Fresenius Final Exam ALL CURRENTLY
TESTING EXAM NEWEST QUESTIONS
AND CORRECT DETAILED ANSWERS
WITH STUDY GUIDE | EXPERT VERIFIED
FOR GUARANTEED PASS | LATEST
UPDATE .
High Renaissance, Leonardo, Embryo in the Womb, ca. 1511-1513 Leonardo
Kept notebooks with his notes, wrote backwards, in retrograde, maybe to be secretive,
or maybe because he was dyslexic. Surprisingly accurate drawing. Makes analogies in
his notes. Drawing as an instrument of discovery the world as an organism... draws a
milkweed pod, compares it to an embryo in a womb. Theorizes about the embryo in
womb. Wants to understand the organic principles that govern human life. Looks to
nature to try to understand how things work. He hated mankind. Was a recluse. -
ANSWERS--
1. Pyramidal composition
2. centralized, symmetrical composition
3. recovery of classical antiquity - combination of antiquity with contemporary
vocabulary or style
4. many classical characteristics: balance, harmony, proportion, calm, dignity, rationality
5. Disegno
6. stability within variety
7. idealized human figures, often monumental in relationship to total composition;
proportionate
8. ideal nude male hero
9. chiaroscuro used to create volumetric figures
,10. deep space-linear perspective is used to suggest 3-d space on a 2-d surface. -
ANSWERS--High Renaissance - themes and characteristics
High Renaissance, Virgin of the Rocks, ca.1483-1490 (Louvre version) Leonardo
6'tall 4'wide. Leonardo is ushering in a style common in the later century? John the
Baptist kneeling hands in prayer looking at Christ child. Jesus holding hand up in hand
of blessing. Angel next to him. common of high renaissance, pyramidal composition.
Depth and stability created by this. Chiaroscuro - can be seen on jesus figure.
Highlights and shadows. Monumental figures that dominate the surroundings-common
in high ren art. Figures stand out against the background. Pointing gestures direct
viewer's attention. Sfumato-means smoke. Edges disappear, hazy. Italian figure type,
inspired by classical figures. Leonardo chose to paint angel's clothes in green and red -
complimentary colors. Mysterious, nontraditional place. Stalagmites and stalactites.
Haziness, water, fog. Very typical of Leonardo. Foggy, mysterious setting adds to unity.
Ma - ANSWERS--
High Renaissance, Leonardo, Last Supper, ca. 1495-98
His largest work. Austere setting amplifies painting's highly dramatic action. Jesus has
just said "one of you is about to betray me." Excitement. Initiation of the ancient liturgical
ceremony of the eucharist, jesus blessing bread and wine. Institution of the catholic
mass. Jesus calm, repose, surroundedby emotional disciples. Window behind him
frames his figure. Disciples in four groups of three. Artist sacrificed traditional
iconograpy to pictorial and dramatic consistency by placing judas on the same side of
the table as jesus and the other disciples. Judas face shadowed, holds money bag,
reaches forward to fulfill Jesus's declaration. The two disciples at ends of table are
quieter than the others, parenthetical figures. as if to bracket the energy. Energy more
intense closer to jesus, who's serenity both halts and intensifies it. Portrayed each
character as th - ANSWERS--
High Renaissance, Raphael, Stanza della Segnatura, 1509-1511
Where the pope would sign laws. Four branches of knowledge: theology, jurisprudence,
philosophy, poetry
Commissioned by Julius II. In papal appartments. Giving solid substance to the
philosophy of the ancients. Julius found a way to reconcile pagan antiquity with
Christian... 19ft high. - ANSWERS--
Virgin and Child with St. Anne and the Infant St. John, ca.1505-1507, cartoon Leonardo
Cartoon-a full scale preparatory drawing used to transfer a design to a surface. 54" tall.
Assistance would take the cartoons, pin up to wall or panel. Would poke holes on all
contours, blow dust through holes, transferring the design. This one was never used, no
holes. Vigin, child, st anne, and st. john. Leonardo thinks in terms of light and shadow
and mass. Studies for this piece are scribbles, dark and light. Heafty weighty figures.
Searching for organic principles that govern life. St anne is mary's mother. Giving form
to divine mysteries. Sfumato- christ's body and mary's hand meld together,
,undistinguishable. Leaves mystery. Not clearly articulated. Shows divine linieage from
Anne to mary to Christ child. - ANSWERS--
High Renaissance, Leonardo, Mona Lisa, ca. 1503-06
Lisa di Antonio Maria Gherardini, the wife of a wealthy Florentine. Mona=my lady.
Aimed to paint a convincing representation of specific individual in appearance and
personality. Renaissance etiquette dictated a woman shouldn't look into a man's eyes.
Scandalous, she enganges in direct eye contact
Was originally wider on both sides, were column bases on either side. She is sitting on
a logia, a covered porch, elevated above landscape. Typical format for a 15th cent
portrait is a profile, side view. Portraits told about a person. (portrait by Battista).
Leonardo did something different, woman looking at audience, facing audience. Seated
in a three quarter view, three quarter length. By pivoting her body, he creates pyramidal
form, creating depth. Unlike the traditional profile that is planar. Light no face, chest,
hands. No jewelry. Wealth not displayed in that way. - ANSWERS--
High Renaissance, Raphael, Madonna in the Meadow, 1505-1506
Uses leonardo's pyramidal composition and chiaroscuro. Mary jesus john the Baptist.
Demonstrates principles demonstrated in leonardo's cartoon. Pyramital composition.
Mary, Christ, john. Clear outlines, not smokey hazy like Leonardo. He likes painting in
clear light of day. Red and blue garments, typical way of showing mary. She is
prominent. Horizon line intentional, head rises above landscape, silhouetted by sky to
give her emphasis. Horizon, far distance, blue/grey - to indicate gret distance or depth.
Raphael had large workshop, many Madonna nad child paintings. - ANSWERS--
comes to power and wants rome to rival the glory and grandeur of ancient rome.
Raphael commissioned, michaelangelo, and architects, all to rebuild a new more
glorious st peter's - ANSWERS--Pope Julius II
High Renaissance, Raphael, Philosophy (School of Athens), 1509-11
In a room dedicated to knowledge, where laws were signed. Typical of renaissance:
Linear one point perspective. Tiles direct eye-grid. Chiaroscuro -use of light and shade.
Pyramidal effect. Balance of verticals and horizontal creating balanced composition that
is rational. Everyone on an equal plane, isochepholy? Creates sense of unity and
equality. Variety within stability. Variety of positons in figures. Grand architectural
setting. The setting echos the new st peter's which is in progress, recessed couffers.
Barrel vaults bring us down to focus on two central figures, frame them. Gods and
goddesses are portrayed, represent knowledge and learning. Aristotle and plato are the
two central figures. Plato pointing up to realm of ideas. Aristotle pointing downward,
would draw knowledge from observation. Two tentants that form western thought. He
based pla - ANSWERS--
High Renaissance, Raphael, Portrait of Leo X with Cardinals Giulio de' Medici and Luigi
de' Rossi, ca. 1517
Raphael's patron was pope leo X. shows his mastery of oil technique. Textures.
, Pope Julius II's successor. The two people on either side are relatives of Leo. Leo in
three quarter rotation, depth and stability. His robes are thick velevet, rich. Sumptuous
garments. He is reading a bible, a very expensive bible. Bell with embellishment. This
pope like to aquire things, artwork, for own enjoyment. Finial ball on top of chair reflects
window in room. Shadowy figure also reflected, raphael painting. - ANSWERS--
High Renaissance, Raphael, Galatea, Villa Farnesina, ca. 1513
Chigi commissioned the villa. Would have lavish dinner parties. Servants would throw
the gold plates into tiber river, wanted to impress guests great wealth. But would pull
plates out after. The villa was for his mistress. Galatea next to a painting of the one
eyed giant. The cyclops had abducted galatea, but she fled. Tis painting shows her
fleeing. Painted drapery below. X axis - very stable and balanced composition typical of
high ren. Balance of horizontal and vertical. Galatea is a water nymph. Standing on a
shell. Standing in contrapposto - weight shift. Right leg weight baring. Goes further
though, moving the upper body, twisting, and her head rotates in opposite direction. Full
contrapposto, brings attention to both sides of comp. disegno- counter positioning of the
water couples. Men more ruddy and dark, women more white. Stability but variety in -
ANSWERS--
an asymmetrical arrangement of the human figure in which the line of the arms and
shoulders contrasts with while balancing those of the hips and legs. the graceful
disposition of the parts of the body so that they form oblique axes turning around a
central vertical axis. weight bearing leg distinguished from the raised leg. - ANSWERS--
Contrapposto
a covered passage or gallery with an open arcade or colonnade on one ofr more sides.
- ANSWERS--loggia
the treatment of light and shade in drawing and painting. - ANSWERS--Chiaroscuro
the technique of allowing tones and colors to shade gradually into one another,
producing softened outlines or hazy forms. - ANSWERS--Sfumato
creates depth and stability. change from the triangular composition typical of the 15th
century - ANSWERS--pyramidal structure
a humorous or satirical drawing. a full size drawing for a painting, made to be
transferred to a wall, canvas, or panel as a guide in painting the finished work. In fresco
painting, cartoon transferred by pricking it with a needle and poincing it with charcoal
dust so that the main ines of the composition appear as dots on the plaster surface of
the wall. - ANSWERS--cartoon
first drawing, then adding color. Disegno (drawing): clarity, contour (hard edges)
intellectual (text-based) linear perspective balance. sculptural. - ANSWERS--disegno
TESTING EXAM NEWEST QUESTIONS
AND CORRECT DETAILED ANSWERS
WITH STUDY GUIDE | EXPERT VERIFIED
FOR GUARANTEED PASS | LATEST
UPDATE .
High Renaissance, Leonardo, Embryo in the Womb, ca. 1511-1513 Leonardo
Kept notebooks with his notes, wrote backwards, in retrograde, maybe to be secretive,
or maybe because he was dyslexic. Surprisingly accurate drawing. Makes analogies in
his notes. Drawing as an instrument of discovery the world as an organism... draws a
milkweed pod, compares it to an embryo in a womb. Theorizes about the embryo in
womb. Wants to understand the organic principles that govern human life. Looks to
nature to try to understand how things work. He hated mankind. Was a recluse. -
ANSWERS--
1. Pyramidal composition
2. centralized, symmetrical composition
3. recovery of classical antiquity - combination of antiquity with contemporary
vocabulary or style
4. many classical characteristics: balance, harmony, proportion, calm, dignity, rationality
5. Disegno
6. stability within variety
7. idealized human figures, often monumental in relationship to total composition;
proportionate
8. ideal nude male hero
9. chiaroscuro used to create volumetric figures
,10. deep space-linear perspective is used to suggest 3-d space on a 2-d surface. -
ANSWERS--High Renaissance - themes and characteristics
High Renaissance, Virgin of the Rocks, ca.1483-1490 (Louvre version) Leonardo
6'tall 4'wide. Leonardo is ushering in a style common in the later century? John the
Baptist kneeling hands in prayer looking at Christ child. Jesus holding hand up in hand
of blessing. Angel next to him. common of high renaissance, pyramidal composition.
Depth and stability created by this. Chiaroscuro - can be seen on jesus figure.
Highlights and shadows. Monumental figures that dominate the surroundings-common
in high ren art. Figures stand out against the background. Pointing gestures direct
viewer's attention. Sfumato-means smoke. Edges disappear, hazy. Italian figure type,
inspired by classical figures. Leonardo chose to paint angel's clothes in green and red -
complimentary colors. Mysterious, nontraditional place. Stalagmites and stalactites.
Haziness, water, fog. Very typical of Leonardo. Foggy, mysterious setting adds to unity.
Ma - ANSWERS--
High Renaissance, Leonardo, Last Supper, ca. 1495-98
His largest work. Austere setting amplifies painting's highly dramatic action. Jesus has
just said "one of you is about to betray me." Excitement. Initiation of the ancient liturgical
ceremony of the eucharist, jesus blessing bread and wine. Institution of the catholic
mass. Jesus calm, repose, surroundedby emotional disciples. Window behind him
frames his figure. Disciples in four groups of three. Artist sacrificed traditional
iconograpy to pictorial and dramatic consistency by placing judas on the same side of
the table as jesus and the other disciples. Judas face shadowed, holds money bag,
reaches forward to fulfill Jesus's declaration. The two disciples at ends of table are
quieter than the others, parenthetical figures. as if to bracket the energy. Energy more
intense closer to jesus, who's serenity both halts and intensifies it. Portrayed each
character as th - ANSWERS--
High Renaissance, Raphael, Stanza della Segnatura, 1509-1511
Where the pope would sign laws. Four branches of knowledge: theology, jurisprudence,
philosophy, poetry
Commissioned by Julius II. In papal appartments. Giving solid substance to the
philosophy of the ancients. Julius found a way to reconcile pagan antiquity with
Christian... 19ft high. - ANSWERS--
Virgin and Child with St. Anne and the Infant St. John, ca.1505-1507, cartoon Leonardo
Cartoon-a full scale preparatory drawing used to transfer a design to a surface. 54" tall.
Assistance would take the cartoons, pin up to wall or panel. Would poke holes on all
contours, blow dust through holes, transferring the design. This one was never used, no
holes. Vigin, child, st anne, and st. john. Leonardo thinks in terms of light and shadow
and mass. Studies for this piece are scribbles, dark and light. Heafty weighty figures.
Searching for organic principles that govern life. St anne is mary's mother. Giving form
to divine mysteries. Sfumato- christ's body and mary's hand meld together,
,undistinguishable. Leaves mystery. Not clearly articulated. Shows divine linieage from
Anne to mary to Christ child. - ANSWERS--
High Renaissance, Leonardo, Mona Lisa, ca. 1503-06
Lisa di Antonio Maria Gherardini, the wife of a wealthy Florentine. Mona=my lady.
Aimed to paint a convincing representation of specific individual in appearance and
personality. Renaissance etiquette dictated a woman shouldn't look into a man's eyes.
Scandalous, she enganges in direct eye contact
Was originally wider on both sides, were column bases on either side. She is sitting on
a logia, a covered porch, elevated above landscape. Typical format for a 15th cent
portrait is a profile, side view. Portraits told about a person. (portrait by Battista).
Leonardo did something different, woman looking at audience, facing audience. Seated
in a three quarter view, three quarter length. By pivoting her body, he creates pyramidal
form, creating depth. Unlike the traditional profile that is planar. Light no face, chest,
hands. No jewelry. Wealth not displayed in that way. - ANSWERS--
High Renaissance, Raphael, Madonna in the Meadow, 1505-1506
Uses leonardo's pyramidal composition and chiaroscuro. Mary jesus john the Baptist.
Demonstrates principles demonstrated in leonardo's cartoon. Pyramital composition.
Mary, Christ, john. Clear outlines, not smokey hazy like Leonardo. He likes painting in
clear light of day. Red and blue garments, typical way of showing mary. She is
prominent. Horizon line intentional, head rises above landscape, silhouetted by sky to
give her emphasis. Horizon, far distance, blue/grey - to indicate gret distance or depth.
Raphael had large workshop, many Madonna nad child paintings. - ANSWERS--
comes to power and wants rome to rival the glory and grandeur of ancient rome.
Raphael commissioned, michaelangelo, and architects, all to rebuild a new more
glorious st peter's - ANSWERS--Pope Julius II
High Renaissance, Raphael, Philosophy (School of Athens), 1509-11
In a room dedicated to knowledge, where laws were signed. Typical of renaissance:
Linear one point perspective. Tiles direct eye-grid. Chiaroscuro -use of light and shade.
Pyramidal effect. Balance of verticals and horizontal creating balanced composition that
is rational. Everyone on an equal plane, isochepholy? Creates sense of unity and
equality. Variety within stability. Variety of positons in figures. Grand architectural
setting. The setting echos the new st peter's which is in progress, recessed couffers.
Barrel vaults bring us down to focus on two central figures, frame them. Gods and
goddesses are portrayed, represent knowledge and learning. Aristotle and plato are the
two central figures. Plato pointing up to realm of ideas. Aristotle pointing downward,
would draw knowledge from observation. Two tentants that form western thought. He
based pla - ANSWERS--
High Renaissance, Raphael, Portrait of Leo X with Cardinals Giulio de' Medici and Luigi
de' Rossi, ca. 1517
Raphael's patron was pope leo X. shows his mastery of oil technique. Textures.
, Pope Julius II's successor. The two people on either side are relatives of Leo. Leo in
three quarter rotation, depth and stability. His robes are thick velevet, rich. Sumptuous
garments. He is reading a bible, a very expensive bible. Bell with embellishment. This
pope like to aquire things, artwork, for own enjoyment. Finial ball on top of chair reflects
window in room. Shadowy figure also reflected, raphael painting. - ANSWERS--
High Renaissance, Raphael, Galatea, Villa Farnesina, ca. 1513
Chigi commissioned the villa. Would have lavish dinner parties. Servants would throw
the gold plates into tiber river, wanted to impress guests great wealth. But would pull
plates out after. The villa was for his mistress. Galatea next to a painting of the one
eyed giant. The cyclops had abducted galatea, but she fled. Tis painting shows her
fleeing. Painted drapery below. X axis - very stable and balanced composition typical of
high ren. Balance of horizontal and vertical. Galatea is a water nymph. Standing on a
shell. Standing in contrapposto - weight shift. Right leg weight baring. Goes further
though, moving the upper body, twisting, and her head rotates in opposite direction. Full
contrapposto, brings attention to both sides of comp. disegno- counter positioning of the
water couples. Men more ruddy and dark, women more white. Stability but variety in -
ANSWERS--
an asymmetrical arrangement of the human figure in which the line of the arms and
shoulders contrasts with while balancing those of the hips and legs. the graceful
disposition of the parts of the body so that they form oblique axes turning around a
central vertical axis. weight bearing leg distinguished from the raised leg. - ANSWERS--
Contrapposto
a covered passage or gallery with an open arcade or colonnade on one ofr more sides.
- ANSWERS--loggia
the treatment of light and shade in drawing and painting. - ANSWERS--Chiaroscuro
the technique of allowing tones and colors to shade gradually into one another,
producing softened outlines or hazy forms. - ANSWERS--Sfumato
creates depth and stability. change from the triangular composition typical of the 15th
century - ANSWERS--pyramidal structure
a humorous or satirical drawing. a full size drawing for a painting, made to be
transferred to a wall, canvas, or panel as a guide in painting the finished work. In fresco
painting, cartoon transferred by pricking it with a needle and poincing it with charcoal
dust so that the main ines of the composition appear as dots on the plaster surface of
the wall. - ANSWERS--cartoon
first drawing, then adding color. Disegno (drawing): clarity, contour (hard edges)
intellectual (text-based) linear perspective balance. sculptural. - ANSWERS--disegno
