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Answer ALL THREE of these questions in 500-650 words each. #1). During the fifteenth and sixteenth centuries, Italian artists created vivid portraits that helped
to construct their subjects’ identities and mark their places within Renaissance society.
Using Leonardo da Vinci’s Portrait of Cecilia Gallerani (Lady with an Ermine) as a point of
departure, choose TWO other portraits of Renaissance Italians. Use these three case studies to
explore the ways that portraits could communicate ideas about the sitter’s identity and status, as
well as the social, spiritual, or political functions that the artworks served.#2). As High Renaissance Artists of the Late-Fifteenth and Sixteenth Centuries built upon early
fifteenth-century innovations like mathematical perspective and incorporation of classical styles,
they deployed these artistic tools in service of powerful patrons, including papal, ducal, or royal
courts. Choose two artworks (or works to architecture) created between 1450 and 1550s: One
commissioned by the Medici Family of Florence and another commissioned by one of the
powerful Popes who reigned during this period.
Use your chosen case studies to compare and contrast the ways that power and prestige were
represented in each cultural center: Papal Rome and Florence under the Medici. In addition to
your two main works, include TWO additional comparative examples (one from each place) to
support your arguments. #3) Over the last few weeks, we’ve explored numerous examples of the ways that architecture
and artwork interact to form a wholistic visual program. Discuss how Andrea Mantegna’s
Camera Picta in Mantua’s Palazzo Ducale and Michelangelo’s Medici Chapel at San Lorenzo in
Florence unite architecture with other artistic media—whether painting or sculpture—to
communicate complex meanings. Discuss how these multi-medial spaces relate to the specific
styles and talents of the artists who made them, and examine what ideas their combinations of art
and architecture communicate. Then, choose a THIRD space where architecture and other artistic media come together to create
a meaningful visual program, and examine this space using the same points of analysis and
exploratory questions that you use to discuss the Camera Picta and the Medici Chapel.
ha_330_____final_exam.pdf

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HA 330 – Final Exam
Due by 8pm on Friday, May 17 via the SafeAssign Submission Link. You must access the
Course Evaluation located Week 8’s Lesson folder to make the Submission Link Appear!
Instructions:
This exam consists of three essays, each of 500-650 words in response to the three questions
below. The three essays must be prepared as a single document, with your name, the course
number, question number, and date included at the start of each essay; please include the
final word count for each essay below the last sentence of the essay. These essays will be
submitted through blackboard. Late essays will be accepted, but your grade will be lowered
by 10 points for each day past the due date. If you anticipate having difficulty submitting
this assignment on time, you are strongly advised to contact the instructor in advance.
This is an open book exam, which means that you may consult your readings, your notes,
lectures, and other materials provided through the course. Everything you need to answer these
questions will be available in the provided course materials, but if you wish to learn more about a
particular subject and consult outside sources as you work on this, certain additional sources will
be acceptable. Additional acceptable sources include published books (a book must list an author
and a date of publication); articles or films available through the KU library system (including
articles accessed online through the KU library system); and other reference works that can be
linked to through the blackboard page or through the KU library portal. If you have any
questions about whether or not a source is acceptable, you should contact the instructor. If you
choose to consult any additional sources, you must provide a complete citation for the
source you have consulted; not providing such a citation could constitute an instance of
plagiarism, which will be taken seriously by the instructor and will usually result in a grade
of zero for the entire course.
You may ask a friend to proofread your essays in order to improve your writing technique, but
you may not seek help from another person in formulating the content of your answers – your
answers must be your own. Under no circumstances may you discuss this exam with another
student enrolled in this course, or another person who has taken this course in the past.
In order to earn an “A”, your answers must directly and completely address the questions
as asked. Grading of these essays will take into account your demonstrated command of the
material (knowledge of specific works of art and architecture acquired through assigned readings
and lectures; use of appropriate terminology acquired through readings, lectures, and from the
textbook glossary as needed; general knowledge relating to the cultural background in which
these works of art and architecture were produced). The technical quality (organization, grammar,
spelling, etc.) of the writing will also be taken in to account. Each essay will be graded separately,
and the average of these grades will be the exam grade.
Essay Questions:
Answer ALL THREE of these questions in 500-650 words each.
#1). During the fifteenth and sixteenth centuries, Italian artists created vivid portraits that helped
to construct their subjects’ identities and mark their places within Renaissance society.
Using Leonardo da Vinci’s Portrait of Cecilia Gallerani (Lady with an Ermine) as a point of
departure, choose TWO other portraits of Renaissance Italians. Use these three case studies to
explore the ways that portraits could communicate ideas about the sitter’s identity and status, as
well as the social, spiritual, or political functions that the artworks served.
#2). As High Renaissance Artists of the Late-Fifteenth and Sixteenth Centuries built upon early
fifteenth-century innovations like mathematical perspective and incorporation of classical styles,
they deployed these artistic tools in service of powerful patrons, including papal, ducal, or royal
courts. Choose two artworks (or works to architecture) created between 1450 and 1550s: One
commissioned by the Medici Family of Florence and another commissioned by one of the
powerful Popes who reigned during this period.
Use your chosen case studies to compare and contrast the ways that power and prestige were
represented in each cultural center: Papal Rome and Florence under the Medici. In addition to
your two main works, include TWO additional comparative examples (one from each place) to
support your arguments.
#3) Over the last few weeks, we’ve explored numerous examples of the ways that architecture
and artwork interact to form a wholistic visual program. Discuss how Andrea Mantegna’s
Camera Picta in Mantua’s Palazzo Ducale and Michelangelo’s Medici Chapel at San Lorenzo in
Florence unite architecture with other artistic media—whether painting or sculpture—to
communicate complex meanings. Discuss how these multi-medial spaces relate to the specific
styles and talents of the artists who made them, and examine what ideas their combinations of art
and architecture communicate.
Then, choose a THIRD space where architecture and other artistic media come together to create
a meaningful visual program, and examine this space using the same points of analysis and
exploratory questions that you use to discuss the Camera Picta and the Medici Chapel.

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