978-0134479262 Part 5 | Course Paper

78

Transition Guide

Images Removed from the 5th

Edition

Images Added to the 6th Edition

Detail of Mirror and Signature in a

Double Portrait of Giovanni Arnolfini

and His Wife (Fig. 19–13)

Interior Courtyard of Jacques Coeur

House (Fig. 19–24B)

Interior Courtyard of Jacques Coeur

House (Fig. 19–24B)

Discussion Topics and Critical Thinking Questions

1. The delicate and luxurious International Gothic style was popular throughout

Europe in the fifteenth century. Select one work from this chapter that you think

exemplifies the style, and then explain your choice. What distinguishes this work

from earlier Gothic art?

2. The Très Riches Heures of the Duke of Berry (Figs. 19–5 and 19–6) alternated

scenes of court and peasant life. Examine the feast scene depicted for January.

How does this manuscript illumination convey the power and authority of the

duke? What visual clues would lead the viewer to know which figure in the

painting is the most important?

79

7. The invention of Gutenberg’s movable–type press revolutionized the circulation of

information in the fifteenth century. The technology would drastically reduce the

cost of printing books and would eventually lead to higher literacy rates

throughout Europe. These books were often illustrated with woodcuts or

engravings. What impact did works like the Nuremberg Chronicle have on the

graphic arts?

Key Terms

diptych

matte

woodblocks

triptych

picture plane

woodcuts

polyptych

trompe l’oeil

engraving

horizon line

silverpoint

intaglio

oil paint

crockets

burins

Active Learning Assignments

1. Many theories have been formed to explain Jan van Eyck’s Double Portrait of

Giovanni Arnolfini and His Wife (Fig. 19–1). Some scholars believe that it depicts

an engagement or wedding ceremony, while others think the painting was a

memorial after the death of Arnolfini’s wife. Examine the painting; considering

the way the figures are depicted and the iconography in the painting, what do

you think is the subject of this portrait?

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CHAPTER TWENTY

RENAISSANCE ART IN

FIFTEENTH–CENTURY ITALY

Chapter-at-a-Glance

• Humanism and the Italian Renaissance

• The Early Renaissance in Florence | The Competition Reliefs |

Filippo Brunelleschi | Sculpture | Masaccio |

Painting in Florence After Masaccio

Technique: Renaissance Perspective

• Florentine Art in the Second Half of the Fifteenth Century |

Verrocchio | Pollaiuolo | The Morelli–Nerli Wedding Chests | Ghirlandaio |

Botticelli

A Closer Look: Primavera

• Urbino, Mantua, Rome, and Venice | Urbino | Mantua | Rome | Venice

Learning Objectives

By the end of this chapter, the student will be able to:

20

81

Transition Guide

Images Removed from the

5th Edition

Images Added to the 6th Edition

The Foundling Hospital (A Broader

Look)

Infant in Swaddling Clothes (One of

the Holy Innocents Massacred by

Herod) (Fig. 20-7)

Infant in Swaddling Clothes (One of

the Holy Innocents Massacred by

Herod) (Fig. 20–6)

Cassone Made for the Marriage of

Lorenzo di Matteo Morelli and Vaggia

di Tanai Nerli (One of a Set of Two)

(Fig. 20–30)

Cassone Made for the Marriage of

Lorenzo di Matteo Morelli and

Vaggia di Tanai Nerli (One of a Set

of Two) (Fig. 20–26)

Courtyard, Ducal Palace, Urbino (Fig.

20–36)

Courtyard, Ducal Palace, Urbino

(Fig. 20–28)

Discussion Topics and Critical Thinking Questions

1. In the growing humanistic atmosphere of the early Renaissance, art became

increasingly important as a public and political statement. Why would art have

taken on this role? Why would powerful politicians choose to spend their money

commissioning works of art? Choose one work from this chapter and explain how

it would have conveyed a message to the public.

5. Lorenzo Ghiberti was commissioned to complete two sets of bronze doors for the

Florence Baptistery, which had first been decorated with bronze doors by Andrea

Pisano in the fourteenth century. Compare a panel from Ghiberti’s Gates of

Paradise with one from Pisano’s original doors (Figs. 18-3 and 20-16). How does

each one represent the developments of Renaissance art and humanism? What

changes are seen over the course of these commissions?

6. The architecture of Filippo Brunelleschi reinterpreted Classical forms to create a

distinctive Renaissance style for Florentine buildings. How does Brunelleschi’s

design incorporate elements of Classical architecture? How does this building

reflect Renaissance ideals of order and geometry?

7. Renaissance portraits often included levels of symbolism and meaning in addition

to the likeness of the patron. Scholars have noted the many unusual elements in

Fra Filippo Lippi’s Portrait of a Woman and Man (Angiola di Bernardo Sapiti and

Lorenzo di Ranieri Scolari?) (Fig. 20–26) but remain uncertain as to the meaning

of the work. Examine the figures in the portrait, as well as the composition of the

painting, and create a hypothesis as to its meaning.

Key Terms

83

CHAPTER TWENTY–ONE

SIXTEENTH–CENTURY ART IN ITALY

Chapter-at-a-Glance

• Europe in the Sixteenth Century

• The Roman High Renaissance | Leonardo da Vinci | Raphael |

Michelangelo | Architecture in Rome and the Vatican

Art and Its Contexts: The Vitruvian Man

A Closer Look: The School of Athens

• Northern Italy | Venice and the Veneto | The Architecture of Palladio

• Mannerism | Pontormo, Parmigianino, and Bronzino |

Anguissola and Fontana | Sculpture

• Art and the Counter–Reformation | Rome and the Vatican

Art and Its Contexts: St. Peter’s Basilica

Learning Objectives

By the end of this chapter, the student will be able to:

Transition Guide

Images Removed from the

5th Edition

Images Added to the 6th Edition

Madonna of the Goldfinch (Madonna

del Cardellino) (Fig. 21–7)

21

Discussion Topics and Critical Thinking Questions

1. The original commission for Leonardo da Vinci’s The Virgin of the Rocks (Fig. 21–

2) did not include the figure of St. John the Baptist. Why do you think Leonardo

added this figure? What does he contribute to the narrative, iconography, and

composition of the painting?

2. The Last Supper was a common theme for Renaissance artists, providing a scene

Key Terms

85

Active Learning Assignments

1. Study Donatello’s and Michelangelo’s versions of the David (Figs. 20–14 and 21–

15). Divide into groups and organize a debate: which artist better conveys the

story of David and Goliath? Consider how closely each artist relates to the biblical

narrative and how (and why) each artist departs from the original source

material.

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CHAPTER TWENTY–TWO

SIXTEENTH–CENTURY ART IN

NORTHERN EUROPE AND

THE IBERIAN PENINSULA

Chapter-at-a-Glance

• The Reformation and the Arts

Art and Its Contexts: German Metalwork: A Collaborative Venture

• Germany | Sculpture | Painting

• France | A French Renaissance Under Francis I | Royal Residences

Art and Its Contexts: The Castle of the Ladies

• Spain and Portugal | Architecture | Sculpture | Painting

• The Netherlands | Painting for Aristocratic and Noble Patrons | Antwerp

A Closer Look: The French Ambassadors

• England| Painting at the Tudor Court | Architecture

Art and Its Contexts: Armor for Royal Games

Learning Objectives

By the end of this chapter, the student will be able to:

22.a Identify the visual hallmarks of sixteenth–century Northern European and

22

87

Transition Guide

Images Removed from the

5th Edition

Images Added to the 6th Edition

High Great Chamber, Hardwick Hall

(Fig. 22–31)

High Great Chamber, Hardwick Hall

(Fig. 22–32)

Discussion Topics and Critical Thinking Questions

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Key Terms

châteaux

Active Learning Assignments

89

CHAPTER TWENTY–THREE

SEVENTEENTH–CENTURY ART IN EUROPE

Chapter-at-a-Glance

• “Baroque”

• Italy | Maderno and Bernini at St. Peter’s | Bernini as Sculptor | Borromini |

Painting

• Spain | Painting in Spain’s Golden Age | Architecture

• Flanders | Rubens | Van Dyck and Peeters: Portraits and Still Lifes

A Closer Look: Prometheus Bound

• The Dutch Republic | Painting

Technique: Etching and Drypoint

Art and Its Contexts: Science and the Changing Worldview

• France | Versailles | Painting

Art and Its Contexts: Grading the Old Masters

Elements of Architecture: Garden Design

• England | Architecture

Learning Objectives

By the end of this chapter, the student will be able to:

Transition Guide

Images Removed from the

5th Edition

Images Added to the 6th Edition

St. Teresa of Ávila in Ecstasy (Fig.

23–1)

St. Teresa of Ávila in Ecstasy (Fig. 23–

1)

23

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Discussion Topics and Critical Thinking Questions

1. Gianlorenzo Bernini created a sculptural installation for the Cornaro Chapel

centered on his sculpture of St. Teresa of Ávila in Ecstasy (Fig. 23–1). How is

Bernini’s design a reflection of Counter–Reformation ideology? How might Bernini

have considered himself a Classicist? What elements of his work are Classical in

nature? What is not strictly Classical about his work?

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Key Terms

genre paintings

drypoint

camera obscura

tenebrism

impasto

parterres

Active Learning Assignments

1. Flemish artist Peter Paul Rubens painted his Self–Portrait with Isabella Brandt

(Fig. 23–24) to commemorate his recent marriage. The double portrait features

himself and his new wife. Compare and contrast this painting with the Double

Portrait of Giovanni Arnolfini and His Wife (Fig. 19–1). How does Rubens employ

the Baroque style and what does he borrow from earlier periods?

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CHAPTER TWENTY–FOUR

ART OF SOUTH AND SOUTHEAST ASIA

AFTER 1200

Chapter-at-a-Glance

• Foundations of Indian Culture

• South Asia 1200–1800 | Changes in Religion and Art |

Hindu Architectural Developments | Mughal Period

Technique: Indian Painting on Paper

Art and Its Contexts: Southeast Asian Ceramics

• Southeast Asia 1200–1800 | Buddhist Art and Kingship |

Islamic Art in Southeast Asia

A Closer Look: The Sukhothai Buddha

• The Colonial Period and the Modern Era |

British Imperialism in South Asia | The Modern Period

Learning Objectives

By the end of this chapter, the student will be able to:

24

93

Transition Guide

Images Removed from the

5th Edition

Images Added to the 6th Edition

Qutb Minar (Fig. 24–5)

Qutb Minar (Fig. 24–4)

Gateway of India (Fig. 24–14)

Virupaksha Temple, Vijayanagara

(Fig. 24–5)

Shwedagon Stupa (Pagoda) (Fig.

24-18)

Elephant Stables, Vijayanagara (Fig.

24–6)

Petronas Towers (Fig. 24–22)

City Palace, Udaipur (Fig. 24–15)

Mor Chowk of the City Palace, Udaipur

(Fig. 24–16)

Shwedagon Stupa (Pagoda) (Fig. 24–

19)

Gateway of India (Fig. 24–24)

Petronas Towers (Fig. 24–27)

Discussion Topics and Critical Thinking Questions

1. The Vijayanagara and Nayak architects combined their styles with the Islamic

and Hindu styles of earlier Indian architecture. View Figures 24–5, 24–6, and 24–

7. How do the buildings reflect these different influences? How do they convey

the power and authority of the rulers?

2. The complex of the Taj Mahal (Figs. 24–1 and 24–12) is one of the most well–

known works of Indian art. Built as a mausoleum, it was intended to convey a

sense of power but also personal loss. It also reflected contemporary thoughts

about the afterlife. How do the building and its gardens function as a religious

work of architecture?

3. Rajput painting, popular in the courts of northern India, was often more abstract

than the Mughal style of painting. Analyze Krishna and the Gopis (Fig. 24-13).

What elements of this work can be considered abstract? How do they convey a

religious message?

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6. Many art and architectural innovations occurred during the rise of the Thai.

Review the section about the Temple of the Emerald Buddha on pages 799–801.

How do the sculptures and architectural design relate Buddhism to the power of

the king?

7. Review “Art and Its Contexts: Southeast Asian Ceramics” on page 797. Discuss

the design and shape of the Vietnamese ceramics from the Hoi an Hoard. How do

they compare with traditional Chinese Ming dynasty ceramics?

Key Terms

cenotaphs

atelier

chattri

blind arcade

Active Learning Assignments

1. During the British colony period, known as the Raj, British architects imported

their style of building. Over time, however, they began to blend this European

style of architecture with local influences. Compare the Victoria Terminus (Fig.

24-23) with the Gateway of India (Fig. 24-24). What changes were made to

incorporate elements of Indian architectural traditions?

95

CHAPTER TWENTY–FIVE

CHINESE AND KOREAN ART AFTER 1279

Chapter-at-a-Glance

• Foundations of Chinese Culture

• The Mongol Invasions and the Yuan Dynasty | Painting

Technique: Formats of Chinese Painting

• The Ming Dynasty | Court and Processional Painting |

Architecture and City Planning | The Literati Aesthetic

Technique: The Secret of Porcelain

A Closer Look: Spring Dawn in the Han Palace

Art and Its Contexts: Poet on a Mountaintop

• From the Qing Dynasty to the Modern Era |

Orthodox and Individualist Painting | The Modern Period

• The Modern Period

• Arts of Korea from the Joseon Dynasty to the Modern Era |

Joseon Ceramics | Joseon Painting | Modernist Painting

Learning Objectives

By the end of this chapter, the student will be able to:

25

96

Transition Guide

Images Removed from the

5th Edition

Images Added to the 6th Edition

Sheep and Goat (Fig. 25–2)

Autumn Colors on the Qiao and Hua

Mountains (Fig. 25–2)

Flask (Fig. 25–7)

Two Flasks (Fig. 25–4)

Garden of the Cessation of Official

Life (Also Known as the Humble

Administrator’s Garden) (Fig. 25–11)

Garden of the Cessation of Official Life

(Also Known as the Humble

Administrator’s Garden) (Fig. 25–11)

Landscape (Fig. 25–14)

Quince (Mugua) (Fig. 25–14)

Picnic at the Lotus Pond (Fig. 25–20)

Reminiscences of Qinhuai River (Fig.

25–15)

Roof Tiling (Fig. 25–21)

Discussion Topics and Critical Thinking Questions

1. Chinese painting often included verses of poetry, written to accompany the

specific image. Along with his painting A Thousand Peaks and Myriad Ravines

(Fig. 25–1), Wang Hui wrote the inscription found on page 807. Read the poem

and consider which you find to be more effective in conveying the scene—the

words or the image. How do they work together? How does the combination

represent the ideals for the scholar in Chinese art?

6. Porcelain painting was popular in both Chinese and Korean art but with

significant differences of style. Compare and contrast the traditional style of

porcelain painting, using the Ming dynasty Flasks (Fig. 25-4) and the Joseon

Broad–Shouldered Jar with Decoration of a Fruiting Grapevine (Fig. 25-18) as

your evidence.

7. Discuss the form of the figures and perspective of the landscape in Spring Dawn

in the Han Palace (Figs. 25–7A and B). How does this compare with sixteenth–

century Italian Renaissance paintings, such as Raphael’s School of Athens (Fig.

21–10)?

Key Terms