AP Art History Chapter 22: Renaissance and Mannerism in Cinquecento Italy
Chapter 22 Vocabulary – Define these terms
Key Cultural & Religious Terms: Renaissance, Counter-Reformation, indulgences, pietá, deposition
Key Art Terms: cartoon, disegno, parchment, vellum, invenzione, ingegno, fantasia, capriccio, sfumato, colorito &
disegno, escutcheon, impasto, Mannerism, maniera, enamel, chiaroscuro, pyramidal grouping, atmospheric perspective
Key Architectural Terms: stanze, stylobate, Tuscan style, tholos, cella, martyrium, quoins, segmental pediment,
belvedere, cupola, keystones, voussoirs, architrave, triglyph, Doric frieze, corbel
Exercises for Study:
1. Describe the differences you observe between the art and architecture of the Early Renaissance (Chapter 21) and that
of the High and Late Renaissance. Select an Early Renaissance work of painting, sculpture, and architecture, and
compare them to examples from the High or Late Renaissance.
2. Describe the distinction made in the High Renaissance between disegno and colorita. Select a work that represents
each term.
3. What are the major characteristics of Mannerist art and architecture? Select a Mannerist painting, sculpture, and
architectural work, and describe the Mannerist features of each.
4. Compare and contrast the following pairs of artworks, using the points of comparison as a guide.
A. Leonardo da Vinci, Last Supper (Fig. 22-4); Tintoretto, Last Supper (Fig. 22-48)
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Date & location:
Treatment of subject/narrative:
Composition:
B. Michelangelo, Pietá, ca. 1547-1555 (Fig. 22-20); Titian and Palma il Giovane, Pietá (Fig. 22-41):
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Medium/materials:
Treatment of subject:
Artist’s self-portraiture:
Intended function of work:
C. Bramante, Tempietto (Fig. 22-21); Palladio, Villa Rotonda (Fig. 22-28):
• Function & location of buildings:
• Employment of classical architectural theory & vocabulary:
Chapter 21 Questions
1. Who were the patron and artist of the ceiling of the Sistine Chapel? How was this propaganda? Why did he not
want to do it? Because he painted with a sculpture’s eye, many of the figures seem to be painted _____ (599)
2. Who were the three international art celebrities of High Renaissance? (600)
3. Why was Leonardo Da Vinci the quintessential “Renaissance man?” (601)
4. Leonardo’s anatomical studies helped the modern method of scientific illustration by incorporating the _____
views. (605)
5. Raphael gets a commission by _______ to paint the four walls of the Stanza della Segnatura in the ______
Palace by presenting images symbolizing the four branches of _____ knowledge. List many of the great
philosophers and scientists in Philosophy (School of Athens). Who are in the center of the painting? Can you
find Michelangelo and Raphael? (606-607)
6. Why was Michelangelo’s, David, a civic symbol? Describe the way in which he has represented the human body
and the influence of Greco-Roman statues. (611)
7. Compare and contrast Michelangelo’s, David, with Donatello’s, David (figure 21-12). (611)
8. Describe how Michelangelo’s, Moses, captured emotional and physical energy. Who was the patron? (612)
AP Art History Chapter 22: Renaissance and Mannerism in Cinquecento Italy
9. What were some of the many difficulties that Michelangelo faced painting the frescos? How long did it take
him? What was the Christine theme of this work? (614)
10. What was the Counter-Reformation? What was the Council of Trent?(616)
11. How did Bramante’s, Tempietto, combine the classical past in a new Renaissance architectural style? Who were
the patrons of this building? What is the importance of this location?(618)
12. What was the design or plan of the New Saint Peter’s? Who were the patron and architect? What architect
finished the project? How did the design or plan change? (619-620)
13. The Feast of the Gods was a collaborative effort between what two painters? (625)
14. Compare and contrast the Venetian artists and the artist in Florence and Rome. (625)
15. What does “poesia” mean and why is an appropriate term for Venetian art? (626)
16. Why does Giorgione’s, The Tempest, defy interpretation? (626)
17. How does Titan’s, Pastoral Symphony, conjure poetry? (627)
18. Discuss the unusual composition of Titan’s Madonna of the Pesaro Family. (628)
19. Discus how Titan uses rich and luminous colors in Meeting of Bacchus and Ariadne and Venus of Urbino. (629)
20. Read the grey insert on page 630. List two important women artist s during the Renaissance.
21. What Italian word does Mannerism derived from? Describe Mannerist style of paining.(632)
22. In Pontormo’s, Entombment of Christ, how is composition very different from earlier Renaissance painters?(632)
23. In Parmigianino’s, Madonna with the long Neck, how does he display the stylish elegance of Mannerism? (633)
24. Who were the artist and patron of the portrait of Eleanora of Toledo and Giovanni de Medici? Describe how this
is an idealized version of these two people. (635)
25. Compare and contrast Eleanora of Toledo and Giovanni de Medici with the Portrait of the Artist’s Sisters and
Brother. (635)
26. In Cellini’s Saltcellar of Francis I, how is this sculpture in the mannerists style? (638)
27. How is Romano’s, courtyard of the Palazzo del Te’, an enormous parody of Bramante’s classical style. (640)
28. How did Michelangeo’s, vestiblule of Laurentian Library, working in a Mannerist mode disposed of almost all
rules of classical architecture? (641)
29. In Porta’s west façade of II Gesu, his innovative design was an enormous influence on church architecture of
what later period? (642)