Exam 1 :: Lecture Questions

_________ is one of the most important painters that built on Giotto’s artistic language.

Giovanni Pisano’s “Pulpit of Sant’Andrea” is mostly ______ in influence.

Through the Middle Ages, Italian painting is dominated by the _________ style and gives rise to the altarpiece.

Portrays the first sensuous female nude shown since Antiquity. Embodies Classical ideals and concern with anatomy.

The only major sculptor outside of Florence.

Is considered to be the Father of modern sculpture.

The new Renaissance vision projects a new vision of man and his world.

___________’s followers were known to master bodily motion of the most complex kind.

Cennino Cennini’s “Book on Art” claimed that this artist translated painting from Greek (Byzantine/Eastern style) to Latin (Italian style).

The Father of Renaissance Architecture.

Was one of the last and greatest Medieval Classicists.

_________ represents the first step in the progression of perspective of space and linear space.

___________ puts an end to the Gothic age with his __________.

______ dominates the 13th century, and _______’s designs are directly related to his designs.

_________ is the first architect for the Cathedral of Florence.

During the Medieval period, art is ______ in function.

Who marries the Florentine and Sienese styles to create a unique Tuscan style?

________’s Classicism is modeled from the Ancient Roman Republic.

_________ in Florence, is the most successful Italian Renaissance design of the period (Late 13th/Early 14th century).

The first renaissance architectural space that could be entered and experienced as a family mausoleum for the Medici family.

In Siena, the Byzantine tradition lives on through _______ until the 14 century.

Who painted the most melancholy image of the nativity ever?

___________ continued the independent exploration of landscape and architectural settings in Sienese art.

____________ takes an enormous step towards a unified perspective.

___________ produced the most significant Late Gothic monumental altarpiece in Florence with the _____________. It represents the final flowering of the Gothic style in Florence.

_________ is possibly the first freestanding group since Antiquity.

The first bronze statue of it’s size since Antiquity.

_______ produces one of the most important secular subjects of his day in _________ in the Council Chamber of the Palazzo Publico. It is the first appearance of landscape since Antiquity and is the earliest accurate depiction of a city scape in Siena at the time.

Everything in ________’s __________ is found in Classical art and is the last of major sculptural projects for the cathedral.

_________ adapts the French Gothic style to Sienese art and becomes instrumental in the creation and spread of the International Gothic style.

_________ is considered the FIRST artist to make a significant break from the Byzantine style with a sense of weight, bulk, and dimensionality.

In ________________, he claims the soul is beautiful and so is mans body and that the world is created for man and not for God. He also refutes the Medieval claim that man is useless to God and says that a man’s end is not in God, but in knowledge.

________ represents the Sienese style at its best.

Had an intense interest in classical forms.

_________ is a major innovator in the representation of interiors.

The final break from the Byzantine style is with _______. He is the first giant in a long list of Italian painting, and is the first Italian to make a major contribution to Italian fresco painting.

In _________, __________ makes his first complete visual statement of one point perspective.

_________’s method of relief sculpture in the ________ relief gives life to all other optical revolutions afterwards.

__________ makes the most significant contribution to Florentine sculpture.

This sculpture displays an intense anti-humanism in its negation of the renaissance faith in the beauty of man and physical form.

This structure shows Brunelleschi’s mathematical understanding of harmonious proportions in his use of the repeated square.