HUM Writing Asst. for Fiero Ch.

17 Short Answers

Name Frankel Valentin

1. What classical su !ects "i" #enaissance artists fa$or in their artworks% #enaissance artist fa$ore" classical su !ects that were "isci&les of nature. 'heir art rought scientific curiosit( an" stu"( of the mechanics of the human o"() which the( use" to imitate the worl"s a&&earance. *. Wh( "i" +eonar"o conclu"e that &ainting was su&erior to &oetr(% +eonar"o conclu"e" that &ainting is su&erior to &oetr( ecause) &oets are ,ill a le to "escri e- what the( see with the e(e. Accor"ing to +eonar"o &oetr( can.t full( imitate forms) actions) an" scenes. /. How "oes +eonar"o "istinguish 0u"as from the rest of the a&ostles in the Last Supper% 0u"as is "e&icte" as &artaking in sinful) flirtatious manner with the (oung la"( etween him an" 0esus. 1. What is the theme of #a&hael.s School of Athens? What figures a&&ear in the &ainting% Wh( are the( there% 'he theme of #a&hael.s School of Athens is the re irth of Classical humanism. 'he figures that a&&ear in the &aintings are classical heroes that are there ecause2 #a&hael ha" high a"miration for the &ortra(e" renaissance artist. 3. How "i" the &rinting &ress affect #enaissance music an" musical &erformance% As state" in the &assage) ,'he &rinting &ress encourage" the &reser$ation "issemination of all kin"s of musical com&osition. 4. What "e$ices "i" #enaissance artists use to make their &aintings more lifelike% #enaissance artists use" linear &ros&ecti$e) a tool that translate three5"imensional s&ace onto a two5"imensional surface to make their &aintings more life5like. 7. Name an" "escri e fi$e #enaissance musical instruments. #enaissance musical instruments inclu"e the organ) 6ke( oar" instrument with &e"als that are use" to force air into a series of &i&es that $i rate causing soun"7) the cla$ichor") 6a stringe" ke( oar" the has a &lectrum the &lucks the string7) the har&sichor") which has the same function as a cla$ichor" ut smaller) the flute) 6a &i&e with holes that are co$ere") when a air current &asses through in or"er to make soun"7) an" the trum&et)6 a funnel of rass tu ing that recei$es a stea"( air current in or"er to make soun"7.

+eonar"o "a Vinci is regar"e" as eing the first scientific illustrator. 8a Vinci ha" an a&titu"e for illustrating the human o"( as an organic mechanisms an" inno$ation of mechanic mar$els such as) the armore" tank. 9n retros&ect) this also makes him the &ioneer of science :fiction ecause some he "esigne" mechanisms that woul" not come into e;istence for some hun"re"s of (ears. +eonar"o "a Vinci ha" a note ook that containe" o$er 1<<< illustrations that "e&icte" his i"eas from o ser$ation) from a scientific &oint of $iew2 illustrations like the Embryo in the Womb) the Flying Contraption) an" the Manner of Vitruvius. Although the illustrations in the note ook ha" the &otential to o&en new $enues of engineering technolog() the illustrations ne$er went an( further ecause "a Vinci ha" a har" time finishing an" ringing some of his works to life. 9n the Embryo in the Womb,8aVinci "i&la(s his knowle"ge of a female &regnanc(2 he illustrates an un orn human fetus) as it woul" a&&ear insi"e of a uterus a &regnanc(. 'he em r(o is full( "e$elo&e") meaning that the &regnanc( has laste" at least 4 months. 'he um ilical chor" can e seen as the fetus rest is in a fettle &osition. 'he Wing Construction for a Flying Machine shows one of the earliest i"eas of machines allowing humans to fl(. 'he wing contra&tion most resem les a at wing. 'he illustration clearl( "is&la(s the i"ea of a skeletal an" mem rane material that woul" su&&ort a human while air orne. 'he Manner of Vitruvius illustrates a &ro&ortional stu"( of man. 8a Vinci utili=es geometric sha&es that show that man a natural &henomenon. Although the skeleton cannot e seen) "a Vinci shows his un"erstan"ing of the human anatom(. While com&aring the "ifferent &ositions of the male figure) notice how the forearms are slightl( twiste" outwar" as the arms are ele$ate"2 the shoul"ers an" collar ones are also ele$ate". Vinci shows man( "ifferent $iew&oints of the legs which are in natural &osition. 'he thighs) calf muscles) an" ankles are shown as the feet are &rotru"ing inwar" an" outwar". 'his "is&la(s how man is a le to su&&ort his o"( e$en though the lim s are not in e;act &ro&ortion. +eonar"o "a Vinci has een "escri e" as the first scientific illustrator ecause his illustrations show i"eas that ha$e the &otential to e rought to life) in or"er hel& in the "e$elo&ment of human e$olution.