Multiple Choice Select the response that best answers the question or completes the statement.

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1 Chapter 22 Italy, 1500 to 1600 Multiple Choice Select the response that best answers the question or completes the statement. 1. Which of the following matured during the 16 th century in Italy? a. fresco c. panel painting b. perspectival systems d. political ambitions of Savonarola 2. The leading artistic centers of 16 th century central Italy were. a. Florence and Rome c. Rome and Venice b. Siena and Florence d. Mantua and Venice 3. The Society of Jesus (Jesuits) was founded by. a. Francis Xavier c. Ignatius of Loyola b. Francesco Borgia d. Diego Velasquez 4. The Catholic Church s response to the Protestant Reformation was the. a. Resolution of Trent c. Papal Bull b. Document of Truth d. Counter-Reformation 5. The sixteenth-century artistic developments in Italy have been designated as. a. High Renaissance c. Golden Renaissance b. Middle Renaissance d. Golden Age 6. Which of the following paintings builds on Masaccio s understanding and usage of chiaroscuro? a. Creation of Adam c. Madonna of the Rocks b. School of Athens d. Madonna of the Pesaro Family 7. Leonardo s Last Supper can be found in the of Santa Maria delle Grazie, Milan. a. Basement c. Refectory b. Choir d. Vestibule 8. Leonardo created a full-scale model of an equestrian statue for the Sforza family; this was destroyed by the in a. Tuscans c. Spaniards b. French d. English 19

2 9. Leonardo worked as a military engineer for Cesare Borgia, the son of. a. Pope Alexander VI c. Pope Leo X b. Henry VIII d. Charles V 10. Leonardo was invited to France by. a. Henri II c. Francis I b. Philippe the Fair d. Jean, Duke of Burgundy 11. The first project Julius II commissioned from Michelangelo was the. a. Papal Palace c. Piazza San Pietro b. Pontiff s tomb d. Pontiff s piazza 12. Who commissioned Bramante s Tempietto? a. Henri II and Marie c. Henry VIII and Anne d Medici of France Boleyn of England b. Ferdinand and Isabella d. Francesco and Isabella d Este of Spain 13. Baldassare Castiglione wrote the. a. Book of the Courtier c. Lives of the Artists c. Handbook of Politics d. Michelangelo, A Biography 14. Which of the following High Renaissance portraits paid increasing attention to the sitter s personality and psychic state? a. Giovanna Tornabuoni c. Ludovico Gonzaga b. Baldassare Castiglione d. Lorenzo de Medici 15. Duke Federigo Gonzaga intended his Palazzo del Tè to be his urban summer palace and. a. retreat c. stud farm b. zoo d. monastery 16. Who became chief architect of the Venetian Republic from 1570 to 1580? a. Palladio c. Giulio Romano b. Tintoretto d. Veronese 17. Which European country outside Italy was most strongly influenced by Palladio? a. France c. Germany b. England d. Russia 20

3 18. Michelangelo s last project for Paul III was supervising the building of the new. a. Piazza San Pietro c. Saint Peter s b. Lateran Palace d. Vatican Palace 19. The Venetian artist played an important role in developing the evocative use of color, which became known as the Venetian style. a. Andrea Mantegna c. Gentile da Fabriano b. Giovanni Bellini d. Sandro Botticelli 20. The Venetian artist was considered a supreme colorist and cultivated numerous patrons. a. Titian c. Giorgione b. Giovanni Bellini d. Antonello da Messina Slide Questions A. Raphael Castiglione (Figure 22 11). 21. How does this portrait represent the High Renaissance? 22. How does this portrait represent the man? 23. How is the concept of love of beauty reflected in this portrait? B. Bronzino Portrait of a Young Man (Figure 22 45). 24. How does this portrait represent Mannerism? C. Sofonisba Anguissola Portrait of the Artist s Sisters and Brother (Figure 22-46). 25. How does this portrait represent Mannerism? 26. How does the artist change the style of the portrait? 27. Why is this significant? D. Leonardo da Vinci Last Supper (Figure 22 4). 28. What features mark this work as High Renaissance? 29. How does this work shape the High Renaissance tradition? E. Michelangelo Creation of Adam (Figure 22-19). 30. What features mark this work as High Renaissance? 31. How does this work shape the High Renaissance tradition? 32. Why is the work significant? 21

4 Short Answer 33. What was the purpose of religious art in the Counter-Reformation? 34. How did Michelangelo adjust Bramante s plan for the New Saint Peter s? 35. In what ways did Pope Julius II affect the course of sixteenth century art? 36. How does Bramante s Tempietto reflect the architectural vocabulary of temporal humanist authority? 37. How does Michelangelo s David differ from its fifteenth century predecessors? 38. Briefly describe the importance of Correggio and his contribution to painting. 39. Summarize Mannerist art. 40. How did Sofonisba Anguissola change portraiture? 41. What impact did Giovanni di Bologna (Jean de Boulogne) have on sculpture? 42. What made the Il Gesù so effective for the Jesuits? 22

5 ANSWERS Multiple Choice 1. B page B page A page B page C page A page D page B page A page C page C page A page C page B page B page C page A page B page C page A page 607 True/False A. 21. Raphael has composed in the portrait the monumental High Renaissance pyramid: the figure is calm, dignified, and relaxed. Page Raphael has captured the intensity and thoughtfulness of Castiglione by emphasizing the man and not the background; he has presented him as the middle-aged man of the Renaissance he was. Page Raphael has revealed the man and his deep love for the beautiful by focusing on the head and hands of Castiglione. Page 587 B. 24. Through the sophisticated elegance and calculated attitude of nonchalance, the artist is asserting the rank of the individual and not his character or personality. Page 615 C. 25. The artist has arranged her sisters and brother against a neutral background reminiscent of the Mannerist tradition and represented them with a neutral nonchalance rather than an affected or calculated mien. Page The relaxed and affectionate presentation of the artist s sisters and brother brought a new naturalism to portraiture. Page This graceful and charming treatment of a portrait style did not escape the notice of her contemporaries and it allowed her further access and a career. Page 615 D. 28. It shows complete command of the techniques of linear perspective but subordinates them to the dramatic presentation of the image. The orthogonals converge on Christ s head, which is also framed by the light of the window and the curved pediment. Page In this one work Leonardo has consolidated the observable world and the religious world and created a psychologically and complex work which 23

6 uses the artistic developments from the 15 th century in an authoritative way. Page 582 E. 30. The humanistic interpretation of a momentous event. Page It is the amalgamation of the classical and Christian traditions into a clear message of hope and salvation. Page He married the classical and Christian traditions and gave form and substance to a spiritual and philosophical tenet. Page 594 Short Answer 33. Catholics deemed art as valuable for cultivating piety. Page Reduced the fragmentation and made the interior more unified. Page He was an avid art patron and understood the propagandistic value of visual imagery; he would commission artworks that would present an authoritative image of his rule and the primacy of the Roman Catholic Church. Page Based on Roman and Greek models, it relies on the composition of volumes and masses and on a sculptural handling of solids and voids. Pages The artist opted to represent David not after his victory but before: sternly watching the approaching foe, his muscular body tense with gathering power. Page He pooled many styles yet developed his own unique personal style; he developed an illusionistic ceiling perspective his Baroque emulators seldom surpassed. Page Emphasis on staged, contrived imagery, imbalanced compositions, unusual complexities, both visual and conceptual, ambiguous space, departure from expected conventions and unique presentations of traditional themes. Page She introduced an informal intimacy by placing the sitters in affectionate poses meant for private showing and not public or official display. Page His sculptural group, the Rape of the Sabines was the first large-scale group since Classical Antiquity designed to be seen from multiple viewpoints. He provides the stylistic links between Michelangelo's sculptures and those of the Baroque master Gianlorenzo Bernini. Page The plan created a single great hall for processions and promenades, and above all it accommodated the great crowds to hear the eloquent preaching of the Jesuits. Page