SECTION TEST THREE
Renaissance and Baroque
(Chapters 19-24)
CHRONOLOGY
Place the following works in chronological order, putting the letters corresponding to the
oldest work in the first blank, the next oldest in the next blank, and so on.
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
________
________
________
________
________
________
________
________
________
________
Answers:
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
Jan van Eyck
Caravaggio
Giotto
Masaccio
Pieter Brueghel
Raphael
Rubens
Velásquez
Dürer
Titian
14th century Italian
15th century Italian
15th century Flemish
15th century German
16th century Italian
16th century German
16th century Flemish
17th century Italian
17th century Dutch
17th century Flemish
17th century Spanish
A
B
C
D
E
F
G
H
I
J
K
C
H
A
B
G
E
J
K
F
E
MULTIPLE CHOICE
11.
The word Renaissance means rebirth. Which of the following was a revived
interest during this time?
a.
b.
c.
d.
Hiberno-Saxon manuscripts
Classical culture
Islamic culture
Platonic interpretation of Christianity
Answer: b.
12.
Classical culture Comprehension
The most devastating natural disaster in Europe during the late 1300s was which
of the following?
1
a.
b.
c.
d.
mad cow disease
the collapse of the linen market
the failure of the Medici banks
the Black Death
Answer: d.
13.
Which of the following cities was considered the rightful capital of the Roman
Catholic Church?
a.
b.
c.
d.
Rome
Avignon
Florence
Paris
Answer: a.
14.
close association with Byzantium
important trade agreements with Baghdad
crowded with classical monuments
support of public monuments dedicated to the values of good government
Answer: c.
crowded with classical monuments Analysis
The frontality, stiff poses, and lack of modeling as seen in Berlinghieri’s Saint
Francis Altarpiece can be said to be which of the following?
a.
b.
c.
d.
fundamentally medieval
merging with classical traditions
reflects the “new” Italo-Byzantine style
directly influenced by Platonic philosophy
Answer: a.
16.
Rome Knowledge
Which of the following would be a valid argument for Italy’s renewed interest in
humanist values during the fourteenth century?
a.
b.
c.
d.
15.
the Black Death Knowledge
fundamentally medieval Analysis
What does the fountain created by Claus Sluter for the cloister of Chartreuse de
Champmol symbolize?
a.
b.
c.
d.
Everlasting Life
the Well of Moses
flowing water
the Dukes of Burgundy
Answer: a.
Everlasting Life Analysis/Comprehension
2
17.
The following phrase from Revelations, “pure river of water of life, clear as
crystal, proceeding out of the throne of God and of the Lamb” is depicted in
which of the following?
a.
b.
c.
d.
Deposition
Last Supper from the Holy Sacrament Altarpiece
Altar of the Lamb from the Ghent Altarpiece
Adoration of the Shepherds from the Portinari Altarpiece
Answer: c.
18.
The following phrase, “…activity of a thousand intertwined motifs unifies the
whole design…” describes which of the following styles?
a.
b.
c.
d.
German Late Gothic
Flemish 15th century
French 15th century
Spanish Plateresque
Answer: d.
19.
It validated marriage
It secured the woman’s position as wife
It was a special spiritual marriage
It secured certain rights for the wife
Answer: c.
It was a special spiritual marriage Analysis
The Portinari Altarpiece contains medieval pictorial devices, small scenes that
stress the meaning and significance of the depicted event. Which of the following
is one such medieval pictorial device?
a.
b.
c.
d.
the Arrival of the Magi
the Crucifixion
the Baptism of Christ
the Resurrection
Answer: a.
21.
Spanish Plateresque Analysis
A mystic marriage would have resonated in particular with nuns. Which of the
following accounts for this?
a.
b.
c.
d.
20.
Altar of the Lamb from the Ghent Altarpiece Analysis
the Arrival of the Magi Analysis/Comprehension
In 1401 an important competition was held to determine the design of the
Baptistery doors for the Cathedral of Florence. Even at this early date
Renaissance traits were evident. Which of the following is one of those traits?
3
a.
b.
c.
d.
adherence to the 14th century frame
a new pictorial illusionism
maintaining artist anonymity
humility of civic pride
Answer: b.
22.
The theme for the competition for the Baptistery doors was the Sacrifice of Isaac.
How did this theme parallel the current state of affairs for the city?
a.
b.
c.
d.
City fathers were encouraging self-sacrifice in the face of the tense
political situation
City fathers were encouraging self-sacrifice in order to commission the
doors
City fathers were encouraging self-sacrifice for the Medici in order to gain
funding for the commission of the doors
City fathers were encouraging self-sacrifice in order to petition Rome for
the monies to commission the doors
Answer: a.
23.
City fathers were encouraging self-sacrifice in the face of the tense
political situation Analysis/Comprehension
Ghiberti’s competitive panel shows classical references that indeed reflect the
influences of humanism. Which of the following is a classical reference seen on
Ghiberti’s panel?
a.
b.
c.
d.
the drapery flowing from the body of Isaac
the elongated S curve of Isaac’s body
the profusion of cloth puddled around Abraham
the naked figure of Isaac
Answer: d.
24.
a new pictorial illusionism Comprehension/Analysis
the naked figure of Isaac Analysis/Comprehension
Which of the following describes Brunelleschi’s submission for the competition
for the Baptistery doors?
a.
b.
c.
d.
His knowledge of classical elements is apparent in the acanthus scrolled
altar
The panel represented his ability to observe carefully and present
faithfully
His knowledge of musculature is apparent in the naked figure of Isaac
The meticulousness of the panel represents his training in metalsmithing
Answer: c.
The panel represented his ability to observe carefully and present
faithfully Analysis/Comprehension
4
25.
In Ghiberti’s Isaac and his Sons from the east doors of the Baptistery, he arranged
the figures in front of grandiose architecture. Which of the following architects
stated, “the grandeur of the architecture reflects the dignity of the events shown in
the foreground”?
a.
b.
c.
d.
Michelozzo
Brunelleschi
Alberti
Andrea da Sangallo
Answer: c.
26.
In Leonardo’s Virgin of the Rocks he modeled the figures with light and shadow-a technique he learned from earlier works. Which 15th century Italian artist would
have influenced Leonardo in this regard?
a.
b.
c.
d.
Piero della Francesca
Fra Angelico
Masaccio
Gentile da Fabriano
Answer: c.
27.
Alberti Analysis/Comprehension
Masaccio Analysis/Comprehension
How has Michelangelo portrayed David?
a.
b.
c.
d.
At the moment of victory
With stern watchfulness before the battle
By celebrating the defeat of Goliath
By watching Goliath die
Answer: b.
With stern watchfulness before the battle
Comprehension/Analysis
28.
The Sistine ceiling represents which of the following themes?
a.
b.
c.
d.
the chronology of Christianity
the history of the papacy
the history of Julius II
the chronology of the Early Christian Church in Rome
Answer: a.
29.
the chronology of Christianity Comprehension/Analysis
In Raphael’s Stanza della Segnatura, which of the following two images represent
Julius II?
a.
Theology (Disputà) and Philosophy (School of Athens)
5
b.
c.
d.
Law (Justice) and Poetry (Parnassus)
Philosophy (School of Athens) and Poetry (Parnassus)
Theology (Disputa) and Poetry (Parnassus)
Answer: a.
30.
In Knight, Death, and the Devil, the mounted Christian knight displays a
monumental strength and character reminiscent of which of the following Italian
artists?
a.
b.
c.
d.
Verrocchio
Pollaiuolo
Nanni di Banco
Ghiberti
Answer: a.
31.
Henry VIII
Elizabeth I
Philip II
Charles V
Answer: c.
Philip II Analysis/Comprehension
Hans Holbein, a master portraitist, combines realism with monumental
composition and sculpturesque form. Which of the following traditions does this
describe?
a.
b.
c.
d.
Flemish and Italian
French and Italian
Dutch and Italian
Flemish and French
Answer: a.
33.
Verrocchio Analysis
It is said the Escorial is an expression of simplicity of form and streamlined
clarity of surfaces and it represents the character of its royal patron. Who was the
patron?
a.
b.
c.
d.
32.
Theology (Disputa) and Philosophy (School of Athens)
Analysis/Comprehension
Flemish and Italian Analysis
In Hunters in the Snow, the artist has captured the atmosphere of a cold winter’s
day. The landscape is snow-covered and stark with the returning hunters wearily
trudging home. It is reminiscent of earlier renditions of seasons. Which of the
following also described the seasons and might have been influential in the
conception of this work?
6
a.
b.
c.
d.
Ambrogio Lorenzetti’s Peaceful Country
Konrad Witz’s Miraculous Draught of Fish
Masaccio’s Tribute Money
Limbourg Brothers’ Les Très Riches Heures du Duc de Berry
Answer: d.
34.
In Dürer’s Great Piece of Turf, he has created a precise and scientifically accurate
rendering of a small botanical landscape. Which of the following artists also
heeded this notion of “observation yielded truth”?
a.
b.
c.
d.
Broederlam
Leonardo
Uccello
Rogier van der Weyden
Answer: b.
35.
Spanish Steps
Scala Regia
Papal Steps
Scala Romana
Answer: b.
Scala Regia Comprehension/Analysis
Bernini’s statue of David differs from previous generations of this depiction. His
David seems to be moving through time and space. Which of the following would
support this description?
a.
b.
c.
d.
The pivoting motion of the figure implies the movement through space
and time
The figure’s upright stance implies movement through space and time
The crouching figure implies movement through space and time
The action of raising the sling above his shoulder implies movement
Answer: a.
37.
Leonardo Analysis/Comprehension
Bernini was commissioned to replace a dangerous stairway in the Vatican. He
created a highly sophisticated design that was dramatic and dynamic. This design
repeated on a smaller scale the grand processional sequence found in St. Peter’s.
Which of the following is that stairway?
a.
b.
c.
d.
36.
Limbourg Brothers’ Les Très Riches Heures du Duc de Berry
Analysis/Comprehension
The pivoting motion of the figure implies the movement through
space and time Analysis/Comprehension
In Rembrandt’s Anatomy Lesson of Dr. Tulp, he has clustered the participants on
the left side and has placed Dr. Tulp on the right side with the diagonally placed
7
foreshortened corpse disrupting the strict horizontal, planar orientation. This is in
sharp contrast to which of the following traditions of group portraiture?
a.
b.
c.
d.
The subjects were placed evenly across the canvas
Group portraits of professional organizations were never portrayed
Only five subjects were allowed per group portrait portrayals
Only guilds were allowed as subjects for group portraits
Answer: a.
The subjects were placed evenly across the canvas
Analysis/Comprehension
SHORT ANSWER
38.
How did Duccio reorganize the elements in the Virgin and Child Enthroned with
Saints (Maestà) and yet maintain the functionality of the work?
Answer: He recognized the function of work by limiting his experimentation with
depicting the narrative action and producing illusionistic effects. He then
modeled the forms and adjusted their placement within the pictorial space.
Analysis
39.
Briefly describe humanism.
Answer: A code of civil conduct and a theory of education, the chief concerns of
which revolve around human values and interests. Knowledge
40.
How did the Antique past or the classical past impact the humanists of 14th
century Italy?
Answer: The classical past provided a model for living that focused on human
needs and addressed human problems. This was a model derived from reason and
not from an authoritative and traditional religious model. Analysis
41.
What role did the Holy Roman Emperor Sigismund play in the Great Schism?
Answer: He convened a council to resolve the crisis within the church by calling
for the election of a pope who would be satisfactory to all. Martin V, pope from
1417 through 1431 was acceptable to all parties and the Great Schism was finally
over. Knowledge
42.
How did the Great Schism disrupt the religious realm of 14th century Italy?
Answer: In the very early years of the century the College of Cardinals elected a
French pope, Clement V. He then moved the papal court to Avignon and
subsequent French popes remained in Avignon. This caused great friction
between the Italians and the French. The Italians held that the capital of the
8
universal church was Rome. The conflict was not resolved, and two popes were
concurrently elected, Clement VII, the French pope and Urban VI, the Italian
pope. This produced the break between the Church of Rome and France. This
disruption would continue for 40 more years before a peaceful solution could be
found. Analysis/Comprehension
43.
How does the work of Stoss Veit reflect Late Gothic elements in German art?
Answer: His work’s intense theme of piety together with the sharp, broken and
pierced forms and swirling draperies echo Late Gothic elements.
Analysis/Comprehension
44.
How does Rogier van der Weyden’s style differ from Jan van Eyck’s?
Answer: He stressed human action and emotion rather than the complex
symbolism seen in Jan van Eyck’s work. Analysis/Comprehension
45.
How is the art of Bosch different?
Answer: His most famous work, Garden of Earthly Delights reveals the
ambiguities for which he is known. The triptych suggests a religious work, yet the
subject matter does not support the standard representational themes of the period.
Analysis/Comprehension
46.
What made the portraits of Jan van Eyck significant?
Answer: He revived and secularized portraiture. Analysis/Comprehension
47.
How did Masaccio impact 15th century Florence?
Answer: His artistic adjustments, such as pictured space to the position of the
viewer allowed current and subsequent artists to fully explore the advantages of
such tools. His ability to create illusion as a measured, rational coherent statement
also allowed further explorations. Masaccio laid the foundation for perspective
but also for a unified and harmonious monumental composition, which was fully
realized in the 16th century. Analysis/Comprehension
48.
What features characterize the work of Domenico Ghirlandaio?
Answer: Ghirlandaio was a synthesizer, not an innovator. His work provides an
excellent picture of Florence at the end of the fifteenth century. He depicted
detailed representations of the life, pageantry, costume, and material wealth of the
citizens. Comprehension/Analysis
49.
How did Donatello shift the interest in the depiction of the nude?
9
Answer: Donatello reinvented or rediscovered the classical nude. Even though his
figure of David is biblical, he used the relaxed contraposto and proportions of
Praxitelean classicism. He invoked classical formats and furthered the pursuit of
humanist ideals. He reintroduced the nude back into the artistic vocabulary.
Analysis/Comprehension
50.
Briefly describe the contributions of Lorenzo de’ Medici.
Answer: He was considered the greatest patron of art in fifteenth-century
Florence. Lorenzo used his wealth and position to shape the political structure of
Florence. He used the Medici wealth to commission art and architecture on a scale
rarely seen. His court was a center of learning and humanism. He and his family
contributed to the Renaissance ideal by supporting artists and funding great
projects. Comprehension/Analysis
51.
How was the Medici commission of the statues of David significant?
Answer: The family was aligning itself visually with the city of Florence by
identifying themselves with the symbol of Florence. They became responsible
servants for the city’s interests and prosperity. The family commissioned the
statues from both Donatello and Verrocchio. Both artists were recognized for
their sculpture and the Medici commissions further emphasized their commitment
to the city-state of Florence. Analysis/Comprehension
52.
How did the Il Gesù reflect the Jesuit order?
Answer: The Jesuits were the primary allies of the papacy in the CounterReformation movement. The church allowed the order to visually appeal to the
masses by creating a “theatrical” setting for the liturgy. The great hall permitted
the accommodation of the large crowds that gathered to hear the preaching of the
Jesuits. Analysis
53.
How did Palladio impact architecture?
Answer: He was more practical in his application of architectural principles in
designing country villas for the wealthy Venetian community. He also had longterm influences both in the United States and in England. His country villa
designs endured in the Venetian countryside as well as the plantation estates of
the southern United States and the country estates of the English aristocracy
Analysis
54.
How does the Il Gesù represent a unified plan?
Answer: The architects synthesized the elements and the plan from the work of
Alberti and Michelangelo and unified them into a design that became very
influential during the Baroque and subsequent generations. Analysis
10
55.
How is Leonardo’s Virgin of the Rocks innovative?
Answer: Leonardo created a pyramidal grouping of the figures that unified them
within the environment of the canvas. The figures shared the space and the
atmosphere. Analysis
56.
How did a Protestant church differ from a Roman Catholic Church?
Answer: In addition to the intellectual arguments presented by the Protestants,
there was also an attempt to curb interior decorative programs of Protestant
churches. The major difference between Protestant and Catholic churches is the
decided lack of imagery in a Protestant church. Protestant leadership felt images
would distract the worshipper from the direct communication with God, which
was the sole purpose for their presence in church. Comprehension/Knowledge
57.
How does Dürer’s The Fall of Man (Adam and Eve) represent Classical and
Northern traditions?
Answer: The representation of both Adam and Eve is predicated on classical
statues Dürer was aware of because of his trips to Italy as well as a distillation of
the Vitruvian theory of human proportion. The Fall is presented as an event
occurring in a forest one would find in the North. The multiple allegorical
references are also an inheritance of the North. Dürer blended both traditions to
create a rich and expansive rendering of Original Sin. Analysis/Comprehension
58.
What are the features of a typical French château?
Answer: An irregular central square block, a square plan with corner round
towers, and a broad central staircase, characterizes a typical French château.
Knowledge
59.
How does the Palace of Charles V at the Alhambra in Granada echo Italian
classicism?
Answer: Pedro Machuca incorporated classical elements in addition to the
simplicity of classical design. He used Doric and Ionic orders, especially in the
courtyard of the palace. The lower story is an echo in reverse of Bramante’s
Tempietto that Machuca had seen when he was in Italy. Analysis
60.
What impact did Martin Luther have on Europe and visual imagery?
Answer: He changed the religious configuration of Europe. This resulted in clear
lines of demarcation drawn between the north and the south. The slogan “one
religion, one state” became the order of the day. This division also impacted
visual imagery and the portability of art. In the North, Martin Luther supported
11
the use of low-key images as aids for devotional use. As a result prints became
the primary vehicle for educating the masses on Protestant doctrine. Knowledge
61.
How did the Roman Catholic Church use art to respond via the CounterReformation?
Answer: Church leadership understood the value of the visual statement not only
as a decorative statement but it could also contain didactic meaning as well. And
to that end the Church actively launched a campaign to renew and construct a new
and more magnificent Rome. Italian 17th century art and architecture embodied
the renewed energy of the Church and it invigorated the Counter-Reformation and
communicated that energy via visual stimuli. Analysis/Comprehension
62.
Briefly describe the Dutch school of painting.
Answer: Due to the repressive measures of Philip II, the northern provinces broke
with Spain and declared their independence and their Protestant beliefs. The
Dutch practiced these Protestant beliefs and their art conformed to the Protestant
doctrines. The Dutch depicted religious subjects not as testimonials to theology
but as calm and contemplative scenes. They favored secular themes, landscapes,
portraiture, and still life. Knowledge/Comprehension
63.
How did the French monarchy respond to the Baroque Age?
Answer: It was essentially the culmination of absolute power for the monarchy.
This consolidation of power was finally realized in the person of Louis XIV. He
obsessively controlled all aspects of not only the government but also French
society and culture. He was the sole arbiter of taste and the single guiding hand in
French Baroque style. Analysis/Comprehension
64.
How is Dutch Baroque uniquely different from Italian Baroque art?
Answer: The unique difference in Dutch Baroque art is its appeal to the senses. It
provides insight into the lives of the Dutch and the social history of Holland at
this time. Unlike Italian Baroque art it is not an exemplar of great themes or
philosophies. It is more comfortable with the daily routine of Dutch households
and urban affairs, both commercial and domestic. Analysis/Comprehension
65.
How did Louis XIV use art as a tool of the monarchy?
Answer: He clearly understood the value of the visual statement as a political
vehicle. Therefore no expense was spared to create symbols and monuments to
glorify the king’s absolute power. His efforts and those of his principal advisor,
Jean-Baptiste Colbert regularized French taste and furthered this with the
foundation of the Royal Academy of Painting and Sculpture which accelerated the
establishment of French classical style. Analysis/Comprehension
12
SLIDE IDENTIFICATION
66.
(Figure 19-12)
a.
b.
c.
d.
Siena
Pisa
Rome
Florence
Answer: a.
67.
(Figure 19-5)
a.
b.
c.
d.
Pietro Cavallini
Cimabue
Giotto
Nicola Pisano
Answer: a.
68.
Arena Chapel
Santa Maria Novella
Santa Croce
Siena Cathedral
Answer: a.
Arena Chapel
(Figure 19-10)
a.
b.
c.
d.
Giotto
Simone Martini
Duccio
Ambrogio Lorenzetti
Answer: c.
70.
Pietro Cavallini
(Figure 19-8)
a.
b.
c.
d.
69.
Siena
Duccio
(Figure 19-19)
a.
b.
c.
d.
Or San Michele
Santa Maria Novella
Florence Cathedral
Arena Chapel
Answer: b.
Santa Maria Novella
13
71.
(Figure 20–11)
a.
b.
c.
d.
Mérode Altarpiece
Ghent Altarpiece
Champmol de Retable
St. John Altarpiece
Answer: d.
72.
(Figure 20–15)
a.
b.
c.
d.
Petrus Christus
Jean Fouquet
Rogier van der Weyden
Melchior Broederlam
Answer: a.
73.
Spanish
French
German
Netherlandish
Answer: d.
Netherlandish
(Figure 20–19)
a.
b.
c.
d.
Deposition
Melun Diptych
Ghent Altarpiece
Mérode Altarpiece
Answer: b.
75.
Petrus Christus
(Figure 20–17)
a.
b.
c.
d.
74.
St. John Altarpiece
Melun Diptych
(Figure 20–8)
a.
b.
c.
d.
Claus Sluter
Rogier van der Weyden
Hans Memling
Dirk Bouts
Answer: b.
Rogier van der Weyden
14
76.
(Figure 21-5)
a.
b.
c.
d.
Donatello
Ghiberti
Brunelleschi
Pollaiuolo
Answer: b.
77.
(Figure 21-8)
a.
b.
c.
d.
Or San Michele
Florence Cathedral
Santa Maria Novella
Santa Croce
Answer: b.
78.
Alberti
Ghiberti
Brunelleschi
Michelozzo
Answer: c.
Mantegna
Perugino
Signorelli
Botticelli
Answer: b.
Perugino
(Figure 21-23)
a.
b.
c.
d.
Rossellino
Desiderio
Verrocchio
Donatello
Answer: d.
81.
Brunelleschi
(Figure 21-40)
a.
b.
c.
d.
80.
Florence Cathedral
(Figure 21-14)
a.
b.
c.
d.
79.
Ghiberti
Donatello
(Figure 22–44)
15
a.
b.
c.
d.
Venetian Renaissance
Florentine Renaissance
Mannerism
French Mannerism
Answer: c.
82.
(Figure 22–9)
a.
b.
c.
d.
Michelangelo
Cellini
da Bologna
Donatello
Answer: a.
83.
Leonardo
Michelangelo
Titian
Raphael
Answer: d.
Tomb of Julius II
Tomb of Lorenzo de’Medici
Tomb of Giuliano de’Medici
Tomb of Michelangelo
lo
Answer: c.
Tomb of Giuliano de’Medici
(Figure 22–18)
a.
b.
c.
d.
Raphael
Leonardo
Michelangelo
Perugino
Answer: a.
86.
Raphael
(Figure 22–22)
a.
b.
c.
d.
85.
Michelangelo
(Figure 22–17)
a.
b.
c.
d.
84.
Mannerism
Raphael
(Figure 23-4)
16
a.
b.
c.
d.
Holbein
Cranach the Elder
Dürer
Altdorfer
Answer: c.
87.
(Figure 23-21)
a.
b.
c.
d.
Four Apostles
Four Rulers
Church Fathers
Four Saints
Answer: a.
88.
oil on canvas
watercolor
oil on panel
fresco
Answer: b.
Martin Luther
Francis I
Henry VIII
John Calvin
Answer: b.
Francis I
(Figure 23-16)
a.
b.
c.
d.
Spain
France
Netherlands
Germany
Answer: c.
91.
watercolor
(Figure 23-12)
a.
b.
c.
d.
90.
Four Apostles
(Figure 23-7)
a.
b.
c.
d.
89.
Dürer
Netherlands
(Figure 24-9)
a.
Girard on
17
b.
c.
d.
Asam
Bernini
Neumann
Answer: c.
92.
(Figure 24-66)
a.
b.
c.
d.
Le Vau and Mansart
Perrault
Guarini
Wren
Answer: b.
93.
Bernini
Guarini
Maderno
Borromini
Answer: d.
Borromini
(Figure 24-21)
a.
b.
c.
d.
Annibale Carracci
Caravaggio
Guido Reni
Artemisia Gentileschi
Answer: d.
95.
Perrault
(Figure 24-10)
a.
b.
c.
d.
94.
Bernini
Artemisia Gentileschi
(Figure 24-39)
a.
b.
c.
d.
Artemisia Gentileschi
Clara Peeters
Judith Leyster
Rachel Ruysch
Answer: b.
Clara Peeters
18