NEW
Font size
S
M
L
XL
WorksheetsAp art history content area 3
Total questions: 51
Worksheet time: 26mins
Name
Class
Date
1.
None
a)
Adam and EveAlbrecht Dürer. 1504 C.E. EngravingDürer became increasingly drawn to the idea that the perfect human form corresponded to a system of proportion and measurements. Dürer's placid animals signify that in this moment of perfection in the garden, the human figures are still in a state of equilibrium.
b)
Allegory of Law and GraceLucas Cranach the Elder. c. 1530 C.E. Woodcut and letterpressThe practice of imbuing narratives, images or figures with symbolic meaning to convey moral principles and philosophical idea
c)
Mosque of Selim IIEdrine, Turkey. Sinan (architect), 1568-1575 C.E. Brick and stoneIt is one of the most important buildings in the history of world architecture both for its design and its monumentality. It is considered to be the masterwork of the great Ottoman architect Sinan.
d)
Arena (Scrovengni) Chapel, including LamentationPadus, Italy. Unknown architect; Giotto di Bonde (artist). Chapel: c. 1303 C.E.; Fresco: c. 1305. Brick (architecture) and fresco
2.
None
a)
Alhambra Granada, Spain. Nasrid Dynasty. 1354-1391 C.E. Whitewashed adobe stucco, wood, tile, paint, and gildingThe Alhambra's architecture shares many characteristics, but is singular in the way it complicates the relationship between interior and exterior. Its buildings feature shaded patios and covered walkways that pass from well-lit interior spaces onto shaded courtyards and sun-filled gardens all enlivened by the reflection of water and intricately carved stucco decoration.
b)
Merovingian looped fibulaeEarly medieval Europe. Mid-sixth century C.E. Silver gilt worked in filigree, with inlays of garnets and other stones.It is normal for similar groups to have similar artistic styles, and for more diverse groups to have less in common. Fibulae is proof of the diverse and distinct cultures living within larger empires and kingdoms, a social situation that was common during the middle ages.
c)
San Carlo alle Quattro FontaneRome, Italy. Francesco Borromini (architect) 1638-1646 C.E. Stone and stuccoHe was much criticized as an architect who ignored the rules of the Ancients in favour of whimsy. However it is his clear knowledge of those rules, and the facility and ingenuity with which he manipulated them, which has ensured his reputation as one of the great geniuses in the history of architecture.
d)
Calling of Saint MatthewCaravaggio. c. 1597-1601 C.E. Oil on canvasCaravaggio depicts the very moment when Matthew first realizes he is being called. This was Caravaggio's first important job and the completed work would win him the highest of praise as well as the harshest of criticism for its shockingly innovative style.
3.
None
a)
Allegory of Law and GraceLucas Cranach the Elder. c. 1530 C.E. Woodcut and letterpressThe practice of imbuing narratives, images or figures with symbolic meaning to convey moral principles and philosophical idea
b)
Isenheim altarpieceMatthias Grünewald. c. 1512-1516 C.E. Oil on wood
c)
Madonna and Child with Two AngelsFra Filippo Lippi. c. 1465 C.E. Tempera on wood
d)
Santa SabinaRome, Italy. Late Antique Europe. c. 422-432 C.E. Brick and stone, wood
4.
None
a)
Angel with Arquebus, Asiel Timor DeiMaster of Calamarca (La Paz School). c. 17th century C.E. Oil on canvasAs the Angels was one of the topics most characteristic of the painting from the Viceregal in America, this kind of art and characters are found in different villages of Peru, Argentina and even in other departments of Bolivia. Calamarca is one of the most complete collections, including Angels holding arquebuses, swords, holding keys or spikes of wheat or a bundle of fire in his hand.
b)
Virgin and child between Saints Theodore and GeorgeEarly Byzantine Europe. Six or early seventh century C.E. Encastic on wood.The composition displays a spatial ambiguity that places the scene in a world that operates differently from our world. The ambiguity allows the scene to partake of the viewer's world but also separates the scene from the normal world.
c)
Hunters in the Snow Pieters Bruegel the Elder. 1565 C.E. Oil on woodsThis Bruegel oil painting - which is, incidentally the world's most popular classical Christmas card design - evokes the harsh conditions and temperatures of winter. The composition is ideal as the first in a frieze of pictures covering the full year, and the painting is filled with detail
d)
Adam and EveAlbrecht Dürer. 1504 C.E. EngravingDürer became increasingly drawn to the idea that the perfect human form corresponded to a system of proportion and measurements. Dürer's placid animals signify that in this moment of perfection in the garden, the human figures are still in a state of equilibrium.
5.
It consists of three hinged panels (triptych format): the left panel depicts the donor and his wife; the central and most important panel shows the Annunciation itself, and its two main characters, Mary and Archangel Gabriel; the right panel portrays Joseph in his workshop. The triptych is unsigned and undated, and only since the early 20th century has Robert Campin been identified as its creator.
a)
Annunciation Triptych Workshop of Robert Campin. 1427-1432 C.E. Oil on wood
b)
Isenheim altarpieceMatthias Grünewald. c. 1512-1516 C.E. Oil on wood
c)
Birth of VenusSandro Brotticelli. c. 1484-1486 C.E. Tempera on canvas
d)
Catacomb of PriscillaRome, Italy. Late Antique Europe. c. 200-400 C.E. Excavated tufa and frescoThe wall paintings are considered the first Christian artwork.
6.
Giotto painted his artwork on the walls and ceiling of the Chapel using the fresco method in which water based colors are painted onto wet plaster. Painting onto wet plaster allows the paint to be infused into the plaster creating a very durable artwork. However, since the painter must stop when the plaster dries it requires the artist to work quickly and flawlessly
a)
Arena (Scrovengni) Chapel, including LamentationPadus, Italy. Unknown architect; Giotto di Bonde (artist). Chapel: c. 1303 C.E.; Fresco: c. 1305. Brick (architecture) and fresco
b)
Annunciation Triptych Workshop of Robert Campin. 1427-1432 C.E. Oil on wood
c)
Pyxis of al-MughiraUmayyad. c. 968 C.E. Ivory
d)
Last SupperLeonardo da Vinci. c. 1494-1498 C.E. Oil and Tempera
7.
None
a)
The Arnolfini Portrait Jan van Eyck. c. 1434 C.E. Oil on woodVan Eyck used oil-based paint as the medium for his artwork. This type of paint is manufactured by adding pigment to linseed or walnut oil. Oil based paint dries slowly allowing the painter more time to make revisions and to add detail, and it has a luminous quality that allows the artist. Van Eyck was not the inventor of oil-based paint, but he is recognized as being one of the first to perfect its use
b)
Fruit and InsectsRachel Ruysch. 1711 C.E. Oil on woodThis luscious sample of life on Earth represents at least two passions of its time: categorization and still-life, which emphasize the pleasure of the senses and their qualities
c)
Venus of UrbinoTitan. c. 1538 C.E. Oil on canvasThanks to the wise use of color and its contrasts, as well as the subtle meanings and allusions, Titian achieves the goal of representing the perfect Renaissance woman who, just like Venus, becomes the symbol of love, beauty and fertility.
d)
Goldfish Henri Mattisse. 1912 C.E. Oil on canvasThis painting is an illustration of some of the major themes in Matisse's painting: his use of complimentary colors, his quest for an idyllic paradise, his appeal for contemplative relaxation for the viewer and his complex construction of pictorial space.
8.
None
a)
Bayeux TapestryRomanesque Europe. c. 1066-1080 C.E. Embroidery on linenThe Bayeux Tapestry has been much used as a source for illustrations of daily life in early medieval Europe. It depicts a total of 1515 different objects, animals and persons . Dress, arms, ships, towers, cities, halls, churches, horse trappings, regal insignia, ploughs, harrows, tableware, possible armorial changes, banners, hunting horns, axes, adzes, barrels, carts, wagons, reliquaries, biers, spits and spades are among the many items depicted
b)
The Tête à Tête, from Marriage à la ModeWilliam Hogarth. c. 1743 C.E. Oil on canvasFirst Western artist who worked in series, that is, a group of paintings with a common thread, a common theme. Now many contemporary artists work in series to explore different styles and approaches to their art, but this was not usual in the 18th century
c)
Virgin and child between Saints Theodore and GeorgeEarly Byzantine Europe. Six or early seventh century C.E. Encastic on wood.The composition displays a spatial ambiguity that places the scene in a world that operates differently from our world. The ambiguity allows the scene to partake of the viewer's world but also separates the scene from the normal world.
d)
Entombment of ChristJacopo da Pontormo. 1525-1528 C.E. Oil on woodThey inhabit a flattened space, comprising a sculptural congregation of brightly demarcated colors. The vortex of the composition droops down towards the limp body of Jesus off center in the left. Those lowering Christ appear to demand our help in sustaining both the weight of his body (and the burden of sin Christ took on) and their grief.
9.
Botticelli broke new ground with his works, including the Birth of Venus. He was the first to create large scale mythology scenes, some based on historical accounts. In the era that Birth of Venus was painted, minds were open to new ideas and religion no longer needed to be the main subject of artistic work. If such mythological pieces had been painted 100 years earlier, they would not have been accepted by the church because they were so different to traditional depictions.
a)
Birth of VenusSandro Brotticelli. c. 1484-1486 C.E. Tempera on canvas
b)
Last SupperLeonardo da Vinci. c. 1494-1498 C.E. Oil and Tempera
c)
Great MosqueCórdoba, Spain. Umayyad. c. 785-786 C.E. Stone masonry
d)
Santa SabinaRome, Italy. Late Antique Europe. c. 422-432 C.E. Brick and stone, wood
10.
None
a)
Calling of Saint MatthewCaravaggio. c. 1597-1601 C.E. Oil on canvasCaravaggio depicts the very moment when Matthew first realizes he is being called. This was Caravaggio's first important job and the completed work would win him the highest of praise as well as the harshest of criticism for its shockingly innovative style.
b)
Allegory of Law and GraceLucas Cranach the Elder. c. 1530 C.E. Woodcut and letterpressThe practice of imbuing narratives, images or figures with symbolic meaning to convey moral principles and philosophical idea
c)
Fruit and InsectsRachel Ruysch. 1711 C.E. Oil on woodThis luscious sample of life on Earth represents at least two passions of its time: categorization and still-life, which emphasize the pleasure of the senses and their qualities
d)
Mosque of Selim IIEdrine, Turkey. Sinan (architect), 1568-1575 C.E. Brick and stoneIt is one of the most important buildings in the history of world architecture both for its design and its monumentality. It is considered to be the masterwork of the great Ottoman architect Sinan.
11.
None
a)
Catacomb of PriscillaRome, Italy. Late Antique Europe. c. 200-400 C.E. Excavated tufa and frescoThe wall paintings are considered the first Christian artwork.
b)
Pyxis of al-MughiraUmayyad. c. 968 C.E. Ivory
c)
Great MosqueCórdoba, Spain. Umayyad. c. 785-786 C.E. Stone masonry
d)
Self-Portrait with SaskiaRembrandt van Rijn. 1636 C.E. EtchingRembrandt stand out among his contemporaries is that he often created multiple states of a single image.
12.
None
a)
Chartres CathedralChartres, France. Gothic Europe. Orignal construction. c. 1145-1115 C.E.; reconstructed c. 1194-1220 C.E. Limestone, stained glassThe Chartres Cathedral is probably the finest example of French Gothic architecture and said by some to be the most beautiful cathedral in France. The Chartres Cathedral is a milestone in the development of Western architecture because it employs all the structural elements of the new Gothic architecture: the pointed arch; the rib-and-panel vault; and, most significantly, the flying buttress.
b)
Screen with the Siege of Belgrade and hunting sceneCircle of the González Family. c. 1697-1701 C.E. Tempera and resin on wood, shell inlayThroughout both sides, the artists embedded thin layers of mother-of-pearl, but not in any pattern, nor within the images' contour lines. Their purpose was to reflect light from the candles that would have shone in the screen's surroundings
c)
Mosque of Selim IIEdrine, Turkey. Sinan (architect), 1568-1575 C.E. Brick and stoneIt is one of the most important buildings in the history of world architecture both for its design and its monumentality. It is considered to be the masterwork of the great Ottoman architect Sinan.
d)
Las Meninas Diego Velázquez. c. 1656 C.E. Oil on canvasThe painting represents a scene from daily life in the palace of Felipe IV. The points of light illuminate the characters and establish an order in the composition. The light that illuminates the room from the right hand side of the painting focuses the viewer´s look on the main group, and the open door at the back, with the person positioned against the light, is the vanishing point.
13.
One can see some of the most fabulous golden religious objects in France, including the very famous gold and jewel-encrusted reliquary statue of St. Foy. The Church of Saint Foy at Conques provides an excellent example of Romanesque art and architecture
a)
Church of Sainte-FoyConques, France. Romanesque Europe. Church: c. 1050-1130 C.E.; Reliuary of Saint Foy: ninth century C.E.; with later additions. Stone (architecture); stone and paint (tympanum); gold, silver, gemstone, and enamel over wood (reliquary)
b)
The Palace of VersaillesVersailles, France. Loius Le Vau and Jules Hardouin-Mansart (architects). Begun 1669 C.E. Masonry, stone, wood, iron, and gold leaf (architecture); marble and bronze (sculpture); gardens
c)
San VitaleRavenna, Italy. Early Byzantine Europe. c. 526-547 C.E. Brick, marble, and stone veneer; mosaicBeautiful images of the interior spaces of San Vitale, thes images capture the effect of the interior of the church.
d)
Santa SabinaRome, Italy. Late Antique Europe. c. 422-432 C.E. Brick and stone, wood
14.
Nearly everything about the statue - from the material from which it was sculpted to the subject's "clothing" - was mold-breaking in some way. Scholars and artists have studied David for centuries in an attempt to both learn more about the man behind it and to more fully discern its meaning.
a)
DavidDonatello. c. 1440-1460 C.E. Bronze
b)
Santa SabinaRome, Italy. Late Antique Europe. c. 422-432 C.E. Brick and stone, wood
c)
Birth of VenusSandro Brotticelli. c. 1484-1486 C.E. Tempera on canvas
d)
Isenheim altarpieceMatthias Grünewald. c. 1512-1516 C.E. Oil on wood
15.
None
a)
Dedication Page with Blanche of Castle and King Louis IX of France, Scenes from the Apocolypse from Bibles moralisées. Gothic Europe. c. 1225-1245 C.E. Illuminated manuscript This 13th century illumination, both dazzling and edifying, represents the cutting edge of lavishness in a society that embraced conspicuous consumption. As a pedagogical tool, perhaps it played no small part in helping Louis IX achieve the status of sainthood, awarded by Pope Bonifiace VIII 27 years after the king's death.
b)
Mosque of Selim IIEdrine, Turkey. Sinan (architect), 1568-1575 C.E. Brick and stoneIt is one of the most important buildings in the history of world architecture both for its design and its monumentality. It is considered to be the masterwork of the great Ottoman architect Sinan.
c)
Lindisfarne Gospels: St. Matthew, cross-carpet page; St. Luke portrait page; St Luke incipit pageEarly medieval (Hiberno Saxon) Europe. c. 700 C.E. Illuminated manuscript (ink, pigment, and gold)The variety and splendor of the Lindisfarne Gospels are such that even in reproduction, its images astound. Artistic expression and inspired execution make this codex a high point of early medieval art.
d)
Frontispiece of the Codex MendozaViceroyalty of New Spain. c. 1541-1542 C.E. Ink and color on paperThe artist emphasizes the military power of the Aztecs by showing two soldiers in hierarchic scale: they physically tower over the two men they defeat. The Codex contains a wealth of information about the Aztecs and their empire
16.
None
a)
Ecstasy of Saint TeresaCornaro Chapel, Church of Santa Maria della Vittoria Rome, Italy. Gian Lorenzo Bernini. c. 1647-1652 C.E. Marble (sculpture); stucco and gilt bronze (chapel)Bernini used the erotic character of the experience as a springboard to a new and higher type of spiritual awakening. It is one of the most important examples of the Counter-Reformation style of Baroque sculpture, designed to convey spiritual aspects of the Catholic faith.
b)
San VitaleRavenna, Italy. Early Byzantine Europe. c. 526-547 C.E. Brick, marble, and stone veneer; mosaicBeautiful images of the interior spaces of San Vitale, thes images capture the effect of the interior of the church.
c)
Calling of Saint MatthewCaravaggio. c. 1597-1601 C.E. Oil on canvasCaravaggio depicts the very moment when Matthew first realizes he is being called. This was Caravaggio's first important job and the completed work would win him the highest of praise as well as the harshest of criticism for its shockingly innovative style.
d)
Virgin and child between Saints Theodore and GeorgeEarly Byzantine Europe. Six or early seventh century C.E. Encastic on wood.The composition displays a spatial ambiguity that places the scene in a world that operates differently from our world. The ambiguity allows the scene to partake of the viewer's world but also separates the scene from the normal world.
17.
None
a)
Entombment of ChristJacopo da Pontormo. 1525-1528 C.E. Oil on woodThey inhabit a flattened space, comprising a sculptural congregation of brightly demarcated colors. The vortex of the composition droops down towards the limp body of Jesus off center in the left. Those lowering Christ appear to demand our help in sustaining both the weight of his body (and the burden of sin Christ took on) and their grief.
b)
Virgin and child between Saints Theodore and GeorgeEarly Byzantine Europe. Six or early seventh century C.E. Encastic on wood.The composition displays a spatial ambiguity that places the scene in a world that operates differently from our world. The ambiguity allows the scene to partake of the viewer's world but also separates the scene from the normal world.
c)
Goldfish Henri Mattisse. 1912 C.E. Oil on canvasThis painting is an illustration of some of the major themes in Matisse's painting: his use of complimentary colors, his quest for an idyllic paradise, his appeal for contemplative relaxation for the viewer and his complex construction of pictorial space.
d)
San VitaleRavenna, Italy. Early Byzantine Europe. c. 526-547 C.E. Brick, marble, and stone veneer; mosaicBeautiful images of the interior spaces of San Vitale, thes images capture the effect of the interior of the church.
18.
None
a)
Frontispiece of the Codex MendozaViceroyalty of New Spain. c. 1541-1542 C.E. Ink and color on paperThe artist emphasizes the military power of the Aztecs by showing two soldiers in hierarchic scale: they physically tower over the two men they defeat. The Codex contains a wealth of information about the Aztecs and their empire
b)
The Palace of VersaillesVersailles, France. Loius Le Vau and Jules Hardouin-Mansart (architects). Begun 1669 C.E. Masonry, stone, wood, iron, and gold leaf (architecture); marble and bronze (sculpture); gardens
c)
Church of Sainte-FoyConques, France. Romanesque Europe. Church: c. 1050-1130 C.E.; Reliuary of Saint Foy: ninth century C.E.; with later additions. Stone (architecture); stone and paint (tympanum); gold, silver, gemstone, and enamel over wood (reliquary)
d)
Venus of UrbinoTitan. c. 1538 C.E. Oil on canvasThanks to the wise use of color and its contrasts, as well as the subtle meanings and allusions, Titian achieves the goal of representing the perfect Renaissance woman who, just like Venus, becomes the symbol of love, beauty and fertility.
19.
None
a)
Fruit and InsectsRachel Ruysch. 1711 C.E. Oil on woodThis luscious sample of life on Earth represents at least two passions of its time: categorization and still-life, which emphasize the pleasure of the senses and their qualities
b)
Santa SabinaRome, Italy. Late Antique Europe. c. 422-432 C.E. Brick and stone, wood
c)
Catacomb of PriscillaRome, Italy. Late Antique Europe. c. 200-400 C.E. Excavated tufa and frescoThe wall paintings are considered the first Christian artwork.
d)
Allegory of Law and GraceLucas Cranach the Elder. c. 1530 C.E. Woodcut and letterpressThe practice of imbuing narratives, images or figures with symbolic meaning to convey moral principles and philosophical idea
20.
None
a)
Golden Haggadah (The Plagues of Egypt, Scenes of Liberation, and Preparation for Passover) Late medieval Spain. c. 1320 C.E. Illuminated manuscript (pigment and gold leaf on vellum)The book was for use of a wealthy Jewish family. The holy text is written on vellum - a kind of fine calfskin parchment - in Hebrew script, reading from right to left. Its stunning miniatures illustrate stories from the biblical books of 'Genesis' and 'Exodus' and scenes of Jewish ritual.
b)
Virgin and child between Saints Theodore and GeorgeEarly Byzantine Europe. Six or early seventh century C.E. Encastic on wood.The composition displays a spatial ambiguity that places the scene in a world that operates differently from our world. The ambiguity allows the scene to partake of the viewer's world but also separates the scene from the normal world.
c)
Lindisfarne Gospels: St. Matthew, cross-carpet page; St. Luke portrait page; St Luke incipit pageEarly medieval (Hiberno Saxon) Europe. c. 700 C.E. Illuminated manuscript (ink, pigment, and gold)The variety and splendor of the Lindisfarne Gospels are such that even in reproduction, its images astound. Artistic expression and inspired execution make this codex a high point of early medieval art.
d)
Calling of Saint MatthewCaravaggio. c. 1597-1601 C.E. Oil on canvasCaravaggio depicts the very moment when Matthew first realizes he is being called. This was Caravaggio's first important job and the completed work would win him the highest of praise as well as the harshest of criticism for its shockingly innovative style.
21.
None
a)
Goldfish Henri Mattisse. 1912 C.E. Oil on canvasThis painting is an illustration of some of the major themes in Matisse's painting: his use of complimentary colors, his quest for an idyllic paradise, his appeal for contemplative relaxation for the viewer and his complex construction of pictorial space.
b)
San VitaleRavenna, Italy. Early Byzantine Europe. c. 526-547 C.E. Brick, marble, and stone veneer; mosaicBeautiful images of the interior spaces of San Vitale, thes images capture the effect of the interior of the church.
c)
Rebecca and Eliezer at the Well and Jacob Wrestling the Angel, from the Vienna GenesisEarly Byzantine Europe. Early sixth century C.E. Illuminated manuscript
d)
Self-Portrait with SaskiaRembrandt van Rijn. 1636 C.E. EtchingRembrandt stand out among his contemporaries is that he often created multiple states of a single image.
22.
A prime example of the Muslim world's ability to brilliantly develop architectural styles based on pre-existing regional traditions. It is built with recycled ancient Roman columns from which sprout a striking combination of two-tiered, symmetrical arches, formed of stone and red brick.
a)
Great MosqueCórdoba, Spain. Umayyad. c. 785-786 C.E. Stone masonry
b)
School of AthensRaphael. 1509-1511 C.E. Fresco
c)
Annunciation Triptych Workshop of Robert Campin. 1427-1432 C.E. Oil on wood
d)
Rebecca and Eliezer at the Well and Jacob Wrestling the Angel, from the Vienna GenesisEarly Byzantine Europe. Early sixth century C.E. Illuminated manuscript
23.
None
a)
Hagia SophiaConsantinople (Istanbu). Anthemius of Tralles and Isidorus of Miletus. 532-537 C.E. Brick and ceramic elements with stone and mosaic veneer.The interior of Hagia Sophia was paneled with costly colored marbles and ornamental stone inlays. Decorative marble columns were taken from ancient buildings and reused to support the interior arcades. Initially, the upper part of the building was minimally decorated in gold with a huge cross in a medallion at the summit of the dome
b)
Virgin and child between Saints Theodore and GeorgeEarly Byzantine Europe. Six or early seventh century C.E. Encastic on wood.The composition displays a spatial ambiguity that places the scene in a world that operates differently from our world. The ambiguity allows the scene to partake of the viewer's world but also separates the scene from the normal world.
c)
Mosque of Selim IIEdrine, Turkey. Sinan (architect), 1568-1575 C.E. Brick and stoneIt is one of the most important buildings in the history of world architecture both for its design and its monumentality. It is considered to be the masterwork of the great Ottoman architect Sinan.
d)
Merovingian looped fibulaeEarly medieval Europe. Mid-sixth century C.E. Silver gilt worked in filigree, with inlays of garnets and other stones.It is normal for similar groups to have similar artistic styles, and for more diverse groups to have less in common. Fibulae is proof of the diverse and distinct cultures living within larger empires and kingdoms, a social situation that was common during the middle ages.
24.
This oil painting - which is, incidentally the world's most popular classical Christmas card design - evokes the harsh conditions and temperatures of winter. The composition is ideal as the first in a frieze of pictures covering the full year, and the painting is filled with detail
a)
Hunters in the Snow Pieters Bruegel the Elder. 1565 C.E. Oil on woodsThis Bruegel oil painting - which is, incidentally the world's most popular classical Christmas card design - evokes the harsh conditions and temperatures of winter. The composition is ideal as the first in a frieze of pictures covering the full year, and the painting is filled with detail
b)
Goldfish Henri Mattisse. 1912 C.E. Oil on canvasThis painting is an illustration of some of the major themes in Matisse's painting: his use of complimentary colors, his quest for an idyllic paradise, his appeal for contemplative relaxation for the viewer and his complex construction of pictorial space.
c)
Fruit and InsectsRachel Ruysch. 1711 C.E. Oil on woodThis luscious sample of life on Earth represents at least two passions of its time: categorization and still-life, which emphasize the pleasure of the senses and their qualities
d)
Adam and EveAlbrecht Dürer. 1504 C.E. EngravingDürer became increasingly drawn to the idea that the perfect human form corresponded to a system of proportion and measurements. Dürer's placid animals signify that in this moment of perfection in the garden, the human figures are still in a state of equilibrium.
25.
None
a)
Il Gesù, including Triumph of the Name of Jesus ceiling frescoRome, Italy. Giacomo da Vignola, plan (architect); Giamcomo della Porta, facade (architect); Giovanni Battista Gaulli, ceiling fresco (artist). Church: 16th century C.E.; facade: 1568-1584 C.E.; fresco and stucco figures: 1679-1679 C.E. Brick, marble, fresco, and stuccoThe interior accentuates the two great functions of a Jesuit church: its large central nave with the laterally placed pulpit serves as a great auditorium for preaching, and the highly visible and prominent altar serves as a theatrical stage for the celebration of the Real Presence in the Eucharist. the fresco blends seamlessly into the architecture of the ceiling. It almost looks like there really is an opening in the ceiling.
b)
Angel with Arquebus, Asiel Timor DeiMaster of Calamarca (La Paz School). c. 17th century C.E. Oil on canvasAs the Angels was one of the topics most characteristic of the painting from the Viceregal in America, this kind of art and characters are found in different villages of Peru, Argentina and even in other departments of Bolivia. Calamarca is one of the most complete collections, including Angels holding arquebuses, swords, holding keys or spikes of wheat or a bundle of fire in his hand.
c)
Röttgen PietàLate medieval Europe (Germany). c. 1300-1325 C.E. Painted woodThe statue's bold emotionalism in Mary and Jesus's face. If we focus on Mary's face, there is a mix of emotions in her gaze. The artist humanizes Mary by giving her strong emotions. Mary's face looks appalled and anguished because of her son's death, and there is also a sense of shock, and awe that anyone would kill her son- the Son of God. The artist had exaggerated Mary's sorrow in attempts to make it seem she was asking the viewer.
d)
Pazzi ChapelBasilicia di Santa Croce. Florence, Italy. Filippo Brunelleschi (architect) c. 1429-1461 C.E. MasonryPazzi chapel as a perfect space with harmonious proportions. He could achieve this result by including in his project-plan the knowledge gained during his stay in Rome when he focused primarily on measuring ancient buildings, for instance the Pantheon. The central dome is decorated with round sculptures and the coat of arms of Pazzi Family
26.
Emphasizing the suffering and anguish of Christ and his mother's angst. With intense colors and dramatic lighting throughout, Grunewald included a Lamentation in the predella and Saints Sebastian and Anthony on the fixed wings.
a)
Isenheim altarpieceMatthias Grünewald. c. 1512-1516 C.E. Oil on wood
b)
Annunciation Triptych Workshop of Robert Campin. 1427-1432 C.E. Oil on wood
c)
DavidDonatello. c. 1440-1460 C.E. Bronze
d)
Last SupperLeonardo da Vinci. c. 1494-1498 C.E. Oil and Tempera
27.
None
a)
Las Meninas Diego Velázquez. c. 1656 C.E. Oil on canvasThe painting represents a scene from daily life in the palace of Felipe IV. The points of light illuminate the characters and establish an order in the composition. The light that illuminates the room from the right hand side of the painting focuses the viewer´s look on the main group, and the open door at the back, with the person positioned against the light, is the vanishing point.
b)
Entombment of ChristJacopo da Pontormo. 1525-1528 C.E. Oil on woodThey inhabit a flattened space, comprising a sculptural congregation of brightly demarcated colors. The vortex of the composition droops down towards the limp body of Jesus off center in the left. Those lowering Christ appear to demand our help in sustaining both the weight of his body (and the burden of sin Christ took on) and their grief.
c)
Mosque of Selim IIEdrine, Turkey. Sinan (architect), 1568-1575 C.E. Brick and stoneIt is one of the most important buildings in the history of world architecture both for its design and its monumentality. It is considered to be the masterwork of the great Ottoman architect Sinan.
d)
Frontispiece of the Codex MendozaViceroyalty of New Spain. c. 1541-1542 C.E. Ink and color on paperThe artist emphasizes the military power of the Aztecs by showing two soldiers in hierarchic scale: they physically tower over the two men they defeat. The Codex contains a wealth of information about the Aztecs and their empire
28.
Remarkable because the disciples are all displaying very human, identifiable emotions. The Last Supper had certainly been painted before. Leonardo's version, though, was the first to depict real people acting like real people.
a)
Last SupperLeonardo da Vinci. c. 1494-1498 C.E. Oil and Tempera
b)
Birth of VenusSandro Brotticelli. c. 1484-1486 C.E. Tempera on canvas
c)
Santa SabinaRome, Italy. Late Antique Europe. c. 422-432 C.E. Brick and stone, wood
d)
Pyxis of al-MughiraUmayyad. c. 968 C.E. Ivory
29.
None
a)
Lindisfarne Gospels: St. Matthew, cross-carpet page; St. Luke portrait page; St Luke incipit pageEarly medieval (Hiberno Saxon) Europe. c. 700 C.E. Illuminated manuscript (ink, pigment, and gold)The variety and splendor of the Lindisfarne Gospels are such that even in reproduction, its images astound. Artistic expression and inspired execution make this codex a high point of early medieval art.
b)
Self-Portrait with SaskiaRembrandt van Rijn. 1636 C.E. EtchingRembrandt stand out among his contemporaries is that he often created multiple states of a single image.
c)
San VitaleRavenna, Italy. Early Byzantine Europe. c. 526-547 C.E. Brick, marble, and stone veneer; mosaicBeautiful images of the interior spaces of San Vitale, thes images capture the effect of the interior of the church.
d)
Hunters in the Snow Pieters Bruegel the Elder. 1565 C.E. Oil on woodsThis Bruegel oil painting - which is, incidentally the world's most popular classical Christmas card design - evokes the harsh conditions and temperatures of winter. The composition is ideal as the first in a frieze of pictures covering the full year, and the painting is filled with detail
30.
Mary's hands are clasped in prayer, and both she and the Christ child appear lost in thought, but otherwise the figures have become so human that we almost feel as though we are looking at a portrait. The angels look especially playful, and the one in the foreground seems like he might giggle as he looks out at us.
a)
Madonna and Child with Two AngelsFra Filippo Lippi. c. 1465 C.E. Tempera on wood
b)
Isenheim altarpieceMatthias Grünewald. c. 1512-1516 C.E. Oil on wood
c)
Annunciation Triptych Workshop of Robert Campin. 1427-1432 C.E. Oil on wood
d)
Santa SabinaRome, Italy. Late Antique Europe. c. 422-432 C.E. Brick and stone, wood
31.
None
a)
Merovingian looped fibulaeEarly medieval Europe. Mid-sixth century C.E. Silver gilt worked in filigree, with inlays of garnets and other stones.It is normal for similar groups to have similar artistic styles, and for more diverse groups to have less in common. Fibulae is proof of the diverse and distinct cultures living within larger empires and kingdoms, a social situation that was common during the middle ages.
b)
Venus of UrbinoTitan. c. 1538 C.E. Oil on canvasThanks to the wise use of color and its contrasts, as well as the subtle meanings and allusions, Titian achieves the goal of representing the perfect Renaissance woman who, just like Venus, becomes the symbol of love, beauty and fertility.
c)
The Tête à Tête, from Marriage à la ModeWilliam Hogarth. c. 1743 C.E. Oil on canvasFirst Western artist who worked in series, that is, a group of paintings with a common thread, a common theme. Now many contemporary artists work in series to explore different styles and approaches to their art, but this was not usual in the 18th century
d)
Calling of Saint MatthewCaravaggio. c. 1597-1601 C.E. Oil on canvasCaravaggio depicts the very moment when Matthew first realizes he is being called. This was Caravaggio's first important job and the completed work would win him the highest of praise as well as the harshest of criticism for its shockingly innovative style.
32.
None
a)
Mosque of Selim IIEdrine, Turkey. Sinan (architect), 1568-1575 C.E. Brick and stoneIt is one of the most important buildings in the history of world architecture both for its design and its monumentality. It is considered to be the masterwork of the great Ottoman architect Sinan.
b)
Arena (Scrovengni) Chapel, including LamentationPadus, Italy. Unknown architect; Giotto di Bonde (artist). Chapel: c. 1303 C.E.; Fresco: c. 1305. Brick (architecture) and fresco
c)
Self-Portrait with SaskiaRembrandt van Rijn. 1636 C.E. EtchingRembrandt stand out among his contemporaries is that he often created multiple states of a single image.
d)
Adam and EveAlbrecht Dürer. 1504 C.E. EngravingDürer became increasingly drawn to the idea that the perfect human form corresponded to a system of proportion and measurements. Dürer's placid animals signify that in this moment of perfection in the garden, the human figures are still in a state of equilibrium.
33.
The gigantic scale exemplifies the architectural theme of 'creation by division' - a series of simple repetitions rhythmically marked off by the repetition of the large windows - which expresses the fundamental values of Baroque art and in which the focal point of the interior, as well as of the entire building, is the king's bed. Among its celebrated architectural designs is the Hall of Mirrors, which is one of the most famous rooms in the world. The palace and its decoration stimulated a mini-renaissance of interior design, as well as decorative art, during the 17th and 18th centuries.
a)
The Palace of VersaillesVersailles, France. Loius Le Vau and Jules Hardouin-Mansart (architects). Begun 1669 C.E. Masonry, stone, wood, iron, and gold leaf (architecture); marble and bronze (sculpture); gardens
b)
Great MosqueCórdoba, Spain. Umayyad. c. 785-786 C.E. Stone masonry
c)
Rebecca and Eliezer at the Well and Jacob Wrestling the Angel, from the Vienna GenesisEarly Byzantine Europe. Early sixth century C.E. Illuminated manuscript
d)
Santa SabinaRome, Italy. Late Antique Europe. c. 422-432 C.E. Brick and stone, wood
34.
None
a)
Palazzo RucellaiFlorence, Italy. Leon Battista Alberti (architect). c. 1450 C.E. Stone, masonryIt uses architectural features for decorative purposes rather than structural support; like the engaged columns on the Colosseum, the pilasters on the façade of the Rucellai do nothing to actually hold the building up .Also, on both of these buildings, the order of the columns changes, going from least to most decorative as they acend from the lowest to highest tier
b)
Fruit and InsectsRachel Ruysch. 1711 C.E. Oil on woodThis luscious sample of life on Earth represents at least two passions of its time: categorization and still-life, which emphasize the pleasure of the senses and their qualities
c)
San Carlo alle Quattro FontaneRome, Italy. Francesco Borromini (architect) 1638-1646 C.E. Stone and stuccoHe was much criticized as an architect who ignored the rules of the Ancients in favour of whimsy. However it is his clear knowledge of those rules, and the facility and ingenuity with which he manipulated them, which has ensured his reputation as one of the great geniuses in the history of architecture.
d)
Goldfish Henri Mattisse. 1912 C.E. Oil on canvasThis painting is an illustration of some of the major themes in Matisse's painting: his use of complimentary colors, his quest for an idyllic paradise, his appeal for contemplative relaxation for the viewer and his complex construction of pictorial space.
35.
None
a)
Pazzi ChapelBasilicia di Santa Croce. Florence, Italy. Filippo Brunelleschi (architect) c. 1429-1461 C.E. MasonryPazzi chapel as a perfect space with harmonious proportions. He could achieve this result by including in his project-plan the knowledge gained during his stay in Rome when he focused primarily on measuring ancient buildings, for instance the Pantheon. The central dome is decorated with round sculptures and the coat of arms of Pazzi Family
b)
The Tête à Tête, from Marriage à la ModeWilliam Hogarth. c. 1743 C.E. Oil on canvasFirst Western artist who worked in series, that is, a group of paintings with a common thread, a common theme. Now many contemporary artists work in series to explore different styles and approaches to their art, but this was not usual in the 18th century
c)
San Carlo alle Quattro FontaneRome, Italy. Francesco Borromini (architect) 1638-1646 C.E. Stone and stuccoHe was much criticized as an architect who ignored the rules of the Ancients in favour of whimsy. However it is his clear knowledge of those rules, and the facility and ingenuity with which he manipulated them, which has ensured his reputation as one of the great geniuses in the history of architecture.
d)
Adam and EveAlbrecht Dürer. 1504 C.E. EngravingDürer became increasingly drawn to the idea that the perfect human form corresponded to a system of proportion and measurements. Dürer's placid animals signify that in this moment of perfection in the garden, the human figures are still in a state of equilibrium.
36.
Among the best surviving examples of the royal ivory carving tradition in Al-Andalus (Islamic Spain). It was probably fashioned in the Madinat al-Zahra workshops and its intricate and exceptional carving set it apart from many other examples; it also contains an inscription and figurative work which are important for understanding the traditions of ivory carving and Islamic art in Al-Andalus.
a)
Pyxis of al-MughiraUmayyad. c. 968 C.E. Ivory
b)
Great MosqueCórdoba, Spain. Umayyad. c. 785-786 C.E. Stone masonry
c)
Isenheim altarpieceMatthias Grünewald. c. 1512-1516 C.E. Oil on wood
d)
DavidDonatello. c. 1440-1460 C.E. Bronze
37.
None
a)
Rebecca and Eliezer at the Well and Jacob Wrestling the Angel, from the Vienna GenesisEarly Byzantine Europe. Early sixth century C.E. Illuminated manuscript
b)
Last SupperLeonardo da Vinci. c. 1494-1498 C.E. Oil and Tempera
c)
Pyxis of al-MughiraUmayyad. c. 968 C.E. Ivory
d)
DavidDonatello. c. 1440-1460 C.E. Bronze
38.
None
a)
Röttgen PietàLate medieval Europe (Germany). c. 1300-1325 C.E. Painted woodThe statue's bold emotionalism in Mary and Jesus's face. If we focus on Mary's face, there is a mix of emotions in her gaze. The artist humanizes Mary by giving her strong emotions. Mary's face looks appalled and anguished because of her son's death, and there is also a sense of shock, and awe that anyone would kill her son- the Son of God. The artist had exaggerated Mary's sorrow in attempts to make it seem she was asking the viewer.
b)
Frontispiece of the Codex MendozaViceroyalty of New Spain. c. 1541-1542 C.E. Ink and color on paperThe artist emphasizes the military power of the Aztecs by showing two soldiers in hierarchic scale: they physically tower over the two men they defeat. The Codex contains a wealth of information about the Aztecs and their empire
c)
Screen with the Siege of Belgrade and hunting sceneCircle of the González Family. c. 1697-1701 C.E. Tempera and resin on wood, shell inlayThroughout both sides, the artists embedded thin layers of mother-of-pearl, but not in any pattern, nor within the images' contour lines. Their purpose was to reflect light from the candles that would have shone in the screen's surroundings
d)
Goldfish Henri Mattisse. 1912 C.E. Oil on canvasThis painting is an illustration of some of the major themes in Matisse's painting: his use of complimentary colors, his quest for an idyllic paradise, his appeal for contemplative relaxation for the viewer and his complex construction of pictorial space.
39.
None
a)
San Carlo alle Quattro FontaneRome, Italy. Francesco Borromini (architect) 1638-1646 C.E. Stone and stuccoHe was much criticized as an architect who ignored the rules of the Ancients in favour of whimsy. However it is his clear knowledge of those rules, and the facility and ingenuity with which he manipulated them, which has ensured his reputation as one of the great geniuses in the history of architecture.
b)
Goldfish Henri Mattisse. 1912 C.E. Oil on canvasThis painting is an illustration of some of the major themes in Matisse's painting: his use of complimentary colors, his quest for an idyllic paradise, his appeal for contemplative relaxation for the viewer and his complex construction of pictorial space.
c)
Fruit and InsectsRachel Ruysch. 1711 C.E. Oil on woodThis luscious sample of life on Earth represents at least two passions of its time: categorization and still-life, which emphasize the pleasure of the senses and their qualities
d)
Frontispiece of the Codex MendozaViceroyalty of New Spain. c. 1541-1542 C.E. Ink and color on paperThe artist emphasizes the military power of the Aztecs by showing two soldiers in hierarchic scale: they physically tower over the two men they defeat. The Codex contains a wealth of information about the Aztecs and their empire
40.
The emphasis in this architecture is on the spiritual effect and not the physical. Helps to understand the essential characteristics of the early Christian basilica.
a)
Santa SabinaRome, Italy. Late Antique Europe. c. 422-432 C.E. Brick and stone, wood
b)
Arena (Scrovengni) Chapel, including LamentationPadus, Italy. Unknown architect; Giotto di Bonde (artist). Chapel: c. 1303 C.E.; Fresco: c. 1305. Brick (architecture) and fresco
c)
Pyxis of al-MughiraUmayyad. c. 968 C.E. Ivory
d)
Birth of VenusSandro Brotticelli. c. 1484-1486 C.E. Tempera on canvas
41.
None
a)
San VitaleRavenna, Italy. Early Byzantine Europe. c. 526-547 C.E. Brick, marble, and stone veneer; mosaicBeautiful images of the interior spaces of San Vitale, thes images capture the effect of the interior of the church.
b)
Birth of VenusSandro Brotticelli. c. 1484-1486 C.E. Tempera on canvas
c)
Self-Portrait with SaskiaRembrandt van Rijn. 1636 C.E. EtchingRembrandt stand out among his contemporaries is that he often created multiple states of a single image.
d)
Annunciation Triptych Workshop of Robert Campin. 1427-1432 C.E. Oil on wood
42.
Its pictorial concept, formal beauty and thematic unity were universally appreciated, by the Papal authorities and other artists, as well as patrons and art collectors. It ranks alongside Leonardo's Mona Lisa and The Last Supper, and Michelangelo's Vatican frescoes, as the embodiment of Renaissance ideals of the early cinquecento.
a)
School of AthensRaphael. 1509-1511 C.E. Fresco
b)
Catacomb of PriscillaRome, Italy. Late Antique Europe. c. 200-400 C.E. Excavated tufa and frescoThe wall paintings are considered the first Christian artwork.
c)
Rebecca and Eliezer at the Well and Jacob Wrestling the Angel, from the Vienna GenesisEarly Byzantine Europe. Early sixth century C.E. Illuminated manuscript
d)
Last SupperLeonardo da Vinci. c. 1494-1498 C.E. Oil and Tempera
43.
None
a)
Screen with the Siege of Belgrade and hunting sceneCircle of the González Family. c. 1697-1701 C.E. Tempera and resin on wood, shell inlayThroughout both sides, the artists embedded thin layers of mother-of-pearl, but not in any pattern, nor within the images' contour lines. Their purpose was to reflect light from the candles that would have shone in the screen's surroundings
b)
Goldfish Henri Mattisse. 1912 C.E. Oil on canvasThis painting is an illustration of some of the major themes in Matisse's painting: his use of complimentary colors, his quest for an idyllic paradise, his appeal for contemplative relaxation for the viewer and his complex construction of pictorial space.
c)
Mosque of Selim IIEdrine, Turkey. Sinan (architect), 1568-1575 C.E. Brick and stoneIt is one of the most important buildings in the history of world architecture both for its design and its monumentality. It is considered to be the masterwork of the great Ottoman architect Sinan.
d)
Church of Sainte-FoyConques, France. Romanesque Europe. Church: c. 1050-1130 C.E.; Reliuary of Saint Foy: ninth century C.E.; with later additions. Stone (architecture); stone and paint (tympanum); gold, silver, gemstone, and enamel over wood (reliquary)
44.
This etching, for example, exists in three states. By reworking his plates he was able to experiment with ways to improve and extend the expressive power of his images.
a)
Self-Portrait with SaskiaRembrandt van Rijn. 1636 C.E. EtchingRembrandt stand out among his contemporaries is that he often created multiple states of a single image.
b)
Santa SabinaRome, Italy. Late Antique Europe. c. 422-432 C.E. Brick and stone, wood
c)
Pyxis of al-MughiraUmayyad. c. 968 C.E. Ivory
d)
Great MosqueCórdoba, Spain. Umayyad. c. 785-786 C.E. Stone masonry
45.
None
a)
Sistine Chapel ceiling and altar wall frescoesVatican City, Italy. Michelangelo. Ceiling frescoes: c. 1508-1512 C.E.; altar frescoes: c. 1536-1541 C.E. FrescoThe paintings depict nine stories from the Christian Bible's Book of Genesis, including the most famous image, the Creation of Adam (right). Taken together, the paintings are considered one of the world's greatest art masterpieces. Their realistic and extremely detailed depictions of some of Judaism's and Christianity's most famous moments are a wonder to all who see them.
b)
Virgin and child between Saints Theodore and GeorgeEarly Byzantine Europe. Six or early seventh century C.E. Encastic on wood.The composition displays a spatial ambiguity that places the scene in a world that operates differently from our world. The ambiguity allows the scene to partake of the viewer's world but also separates the scene from the normal world.
c)
Screen with the Siege of Belgrade and hunting sceneCircle of the González Family. c. 1697-1701 C.E. Tempera and resin on wood, shell inlayThroughout both sides, the artists embedded thin layers of mother-of-pearl, but not in any pattern, nor within the images' contour lines. Their purpose was to reflect light from the candles that would have shone in the screen's surroundings
d)
Frontispiece of the Codex MendozaViceroyalty of New Spain. c. 1541-1542 C.E. Ink and color on paperThe artist emphasizes the military power of the Aztecs by showing two soldiers in hierarchic scale: they physically tower over the two men they defeat. The Codex contains a wealth of information about the Aztecs and their empire
46.
None
a)
Spaniard and Indian Produce a MestizoAttributed to Juan Rodríguez Juárez. c. 1715 C.E. Oil on canvasThe painting displays a Spanish father and Indigenous mother with their son, and it belongs to a larger series of works that seek to document the inter-ethnic mixing occurring in New Spain among Europeans, indigenous peoples, Africans, and the existing mixed-race population. This genre of painting, known as caste paintings, attempts to capture reality, yet they are largely fictions.
b)
Las Meninas Diego Velázquez. c. 1656 C.E. Oil on canvasThe painting represents a scene from daily life in the palace of Felipe IV. The points of light illuminate the characters and establish an order in the composition. The light that illuminates the room from the right hand side of the painting focuses the viewer´s look on the main group, and the open door at the back, with the person positioned against the light, is the vanishing point.
c)
Frontispiece of the Codex MendozaViceroyalty of New Spain. c. 1541-1542 C.E. Ink and color on paperThe artist emphasizes the military power of the Aztecs by showing two soldiers in hierarchic scale: they physically tower over the two men they defeat. The Codex contains a wealth of information about the Aztecs and their empire
d)
The Tête à Tête, from Marriage à la ModeWilliam Hogarth. c. 1743 C.E. Oil on canvasFirst Western artist who worked in series, that is, a group of paintings with a common thread, a common theme. Now many contemporary artists work in series to explore different styles and approaches to their art, but this was not usual in the 18th century
47.
None
a)
The Tête à Tête, from Marriage à la ModeWilliam Hogarth. c. 1743 C.E. Oil on canvasFirst Western artist who worked in series, that is, a group of paintings with a common thread, a common theme. Now many contemporary artists work in series to explore different styles and approaches to their art, but this was not usual in the 18th century
b)
San VitaleRavenna, Italy. Early Byzantine Europe. c. 526-547 C.E. Brick, marble, and stone veneer; mosaicBeautiful images of the interior spaces of San Vitale, thes images capture the effect of the interior of the church.
c)
Mosque of Selim IIEdrine, Turkey. Sinan (architect), 1568-1575 C.E. Brick and stoneIt is one of the most important buildings in the history of world architecture both for its design and its monumentality. It is considered to be the masterwork of the great Ottoman architect Sinan.
d)
Self-Portrait with SaskiaRembrandt van Rijn. 1636 C.E. EtchingRembrandt stand out among his contemporaries is that he often created multiple states of a single image.
48.
None
a)
Venus of UrbinoTitan. c. 1538 C.E. Oil on canvasThanks to the wise use of color and its contrasts, as well as the subtle meanings and allusions, Titian achieves the goal of representing the perfect Renaissance woman who, just like Venus, becomes the symbol of love, beauty and fertility.
b)
Fruit and InsectsRachel Ruysch. 1711 C.E. Oil on woodThis luscious sample of life on Earth represents at least two passions of its time: categorization and still-life, which emphasize the pleasure of the senses and their qualities
c)
Arena (Scrovengni) Chapel, including LamentationPadus, Italy. Unknown architect; Giotto di Bonde (artist). Chapel: c. 1303 C.E.; Fresco: c. 1305. Brick (architecture) and fresco
d)
Church of Sainte-FoyConques, France. Romanesque Europe. Church: c. 1050-1130 C.E.; Reliuary of Saint Foy: ninth century C.E.; with later additions. Stone (architecture); stone and paint (tympanum); gold, silver, gemstone, and enamel over wood (reliquary)
49.
None
a)
Virgin and child between Saints Theodore and GeorgeEarly Byzantine Europe. Six or early seventh century C.E. Encastic on wood.The composition displays a spatial ambiguity that places the scene in a world that operates differently from our world. The ambiguity allows the scene to partake of the viewer's world but also separates the scene from the normal world.
b)
Goldfish Henri Mattisse. 1912 C.E. Oil on canvasThis painting is an illustration of some of the major themes in Matisse's painting: his use of complimentary colors, his quest for an idyllic paradise, his appeal for contemplative relaxation for the viewer and his complex construction of pictorial space.
c)
Fruit and InsectsRachel Ruysch. 1711 C.E. Oil on woodThis luscious sample of life on Earth represents at least two passions of its time: categorization and still-life, which emphasize the pleasure of the senses and their qualities
d)
The Tête à Tête, from Marriage à la ModeWilliam Hogarth. c. 1743 C.E. Oil on canvasFirst Western artist who worked in series, that is, a group of paintings with a common thread, a common theme. Now many contemporary artists work in series to explore different styles and approaches to their art, but this was not usual in the 18th century
50.
None
a)
The Virgin of Guadalupe Miguel González. c. 1698 C.E. Based on original Virgin of Gaudalupe. Basilica of Guadalupe, Mexico City. 16th century C.E. Oil on canvas on wood, inlaid with mother-of-pearlOur Lady of Guadalupe holds a special place in the religious life of Mexico and is one of the most popular religious devotions. Her image has played an important role as a national symbol of Mexico.
b)
Calling of Saint MatthewCaravaggio. c. 1597-1601 C.E. Oil on canvasCaravaggio depicts the very moment when Matthew first realizes he is being called. This was Caravaggio's first important job and the completed work would win him the highest of praise as well as the harshest of criticism for its shockingly innovative style.
c)
Hunters in the Snow Pieters Bruegel the Elder. 1565 C.E. Oil on woodsThis Bruegel oil painting - which is, incidentally the world's most popular classical Christmas card design - evokes the harsh conditions and temperatures of winter. The composition is ideal as the first in a frieze of pictures covering the full year, and the painting is filled with detail
d)
Mosque of Selim IIEdrine, Turkey. Sinan (architect), 1568-1575 C.E. Brick and stoneIt is one of the most important buildings in the history of world architecture both for its design and its monumentality. It is considered to be the masterwork of the great Ottoman architect Sinan.
51.
None
a)
Women Holding a Balance Johnnes Vermer. c. 1664 C.E. Oil on canvasthe small, delicate balance is the central feature and focus of the picture, which is all about the weighing of transitory material concerns against spiritual ones. It is a more explicitly allegorical work than usual, but some elements remain obscure. The work exemplifies Vermeer's style of Dutch Realist genre painting with its blend of painterly technique, moral narrative and, above all, intimacy
b)
Mosque of Selim IIEdrine, Turkey. Sinan (architect), 1568-1575 C.E. Brick and stoneIt is one of the most important buildings in the history of world architecture both for its design and its monumentality. It is considered to be the masterwork of the great Ottoman architect Sinan.
c)
Entombment of ChristJacopo da Pontormo. 1525-1528 C.E. Oil on woodThey inhabit a flattened space, comprising a sculptural congregation of brightly demarcated colors. The vortex of the composition droops down towards the limp body of Jesus off center in the left. Those lowering Christ appear to demand our help in sustaining both the weight of his body (and the burden of sin Christ took on) and their grief.
d)
The Tête à Tête, from Marriage à la ModeWilliam Hogarth. c. 1743 C.E. Oil on canvasFirst Western artist who worked in series, that is, a group of paintings with a common thread, a common theme. Now many contemporary artists work in series to explore different styles and approaches to their art, but this was not usual in the 18th century
Reset
