionists?
-Describe the composition of this painting?

-What was this artists relationship to photography?
54. illustration # 22.14, CASSATT, Letter, 1891
-Where did this artist live? Where was this artist originally from?
-How did gender impact the subject matter typical of this painter?
-What foreign art form had a powerful influence on this artists work?
-Describe the composition of this work, how is it related to compositional
tendencies in
the art form that influenced it?
55. illustration # 23.5, CZANNE, Still Life with Apples, 1875-77
-What symbolism can be read into this painting (see box on page 806)
-What is passage, and how is it visible in this painting?
-Describe this artists brush strokes, how does this technique help the artist
fuse the
subject matter in his painting with the structure, or composition of his
painting?
56. illustration # 23.22, GAUGUIN, Nevermore, 1897
-Where was the artist living when he made this painting?
-What movement does this work belong to?
-What is Primitivism and how does it relate to Gauguins work?
-What is the scene being depicted in this painting?
-How does this painting relate to Gauguins statement that Art is an
abstraction; derive
this abstraction from nature while dreaming before it
-This painting is a new version of a long tradition of paintings we have
studied in this
class, name some of the paintings this relates to.
-What does the title refer to?
57. illustration # 23.17, VAN GOGH, Starry Night, 1889
-Where was this artist from, and where did he live during the years he was
painting?
-What movement does this work belong to?
-What is the scene being depicted here?
-How does the artist use color in this image?
-What does impasto mean, and how is it related to this artists work?
-Like many other artists of the time, this artist was influenced by what kind of
work (hint:
he amassed a great collection of them)

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ART 101 - FALL 2013 - STUDY GUIDE FOR ALL TESTS

-What period does this work belong to (proto-Renaissance? Early

-How does the architecture depicted in the painting relate to Renaissance

-Where is the vanishing point? Why is it located there?

growing to the right of the figures?

-This painting is associated with the Northern Renaissance, why is it given

33. illustration # 17.18a and 17.18b, BERNINI, Pluto and Proserpina,

-Where did Velzquez live?

-Some consider this movement to be a refinement of the Baroque style, are

47. illustration # 20.21, TURNER, The Fighting Tmraire Tugged

-Is this artist a linearist or a colorist?

-Describe the composition of this painting?

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