1.Explain how Rogier van der Weyden’s Seven Sacraments Altarpiece functioned in its social context.
2.Explain how Gerard David’s Judgment of Cambyses functioned in its social context.
3.How is the illusion of space attempted in the “Annunciation” scene of Jean Pucelle’s Hours of Jeanne d’Évreux?
4.What were Jean Pucelle’s possible sources for the design of the composition of the “Lamentation” scene of The Hours of Jeanne d’Évreux?
5.What are Jean de Vaudetar and King Charles V of France doing in Jean Bondol’s illustration to Charles’ Historical Bible (Bible historiale)?
6.What are the compositional motifs that later artists borrowed from the Boucicalt master?
7.What is considered “courtly” in the calendar illustrations of the Limbourg brothers’ Très Riches Heures du Duc de Berry? How do the scenes reflect the viewpoint of the aristocracy?
8.What evidence is there that the at least one of the Limbourg brothers had gone to Italy?
9.Identify the different groups of people and what they are doing in the “Calvary” scene of Conrad von Soest’s Niederwildungen Altarpiece.
10.What contributes to the hieratic character of the scenes from the life of Mary in Conrad von Soest’s Dortmund Altarpiece?
11.What kind of image does St. Veronica hold? Who painted it?
12.Why do people believe that the Veronica Master was an apprentice in the Dortmund studio of Conrad von Soest?
13.What are the similarities and differences between Westphalian and Bohemian-style “Calvary” scenes?
14.What are the similarities and differences between Italian and Bohemian-style Madonnas?
15.Describe the Hohenfurth Master’s depictions of the natural world (not including man and man-made things).
16.Compare and contrast the two paintings of The Resurrection of Christ by the Hohenfurth Master and the Master of Wittengau.
17.How did Jean Maluoel depict spacial depth in his paintings?
18.How did Melchior Broederlam depict spacial depth in his paintings? What kind of linear perspective did he use? In other words, how many vanishing points are there in his paintings?
19.How did the use of oil glazes affect the appearance of paintings?
20.What does The Marriage-Portrait of Giovanni Arnolfini and Giovanna Cenami tell us about the relationship between the pair shown?
21.How does the “New Materialism” manifest itself in the art of Robert Campin (the Master of Flèmalle)?
22.How did Rogier Van der Weyden depict spacial depth in the Prado Descent from the Cross? Where are the figures shown to be?
23.How did Rogier van Weyden make references to past art in his paintings? What specific elements did he borrow or copy from art of the past? What did he copy or learn from his teacher Robert Campin?
24.What things about Hugo van der Goes’ paintings did Panofsky attribute to the personal instability of the artist?
25.Are the people in the left and central panels of Bosch’s Garden of Earthly Delights sinning?
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