Question 1  Look closely at fig. 19.13 (Matthias Grünewald, Isen

Question 1  Look closely at fig. 19.13 (Matthias Grünewald, Isenheim Altarpiece.  Ca. 1510-1515; oil on panel) and read Fiero’s description and comments on the work.  Then go online and find the work under Google-Images.  Make sure that you understand, how this multi-panel altarpiece ORIGINALLY worked, i.e. the center panel opens in the middle to reveal TWO different subsequent views underneath.     In two paragraphs (total of a minimum of 100 words in NON-REPETITIVE sentences) DESCRIBE the two inner views of the altarpiece (i.e., the views NOT shown in Fiero).  While you are welcome to consult Wikipedia, YOU ARE REQUIRED TO USE YOUR OWN WORDS!   In a third paragraph, COMPARE AND CONTRAST (i.e. explain the similarities and the differences) between the closed view of the altarpiece (i.e., The Crucifixion as shown in fig. 19.13) and a 20th century work by German artist:  Otto Dix, The Crucifixion.  1960; lithograph from The Gospel of Matthew).  You can find Dix’s lithograph as well as explanations about the artist and his religious work at http://sacredartpilgrim.com/collection/view/18.  Your third compare-contrast paragraph needs to comment on the following questions:   What is each artist trying to express?   What is the context of each work (i.e. what function does it express and what historic period does it reflect?)?   What is the most striking stylistic similarity between the two works?   Your paragraph needs to have a minimum of 50 words in NON-REPETITIVE sentences!     Question 2  COMPARE AND CONTRAST Bernini’s David (1623; marble; 5 ft. 7 in.; Fiero, fig. 20.12) with Michelangelo’s David (1501-04; marble; 13 ft. 5 in.; to be found on Google-Images).  Recount the biblical story depicted, and make sure that you explain the specific moment that each artist illustrates in his sculpture.  YOU NEED TO LOOK AT ALL SIDES OF EACH SCULPTURE, which you can easily do with the help of Google-Images.  There are views from the sides as well as from the back of both sculptures.     While you are comparing and contrasting the two sculptures you are also comparing and contrasting two different artistic periods, namely Southern Renaissance and Baroque.  REFERRING TO THE SCULPTURES, explain the stylistic differences.   Your response needs to consist of a minimum of 3 paragraphs, each paragraph consisting of at least 50 words in NON-REPETITIVE sentences (total of a minimum of 150 words).   Question 3  Write a DETAILED DESCRIPTION of Velázquez’ composition (Figure 21.1:  Diego Velázquez. Las Meninas; 1656; oil on canvas).  Remember that for a description, you need to mention all figures and objects in the work as well as the space depicted, plus, you are required to explain how figures, objects and space relate to one another (e.g., What is in the foreground?  What is in the middle ground?  What is in the background?  For instance, where is the easel with the large-sized painting in relationship to the persons depicted?  etc.).  Use the enlargement of the Wikipedia image online to see the details of the room as well as of the people, such as the facial expressions.     Before describing the work, you need to read the information about the painting in your textbook and expand your freshly gained knowledge with reading additional REPUTABLE online articles.  It is required that you understand the contents of the image in its context!  For instance:  Who is in the image?  What is the role of each person?  Where exactly does the scene take place?  Why are all figures looking into the viewer’s direction?   Your descriptive paragraph should consist of a minimum of 100 words.   In addition to the descriptive paragraph, you need to write a paragraph that explains in detail how the artist depicted the space in this work.  The actual room appears to go beyond the picture frame on both sides as well as in the back and in the front.  Which compositional elements indicate this expansion to the viewer?  Your additional explanatory paragraph should have a minimum of at least 50 words indicating the evidence of the room enlargement beyond the frame within the painting.

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