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14th and 15th Centuries AP Art History Flashcards | StudBud
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14th and 15th Centuries AP Art History
14th and 15th Centuries AP Art History
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1
Based on the information included in the painting, which of the following statements is NOT true about the female figure
She is of high status
She is married
She is pregnant
She is devout
2
Image 8
Notre Dame
Palazzo Rucellai
Pazzi Chapel
Arena (Scrovegni) Chapel
3
Image 9
David
Pieta
Venus
Goliath
4
One of the functions of this painting was that it functioned as
An altarpiece in a private domestic shrine
A political statement of Florentine power
An expression of the Church’s interest in classicism
An exercise in applying Neoplatonism
5
This page is from:
A Jewish Torah
A Middle Eastern Qur’an
A Jewish Haggadah
A Christian Gospels
6
This sculpture revived all of the following classical techniques EXCEPT:
Contrapposto
Lost-wax casting
High relief
Idealism
7
Who were the patrons?
The Rucellai family
The Milanese family
The Pazzi family
The Medici family
8
Image 2
Golden Haggadah
Rottgen Pieta
Pazzi Chapel
Palazzo Rucellai
9
The artist was notable in Western art history for
His innovations with portraiture
His use of Gothic elements
His abilities with oil paint
His experiments with space and perspective
10
The sculpture is known as an andachtsbild, which means it is a
Small sculpture that is placed inside a three-dimensional altarpiece
Devotional image used to incite piety
Life-size work set outside a church to draw believers in
Reliquary that contains a relic belonging to Christ
11
The nudity of the sculpture is both a reference to classicism and to:
Christian sainthood
Gothic symbolism
Homoeroticism
Mesopotamian precedents
12
A distinctive formal quality about this painting is its:
Frieze-like arrangement of figures
Interest in realism
Avoidance of deep space
One-point perspective
13
This period of Christian worship is defined by:
a. Neoplatonism
Marian devotion
Scholasticism
Trinitarian philosophy
14
Emotional intensity is created through all of the following EXCEPT:
Christ’s emaciated body
Mary’s hooded garment
Mary’s anguished face
Christ’s visible stigmata
15
How was this sculpture appropriated?
It was eventually moved from a private location to a public location
It was eventually set amongst a group of other sculptures
It was eventually moved to Milan from Florence
It was eventually redone to match late Renaissance aesthetic preferences
16
What historical event most relates to the commissioning of this sculpture?
The 1428 battle between Florence and Milan
The 1349 Black Death in Florence
The 1436 completion of the Florence Cathedral
The 1492 death of Lorenzo de’ Medici
17
All of the following are ways in which the central figure departs from classicism EXCEPT:
Her nudity
Her elongated neck
Her extended torso
Her impossible contrapposto
18
All of the following are examples of the cross-cultural nature of this text EXCEPT:
This text uses Hebrew lettering
This was illustrated by a Spanish artist
This text used the Christian illuminated manuscript format
This text was commissioned by a Christian family in Spain
19
Image 3
Golden Haggadah: Preparation for Passover
Golden Haggadah: Scenes of Liberation
Golden Haggadah: Plagues of Egypt
Birth of Venus
20
The subject matter depicted is that of:
A variety of plagues sent to the Egyptians by God
Guidance for how to prepare for the seder
The Egyptian pharaoh freeing Hebrew slaves
A history of Jewish persecution by Christians
21
Image 4
Golden Haggadah: Scenes of Liberation
Arena (Scrovegni) Chapel: Lamentation
Golden Haggadah: Preparation for Passover
Golden Haggadah: Plagues of Egypt
22
Image 5
Birth of Venus
Arnolfini Portrait
Rottgen Pieta
David
23
Image 1
Palazzo Rucellai
Annunciation Triptych (Merode Altarpiece)
Arnolfini Portrait
Rottgen Pieta
24
All of the following are formal elements of this painting EXCEPT
Crisp brushwork
Classical idealization
Inclusion of text
Rich, jewel-like tones
25
While at first believed to be a marriage portrait, most historians now believe the scene is primarily:
A marriage proposal
A scene of religious instruction
A memorial portrait
A visual documentation of a contract
26
Images 6
Annunciation Triptych (Merode Altarpiece)
Madonna and Child with Two Angels
Rottgen Pieta
Birth of Venus
27
Image 10
Arnolfini Portrait
Birth of Venus
David
Golden Haggadah: Preparation for Passover
28
One reaction to this painting was
Denouncement on the part of Fra Girolamo Savonarola
Critique on the part of Fra Vincenzo Bandelli
Curiosity on the part of Fra Giovanni Mirandola
Praise on the part of Fra Guarina Verona
29
In addition to the main function detailed above, the work is also undeniably:
a. A study of the classical human body
A display of the social status of the two figures
A courtly tale of chivalrous love
A scene from the New Testament set in the modern day
30
The central figure is identifiable through all of the following EXCEPT:
The seashell
Her nudity
Her hair ribbons
The inclusion of roses
31
Much of the iconography included relates to all of the following themes EXCEPT
Fertility and lovemaking
Luck and hope
Power and repentance
Marriage and commitment
32
What is notable about this work’s materials?
It is unique in that the artist mixed tempera and oil together
Artist experimented w/ pigments that had never been used in tempera before
It is one of the first Western paintings ever done on canvas
The artist forewent a wooden frame, making the painting more malleable
33
Image 7
Annunciation Triptych (Merode Altarpiece)
Arena (Scrovegni) Chapel: Lamentation
Birth of Venus
Golden Haggadah: Preparing for Passover
