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Chapter 14 15th c. N.Europe.ppt

Uploaded: 5 years ago
Contributor: creatorzlady
Category: Visual Arts
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Filename:   Chapter 14 15th c. N.Europe.ppt (849.5 kB)
Page Count: 3
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1. What feature distinguishes the International Gothic style that appeared near the end of the 14th century from earlier art forms of the Gothic period? 1. (a) the use of expensive materials 2. (b) secular subject matter 3. (c) the addition of details directly observed in nature 4. (d) its popularity among aristocratic audiences Davies, et. al., Janson’s History of Art: The Western Tradition, Eighth Edition , ©2011, Education 1. Answer: 3.(c.) See pages 470-474. In the late 14th century, aristocratic patrons indulged their taste for sumptuous objects based on the Gothic style. Courts assembled artists from diverse regions, which allowed for the exchange of ideas. While artists relied on Gothic principles by using geometric patterns to impose control over natural forms, they also included details that were taken directly from nature. This increased attention to naturalism inspired the next generation of Northern European painters to create even more naturalistic images. Davies, et. al., Janson’s History of Art: The Western Tradition, Eighth Edition , ©2011, Education 2. Which everyday object serves as a religious symbol in Robert Campin’s Mérode Triptych? 1. (a) the candle 2. (b) the mousetrap 3. (c) the vase of flowers 4. (d) all of the above 5. (e) none of the above Davies, et. al., Janson’s History of Art: The Western Tradition, Eighth Edition , ©2011, Education 2. Answer: 4.(d.) See pages 477- 479. The inclusion of realistic details with religious overtones became common in 15th century Flemish paintings. Scholars believe that artists like Campin may have been responding to the call to see the physical world as a mirror of divine truths and to create images of sacred events occurring in everyday environments. Davies, et. al., Janson’s History of Art: The Western Tradition, Eighth Edition , ©2011, Education 3. Which of the following is NOT a characteristic of oil painting? 1. (a) it dries very quickly 2. (b) it creates thin translucent films called glazes 3. (c) it creates thick creamy paint called impasto 4. (d) colors can be easily blended together Davies, et. al., Janson’s History of Art: The Western Tradition, Eighth Edition , ©2011, Education 3. Answer: 1.(a.) See page 479. Although oil painting had been used in the middle ages, Northern European artists began to exploit its properties for panel paintings during the 15th century. Because it is slow to dry, oil allows for the easy blending of colors and gives artists time to rework details of their painting. It can also be used to create a range of visual effects, from thin glazes that can be layered to reflect light to thickly textured areas of rich luminous color. Davies, et. al., Janson’s History of Art: The Western Tradition, Eighth Edition , ©2011, Education 4. Which of the following paintings (shown in the next slide) best demonstrates the shift toward naturalism in Netherlandish painting of the 15th century? 1. (a) Rogier van der Weyden, Descent from the Cross, c.1435 2. (b) The Walton Diptych, ca. 1400 3. (c) Hieronymous Bosch,Garden of Earthly Delights, c. 1480-1515 a. b. c. Davies, et. al., Janson’s History of Art: The Western Tradition, Eighth Edition , ©2011, Education 4. Answer: 1.(a). See pages 485-486. Rogier van der Weyden draws on the influences of both Campin and van Eyck in this panel painting. In addition to the carefully modeled figures in the foreground, he includes a garden and cityscape, seen through the open door. His attention to details of color, texture and perspective reflect the growing interest in realism that characterizes 15th century painting in Northern Europe. ` Davies, et. al., Janson’s History of Art: The Western Tradition, Eighth Edition , ©2011, Education 5. Martin Schongauer’s Temptation of St. Anthony is an example of what printmaking technique? a. woodcut b. engraving c. etching d. lithography Davies, et. al., Janson’s History of Art: The Western Tradition, Eighth Edition , ©2011, Education 5. Answer: 2.(b.) See pages 499-503. Engraving on metal had developed in classical antiquity, and in the Middle Ages, metalsmiths produced intricate designs on armor and other objects with this technique. Printmakers adapted this process to make engravings. Using a tool called a burin, lines or v-shaped grooves are carved into a metal plate to which ink is then applied. Wiping the plate forces the ink into the incised lines and eliminates excess ink. A damp sheet of paper is placed on top of the plate; the force of the press transfers the design onto the paper.

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