ART 134 Review Questions
Sixteenth Century Italian Art: The High Renaissance and Mannerism
1. At the beginning of the 16th century, artistic activity in Italy shifted to
a. Florence
b. Venice
c. Bologna
d. Rome
e. Sienna
2. The period beginning about 1495 and ending in 1527 is known as the
a. High Renaissance
b. Early Renaissance
c. Late Renaissance
d. Mannerist period
e. Baroque
3. In the first quarter of the 16th century, artistic patronage in Italy centered around
a. the ducal court in Florence
b. the Papal Court
c. The Duke of Milan
d. the King of Naples
e. the Borgias
4. Leonardo was born in
a. Milan
b. Rome
c. Perugino
d. Vinci
e. Pompeii
5. In The Virgin of the Rocks, Leonardo turns the emphasis from the triangular concept of early
Renaissance compositions into a
a. circular
b. polygonal
c. pyramidical
d. cubical
e. vertical arrangement of figures
6. The interplay of light and dark in painting is called
a. value
b. a cartoon
c. colorito
d. disegno
e. chiaroscuro
7. In the refractory of Santa Maria delle Grazie in Milan , Leonardo painted
a. The Virgin of the Rocks
b. St. John the Baptist
c. Virgin and Child with St. Anne
d. Last Supper
e. Last Judgment
8. Leonardo’s Last Supper deteriorated because of
a. poor lighting
b. poor conditions in the church
c. his experimenting with materials
d. it was moved to another location
e. lack of care
9. What painting did Leonardo posses until he died?
a. Virgin of the Rocks
b. The Last Supper
c. Mona Lisa
d. Madonna and Child with Angels
e. The School of Athens
10. Leonardo’s Vitruvian Man was a study of
a. human male proportions
b. a Greek god
c. sculpture
d. painting
e. philosophy
11. The ideal of the central plan structure was realized by Bramante in his
a. Tempietto
b. Santa Maria delle Consolazione
c. St. Peter's
d. Basilica of Constantine
e. Santa Maria degli Angeli
12. A full-size drawing which is transferred to a painting's working surface is called a
a. sketch
b. cartoon
c. fresco
d. charcoal
e. rendering
13. Raphael began painting in the Umbrian style of his teacher
a. Piero della Francesca
b. Mantegna
c. Perugino
d. Leonardo da Vinci
e. Michelangelo
14. After visiting Florence, Raphael absorbed influences from paintings he saw there by
a. Piero della Francesca
b. Mantegna
c. Perugino
d. Leonardo
e. Michelangelo
15. In Rome , Raphael was further influenced by work he saw in the Sistine Chapel by
a. Piero della Francesca
b. Mantegna
c. Perugino
d. Leonardo
e. Michelangelo
16. In Rome , Raphael received one of the largest commissions of the time, the decoration of the
a. Sistine Chapel
b. dome of St. Peter's
c. refractory of Santa Maria delle Grazie
d. Papal apartments
e. School of Athens
17. The paintings that Raphael made for the Stanza della Segnature in 1509, depicting a concourse of
philosophers and scientists of the ancient world, was
a. Parnassus
b. Disputation over the Eucharist
c. Last Supper
d. Madonna with the Goldfinch
e. The School of Athens
18. A sculptor, painter, poet and engineer, Michelangelo thought of himself first of all as a/an
a. architect
b. muralist
c. sculptor
d. philosopher
e. theologian
19. Fleeing Florence when the Medici fell in 1494, Michelangelo went to Bologna , where he was
probably influenced by the work of the sculptor
a. Donatello
b. Verocchio
c. Jacopo della Quercia
d. Benvenuto Cellini
e. Giovanni da Bologna
20. Michelangelo’s sculpture Pieta was of
a. the Crucifixion
b. the Resurrection
c. the Annunciation
d. Christ and the Apostles
e. Virgin Mary and the dead Christ
21. In 1504, Michelangelo completed his first great statue for Florence
a. the Tomb of Giuliano de' Medici
b. the Pieta
c. David
d. Bound Slave
e. Bacchus
22. Moses, by Michelangelo, had what appeared to be horns. What were they supposed to be?
a. horns
b. hair
c. the hand of God
d. rays of light
e. his spirit leaving his body
23. Which is not a subject found in the Sistine Chapel ceiling?
a. prophets
b. sibyls
c. ancestors of Christ
d. the Creation
e. the Crucifixion
24. In the center panels of the Sistine ceiling, Michelangelo painted subjects from
a. mythology
b. Genesis
c. lives of the Popes
d. the life of Christ
e. Acts of the Apostles
25. In Florence , in a commission from the Medici popes at their Church of San Lorenzo ,
Michelangelo built and sculpted tombs in the
a. New Sacristy
b. Old Sacristy
c. Pazzi Chapel
d. Brancacci Chapel
e. Bardi Chapel
26. Also for the Medici, adjacent to San Lorenzo , Michelangelo designed the
a. Tomb of Julius II
b. Laurentian Library and Vestibule
c. Capitol
d. David
e. Last Judgment
27. The recent cleaning of the Sistine Ceiling (1980-1992) revealed Michelangelo to have been more
concerned with this aspect of painting than anyone had ever suspected
a. sculptural form
b. perspective
c. mathematical relationships
d. color
e. heroic proportions
f.
28. The female figure on the tomb of Giuliano de’Medici represents
a. Night
b. Day
c. Dusk
d. Dawn
e. A river goddess
29. The male figure on the tomb of Giuliano de' Medici represents
a. night
b. day
c. dusk
d. dawn
e. a river goddess
30. The figure of Giuliano de' Medici above his tomb represents
a. a portrait likeness
b. a river god
c. the active man
d. the contemplative life
e. a self portrait
31. In 1534, Michelangelo was recalled to Rome to paint another fresco in the Sistine Chapel,
a. The Fall of Man
b. The Redemption of Man
c. the Last Judgment
d. The Expulsion of Heliodorus
e. The Last Supper
32. Michelangelo painted himself in his last great painting. His face appears as that of
a. Charon
b. Christ
c. St Peter
d. St. Bartholomew
e. St. Christopher
33. After the death of Raphael, or after the end of the High Renaissance, beginning about 1520,
artists began to imitate elements of the style of the great Renaissance masters rather than working
directly from nature. This style is generally known as
a. Gothic
b. Baroque
c. Mannerism
d. Italo-Byzantine
e. Neo-classical
34. The artist who painted the illusionistic fresco on the interior of the dome at the cathedral in Parma
was
a. Corregio
b. Parmagianino
c. Rosso Fiorentino
d. Cellini
e. Bronzino
35. The soft, smoky modeling used by Leonardo and then by Corregio was called
a. tenebrism
b. sfumato
c. di sotto in su
d. foreshortening
e. quattrocento
36. Which is not a characteristic of Mannerism?
a. crowded compositions
b. lack of strong focal point
c. symmetrical groupings of figures centered around a vanishing point
d. bright, clashing colors
e. ambiguous space
37. The "mannered" artificiality and elegance of Mannerism can be seen in the Madonna with the
Long Neck by
a. Pontormo
b. Bronzino
c. Rosso Fiorentino
d. Parmigianino
e. Bronzino
38. Which of the following is not a characteristic of Mannerism?
a. Pagan subjects
b. elaborate, learned and intricate allegories
c. use of the human figure as subjects
d. simple, monumental, sculptural forms
e. aristocratic aloofness
39. Bronzino is chiefly known for a specific type of painting that he originated:
a. landscapes
b. still-lifes
c. allegories
d. portraits of disdainful aristocrats
e. religious
40. One of the first women artists to achieve high status (court painter to the King of Spain) was
a. Rosalba Carriera
b. Guilio Romano
c. Sophonisba Anguissola
d. Artemisia Gentileschi
e. Rachael Ruysch
41. The most important sculptor between Michelangelo and Bernini was
a. Cellini
b. Giovanni da Bologna
c. Cennino Cennini
d. Giulio Romano
e. Sansovino
42. An example of Mannerism in architecture is the building by Romano,
a. Palazzo del Te
b. The Mint
c. Villa Rotunda
d. San Giorgio Maggiore
e. Doge's Palace
43. A city with the sea for its natural defenses, built on low islands in a shallow lagoon, was
a. Parma
b. Bologna
c. Mantua
d. Rimini
e. Venice
44. The designer of La Zecca was
a. Cellini
b. Giovanni da Bologna
c. Cennino Cennini
d. Giulio Romano
e. Sansovino
45. The architect who created the classical Renaissance villa which was the inspiration for many later
English and American homes was
a. Cellini
b. Sansovino
c. Palladio
d. Giulio Romano
e. Giovanni da Bologna
46. The first architect to use the ancient Roman temple front in private houses was
a. Cellini
b. Sansovino
c. Giulio Romano
d. Palladio
e. Giovanni da Bologna
47. The architect of the Villa Rotunda was
a. Bramante
b. Sansovino
c. Raphael
d. Giulio Romano
e. Palladio
48. A Venetian painter whose work spans the entire history of Renaissance painting from the
International Style through Early Renaissance to High Renaissance, and who was the founder of
the Venetian Renaissance school of painting, was
a. Giovanni Bellini
b. Mantegna
c. Titian
d. Tintoretto
e. Veronese
49. Giovanni Bellini's first influence was from his father, Jacopo. His second (which shows in his
early independent works) was from
a. Giorgione
b. Mantegna
c. Titian
d. Tintoretto
e. Veronese
50. Bellini's style may have changed partly because of his introduction to the technique of
a. oil painting
b. fresco
c. tempera
d. mosaic
e. encaustic
51. Bellini was known particularly for his paintings of
a. portrait
b. landscapes
c. the Madonna and Christ Child
d. mythological subjects
e. saints
52. Bellini achieved a fully developed High Renaissance style as early as 1505 in his masterpiece
a. San Giobbe Altarpiece
b. Madonna of the Trees
c. San Zaccaria Altarpiece
d. Feast of the Gods
e. Madonna of the Pesaro Family
53. Which of the following is not a typical characteristic of Venetian painting?
a. rich, sensuous color
b. sculpturesque form
c. Arcadian landscape
d. mythological subjects
e. painting in oil on canvas
54. A pupil of Bellini, yet one who influenced his master and set the direction of Venetian painting
for years to come (and who painted Pastoral Symphony) was
a. Giorgione
b. Mantegna
c. Titian
d. Tintoretto
e. Veronese
55. On the death of Giovanni Bellini, this painter became Painter to the Venetian Republic :
a. Giorgione
b. Mantegna
c. Titian
d. Tintoretto
e. Veronese
56. The most “prolific” Venetian painter was
a. Titian
b. Tintoretto
c. Veronese
d. Giorgione
e. Mantegna
57. The artist who aspired to create a style by combining the color Titian with the drawing of
Michelangelo was
a. Giorgione
b. Mantegna
c. Titian
d. Tintoretto
e. Veronese
58. The artist who is considered to be the chief representative of Mannerism in Venice was
a. Giorgione
b. Mantegna
c. Titian
d. Tintoretto
e. Veronese
59. The last of the great Venetian Renaissance masters was
a. Giorgione
b. Mantegna
c. Titian
d. Tintoretto
e. Veronese
60. Upon criticism by the Inquisition for impiety in his painting of the Last Supper, Veronese
changed the title of the picture to
a. The Triumph of Venice
b. The Marriage at Cana
c. Christ in the House of Levi
d. Miracle of the Slave
e. The Feast of the Gods
61. Which of the following is a characteristic of Titian's mature painting style?
a. loose, open brushwork
b. use of tempera paint
c. use of clear crisp outlines around figures
d. large frescoes
e. acrid, unnatural colors
62. In the most general terms, if David represents the ideal in Florentine painting, who could
represent the ideal in Venetian painting?
a. the Madonna
b. St. Sebastian
c. Apollo
d. Venus
e. St. George
63. The largest oil painting in the world was made by
a. Giorgione
b. Mantegna
c. Titian
d. Tintoretto
e. Veronese