Georgia College and State University
Department of Art
Dr. Cathleen Fleck
Fall 1999
The Exam:
This unit and the exam covers Chapters 14-16 of M. Stokstad's Art History. You will be responsible for the material covered in class that also appears in your book.
Multiple Choice. The first part of the exam will consist of 30 multiple choice, matching, or one- or two-word-answer questions that are similar to those found in your quizzes. They will be arranged according to similar themes of: Elements; Artists, Patrons, Works; Labeling; and Media. A good way to review is to look at the quizzes that you did not have to take on the Stokstad website, skipping over those questions that refer to artworks that we did not cover in class. You will have 20 minutes for this section.
Identification. The following section will consist of 5 slides that I will show in the exam that you must identify. You must provide 1) the title or name of the monument and the location for architecture (for a detail, both the detail and the monument from which it comes); 2) the culture and general date of the work (as in 'Gothic, 1150-1400'). You need not designate BCE or CE as all works of this unit are CE. Then, 3) you must write one or two sentences describing the significance of the work for its culture. In other words, what important thing does it tell us about the art and/or architecture of its time, culture, and place? You will have 3 minutes for each slide for 15 minutes for this section.
Compare and contrast. The last section of the exam will consist of a comparison of two slides from two cultures that bring out a main theme in this course, such as art for the use of the state, art for religious purposes, art for decorative purposes, art for burial, etc. You must answer 1) title and 2) culture/date (as for the previous identification section) for each, and then you must compare and contrast (state the similarities and differences) between the two works. What do they have in common (material, form, subject matter, purpose)? What is different? What does that similarity or difference say about each culture and its interests and goals in life and/or death? You must write this essay as clearly as possible in distinct paragraphs, first about their similarities and then about their differences. You will have 15 minutes for this question.
The items listed here are basically arranged in the order that they appear in the book and/or your lectures. You are
responsible for identifying and understanding basic ideas and facts about all artworks/architecture that we have discussed
in class and that appear in your book. Note that when I include the note see grey box, you should know how to label the
terms immediately listed.
Periods
Early Medieval: Scandinavia, Britain and Ireland, Carolingian, and Ottonian
Romanesque: France and Normandy
Gothic: France and Italy
Additional Information from:
Visiting lecture on Icon painting
Video on Medieval Manuscripts
Video on Gothic Cathedrals
Elements, Media, Labeling, and Concepts
Early Medieval:
animal interlace
Charlemagne
westwork
Icons:
icon
preparation steps and materials: gesso, gold leaf, tempera paint, varnish
Romanesque
Romanesque
reliquary
pilgrim's journey [see grey box]: know the concept and importance of pilgrimage
Romanesque architecture characteristics
ambulatory
choir
apse
Romanesque church portal [see grey box]: tympanum, archivolts and voussoirs, jamb figure
tympanum
archivolts/voussoirs
jamb figures
Throne of Wisdom
William the Conqueror, Duke of Normandy and King of England
embroidery [see grey box]: know the concept of its stitches vs. tapestry
Gothic:
Gothic
Abbot Suger
cathedral
rib vaulting [see grey box]: groin vault and quadripartite rib vault (groins and diagonal ribs)
Gothic Church [see grey box]: rib vaulting, choir, apsidal chapels, rose window, portals, flying buttresses, transept, nave, pointed arch, jambs
flying buttresses
triforium
plan of Chartres Cathedral
King Louis IX [see Sainte Chapelle]
altarpiece [see grey box]: know the concept
panel painting [see grey box]: gesso and tempera paint
fresco [see grey box]: buon fresco (on wet plaster)
Duccio di Buoninsegna
Simone Martini
Giotto di Bondone
Manuscripts:
manuscript
vellum
parchment
scribe
scriptorium
rubrication
historiated initial
Artists, Patrons and Works
Early:
Burial Ship from Oseberg Norway, c. 800
Purse cover from Sutton Hoo burial ship, Suffolk, England, c. 615-30
Gospel Book of Durrow, Page with Lion from Book of John, from Iona Scotland?, c. 675
Palace Chapel of Charlemagne at Aachen, 792-805
Abbey of Saint Gall, Model and Plan, c. 817
Ebbo Gospels, Page with Matthew the Evangelist, c. 816-40
Utrecht Psalter, c. 825-850
Saint Cyriakus at Gernrode, beg. 961, consecrated 973
Hitda Gospels, Presentation page with Abbess Hitda and St. Walpurga, early 11th c.
Romanesque:
Sainte-Foy at Conques, Benedictine abbey and church, mid 11th-12th c.
Saint Foy (Sainte Foy) reliquary statue, at Conques, late 10-11th c
Virgin and Child (Throne of Wisdom), France, wood, c. 1150-1200 [slightly out of order]
Gislebertus' Last Judgment tympanum of west portal, Cathedral of Saint-Lazare, Autun, France, c. 1120-35
Bayeux Tapestry, Norman-Anglo-Saxon embroidery from Canterbury, Kent, England or Bayeux, France, c. 1066-82
Gothic:
Abbey Church of St.-Denis, Ile de France, 1140-44
Chartres Cathedral, Church: c. 1194-60; West facade: c. 1134-1220; plan
Tree of Jesse Window, Chartres Cathedral, West Facade, c. 1150-70,
Sainte Chapelle, Paris, 1243-48
Duccio di Buoninsegna's Virgin and Child in Majesty or the Maestà, main panel of Maestà altarpiece, from Siena Cathedral, c. 1308-11
Simone Martini, Annunciation, center panel of altarpiece from Siena Cathedral, 1333
Giotto di Bondone, Arena Chapel, Padua, c. 1305-06: Last Judgment and Lamentation