For Closer Look: Dürer’s Adam and Eve: As we noted at the end of the last chapter, in discussing Dürer’s Self-Portrait of 1500 (see Figure 16.18), creating art was, for Dürer, a sacred act. How does this print reflect that attitude?
What will be an ideal response?
Adam and Eve can be read metaphorically through Dürer’s use of light and dark as a study of inspiration and melancholy. Given that Dürer suffered from depression (melancholia; see Figure 17.9), this work of art is also a representation of action brought about by divine inspiration. Inspiration can be considered divine because, like Adam with whom Dürer is identified (through the Latin placard), the artist is awakened with spiritual knowledge.
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Bramante's Tempietto (16.8) is located in ____________
a. Rome b. Athens c. Florence d. Milan
Matching
30. Mary Cassatt a. Maple Leaf Rag 31. Kate Chopin b. In the Loge 32. Emily Dickinson c. The Last Race, Part of Okipa Ceremony (Mandan) 33. Thomas Eakins d. The Gentle Art of Making Enemies 34. Henry James e. The Daughters of Edward Darley Boit 35. Scott Joplin f. "Wild Nights" 36. John Singer Sargent g. The Awakening 37. James Whistler h. The Agnew Clinic 38. George Catlin i. Portrait of a Lady
Which of the following is the term for the traditional ways of representing forms?
a. homages b. salutations c. registers d. conventions
Which section of the concerto’s first movement is given over to a fantasy-like improvisation?
a. introduction b. second exposition c. development d. cadenza e. coda