TAMU ARTS 150 Exam 2 11

Set of notecards from powerpoints for TAMU ARTS 150 class, taught Spring 2011 by Dr. Lubunski

12 cards   |   Total Attempts: 182
  

Cards In This Set

Front Back
Question 1
Gianlorenzo Bernini David (1623) marble Rome -Compare to donatello's david -shown during action, goliath is somewhere around in our space -molded from bernini's face -still classical influence
Question 2
Gianlorenzo Bernini, Rape of Persephone 1621-1622. Marble -seems real
Question 3
Gianlorenzo Bernini Apollo and Daphne 1622-1624. Marble -Daphine turns into a laurel tree by father (god) when pursued by apollo -drama changes with angle of the observer
Question 4
Gianlorenzo Bernini Church of Santa Maria Della Vittoria Rome 1642–1652 -box's on sides, looking at action -represents saints account accurately
Question 5
Gianlorenzo Bernini. St. Teresa of Ávila in Ecstasy. 1645–1652 -erotic image, based on description
Question 6
St. Peter's Basilica Vatican, Rome. Carlo Maderno, façade, 1607–1626 -facade of church: classical: symmetry, columns, pediment new: square columns, unequal spacing to draw eye to center, profile extends outwards so reaches towards the viewer (crescendo)
Question 7
St. Peter's Basilica and Piazza, Vatican, Rome. Carlo Maderno, façade, 1607–1626; Gianlorenzo Bernini, piazza design -massive space -almost tempe-like due to columns
Question 8
Gianlorenzo Bernini Baldacchino (Baldachin). 1624-1633. At crossing of St. Peter’s -needed to make huge space intimate -directs viewers focus -top looks like fabric -over st. peters tomb
Question 9
Francesco Borromini Façade of San Carlo alleQuattro Fontane (1665-1676) Rome Borromini (more volatile)- rival of bermini -not classical, completely revolutionary design -wavy quality with classical elements -not a large church, but a sense of drama is still created
Question 10
Francesco Borromini, San Carlo alleQuattro Fontane (1665-1667) Rome -church based on an oval -curved surfaces makes the dome appear to be weightless
Question 11
Francisco de Zurbarán Saint Serapion (1628) oil on canvas -tenebrism, common man -appears dead (limp hands)
Question 12
Diego Velázquez Water Carrier of Seville (c. 1619) oil on canvas Velázquez -one of most highly regard among proponents of caravaggism -reconciled intimacy with theatricality -began to explore secular themes Water Carrier -water-showing off realism -water symbolizes: -water into wine, water gives life/ quenches thirst, man if quenching thirst for jesus to kid