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Copyright © 2018, 2014, 2011 Pearson Education, Inc. All rights reserved.
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?
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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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80
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
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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
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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
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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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86
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
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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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88
Key Terms
châteaux
Active Learning Assignments
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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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90
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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91
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
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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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94
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?
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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
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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
