Name________________________________________________________ Date___________________
Art History II quiz 1
Match to the proper definition. 2points each
1. Renaissance______________H_____
2. Stigmatization____________L_____
3. Artists Apprentice ________A_____
4. Cimabue_________________J_____
5. Diptych_________________G1_____
6. Contour Lines ____________F_____
7. Chiaroscuro______________G_____
8. Visual Weight ___________I______
9. Aesthetics ______________D______
10. Sinope ________________B______
11. Intonaco ______________K______
12. Gesso_________________E______
A. Trained under a master artist to mimic his
style.
B. Is the name for a red brush drawing done
before a fresco is made. Its name is taken from
a town on the Black Sea known for the red color
of its earth.
C. Associated with astigmatism (refractive error
in the eye).
D. a branch of philosophy concerned with how
we feel about the things we sense (mainly
through the eyes, ears, and hands).
E. a white coating made of chalk, plaster, and
size that is spread over a surface to make it
more receptive to paint and smoother.
F. Painted the Scrovegni Chapel
G. Two paintings attached by hinges
F. Are the lines we draw to record boundaries
of subject matter.
G. Italian for light to dark. Realistic value
changes.
H. French word for “rebirth”
I. Refers to the apparent “heaviness” or
“lightness” of the forms arranged in a
composition, as gauged by how insistently they
draw our eyes attention.
J. Known as one of the greatest Byzantine style
painters.
K. This layer is applied to a fresco while it was
still damp and able to absorb colors. When the
plaster dried and hardened, the colors became
integrated with it.
L. When someone receives the wounds of
Christ.
M. French for moon lit
N. “Dark Ages”
Answer in True or false format. 2 points each
13. T or F
Buon Fresco is fresco that is wet, or true fresco.
14. T or F
Symmetrical Balance is the implied center of gravity is the vertical axis. Forms on either
side of the axis correspond to one another in size, shape and placement.
15. T or F
Rhythm is based on the solitude of forms
16. T or F
In Giotto’s Last Judgment painting, we see the depiction of the birth of Christ and the
events leading to his birth.
17. T or F
The cities of Siena and Florence worked as both a civil and artistic tandem, as good
friends.
18. T or F
Calvary in Latin is Calvaria, which means “place of sorrow”
19. T or F
Linear Perspective is an approximate representation, on a flat surface (such as paper),
of an image as it is seen by the eye.
20. T or F
A predella another name for a roman archway.
21. T or F
Duccio’s Maesta honored the Virgin Mary in a large altar piece for the city of Siena.
22. T or F
Atmospheric Perspective Refers to the effect the atmosphere has on the appearance of
an object as it is viewed from a distance.
23. T or F
Lorenzetti’s monumental paintings of both the effects of good and bad government,
were a breakthrough for art at this time because they were financed by the
Catholic church.
List the Elements of Art/Design. 1 point each
24. Line
25. Shape
26. Value
27. Texture
28. Color
29. Space
Extra Credit for listing 3 principles of Art/Design
1. Balance Unity/Harmony Rhythm Emphasis Scale
2.
3.
Images Recognition: Please name the artist, title and date of the piece shown. 5 points each
30. Nicola Pisano,
Pulpit, Pisa Baptistery, 1259-1260
31. Giotto, Annunciation, Arena Chapel (Scrovegni Chapel), Padua, c. 1305
32. Duccio, Kiss of Judas, from the Maesta, from Siena Cathedral, 1308-1311.
33. Cimabue, Madonna Entrhoned, c. 1280-1290
34. Giotto, Crucifixion, Arena Chapel (Scrovegni Chapel) Padua, c 1305
35. Giotto, Stigmatization of Saint Francis, Exterior of the Bardi Chapel, after 1317
36. Duccio, Maesta, from Siena Cathedral, 1308-1311
37. Ambrogio Lorenzetti, Effects of Good Government in the City and the Country, 1338-1339
Essay. Please write a few sentences describing the topic. More points will be given to more points
made in the essay. 10 points
38. Describe the events taking place in Giotto’s Last Judgement. Start by telling me which end of the
chapel this fresco is painted (and why this painting is painted at this particular end), and then
describe the events taking place in the painting.
This is the last judgment which fulfills Christian prophecy of Christ returning.
This event takes place on the western wall of the chapel. Surrounding Christ are military angels. Above
those angels, two angels are rolling up the sky to reveal heaven.
Seated at the sides of Christ are the apostles. Christ’s right hand summons the saved souls and his left
rejects the damned.
Leading the saved souls to the right is Mary who appears, as in tradition, to be the intercessor with
Christ on behalf of humanity.
Hell is placed below heaven and on Christ’s left. The imagery we see in the depiction of hell relates the
most to medieval imagery.
It is surrounded by flames emanating from the circle around Christ. Hell is depicted without order
which is in contrast to the rest of the fresco.
People in hell are tormented by blue and red devils. At the center is a blue gray devil (Satan). These
monstrous forms merging with one another are also referencing medieval tradition.
Satan is devouring one soul while serpents coming out of his ears are biting at others.
Here we see Enrico Scrovegni, assisted by a monk, lifts up the model of the Scrovegni Chapel and
presents it to Mary and two other figures.
Scrovegni holds the model and faces the exterior of the entrance wall. This placement of the donor in
the painting becomes common in the Renaissance.
Note the soul hiding behind the cross trying to escape the demons of hell and cross over to the number
of souls going into heaven.  Highlight Also in the piece and optional.
Extra Credit Essay. 10 points
Looking at these two images. Please explain in as much detail as possible, the differences between the
images and why this was significant.
Duccio and Giotto exemplify two major currents in early 14 th century Italian painting. Duccio was closely
tied to the Byzantine tradition, whereas Giotto was steeped in the humanist revival of Classical
antiquity.
Duccio’s panel is more densely packed with figures than the mosaic. This, along with the landscape
background, conveys an illusion of greater depth. The more subtle shading of the drapery folds also
gives a greater sense of three-dimensional form. The apostles in Duccio’s panel react with greater
emotion than in the Mosaic.
Giotto’s version of the Kiss of Judas, lives up to his reputation among humanist authors for having
reintroduced naturalism to painting.
The fresco is virtually devoid of landscape forms that might distract viewers from the central event. Nor
to any of Giotto’s figures face the pictures between Jesus and Judas. These two, in turn, are locked in
each others gaze, surrounded ominously by the helmets framing their heads.
Giotto is one of the first Western artists since ancient Rome to have depicted figures in the back view
that show their physical mass and weight. In the Kiss of Judas, he places three figures as if in different
stages of a turn: the pointing man at the right is in three-quarter view; Judas turns farther to the right as
his yellow cloak envelops Jesus; and the hooded man in the gray is seen directly from the rear.