Deck 22: Renaissance and Mannerism in Cinquecento Italy

Question 1

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

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

Answer 1

A

Question 2

Leonardo's use of light and dark in the Madonna of the Rocks built on the work of the artist ____.

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

Answer 2

C

Question 3

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

Answer 3

A

Question 4

The robust and monumental figures of the Virgin and Child in Leonardo's Madonna and Child with Saint Anne and the Infant Saint John are reminiscent of ____.

A) northern art
B) Greek pedimental sculpture
C) Andrea del Castagno
D) statues of goddesses

Question 5

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 6

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 7

Michelangelo went beyond self-contained statues in his David by ____.

A) dramatic gestures
B) adding additional figures
C) lunging forward
D) turning his head

Question 8

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 9

In his Assumption of the Virgin, Titian used ____ to create intensity and drama.

A) heavily contoured lines
B) a new medium
C) vibrant color
D) two styles in the same work

Question 10

The term Accadian landscape, as seen in Bellini's Feast of the Gods, refers to ____.

A) Greek countryside
B) Florentine countryside
C) an idyllic place
D) Elysian Fields

Question 11

Who commissioned the Tempietto?

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

Question 12

____ was the most influential church building in the later cinquecento.

A) The Villa Rotonda
B) The Tempietto
C) Il Gesù
D) The Laurentian Library

Question 13

After Bellini's death in 1516, ____ became the official painter of the Republic of Venice.

A) Pontormo
B) Veonese
C) Titian
D) Leonardo da Vinci

Question 14

Michelangelo deviated from earlier representations of David in his rendition by portraying ____.

A) the moment of victory
B) the encounter before the battle
C) the defeat of Goliath
D) David watching Goliath die

Question 15

____ influenced Raphael's perspective system in his Marriage of the Virgin.

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

Question 16

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

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

Question 17

The traditional interpretation of the meaning of Michelangelo's tombs for the Medici as the soul's ascent was influenced by ____.

A) Protestantism
B) Neoplatanism
C) Scholasticism
D) Orthodoxy

Question 18

In his representation of Pope Leo X, Raphael did not portray him as head of state, but rather as a ____.

A) man of learning and a collector
B) warrior
C) philospher
D) humble Franciscan

Question 19

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

Question 20

The cleaning of Michelangelo's Sistine ceiling initially shocked art historians because it revealed ____.

A) large areas of overpaint
B) the work of another artist
C) a new painting technique
D) vivid colors

Question 21

In the Creation of Adam, Michelangelo fashioned the conception of God after ____.

A) the Byzantine Pantokrator
B) Olympian deities
C) medieval representations
D) Andrea del Sarto

Question 22

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 23

Who was the Venetian painter who created dynamic compositions, often by means of swirling clouds and fitful light?

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

Question 24

What did the Council of Trent conclude regarding the church's role as patron of the arts?

Question 25

Visible in his David, rather than concentrating his efforts on ideal beauty, the artist Michelangelo focused on ____.

A) details of his clothing
B) dramatic gestures
C) delicate, slender hands
D) pent-up emotion

Question 26

Although women had many limitations as artists, ____ demonstrated the important role women played as art patrons.

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

Question 27

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) Humanism and Christianity

Question 28

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

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

Question 29

What does the Tempietto mark?

Question 30

What commissions did the Medici popes give to Michelangelo?

Question 31

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 32

How is Titian's Venus of Urbino significant?

Question 33

What was the theme of Julius II's library, and why was this theme chosen?

Question 34

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

Question 35

Reflecting the influence of ____, Raphael included his portrait in the reflection in his painting of Pope Leo X.

A) Mannerism
B) Giotto
C) Netherlandish art
D) Venetian painters

Question 36

Which artists's assertion of his authority anticipated modern concepts of the artist?

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

Question 37

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

Question 38

The chief architect of the Venetian Republic from 1570 until his death was ____.

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

Question 39

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

Question 40

The artist of the Assumption in Parma's Cathedral, ____ greatest contribution was illusionistic ceiling perspective paintings.

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

Question 41

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 42

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

Question 43

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

Question 44

Contrast the various manifestations of Mannerist painting.

Question 45

What features reveal this artist's Mannerist approach?

Question 46

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 47

How does the Il Gesù represent a unified plan?

Question 48

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 49

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 50

How is Leonardo's Madonna of the Rocks innovative?

Question 51

How does the art of Venice contrast with that of Rome during the 16th century? Use examples to support your essay.

Question 52

How does Giorgione exemplify Poesia?

Question 53

Explain the significance of Leonardo's Last Supper. How did this work reflect the changes in the art of the 16th century? Consider previous versions from the 15th century in your analysis.

Question 54

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

Question 55

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

Question 56

What innovations occurred in portraiture in the 16th century, and how did portraiture develop?

Question 57

What features of this painting mark it as Mannerist?

Question 58

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

Question 59

What debate over medium ensued in 15th century?

Question 60

How did Palladio impact architecture?

Question 61

What element of Antonio da Sangallo's design for the Palazzo Farnese separates it from 14th-century palaces?

Question 62

Why is this work Mannerist?

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

Question 65

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

Question 66

What features mark this work as High Renaissance?

Question 67

Who is this, and why was she significant?