Answer the following:

1. How does the Roman painter of the Pompeiian fresco portray the mother sitting on a chair with her child behind her? The painter is intent on making the illusion of a 2-dimensional surface appear as though it is 3-dimensional. How does the artist accomplish this?

2. The narrators take us to the Hagia Sophia in Istanbul where we see an enormous mosaic of the Virgin Mary and Child. It is stylized, frontal, and symbolic. Why did the artist decide to portray this religious figure in such a way. It is skilled but rejects illusionism. Why?

3. We look at a painting of the Madonna and Child by the Venetian painter Bellini in a painting from the Renaissance. This is a combination of a natural and heavenly representation. How do Renaissance ideals inform this work?

4. Finally we see a print by Eric Gill from 1919 which emphasizes line and contour with no attention paid to modeling, perspective, or deep space. Why does the modern representation of this Christian subject matter ignore painting traditions of the Renaissance or the ancient world?

5. Consider deeply how portraying the body has changed over the centuries, and think about some of the examples we have studied. Conclude by writing about the goals of artists and how they respond to the culture and conditions of their times. Avoid generalizing–be specific in your response. Watch video and answer the questions
No plagarism 
Due 11/15