Exam 3 :: Lecture Questions

Da Vinci had practically no influence on French artists.

Works under the Florentine School of painting and introduces this style to France.

Never ceases to develop his technique and creates the Venetian Style.

He is probably the only Renaissance artist to transfer rich color from panel painting to frescoes.

Venetian architects built few of the palazzos in Venice.

Rome becomes the artistic capital, not Florence, and gives rise to the High Renaissance.

The ________ school resurrects the Venus figure from Antiquity.

Arrives at the threshold of the High Renaissance, but does not cross it.

Arrives in Venice in 1475 with a full mastery of oil technique. When he arrives he changes the entire history of Venetian painting. The Venetians drop tempera and pick up oil painting.

Marks a new development in portraiture and is the ancestor to Raphael’s portraits.

The calmness in _________ is a characteristic of the High Renaissance.

By combining the influences of della Francesca and Flemish technique (glazes) he fuses color brilliance with Monumentality.

Set the standard for High Renaissance architecture through the 16th Century for Palazzos.

The first Italian painter to take up etching.

Is one of the first to use red chalk and pencil.

Venetian art becomes the great compliment of Florentine and Roman schools with:

One of the most important and original painters in Northern Italy and develops a unique Northern Italian Renaissance art that is hard to classify.

The first true colossus of the High Renaissance.

Lays the foundation for High Renaissance architecture.

The towering painter of the last 40 years of the 15th century is:

16th century Italian art is NOT dominated by Raphael.

Bramante’s most important and influential building in Rome.

The High Renaissance style is founded by research and experiments done by:

Influences European court portraits for 100 years.

His most enduring contribution is to illusionistic ceiling paintings and is rarely surpassed by 17th century Baroque painters.

Set the pattern for devastation of this theme, but none could match the torment.

One of the most influential Palazzos of the 16th Century.

The new joy in nature and profound religious reverence in art, and landscapes of poetry is the contribution of:

Few figural compositions of the time have the same psychological impact as

Sums up Italian and French Mannerism.

Provides a set of norms to influence art for at least 300 years.

Giovanni Bologna was the greatest Mannerist sculptor (and most original in Italy) of the period, and for 200 years after his career, he had a reputation comparable to Michelangelo’s.