Ch 22 Study Guide Questions #3
1. How does Titian reveal his debt to classical art and the Laocoon statuary group in Meeting of
Bacchus and Ariadne?
2. How is Meeting of Bacchus and Ariadne a perfect complement to the room in which it is placed?
3. What are the compositional elements did Titian establish for the reclining nude in Venus of
Urbino?
4. How does Titian use color to help the viewer gauge distance in Venus of Urbino?
5. How is Titian’s portrait of Isabella d’Este psychologically revealing of his subject?
6. How does Andrea del Sarto utilize the structure and symmetry of the High Renaissance and yet
create a sense of movement in his Madonna of the Harpies?
7. Why is the work of Antonio Allegri da Correggio so hard to classify? What is his most enduring
contribution?
8. Explain the difference between how the artists of the High Renaissance and the Mannerists
approach the artifice of a work of art.
9. What are the stylistic features of Mannerism as seen in Jacopo da Pontormo’s Descent from the
Cross?
10. How does da Pontormo create a sense of ambiguity in Descent from the Cross?
11. How is Parmigianino’s Madonna with the Long Neck an image that would appeal to the court
taste of the 16th century?
12. Briefly explain the intricate allegories of Bronzino’s The Exposure of Luxury.
13. In his book The Courtier Baldassare Castiglione discusses that a Renaissance gentleman must
possess sprezzatura, “It is an art which does not seem to be an art. One must avoid affectation
and practice in all things a certain sprezzatura, disdain or carelessness, so as to conceal art, and
make whatever is done or said appear to be without effort and almost without any thought
about it....obvious effort is the antithesis of grace." Examine Bronzino’s Portrait of a Young
Man. How does the subject exemplify sprezzatura?
14. How does Sofonisba Anguissola’s Portrait of the Arist’s Sisters and Brother possess an informal
intimacy not seen in Bronzino’s Portrait of a Young Man?
15. How does Cellini employ Mannerist proportions for his Genius of Fontainebleau?
16. How does Giovanni da Bologna’s Abduction of Sabine Women radically change for viewers?
17. What is unorthodox about Guilio Romano’s use of classical architectural elements in the Palazzo
del Te in Mantua? Why would Romano’s building “require a sophisticated audience” to
appreciate it?
18. Briefly explain the role of the Jesuits in the Counter Reformation.
19. How does Giacomo della Porta unify the two stories of the façade of Il Gesu?
20. How is the plan for Il Gesu a “theatrical” take on Alberti’s plan for Sant’Andrea in Mantua?
21. Compare Il Gesu with Santa Susanna on page 691. Explain how della Porta’s design was
influential for the later building.
22. Explain the didactic nature of Tintoretto’s Last Supper (use the insert on page 636 to help you).
23. What are some of the Mannerist devices Tintoretto utilizes in his Last Supper?
24. Why did Paolo Veronese receive criticism from the Catholic Church for his work Christ in the
House of Lev? How did he respond?
25. How is Veronese’s illusionistic ceiling, Triumph of Venice, different from that of Mantegna and
Correggio?
26. How does Jacopo Sansovino give the Mint a “fortresslike look?”
27. How does the State Library subtly echo the Doge’s Palace from which it is situated across?
28. Where was the work and writing of Andrea Palladio most influential?
29. Identify the elements of Palladio’s Villa Rotunda that reference Roman temples in general and
the Pantheon in particular?
30. What is Mannerist about Palladio’s façade of San Giorgio Maggiore?