MATCHING. Match the name or term on the left with the identification or definition on the right. Some may be used twice.

1. ____ Last Supper, in Milan 2. ____ -ignore-Jupiter and Io 3. ____ Last Judgment, Sistine Chapel 4. ____ colors become a muted, neutral gray, and shapes less clear as we peer deep into space 5. ____ the use of light and dark to create modeling 6. ____ Madonna with the Long Neck 7. ____ Villa Rotonda 8. ____ art of everyday life 9. ____ corroding design onto a metal surface 10. ____ German reformer 11. ____ graphic technique popularized by Durer 12. ____ technique in which the artist incises a design into a wax-covered plate, then dips the plate into acid 13. ____ exaggerated chiaroscuro, painting in "the dark manner," 1 source of light 14. ____ device using a pinhole to project pictures on a flat surface or ground glass. 15. ____ his rich colors, energetic brushwork, and lively compositions epitomize the exuberance of baroque art 16. ____ Paul Revere 17. ____ "...America's first native artist of genius." [Stokstad] 18. ____ Death of General Wolfe 19. ____ "theatrical" is how some art historians have described exaggerations in this style, between Renaissance and Baroque 20. ____ substituted religious art for music, changing the art market 21. ____ used a new, simpler art, as propaganda 22. ____ Monticello 23. ____ Along with Watteau, 1 of top 3 Rococo painters, incl. Bath of Diana, Cupid a Captive, and portraits in classical goddess themes

24. ____ artist and poet whose work is based on visions from "spirit visitors" in his dreams 25. ____ artist who's painting began a theme today's educated feminists consider complementary 26. ____ used printing--the new and first mass-media communication technology--to spread his cause Some could be used 2x a. Leonardo da Vinci b. Parmigianino c. etching d. Martin Luther e. Rubens, Sir Peter Paul f. William Blake g. genre h. John Singleton Copley i. Martin Luther j. Correggio k. atmospheric perspective l. Francois Boucher m. Michelangelo n. woodcut o. camera obscura p. Thomas Jefferson q. Palladio, Andrea r. tenebrism & Caravaggio s. chiaroscuro t. Benjamin West u. Titian v. Counter-Reformation w. Mannerism

Colonial N. American Artists (use identifying letter from above) 27. ____ Am. who mostly worked in England, a founder and president of the Royal Academy of Arts 28. ____ Am. who's design of his home is noted in Am. art. 29. ____ Am., self-taught as a portraitist, also moved to England, where he specialized in narrative scenes from history, member of Royal Academy of Arts

Matching Artists with Styles/Periods (Gardner's & Stokstad)

Ch. 19 Gardner's 30. ___ Caravaggio 31. ___ Gentileschi, Artemisia 32. ___ Velazquez, Diego 33. ___ Rubens, Peter Paul 34. ___ Rembrandt van Rijn 35. ___ Vermeer, Jan 36. ___ Watteau, Antoine 37. ___ Boucher, Francois 38. ___ Fragonard, Jean-Honore Ch. 20 Gardner's 39. ___ Greuze, Jean-Baptiste 40. ___ Gainsborough, Thomas 41. ___ Vigee-Lebrun, Elisabeth Louise 42. ___ Kauffmann, Angelica 43. ___ West, Benjamin (*Stokstad: Rom.) 44. ___ David, Jacques-Louis 45. ___ Canova, Antonio 46. ___ Jefferson, Thomas (his home) 47. ___ Ingres, Jean-Auguste Dominique 48. ___ Goya, Francisco 49. ___ Gericault, Theodore

50. ___ Delacroix, Eugene 51. ___ Rude, Francois 52. ___ Constable, John 53. ___ Turner, Joseph M. W. 54. ___ Cole, Thomas s 55. ___ Homer, Winslow (*Stokstad: "genre") 56. ___ Daguerre, Louis-Jacques-Mande 57. ___ Hawes & Southworth 58. ___ Nadar [*Stokstad, Art History rev. ed., Vol. 2. Agree. except. where noted] a. Baroque b. Rococo c. Naturalism or "Realism" of 18th c. d. Neoclassicism or "Romantic Neoclassicism" (c20) e. Romanticism (c20) f. "Romantic" landscape painting of 18-19th c. g. "naturalistic" landscape painting of 18-19th c. h. Early Photography

MULTIPLE-CHOICE QUESTIONS. Select the response that best answers the question or completes
59. ___ A smokelike haziness that softens contours is called	a. sfumato, b. chiaroscuro, c. atmospheric perspective
60. ___ One of the favorite compositional devices of painters of the High Renaissance, developed by Leonardo, was	a. a flat triangle, b. a three-dimensional pyramid, c. shape of the frame
61. ___ Which sculptor believed that the artist must proceed by first finding the idea--the image--locked in the stone and then by releasing it by chipping away the stone?	a. Benvenuto Cellini, or b. Michelangelo
62. ___ Michelangelo's Sistine Chapel ceiling including which of these themes summarized by Kissick:	a. the ancestry of Christ, b. Old Testament and pagan prophecies of Christ's coming, c. and scenes from the creation of Man and other stories from Genesis, d. a-c
63. ___ Who's single light, theatrical drama, dynamic compositions and deep space in his The Last Supper, are forerunners of Baroque painting	a. Tintoretto, b. Raphael, c. a. Giorgione
64. ___ The entire Renaissance is simplistically dated by most scholars as ..., due to its continuation in the Northern Renaissance	a. c.1300-1500, b. c.1400-1600, c. c.1500-1700
65. ___ Gardner says the High Renaissance is generally dated	a. 1495-1527, or b. 1500-1535
66. ___ The major center for development of the Early Renaissance was	a. Florence, b. Rome, c. Venice
67. ___ The major center for artistic development in the High Renaissance was	a. Florence, or b. Rome
68. ___ The painting style of the High Renaissance is first exampled by Leonardo Da Vinci's paintings ... by most popular art history authors	a. The Last Supper and Virgin of the Rocks, b. Leda and the Swan and Madonna & Child
69. ___ Most art history writers example ... as the first High Renaissance architecture	a. Michelangelo's Museo Capitolino, Palladio's Villa Rotonda, c. Bramante's Tempietto (Little Temple)
70. ___ French portraiture of the sixteenth century, like the court of Francis I, can be characterized as	a. artificially elegant, erotic, b. dark, foreboding and Church-related, b. typical of the International style
71. ___ The 16th century German artist who specialized in portraiture was	a. Hans Holbein, b. Pieter Bruegel
72. ___ His pictures have been variously interpreted as referring to the beliefs of different religious thinkers, to the conflicts between Roman Catholicism and Protestantism, etc.	a. Pieter "I" Bruegel, b. Jan Brueghel, b. Durer
73. ___ Among the most important concerns of philosophers, scientists, and artists of the Baroque period was	a. the mathematics of linear perspective, b. the depiction of space, motion, and time
74. ___ The city generally credited with being the birthplace of Baroque art was	a. London, b. Rome, c. Paris
75. ___ The style of Artemisia Gentileschi was most influenced by that of	a. Guido Reni, b. Caravaggio
76. ___ The majority of Rubens' paintings are devoted to	a. portrayal of the human body in motion, b. careful depiction of still-life objects
77. ___ The seventeenth-century artist most interested in the science of optics was	a. Hals, b. Vermeer
78. ___ In the 16th and 17th century who were less interested in religious art and more interested in secular art including portraits, daily lives, natural beauty, and naturalistic technique.	a. Roman church, b. French nobility, c. Dutch, d. Greeks
79. ___ The Rococo style is considered to be a delicate variant of	a. Late Baroque style, b. Mannerism
80. ___ The dominant architectural style in eighteenth-century England was	a. High Baroque, b. Palladian Classicism
81. ___ It is generally agreed that the Rococo style originated in	a. France, b. Germany
82. ___ The Rococo style is characterized by	a. delicate colors and painterly brush strokes, b. dynamic, energetic movement, c. common people in heroic tasks
83. ___ The major patrons of French Rococo painting and sculpture were	a. the aristocracy, b. the bourgeoisie
84. ___ The "sublime" was considered to inspire feelings of	a. heroic action, b. sentimentality, c. awe mixed with terror
85. ___ The Age of Enlightenment is generally considered to	a. date from the mid-sixteenth century, b. encompass the entire eighteenth century
86. ___ The style most closely associated with democratic ideals, imperial ambitions, and virtue was	a. Rococo, b. Neoclassicism
87. ___ The eighteenth-century philosopher who stressed the importance of the natural goodness of human beings and thus was an important forerunner of the Romantic sensibility was	a. Voltaire, b. Jean-Jacques Rousseau
88. ___ The artist whose work best spoke for the French Revolution was	a. Jacques-Louis David, b. Francois Boucher
89. ___ Jefferson based his design for Monticello on	a. Inigo Jones, b. Palladio

SHORT ANSWER QUESTIONS

90. _____________________________________ Which Titian painting set the model for the reclining female nude that was to remain popular for many centuries?

91. ________________ While the art of Rome and Florence was to be dominated by a concern for form, the art of Venice was dominated by a concern for (use 1 word)

92. ______________________________ Which French painter was the "foremost landscape painter of his time" and specialized in calm, radiant landscapes, often with a glowing light of dawn or dusk?

93. What is the "Grand Manner"?

_

_

94. ______________________________ Name the English artist who was famous for his satirical scenes of social criticism.

95. ___________________________________________________________ What was the political meaning attributed to David's Oath of the Horatii?

WORKS OF ART RECOGNITION (c. 33 images) Write in the number of the matching artwork.
96. ___	Da Vinci (da Vin-chee), Leonardo, Mona Lisa, c 1503-5, oil on panel, 30 1/4x28 7/8, (loo'vr') Louvre
97. ___	Michelangelo (mE-kA-'l”n-jA-lO), David, 1501-4. Marble, 14'3" high. Galleria dell'Accademis, Florence
98. ___	Gericault (zhA-rE-kO), ThÈodore, The Raft of the Medusa (mi-'d¸-sa). 1813-19. Louvre (loo'vr'), Paris
99. ___	((,)w”-¥tO) Watteau, (zh”n) Jean-Antoine, A Pilgrimage to/Embarkation to/Return from (si-thÂ-¥rÂ) Cythera, 1718. O/c, c. 4'3" x 6.4". Louvre or Dahlem Museum, Berlin
100. ___	Rubens, Sir Peter Paul, Arrival of Marie de Medici at Marseilles,1622-25. o/c, approx. 5" 1" x 3' 9". Louvre, Paris
101. ___	Renoir (ren-war), Le Moulin de la Galette (m¸-la dA l”)), 1876. Louvre.
102. ___	Borromini (bOr-rO-¥mE-nE), Francesco, facade of San Carlo alle Quattro Fontane (fon-'t”-na), 1665-1676. Rome.
103. ___	Michelangelo, Moses. 1515-16. Marble. Ht. 91 1/2". San Pietro in Vincolli, Rome.
104. ___	Palladio (p”-'l”d-yO), Andrea, Villa Rotunda. c.1566-1570, architecture, near Vicenza (vi-¥chen(t)-sÂ)
105. ___	Durer, Albrecht, The Great Piece of Turf, 1503. Watercolor. 16 1/4 x 12 1/8". Albertina Collection, Vienna.
106. ___	Rembrandt, The Syndics of the Clothmaker's Guild (The Staalmeesters), 1662 (130 Kb). Oil on canvas, 191.5 x 279 cm. Rijksmuseum, Amsterdam *Not in new Gardner's
107. ___	El Greco, The Burial of Count Orgaz, 1586. Santo TomÈ, Toledo, Spain
108. ___	Bernini (bAr-¥nE-nE), David, 1623. Marble, 5' 7". Galleria Borghese, Rome.
109. ___	Durer (dure-er), Albrecht (Al-brekt), Four Horsemen of the Apocalypse, c 1497-98, woodcut. Albertina Museum, Vienna
110. ___	Vigee-Lebrun (ve-zhA lu-¥bron), Elizabeth Louise, Self-Portrait, 1790, Uffizi Gallery, Florence.
111. ___	Michelangelo, The Creation of Adam, Sistine Chapel in the Vatican, Rome, 1508-12. Fresco
112. ___	Titian (Tih-shun), Venus of Urbino (ur-¥bE-,nO), 1538, Oil on canvas, 47 x 65" Uffizi Gallery.
114. ___	Velazquez (vA-¥las-kAs), Diego(dya¥go) , Las Meninas (The Maids of Honor) (1656). Oil on Canvas. 10'5 x 9' 3/4". Museo del Prado, Madrid.
115. ___	Bronzino (bron-'zE-nO), Agnolo(”n-yO-lO) , Allegory called Venus, Cupic, Folly, and Time (An Allegory of Time and Love), c 1545. o/wood. Natl. Gal., London
116. ___	William Blake, "The Ancient of days," frontispiece of Europe, A Prophesy. 1794. Metal relief etching, hand-colored, 9.5 x 6.75". Library of Congress, USA.
117. ___	Tintoretto (tEn-tO-'rAt-tO), The Last Supper, 1594. Oil on canvas, 12'x18' 8". San Giorgio (jor-jO) Maggiore (ma-¥jOr-E), Venice
118. ___	(da-¥vEd) David, (zh”k) Jacques- (lU-¥E) Louis, Oath of The (hO-rA-¥shEI) Horatii, 1784, French (1748-1825). Oil on canvas, approx. 10'x14'. (loo'vr') Louvre, Paris
119. ___	Caravaggio (k”r-”-¥v”d-jO), The Conversion of St. Paul (pol) of Tarsus ('t”r-sas), 1600-1601. Oil on canvas, approx. 7' 6" x 5' 9". Cerasi Chapel, Santa Maria del Popolo, Rome.
120. ___	Delacroix (da-la-krwa), Liberty Leading the People, 1838. Oil on canvas, 8'6" x 10' 8". Louvre
121. ___	Raphael (rah-fay-el) ,The School of Athens. 1510-11. Fresco. Vatican Palace, Rome.
122. ___	Da Vinci (da Vin-chee), Leonardo, Virgin of the Rocks (or Madonna of...), 1483-85, o/c, 78x48 1/2, Louvre
123. ___	Da Vinci, The Last Supper, c 1495-97, oil tempra mixture on wall. Reflectory. Milan
124. ___	Canova (k”-¥nO-v”), Antonio, Pauline Borghese (bOr-'gA-sA) as Venus Victrix, 1808. Borghese (bOr-'gA-sA) Gallery, Rome
125. ___	Juvara (y¸-¥v”r-”), Filippo (fE-¥lEp-pO), Basilica of Superga, facade, 1717-31, Turin, Italy. 18th c.
126. ___	Delacroix (da-la-krwa), EugËne (–-¥zhen), Death of Sardanapalus(s”rd-(an)-'ap-(a-)las), 1827-28, oil on canvas, 153 1/2 x 195 3/8"
127. ___	Ingres (an¥gr¥), Jean-Auguste-Dominique (zh”n-o-g¸st¥-do-mE-nEk¥), Grande Odalisque ('O-d ” lisk), 1814
128. ___	Bernini (bAr-¥nE-nE), Ecstasy of St. Teresa. Marble and bronze, detail, about 1647-1652. Marble, ht. of group 11' 6". Chapel, Santa Maria della Vittoria, Rome
129. ___	Rembrandt ('rem-brant) van Rijn (rIn), The Night Watch (Company of Captain Frans (frants) Banning Cocq) 1642. O/c, 11' 11" x 14' 4". Rijksmuseum, Amsterdam
*Dates may vary slightly from author to author