Deck 22: Renaissance and Mannerism in Cinquecento Italy

Question 1

Leonardo's style fully emerges in the cartoon, Virgin and Child with Saint Anne and the Infant Saint John. Which of the following describes this work?

A) The cartoon is ordered with pictorial logic reflecting the International Gothic style.
B) The cartoon is ordered with pictorial logic and visual unity.
C) The cartoon is ordered with the visual unity of the 15th century Flemish style.
D) The cartoon is ordered with pictorial logic of Piero della Francesca.

Answer 1

B

Question 2

Paul III convened the Council of Trent in 1545. It was part of which of the following?

A) the Hundred Years War
B) the League of Cambrai
C) the Counter-Reformation
D) the Hanseatic League

Answer 2

C

Question 3

Which of the following was the primary church for the Jesuits in Rome?

A) St. Peter's
B) Il Gesù
C) San Giorgio Maggiore
D) Santa Maria Maggiore

Answer 3

B

Question 4

Which of the following was one of the favorite compositional devices of painters of the High Renaissance?

A) a flat triangle
B) a trapezoid
C)a. pyramid
D) an oval

Question 5

Who commissioned the Tempietto?

A) Pope Julius II
B) Ferdinand and Isabella of Spain
C) Henry VIII of England
D) Lorenzo de'Medici

Question 6

The Neo-Platonic ideals of the Medici circle were most congenial to the thinking of which of the following artists?

A) Leonardo da Vinci
B) Michelangelo
C) Raphael
D) Bronzino

Question 7

The dome Bramante designed for St. Peter's in Rome would have resembled which of the following?

A) Pantheon, Rome
B) Hagia Sophia, Constantinople (Istanbul)
C) Florence Cathedral
D) St. Mark's, Venice

Question 8

How has Michelangelo portrayed David?

A) At the moment of victory
B) With stern watchfulness before the battle
C) By celebrating the defeat of Goliath
D) By watching Goliath die

Question 9

Increasingly in portraiture, artists of the High Renaissance paid particular attention to the subject's personality and psychic state. This could also be said to describe the portraiture of which of the following artists?

A) Raphael
B) Michelangelo
C) Giulio Romano
D) Cellini

Question 10

Titian's altarpiece, the Madonna of the Pesaro Family, differed from High Renaissance compositions in central Italy in the ____.

A) symmetrical arrangement of figures
B) creation of a dark background
C) placement of the figures on a steep diagonal
D) the gesturing of figures toward the viewer

Question 11

In Leonardo's Last Supper, how did the artist break with traditional iconography?

A) By the placement of Judas on the same side as Christ and the other Disciples
B) By including the Magdalene in the role of servant
C) By including the Virgin seated at the table
D) By not including Judas at all

Question 12

How did Michelangelo's David become a political statement?

A) The sheer size of the work illustrated the wealth of Florence
B) David was the patron saint of the Gonzagas
C) The Pope contributed to the commission
D) The placement of figure near the west door of the Palazzo della Signoria

Question 13

What is an Arcadian reverie?

A) Greek countryside
B) Florentine countryside
C) Idyllic place of rural, rustic peace and simplicity
D) Elysian Fields

Question 14

Michelangelo's fascination with the human body was a lifelong pursuit. In his David he presented a perfect body with an attuned mind, prepared and ready for action. Which of the following descriptions of this work would support this statement?

A) It is a combination of Greek perfection and psychological insight.
B) It is a combination of Hellenistic excess and restrained emotion.
C) It is a combination of athletic tension and emotional excess.
D) It is a combination of athletic tension and psychological insight.

Question 15

Leonardo painted the Virgin of the Rocks, and it is said this work is a masterpiece in expressing emotional states. He modeled the figures with light and shadow-- a technique he learned from earlier works. Which 15ᵗʰ century Italian artist would have influenced Leonardo?

A) Piero della Francesca
B) Fra Angelico
C) Masaccio
D) Gentile da Fabriano

Question 16

Of the following, who was one of the most important Roman patrons of Michelangelo?

A) Lorenzo de' Medici
B) Federigo da Montefeltro
C) Julius II
D) Ludovico Sforza

Question 17

In Leonardo's Last Supper, the curved pediment above the head of Christ represents which of the following?

A) the Parthenon
B) pagan Rome
C) a halo
D) mere ornamentation

Question 18

His remarkable sense of color and his ability to convey light through color emerge in the altarpiece, Assumption of the Virgin. Who was this artist?

A) Michelangelo
B) Raphael
C) Titian
D) Giorgione

Question 19

The Sistine ceiling represents which of the following themes?

A) the chronology of Christianity
B) the history of the papacy
C) the history of Julius II
D) the chronology of the Early Christian Church in Rome

Question 20

Who was Raphael's teacher?

A) Bronzino
B) Andrea del Sarto
C) Perugino
D) Signorelli

Question 21

Sansovino was succeeded as chief architect of the Venetian republic by ____.

A) Giulio Romano
B) Michelangelo
C) Della Porta
D) Palladio

Question 22

How did the Medici popes' commissions create a conflict for Michelangelo?

Question 23

What commissions did the Medici popes give to Michelangelo?

Question 24

In Raphael's Stanza della Segnatura, he reconciled the philosophies and teachings of Plato and Aristotle. Which of the following have also been reconciled?

A) Julius II and Lorenzo de'Medici
B) Rome and Florence
C) Rome and England
D) Paganism and Christianity

Question 25

How did the tomb design Michelangelo created for Pope Julius II change?

Question 26

How does the work of Tintoretto reflect the Counter-Reformation?

Question 27

How is Titian's Venus d'Urbino significant?

Question 28

What does the Tempietto mark?

Question 29

How does the Stanza della Segnatura reflect Western leaning?

Question 30

Which painter created dynamic compositions, often by means of swirling clouds and fitful light?

A) Giorgione
B) Tintoretto
C) Giovanni Bellini
D) Raphael

Question 31

Which of the following sculptural conventions did Michelangelo use for the figure of Moses in order to create an expression of "awful wrath"?

A) The straight forward pose
B) The figure is staring down at viewer
C) The figure is looming over the viewer
D) The bulging muscles and swollen veins of the figure

Question 32

Titian's Meeting of Bacchus and Ariadne was most likely inspired by ____.

A) Classical art
B) the tradition of romance poetry
C) the sermons of Savonarola
D) Scholastic philosophy

Question 33

The major center for artistic development in the High Renaissance was ____.

A) Florence
B) Mantua
C) Rome
D) Parma

Question 34

Which of the following developed in 15ᵗʰ century Italy but fully matured in 16ᵗʰ century Italy?

A) fresco
B) manuscript illumination
C) perspectival systems
D) architectural standards

Question 35

In what ways does Michelangelo's Last Judgment reflect a change in his beliefs from the ones that informed his earlier frescoes on the Sistine ceiling?

Question 36

Which artist painted groups of soaring figures on the dome of Parma Cathedral that seemed to ascend through rings of clouds into the sky itself?

A) Andrea del Sarto
B) Correggio
C) Michelangelo
D) Titian

Question 37

In Leonardo's Last Supper, the numerous preparatory sketches and studies he made for the work indicate how carefully he thought about this work as a complete entity representing the entire story and its theme. Based on this which of the following would describe Leonardo's conceptualization of the figures from his Last Supper?

A) Each figure was individualized.
B) He grouped the figures in threes and they all expressed the same emotion.
C) He used the emotions of rage and sorrow for each figure appearing at each end of the table.
D) All the figures expressed only rage.

Question 38

Who was instrumental in transforming the Mantua court into an important center for art and learning?

A) Isabella d'Este
B) Sofonisba Anguissola
C) Isabella of Aragon
D) Lucrezia Tornabuoni

Question 39

Which sculptor believed that the artist must proceed by first finding the idea¾the image¾locked in the stone and then release it by chipping away the stone?

A) Michelangelo
B) Benvenuto Cellini
C) Giovanni da Bologna
D) Christoforo Foppa Caradosso

Question 40

The term terribilita is most often used to refer to ____?

A) Leonardo da Vinci
B) Michelangelo
C) Raphael
D) Andrea del Sarto

Question 41

What features of this painting make it relatable with the work of Michelangelo?

Question 42

How does the work of Veronese reflect Venice in the late 16ᵗʰ century?

Question 43

Compare Michelangelo's David with the David of Donatello and Verrocchio respectively. Discuss the change, if any, in the representation of the image. How did these three images reflect the artists and their periods?

Question 44

How does the Il Gesù represent a unified plan?

Question 45

How does the art of Venice contrast with that of Rome during the sixteenth century? Use examples to support your essay.

Question 46

Explain the significance of Leonardo's Last Supper. How did this work reflect the changes in the art of the sixteenth century? Consider previous versions from the fifteenth century in your analysis.

Question 47

What innovations occurred in portraiture in the sixteenth century and how did portraiture develop?

Question 48

What made this painting a proclaimed "marvel" by Pope Clement VII?

Question 49

Describe the development of Mannerist sculpture. Use examples to support your essay.

Question 50

What was Michelangelo's last project for Pope Paul III?

Question 51

Contrast the various manifestations of Mannerist painting.

Question 52

What debate over medium ensued in fifteenth century?

Question 53

What features of this painting mark it as Mannerist?

Question 54

How does Giorgione exemplify Poesia?

Question 55

What features reveal this artist's Mannerist approach?

Question 56

How is Leonardo's Virgin of the Rocks innovative?

Question 57

How did Palladio impact architecture?

Question 58

Compare Raphael's School of Athens with Veronese's Christ in the House of Levi. How did each work reflect the environments of Rome and Venice?

Question 59

Explain the importance of the architecture of Bramante. In what way does his architecture represent the attitudes and aesthetics of the High Renaissance? Use examples to illustrate your discussion.

Question 60

Contrast three works each of Leonardo and Michelangelo. How did these two artists impact the art of 16th century Italy and Europe? Use examples to support your essay.

Question 61

What features mark this work as High Renaissance?

Question 62

Who is this and why was she significant?

Question 63

Who built this building, and what are some of the features that depart from the traditional Classical canons and mark it as Mannerist?

Question 64

How did the artist change the subject matter of this work?

Question 65

How does this building differ from the architect's other designs?

Question 66

Why is this work Mannerist?

Question 67

What element of Antonio da Sangallo's design for the Palazzo Farnese separates it from fourteenth-century palaces?