AP Art History Chapter 17: High Renaissance – Flashcards

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Tempietto
Tempietto
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BRAMANTE, Rome 1502, commemorates place where Saint Peter was crucified, circular shrine of Greek tholos, columns called a PERISTYLE, combination of pagan architecture and Christian theme, circle represent divine perfection, light and shadow
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Farnese Palace
Farnese Palace
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SANGALLO, 1530-1546 Rome, sweeping horizontal front, rusticated entrance, each story has different window frame, heavy cornice
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Campidoglio
Campidoglio
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MICHELANGELO, Rome 1537, civic plaza in center of Rome, huge pilasters dominate structure, worked around existing buildings, oval plaza, Marcus Aurelius is there
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Saint Peter's
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1546-1564, MICHELANGELO becomes official architect after, BRA MICH MAD BERN, Greek cross was plan, support idea of hemispherical dome, alternating window designs, double dome, massive pilasters, Venetian High Renaissance
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Mona Lisa
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DA VINCI, Oil on Wood, 1503-1505, SFUMATO, CHIAROSCURO, ATMOSPHERIC PERSPECTIVE, three-quarter turn, relaxed pose, engages the viewer with the "smile", pyramidal composition, intensity
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Sistine Chapel Ceiling
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1508-1512 MICHELANGELO, complicated arrangement of figures for ceiling, illustrated first few chapters of Genesis, three hundred figures, none in same pose, variety of expression, painted cornices, acorns are motif
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Creation of Adam
Creation of Adam
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MICHELANGELO, Sistine Chapel Ceiling, God is flying through sky, bound for Earth, Adam made "in his likeness", two extremely powerful figures
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School of Athens
School of Athens
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RAPHAEL, 1509-1511, Fresco at Vatican, Julius II, painting originally called "Philosophy", vastness and variety of papal library, open clear light, nobility and monumentality of forms, religious and thought, Bramante, Euclid, Raphael, etc.
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Madonna with a Goldfinch
Madonna with a Goldfinch
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RAPHAEL, Holy Family is a theme in Raphael's work, figures sit in triangular composition, sweetness of faces, clarity of forms, atmospheric perspective, etc.
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Galatea
Galatea
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story taken from Metamorphoses, escapes from Cyclops by riding on shell, figural pose has hair and head facing left, compositions rests on triangles, vibrant bodies
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Pieta
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MICHELANGELO, 1498 Marble, Old Saint Peter's, funerary monument, pyramidal composition, little negative space, compact, monumental, frontal viewpoint, heavy drapery, serene Christ, signed work across Mary's chest
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David
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MICHELANGELO, representative of Florence, facing more powerful and threatening states, block of marble, first colossal nude since ancient, anticipates action, great concentration in his face, slight contrapposto, little negative space, compact pose
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Moses
Moses
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MICHELANGELO, meant to be seen from below, explains oblique angle of legs, horns are mistranslation of bible texts, figure is in awe, awesome with heroic body, idealized forms, similar to Laocoon
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San Zaccaria Altarpiece
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BELLINI, Venice 1505, oil on wood, single cohesive group, serene coloring, subdued lines, parallel position of saints, Sacra conversazione, Bellini was teacher to Giorgione and Titian
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The Tempest
The Tempest
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intense debate over meaning, soldier is staring at breast-feeding woman, incongruities in lightning bolt, broken colors, half complete arch, emerging use of oil paint, traditional landscape
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Isabella d'Este
Isabella d'Este
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TITIAN, powerful artistic patroness from Mantua, actually 60, wanted to look 30, self-assured, heads and heads receive most attention, garment fades in background
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Madonna of the Pesaro Family
Madonna of the Pesaro Family
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TITIAN, 1519-1526, Venice, commemorates victory by Jacopo Pesaro, kneels at left, Saint Peter presents keys, Saint Francis is presenting family
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