The High Renaissance
Chapter 22
A. Fill in the Blank
oval
terribilita
void
Ovid
Perugino
sfumato
Titian
Raphael
color
quoins
sacra conversazione
active/contemplative
Giorgione da Castelfranco
Count Baldassare Castiglione
San Giorgio Maggiore
the new Saint Peter’s
Plato and Aristotle
Jacopo Sansovino
Saint Bartholomew
Andrea Palladio
Julius II
pyramidal
Giulio Romano
Il Gesu
equestrian
personality
the Giant
Laocoon
Bramante
contrary
socle
balustrade
human figure
kept in the eyes
Giovanni Bellini
shepherd
high intensity
Milan
steep diagonal
Parma Cathedral
1.
Michelangelo’s self-imposed isolation, creative furies, proud independence, and daring innovations led
Italians to speak of the dominating quality of the man and his works in one word____________________________, the sublime shadowed by the awesome and the fearful.
2.
In his painting The Feast of the Gods, Bellini actually drew from the work of one of his own students,
____________________________, who developed his master’s landscape backgrounds into poetic
Arcadian reveries.
3.
The last project Michelangelo undertook in 1546 for Pope Paul III was the supervision of the building
of _______________________________.
4.
In his portrait of the Mona Lisa, Leonardo subtly adjusted the light and blurred the precise planes to
create a misty haziness often referred to as ____________________________.
5.
On the four walls of the Stanza della Segnatura in the Vatican, the artist ___________________
presented images that symbolize and sum up Western learning as Renaissance society understood it.
6.
Michelangelo painted the ceiling of the Sistine Chapel for Pope _____________________.
7.
The Mint (La Zecca) and the State Library in the Piazza San Marco in Venice were both designed by
______________________________________, the Florentine architect who introduced Venice to the
High Renaissance style of architecture.
8.
Leonardo presented the figures in Virgin of the Rocks in a ______________________ grouping and,
more notably, as sharing the same environment.
9.
In his Madonna of the Pesaro Family, Titian did not compose a horizontal and symmetrical
arrangement. Rather, he placed the figures on a ______________________, positioning the Madonna,
the composition’s focus, well off the central axis line.
10. In Giorgione’s so-called Pastoral Symphony, the ______________________ represents the poet ; the
pipes and the lute symbolize his poetry.
11. The Venetians’ instrument was ___________________; that of the Florentines and Romans was
sculpturesque form.
12. In Michelangelo’s Last Judgment, ___________________________, who was skinned alive, holds the
flaying knife and the skin, its face a grotesque self-portrait of Michelangelo.
13. Leonardo painted his Last Supper for the refectory of the church of Santa Maria delle Grazie in the city
of _____________________________.
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Douglas Darracott, Plano Senior High
Chapter 22
The High Renaissance
14. The Palazzo del Te in Mantua, which incorporates almost the entire architectural vocabulary of
Mannerism, was designed by ______________________________, Raphael’s chief assistant in
decorating the Vatican stanze.
15. In Raphael’s School of Athens, ________________________________________ stand in the center,
silhouetted against the sky within the framing arch in the distance.
16. Given the trapezoidal shape of the piazza on the Capitoline Hill, Michelangelo deemed the
_______________ shape best suited to relate the design’s various elements to one another. Later
artists during the Baroque period adopted this shape as their favorite geometric figure.
17. In Bronzino’s Portrait of a Young Man, the staid and reserved formality asserts the rank and station but
not the ________________________ of the subject.
18. In the Tempietto, the _________________________ (a row of vase-like supports surmounted by a
railing) echoes, in shorter beats, the colonnade’s rhythm and averts a too-rapid visual ascent to the
drum.
19. The influence of the ancient _____________________ sculpture discovered in Rome in 1506 is
especially clear in the struggle of Michelangelo’s Bound Slave.
20. The Villa Rotonda, located near Vicenza, was designed by the architect ________________________.
21. Bellini specialized in the __________________________ where a unified space joins saints from
different epochs who seem to converse either with each other or with the audience.
22. Outstanding among the frescoes Raphael painting in the small but splendid Villa Farnesina is Galatea
which Raphael based on Metamorphoses by the ancient Roman poet _____________________.
23. Raphael painted the portrait of his close friend ____________________________________, the author
of a handbook on High Renaissance criteria for genteel behavior. In Book of the Courtier, this author
enumerated the perfect courtier’s attributes.
24. Michelangelo based his whole art on his conviction that whatever can be said greatly through sculpture
and painting must be said through the _________________________.
25. The façade of __________________________, designed by Giacomo della Porta, was an important
model and point of departure for the facades of Roman Baroque churches for two centuries, and many
churches throughout the Catholic countries, especially in Latin America, echoed its basic scheme.
26. In 1501, the city of Florence asked Michelangelo to work a great block of marble, called
“______________________,” left over from an earlier aborted omission. From this stone,
Michelangelo crafted David, the defiant hero of the Florentine republic.
27. The Tempietto, built to mark the conjectural location of Saint Peter’s crucifixion, was designed by the
architect ______________________________.
28. Raphael spent four years in Florence (from 1504 to 1508) only to discover that the painting style he
had learned so painstakingly from ___________________ already was outmoded.
29. Leonardo left numerous drawings of monumental _____________________ statues, and one resulted
in a full-scale model for a monument to the Sforza (the duke of Milan’s wealthy and influential
family). The French used it as a target and shot it to pieces when they occupied Milan in 1499.
30. On the Palazzo Farnese in Rome, one can find rusticated building corners known as
___________________.
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The High Renaissance
31. At opposite sides of the New Sacristy stand Michelangelo’s sculpted tombs of Giuliano, who
represents the __________________man and Lorenzo, who represented the
___________________________man.
32. In the San Zaccaria Altarpiece, the painter ________________________ creates a soft and luminous
image where the impact is due largely to glowing color.
33. In his Descent from the Cross, the artist Jacopo da Pontormo disposed the figural masses around the
frame of the picture, leaving a ________________ in the center, where High Renaissance artists had
concentrated their masses.
34. Michelangelo broke sharply from the lessons of his predecessors and contemporaries in that he
mistrusted the application of mathematical methods as guarantees of beauty in proportion. Measure
and proportion, he believed, should be “___________________________.”
35. Correggio’s Assumption of the Virgin was painted in the dome of __________________________.
Although Correggio’s contemporaries expressed little appreciation for his art, seventeenth century
Baroque artists recognized him as a kindred spirit.
36. The Venus of Urbino was painted by ____________________________.
37. Controversy erupted when, during the 1980s, the Sistine Chapel ceiling was cleaned and it was
revealed that Michelangelo painted with colors of ____________________________.
38. A molded projection at the bottom of a wall or a pier, or beneath a pedestal or a column base is called a
__________________________.
39. In his Miracle of the Slave, Tintoretto constructs a composition using ___________________ motions
to depict St. Mark hurtling downward to assist a Christian slave.
40. Dissatisfied with earlier solutions to the problem of integrating a high central nave and lower aisles
into a unified façade design, Palladio solved it by superimposing a tall, narrow classical porch on a low
broad one in his church of _____________________________________.
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The High Renaissance
Chapter 22
B. Multiple Choice
1.
Michelangelo’s Moses was created for
a) the New Sacristy in San Lorenzo
b) the tomb of Julius II
c) the Campidoglio
d) the Sistine Chapel
2.
Bronzino’s Venus, Cupid, Folly, and Time
can BEST be described as a/an
a) genre scene
b) portrait
c) allegory
d) sacra conversazione
3.
4.
5.
6.
7.
Which of the following artists is BEST
known for his Arcadian landscapes?
a) Giorgione
b) Leonardo
c) Tintoretto
d) Raphael
Which of the following is NOT a
characteristic of the Mannerist painting
Madonna with the Long Neck by
Parmigianino?
a) elongated figures
b) elegant gestures
c) ambiguous use of space
d) stiff, static poses
Which of the following artists did NOT
paint in Venice?
a) Titian
b) Veronese
c) Bronzino
d) Tintoretto
Which of the following was NOT an action
taken by Pope Paul III?
a) commissioning Michelangelo with
painting The Last Judgment in the
Sistine Chapel
b) establishing the Council of Trent and
the Inquisition
c) rebuilding the Capitoline Hill
d) commissioning Raphael with the
decoration of the papal apartments
The School of Athens was painted by
a) Michelangelo
b) Titian
c) Leonardo
d) Raphael
8.
Which of the following is NOT a feature of
Palladio’s Villa Rotonda?
a) scroll buttresses
b) four identical facades
c) a central plan
d) located on a hilltop
9.
Which of the following is NOT a
characteristic of Leonardo’s Virgin of the
Rocks?
a) interlocking gestures
b) linear perspective
c) atmospheric perspective
d) chiaroscuro
10. How does Raphael’s Madonna of the
Meadows compare with Leonardo’s Virgin
of the Rocks?
a) Raphael adopts Leonardo’s use of
sfumato to create mystery.
b) Raphael’s Madonna is less idealized
and exalted.
c) Raphael uses a pyramidal composition
similar to that of Leonardo’s.
d) Raphael painting is a fresco while
Leonardo’s is painted with oils.
11. Giorgione and Titian appear to have both
been strongly influenced by
a) Perugino
b) Correggio
c) Bellini
d) Bronzino
12. Which of the following was NOT designed
by Michelangelo?
a) the Tempietto
b) the Museo Capitolino
c) Saint Peter’s
d) the Medici tombs in San Lorenzo
13. The Tempest by Giorgione can BEST be
described as
a) Mannerist
b) Arcadian
c) Gothic
d) Baroque
14. The Genius of Fontainebleau was created by
a) Giovanni da Bologna
b) Giulio Romano
c) Michelangelo
d) Benvenuto Cellini
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The High Renaissance
Chapter 22
15. The Sistine Ceiling was painted by
Michelangelo around
a) 1408-1412
b) 1476-1488
c) 1508-1512
d) 1576-1588
23. The Madonna of the Pesaro Family was
painted by
a) Titian
b) Raphael
c) Veronese
d) Pontormo
16. A “cassone” is a
a) wooden chest
b) coat of arms
c) musical instrument
d) interior courtyard
24. The portraits of Bronzino can BEST be
described as
a) intimately engaging
b) reserved and formal
c) painterly and gestural
d) monumental and heroic
17. The façade of Il Gesu was designed by
a) Giulio Romano
b) Giacomo della Porta
c) Bramante
d) Andrea Palladio
18. Andrea Palladio worked mostly in and
around the city of
a) Rome
b) Florence
c) Milan
d) Venice
19. Which of the following is NOT
characteristic of High Renaissance painting?
a) rational control
b) balance and order
c) restrained gravity
d) elongation and distortion
20. Most historians date the beginning of the
Protestant Reformation around
a) 1317
b) 1417
c) 1517
d) 1617
21. Which of the following is NOT an
architectural feature of Michelangelo’s
Museo Capitolino?
a) the giant order
b) huge pilasters
c) a rooftop balustrade
d) heavy rustication
22. The Triumph of Venice in the Doge’s Palace
was painted by
a) Titian
b) Veronese
c) Tintoretto
d) Correggio
25. The Tempietto was completed around
a) 1402
b) 1502
c) 1602
d) 1702
26. Raphael’s Marriage of the Virgin, an early
work, shows the influence of
a) Titian
b) Michelangelo
c) Perugino
d) Pontormo
27. The plan of Il Gesu in Rome MOST closely
resembles that of
a) Santo Spirito in Florence
b) Santa Croce in Florence
c) St. Peters in Rome
d) Sant’Andrea in Mantua
28. Which of the following is NOT a
characteristic of Veronese’s Christ in the
House of Levi?
a) depiction of a great open loggia
b) presence of clowns, dogs, and dwarfs
c) an architectural backdrop
d) an oval frame
29. Which of the following structures was NOT
created in the High Renaissance style?
a) the Palazzo Farnese
b) the Tempietto
c) the Palazzo del Te
d) St. Peters in Rome
30. In what way did the work of Sofonisba
Anguissola differ from that of other
Mannerist painters?
a) muted tonality
b) a smooth finish
c) strong contours
d) informal intimacy
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Douglas Darracott, Plano Senior High
Chapter 22
The High Renaissance
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Douglas Darracott, Plano Senior High