Exam 3 :: Lecture Questions
Set the standard for High Renaissance architecture through the 16th Century for Palazzos.
The calmness in _________ is a characteristic of the High Renaissance.
The first true colossus of the High Renaissance.
The new joy in nature and profound religious reverence in art, and landscapes of poetry is the contribution of:
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.
His most enduring contribution is to illusionistic ceiling paintings and is rarely surpassed by 17th century Baroque painters.
Rome becomes the artistic capital, not Florence, and gives rise to the High Renaissance.
He is probably the only Renaissance artist to transfer rich color from panel painting to frescoes.
The first Italian painter to take up etching.
16th century Italian art is NOT dominated by Raphael.
Arrives at the threshold of the High Renaissance, but does not cross it.
Da Vinci had practically no influence on French artists.
Influences European court portraits for 100 years.
Bramante’s most important and influential building in Rome.
The High Renaissance style is founded by research and experiments done by:
Venetian architects built few of the palazzos in Venice.
Works under the Florentine School of painting and introduces this style to France.
Venetian art becomes the great compliment of Florentine and Roman schools with:
Never ceases to develop his technique and creates the Venetian Style.
One of the most influential Palazzos of the 16th Century.
Is one of the first to use red chalk and pencil.
Set the pattern for devastation of this theme, but none could match the torment.
One of the most important and original painters in Northern Italy and develops a unique Northern Italian Renaissance art that is hard to classify.
Lays the foundation for High Renaissance architecture.
The ________ school resurrects the Venus figure from Antiquity.
By combining the influences of della Francesca and Flemish technique (glazes) he fuses color brilliance with Monumentality.
Marks a new development in portraiture and is the ancestor to Raphael’s portraits.
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.
Few figural compositions of the time have the same psychological impact as
The towering painter of the last 40 years of the 15th century is:
Sums up Italian and French Mannerism.