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AP Art History Chapter 21Questions: the Renaissance in Quattrocento Italy

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AP Art History Chapter 21Questions: the Renaissance in Quattrocento Italy AP Art History Chapter 21Questions: The Renaissance in Quattrocento Italy 1. _______ became a great patron of art and spent the equivalent of _____ dollars to establish the first public library since the ancient world. His grandson, _____ called the _______ spent lavishly on _______, ______, and sculptures. (559) 2. Of all the Florentine masters the Medici family employed, the most famous today is ______ ________. (559) 3. Botticelli painted _______ for Lorenzo di Pierfrancesco de’ Medici. What is the narrative of this painting?(559) 4. What was humanism? What is meant by the “Renaissance man”? List at least three qualities of the Italian humanists.(560) 5. In 1401, there was a competition to make bronze doors for the Baptistery of San Giovanni. What was the subject matter for the panel and why was this chosen? Who were the two finalists? Who won and why? (560‐ 562) 6. In the Four Crowned Saints, how did the artist liberate the statuary from its architectural setting? (563) 7. Who is the artist of Saint Mark (figure 21‐5)? List at least three ways that he gives movement and frees it from its architectural setting. (564) 8. In Donatello’s, Saint George and the Dragon, how did he create atmospheric effect? 9. In Donatello’s, Feast of Herod, how does he create rationalized perspective space? 10. Read the grey insert on page 567. What is the definition of linear and atmospheric perspective? (565) 11. Why the east doors of the Baptistery of San Giovanni were called the “Gates of Paradise?” (566) 12. On the panels, the figures stand according to a ________‐_________ perspective and the figures almost appear fully in the _______. The artist created a sort of sculptor’s atmospheric perspective. How does he do this? (567) 13. Another major revival of classical sculpture was the freestanding _______ statue. The first Renaissance sculptor to portray a nude male figure was Donatello’s _________. Where was this displayed? Who was the patron? Describe the elements of classical influence with new Renaissance qualities. (569) 14. Compare and Contrast Donatello’s and Verrocchio’s David? (568‐569) 15. In Pollaiuolo, Hercules and Antaeus, how does he express violent action? What Greek period is influenced by? 16. Given the increased emphasis on _________ achievement and recognition that ________ fostered, it is not surprising _____ enjoyed a revival. (570) 17. The most costly portrait of this period was Donatello’s _________. This was the first since _______ to rival the grandeur of Roman imperial mounted portraits such as ______ ______. How does this differ from the Roman statue? (571) 18. Compare and contrast Donatello’s, Gattamelata, and Verrocchio, Bartolommeo Colleoni. (571) 19. What painting style continued in Quattrocento Italy? (572) 20. Read the grey insert on page 573. Define imitation and emulation as concepts Renaissance artist most valued. 21. Who are the artist and patron of Adoration of the Magi. (573) 22. What artist was the most innovative for this period and was much studied for later Renaissance painters. (573) 23. In Masaccio’s, Tribute Money, he divides the story into _____ parts. How does light and shadow play in important role in the fresco? How does he display the human figure? Where is the vanishing point? How does he create atmospheric perspective? (574) 24. In Masaccio’s, Holy Trinity, how does he apply mathematics to the fresco? Where is the vanishing point? (575) 25. Who was the artist who painting the Annunciation in San Marco, Florence, Italy? (576) 26. In Fra Fillipo Lippi, Madonna and Child with Angels, how did the artist carry out humanization of a religious theme? (578) 27. Who painted the Resurrection? What Greco‐Roman aspects are in this fresco? (579) 28. Who were the artist and patron of the Birth of the Virgin? Who are some of the individuals in the painting and how do their upstage the Virgin and Child.(579) AP Art History Chapter 21Questions: The Renaissance in Quattrocento Italy 29. Who were the artist and patron of the Battle of San Romano? What was the perspective system used on this painting? What is the meaning of the bright orange fruit? (580) 30. What is the mythological story of the Birth of Venus? Who was the artist? (581) 31. Compare and contrast Botticelli’s Venus (figure 21‐29) to Aphrodite of Knidos (figure 5‐62) 32. Once again Pollaiuolo expresses violent action in Battle of Ten Nudes. What is the medium? Discuss how he depicts the human body and displays violent action. (582) 33. Filippo Brunelleschi turned to architecture out of the disappointment over the loss of what commission? What were the two important architectural commissions that received? (582) 34. How did Brunelleschi embody the rationality of classical architecture in his Florence Cathedral? (582) 35. How did Brunelleschi create mathematical rhythmic harmony in the building of Santo Spirito? (584) 36. What are tondi? (585) 37. Who designed the Palazzo Medici‐Riccardi? How was this inspired by Roman architecture? (586) 38. Leon Battista Alberti was the first to study the ancient Roman architectural treatise of _______. At the Palazzo Rucellai, whe used different capitals on each story. The ground floor used _____, the second floor used, and the third floor used ______. This gave the building an illusion that it become ______ towards the top.(586) 39. What were the numerical ratios that Alberti used in building Santa Maria Novella? (588) 40. Discuss how Girolamo Savonarola created political, cultural, and religious upheaval in Florence. What did he encourage citizen to burn? (588) 41. Who were the artist and patron of the Christ Delivering the Keys of the Kingdom to Saint Peter? What is the medium and location? How does he connect the action in the foreground with the background? What is the Roman architectural influence? (589) 42. Read the grey insert on page 591. What does princely court refer to? How did this effect art in Italy? In Piero’s, Battista Sforzo and Federico da Montefeltro, what are the Roman and Flemish aspects of the painting? (591) 43. Discuss the perspective used in Francesca, Flagellation. (592‐593) 44. Andrea Mantegna’s, ceiling of the Camera Picta, produced the first completely consistent ___________ decoration. How did he do this? (595) 45. Andrea Mantegna’s Foreshortened Christ, seems to be a strikingly realistic study in _________. (596) .
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