Chapter 22 Italy, 1500 to 1600
Multiple Choice Select the response that best answers the question or completes the
statement.
1.
Which of the following matured during the 16th century in Italy?
a. fresco
c. panel painting
b. perspectival systems
d. political ambitions of Savonarola
2.
The leading artistic centers of 16th century central Italy were ______.
a. Florence and Rome
c. Rome and Venice
b. Siena and Florence
d. Mantua and Venice
3.
The Society of Jesus (Jesuits) was founded by __________________.
a. Francis Xavier
c. Ignatius of Loyola
b. Francesco Borgia
d. Diego Velasquez
4.
The Catholic Church’s response to the Protestant Reformation was the
_________________.
a. Resolution of Trent
c. Papal Bull
b. Document of Truth
d. Counter-Reformation
5.
The sixteenth-century artistic developments in Italy have been designated as
_________ ___________.
a. High Renaissance
c. Golden Renaissance
b. Middle Renaissance
d. Golden Age
6.
Which of the following paintings builds on Masaccio’s understanding and usage
of chiaroscuro?
a. Creation of Adam
c. Madonna of the Rocks
b. School of Athens
d. Madonna of the Pesaro Family
7.
Leonardo’s Last Supper can be found in the ________ of Santa Maria delle
Grazie, Milan.
a. Basement
c. Refectory
b. Choir
d. Vestibule
8.
Leonardo created a full-scale model of an equestrian statue for the Sforza family;
this was destroyed by the ________ in 1499.
a. Tuscans
c. Spaniards
b. French
d. English
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9.
Leonardo worked as a military engineer for Cesare Borgia, the son of
_______________.
a. Pope Alexander VI
c. Pope Leo X
b. Henry VIII
d. Charles V
10.
Leonardo was invited to France by _________________.
a. Henri II
c. Francis I
b. Philippe the Fair
d. Jean, Duke of Burgundy
11.
The first project Julius II commissioned from Michelangelo was the __________
________.
a. Papal Palace
c. Piazza San Pietro
b. Pontiff’s tomb
d. Pontiff’s piazza
12.
Who commissioned Bramante’s Tempietto?
a. Henri II and Marie
c. Henry VIII and Anne
d’Medici of France
Boleyn of England
b. Ferdinand and Isabella
d. Francesco and Isabella d’Este
of Spain
13.
Baldassare Castiglione wrote the ______________________.
a. Book of the Courtier
c. Lives of the Artists
c. Handbook of Politics
d. Michelangelo, A Biography
14.
Which of the following High Renaissance portraits paid increasing attention to the
sitter’s personality and psychic state?
a. Giovanna Tornabuoni
c. Ludovico Gonzaga
b. Baldassare Castiglione
d. Lorenzo de’Medici
15.
Duke Federigo Gonzaga intended his Palazzo del Tè to be his urban summer
palace and _____________.
a. retreat
c. stud farm
b. zoo
d. monastery
16.
Who became chief architect of the Venetian Republic from 1570 to 1580?
a. Palladio
c. Giulio Romano
b. Tintoretto
d. Veronese
17.
Which European country outside Italy was most strongly influenced by Palladio?
a. France
c. Germany
b. England
d. Russia
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18.
Michelangelo’s last project for Paul III was supervising the building of the new
__________.
a. Piazza San Pietro
c. Saint Peter’s
b. Lateran Palace
d. Vatican Palace
19.
The Venetian artist ____________ ________ played an important role in
developing the evocative use of color, which became known as the Venetian style.
a. Andrea Mantegna
c. Gentile da Fabriano
b. Giovanni Bellini
d. Sandro Botticelli
20.
The Venetian artist __________ was considered a supreme colorist and cultivated
numerous patrons.
a. Titian
c. Giorgione
b. Giovanni Bellini
d. Antonello da Messina
Slide Questions
A.
Raphael Castiglione (Figure 22–11).
21.
22.
23.
B.
Bronzino Portrait of a Young Man (Figure 22–45).
24.
C.
How does this portrait represent Mannerism?
How does the artist change the style of the portrait?
Why is this significant?
Leonardo da Vinci Last Supper (Figure 22–4).
28.
29.
E.
How does this portrait represent Mannerism?
Sofonisba Anguissola Portrait of the Artist’s Sisters and Brother (Figure 22-46).
25.
26.
27.
D.
How does this portrait represent the High Renaissance?
How does this portrait represent the man?
How is the concept of love of beauty reflected in this portrait?
What features mark this work as High Renaissance?
How does this work shape the High Renaissance tradition?
Michelangelo Creation of Adam (Figure 22-19).
30.
31.
32.
What features mark this work as High Renaissance?
How does this work shape the High Renaissance tradition?
Why is the work significant?
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Short Answer
33.
What was the purpose of religious art in the Counter-Reformation?
34.
How did Michelangelo adjust Bramante’s plan for the New Saint Peter’s?
35.
In what ways did Pope Julius II affect the course of sixteenth century art?
36.
How does Bramante’s Tempietto reflect the architectural vocabulary of temporal
humanist authority?
37.
How does Michelangelo’s David differ from its fifteenth century predecessors?
38.
Briefly describe the importance of Correggio and his contribution to painting.
39.
Summarize Mannerist art.
40.
How did Sofonisba Anguissola change portraiture?
41.
What impact did Giovanni di Bologna (Jean de Boulogne) have on sculpture?
42.
What made the Il Gesù so effective for the Jesuits?
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ANSWERS
Multiple Choice
1.
B page 579
2.
A page 579
3.
C page 622
4.
D page 596
5.
A page 579
6.
C page 580
7.
C page 582
8.
B page 584
9.
A page 584
10.
C page 584
True/False
A.
21.
22.
23.
11.
12.
13.
14.
15.
16.
17.
18.
19.
20.
B page 591
B page 597
A page 587
B page 587
C page 620
A page 602
B page 602
C page 599
B page 604
A page 607
Raphael has composed in the portrait the monumental High
Renaissance pyramid: the figure is calm, dignified, and relaxed. Page 587
Raphael has captured the intensity and thoughtfulness of Castiglione by
emphasizing the man and not the background; he has presented him as the
middle-aged man of the Renaissance he was. Page 587
Raphael has revealed the man and his deep love for the beautiful by
focusing on the head and hands of Castiglione. Page 587
B.
24.
Through the sophisticated elegance and calculated attitude of nonchalance,
the artist is asserting the rank of the individual and not his character or
personality. Page 615
C.
25.
The artist has arranged her sisters and brother against a neutral
background reminiscent of the Mannerist tradition and represented them
with a neutral nonchalance rather than an affected or calculated mien.
Page 615
The relaxed and affectionate presentation of the artist’s sisters and brother
brought a new naturalism to portraiture. Page 615
This graceful and charming treatment of a portrait style did not escape the
notice of her contemporaries and it allowed her further access and a
career. Page 615
26.
27.
D.
28.
29.
It shows complete command of the techniques of linear perspective but
subordinates them to the dramatic presentation of the image. The
orthogonals converge on Christ’s head, which is also framed by the light
of the window and the curved pediment. Page 582
In this one work Leonardo has consolidated the observable world and the
religious world and created a psychologically and complex work which
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uses the artistic developments from the 15th century in an authoritative
way. Page 582
E.
30.
31.
32.
The humanistic interpretation of a momentous event. Page 594
It is the amalgamation of the classical and Christian traditions into a clear
message of hope and salvation. Page 594
He married the classical and Christian traditions and gave form and
substance to a spiritual and philosophical tenet. Page 594
Short Answer
33.
34.
35.
36.
37.
38.
39.
40.
41.
42.
Catholics deemed art as valuable for cultivating piety. Page 596
Reduced the fragmentation and made the interior more unified. Page 600
He was an avid art patron and understood the propagandistic value of visual
imagery; he would commission artworks that would present an authoritative
image of his rule and the primacy of the Roman Catholic Church. Page 584
Based on Roman and Greek models, it relies on the composition of volumes and
masses and on a sculptural handling of solids and voids. Pages 597-598
The artist opted to represent David not after his victory but before: sternly
watching the approaching foe, his muscular body tense with gathering power.
Page 590
He pooled many styles yet developed his own unique personal style; he developed
an illusionistic ceiling perspective his Baroque emulators seldom surpassed. Page
618
Emphasis on staged, contrived imagery, imbalanced compositions, unusual
complexities, both visual and conceptual, ambiguous space, departure from
expected conventions and unique presentations of traditional themes. Page 612
She introduced an informal intimacy by placing the sitters in affectionate poses
meant for private showing and not public or official display. Page 615
His sculptural group, the Rape of the Sabines was the first large-scale group since
Classical Antiquity designed to be seen from multiple viewpoints. He provides the
stylistic links between Michelangelo's sculptures and those of the Baroque master
Gianlorenzo Bernini. Page 619
The plan created a single great hall for processions and promenades, and above all
it accommodated the great crowds to hear the eloquent preaching of the Jesuits.
Page 622
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