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Questions for Midterm www.YoYoBrain.com - Accelerators for Memory and Learning Questions for Midterm Category: Midterm - (94 questions) Michel Sittow: Assumption of the Virgin, ca. 1495 Juan de Flandes: Temptation of Christ, ca. 1500 Juan de Flandes: Christ Carrying the Cross, 1509-18 Pedro Berruguete: St. Dominic Pardons a Heretic, ca. 1500 Juan de Borgoña: Birth of the Virgin, 1509-11 Juan de Borgoña: Last Judgment, 1509-11 Juan de Borgoña: Descent from the Cross, 1509-11 Fernando Yáñez de la Almedina: Birth of the Virgin, 1507-10 Fernando Yáñez: Rest on Flight into Egypt, 1507-10 Fernando Llanos: Death of the Virgin, 1507-10 Pedro Fernández: altarpiece of St. Helen, 1519-21 Roger van der Weyden: Pietà (from Miraflores altar, ca. 1445) Alejo Fernández: Virgin of the Navigators, 1530-40 Alonso Berruguete: Madonna and Child with the Young St. John, 1510-15 Pedro Machuca: Deposition, 1520-25 Vincente Maçip: Martyrdom of St. Agnes, 1540s Joan de Joanes: Last Supper, ca. 1560 Luis de Morales: Pietà, 1560-70 Titian: Philip II in Armor, ca. 1548 Titian: Rape of Europa, 1559-62 Titian: Venus and Adonis, 1551-54 Antonis Mor: Mary Tudor, 1554 Alonso Sánchez Coello: Anne of Austria, 1571 Sofonisba Anguissola: Isabella of Valois, ca. 1565 Juan Fernández de Navarrete: Baptism of Christ, ca. 1565 Juan Fernández de Navarrete: Martyrdom of St. James, 1569-71 Alonso Sánchez de Coello: Saints Stephen and Lawrence, 1580 Federico Zuccaro: Annunciation, 1585-86 Pellegrino Tibaldi: Martyrdom of St. Lawrence, 1592 Bartolomé Carducho: Death of St. Francis, 1593 Vincente Carducho: St. John Preaching, 1610 Juan Sánchez Cotán: Still Life with Quince, Cabbage, Melon and Cucumber, ca. 1600 Francisco de Zurbarán: Still Life, 1633 Juan van der Hamen: Still Life with Sweets, 1622 Juan van der Hamen: Still Life with Fruit and Glassware, 1626 Juan Bautista Maino: Adoration of the Shepherds, 1612-13 Juan Bautista Maino: Adoration of the Magi, 1612-13 Luis Tristán: Adoration of the Shepherds, 1620 Pedro Orrente: St. Sebastian, ca. 1616 Francisco Ribalta: Martyrdom of St. James, 1603 Francisco Ribalta: Christ Embracing St. Bernard, 1625-27 Juan de Roelas: Vision of St. Bernard, 1611 Francisco Pacheco: Christ on the Cross, 1614 Diego de Velázquez: Old Woman Cooking Eggs, 1618 Diego de Velázquez: Christ in the House of Mary and Martha, 1618 Diego de Velázquez: Mother Jerónima de la Fuente, 1620 Diego de Velázquez: Philip IV, 1623-26 Diego de Velázquez: Feast of Bacchus, 1629 Diego de Velázquez: Joseph´s Bloodied Coat Presented to Jacob, 1630 Diego de Velázquez: St. Anthony Abbot and St. Paul the Hermit, 1633 Diego de Velázquez: Baltasar Carlos as Hunter, 1636 Diego de Velázquez: Francisco Lezcano, 1636-40 Diego de Velázquez: Mars, ca. 1640 Diego de Velázquez: Fable of Arachne, ca. 1656-58 Diego de Velázquez: Las Meninas, ca. 1656 Diego de Velázquez: Philip IV at Fraga, 1644 Diego de Velázquez: Venus and Cupid, 1648 Antonio de Pereda: Relief of Genoa, 1634-35 Vincente Carducho: Siege of Rheinfelden, 1634 Juan Bautista Maino: Recapture of Bahia, 1634-35 Diego de Velázquez: Surrender of Breda, 1634-35 El Greco: Dormition of the Virgin, before 1567 El Greco: Modena Triptych, after 1569 El Greco: Annunciation, from Modena Triptych, after 1569 El Greco: Annunciation, 1567-70 El Greco: Purification of the Temple, 1567-70 El Greco: Purification of the Temple, 1570-76 El Greco: Disrobing of Christ, 1577-79 El Greco: Martyrdom of St. Maurice and the Theban Legion, 1580-82 El Greco: Adoration of the Shepherds, 1577-79 El Greco: Resurrection, 1577-79 El Greco: Trinity, 1577-79 El Greco: Assumption of the Virgin, 1577-79 El Greco: Antonio de Covarrubias, ca. 1600 El Greco: Francisco de Pisa, ca. 1610-14 El Greco: Christ Carrying the Cross, ca. 1585-90 El Greco: Penitent St. Mary Magdalene, ca. 1580-85 El Greco: Burial of the Count of Orgaz, 1586-88 El Greco: Adoration of the Shepherds, 1569-1600 El Greco: Adoration of the Shepherds, ca. 1612-14 Martín Bernat: Saint Blaise, ca. 1480 Francisco/Fernando Gallego: Acacius and the 10,000 Martyrs on Mount Ararat, ca. 1490 Fernando Yáñez de la Almedina: Saint Sebastian, ca. 1506 Juan de Borgoña: The Investiture of Saint Ildefonsus, 1508-14 Luis de Morales: Pietà, ca. 1560 Anthonis Mor: Portrait of Alessandro Farnese, 1561 Juan Pantoja de la Cruz: Portrait of Archduke Alber, ca. 1600 Juan Pantoja de la Cruz: Portrait of the Archduchess Infanta Isabella Clara Eugenia, ca. 1600 El Greco: Saint Francis Kneeling in Meditation, 1605-10 Juan Bautista Maino: Adoration of the Shepherds, 1615-20 Diego de Velázquez: Portrait of King Philip IV, 1623-24 Diego de Velázquez: Female Figure (Sibyl with Tabula Rasa), ca. 1648 Diego de Velázquez: Portrait of Queen Mariana, ca. 1656 Titian: Charles V on Horseback, 1548.
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  • Downloaded from Brill.Com09/28/2021 10:23:11PM Via Free Access Notes to Chapter 1 671
    Notes 1 Introduction. Fall and Redemption: The Divine Artist 1 Émile Verhaeren, “La place de James Ensor Michelangelo, 3: 1386–98; Summers, Michelangelo dans l’art contemporain,” in Verhaeren, James and the Language of Art, 238–39. Ensor, 98: “À toutes les périodes de l’histoire, 11 Sulzberger, “Les modèles italiens,” 257–64. ces influences de peuple à peuple et d’école à 12 Siena, Church of the Carmines, oil on panel, école se sont produites. Jadis l’Italie dominait 348 × 225 cm; Sanminiatelli, Domenico profondément les Floris, les Vaenius et les de Vos. Beccafumi, 101–02, no. 43. Tous pourtant ont trouvé place chez nous, dans 13 E.g., Bhabha, Location of Culture; Burke, Cultural notre école septentrionale. Plus tard, Pierre- Hybridity; Burke, Hybrid Renaissance; Canclini, Paul Rubens s’en fut à son tour là-bas; il revint Hybrid Cultures; Spivak, An Aesthetic Education. italianisé, mais ce fut pour renouveler tout l’art See also the overview of Mabardi, “Encounters of flamand.” a Heterogeneous Kind,” 1–20. 2 For an overview of scholarship on the painting, 14 Kim, The Traveling Artist, 48, 133–35; Payne, see the entry by Carl Van de Velde in Fabri and “Mescolare,” 273–94. Van Hout, From Quinten Metsys, 99–104, no. 3. 15 In fact, Vasari also uses the term pejoratively to The church received cathedral status in 1559, as refer to German art (opera tedesca) and to “bar- discussed in Chapter Nine. barous” art that appears to be a bad assemblage 3 Silver, The Paintings of Quinten Massys, 204–05, of components; see Payne, “Mescolare,” 290–91.
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    ΚΝΙΞQUΑΊLΚΊΓΚΙΞ§ ΚΝ ΊΓΗΙΞ WORIΚ Of IΞJL GRIΞCO AND ΊΓΗΙΞΚR ΚΝΊΓΙΞRΙΡRΙΞΊΓΑΊΓΚΟΝ 175 by Nicos Hadjinicolaou In memoryof Stella Panagopoulos, whose presence at the lecture gave me great pleasure The organization of a series of lectures in honour of a distinguished l art critic could bring the invited art historians in the delicate or uncomfortable position of defining the limits proper to art criticism and art history, thus reviving a rather sterile paragon of the 20th century. If, in the debate about the primacy of sculpture or of painting, Vasari (out of conviction it seems and not for reasons of tactics) declared that the controversy was futile because both arts were equally based οη "d isegno", Ι am afraid that tod ay a similar proposition to remove the object of dissent between art criticism and art history by claiming tha.t both were equally based οη "artistic theory" would, unfortunately, be rejected as being tόta11y out of place. Reconciliation being, at least for the moment, impossible, an art historian might be allowed to stress what in his eyes is one of the advantages of art criticism over art history: that it takes a stand, that it takes risks, that it measures the relevance of a work for the present and for the immediate future. It goes without saying that an art critic also jud ges a contemporary work under the burden of his or her knowledge of the art of the past and of the literature written ab out it. Υ et, this does not change the fundamental fact that the appreciation of the work and the value judgements about its assumed "quality" or "validity as a statement" are elements insid e a perspective looking towards the future and not towards the past.
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