CHAPTER TWENTY-ONESIXTEENTH-CENTURY ART IN ITALY

1. Which pope enlisted Bramante, Raphael, and Michelangelo to carry out his vision of a revitalized Rome as the center of a new Christian architecture?

A. Clement VII

B. Paul III

C. Julius II

D. Leo X

Answer: C

Learning Objective: 21.c Relate sixteenth-century Italian Renaissance artists and art to their cultural, economic, and political contexts.

Topic: Architecture in Rome and the Vatican

Difficulty Level: Easy

Skill Level: Remember the Facts

2. What element of Leonardo da Vinci’s The Virgin of the Rocks best embodies the principles of art in the High Renaissance?

A. the references to Classical subject matter

B. the balanced pyramidal grouping of figures

C. the somber mood created through darkened tones

D. the unusual landscape of the background

Answer: B

Learning Objective: 21.b Interpret the meaning of sixteenth-century Italian Renaissance works of art based on their themes, subjects, and symbols.

Topic: Leonardo da Vinci

Difficulty Level: Moderate

Skill Level: Understand the Concepts

3. What distinguished Venetian painting of the late sixteenth century from works done in other Italian cities?

A. the use of oil paint on canvas

B. an emphasis on technical perfection

C. an interest in color and light

D. the frequent use of nude figures

Answer: C

Learning Objective: 21.f Select visual and textual evidence in various media to support an argument or an interpretation of a work of sixteenth-century Italian Renaissance art.

Topic: Venice and the Veneto

Difficulty Level: Moderate

Skill Level: Understand the Concepts

4. What about Bronzino’s Allegory with Venus and Cupid (Fig. 21-41) would have probably been most appreciated by patrons of Mannerist art?

A. the clarity attained through the circular composition

B. the use of hieratic scale with bright color

C. the political and religious implications

D. the complex iconography and ambiguous meaning

Answer: D

Learning Objective: 21.f Select visual and textual evidence in various media to support an argument or an interpretation of a work of sixteenth-century Italian Renaissance art.

Topic: Pontormo, Parmigianino, and Bronzino

Difficulty Level: Difficult

Skill Level: Apply What You Know and Analyze It

5. What did Giorgione focus on in The Tempest (Fig. 21-26) as much as the figures?

A. natural elements

B. facial expressions

C. religious figures

D. architectural settings

Answer: A

Learning Objective: 21.e Interpret a work of sixteenth-century Italian Renaissance art using the art historical methods of observation, comparison, and inductive reasoning.

Topic: Venice and the Veneto

Difficulty Level: Moderate

Skill Level: Understand the Concepts

6. What original feature is seen in Michelangelo’s Last Judgment (Fig. 21-46)?

A. It depicts nude figures surrounding Christ.

B. He placed Christ at the center of the composition.

C. It does not clearly separate the saved from the damned.

D. He used expressive gestures and emotions.

Answer: C

Learning Objective: 21.e Interpret a work of sixteenth-century Italian Renaissance art using the art historical methods of observation, comparison, and inductive reasoning.

Topic: Art and the Counter-Reformation, Rome and the Vatican

Difficulty Level: Difficult

Skill Level: Apply What You Know and Analyze It

7. What did Giorgione introduce into Venetian painting as enigmatic pastoral themes?

A. Mannerism

B. poesie

C. allegories

D. Counter-Reformation themes

Answer: B

Learning Objective: 21.d Apply the vocabulary and concepts relevant to sixteenth-century Italian Renaissance art, artists, and art history.

Topic: Venice and the Veneto

Difficulty Level: Easy

Skill Level: Remember the Facts

8. Why was Sofonisba Anguissola unusual among women artists in the sixteenth century?

A. She painted miniatures.

B. She became a lady in waiting.

C. She was from Bologna.

D. She was not the daughter of an artist.

Answer: D

Learning Objective: 21.c Relate sixteenth-century Italian Renaissance artists and art to their cultural, economic, and political contexts.

Topic: Anguissola and Fontana

Difficulty Level: Easy

Skill Level: Remember the Facts

9. Which city produced a notable number of accomplished women painters and sculptors?

A. Bologna

B. Venice

C. Florence

D. Rome

Answer: A

Learning Objective: 21.c Relate sixteenth-century Italian Renaissance artists and art to their cultural, economic, and political contexts.

Topic: Anguissola and Fontana

Difficulty Level: Moderate

Skill Level: Understand the Concepts

10. What feature of Palladio’s Villa Rotonda (Figs. 21-35 and 21-36) had not previously been used on a domestic structure?

A. a portico

B. exterior sculpture

C. the dome

D. Ionic columns

Answer: C

Learning Objective: 21.a Identify the visual hallmarks of sixteenth-century Italian Renaissance art and architecture for formal, technical, and expressive qualities.

Topic: The Architecture of Palladio

Difficulty Level: Difficult

Skill Level: Apply What You Know and Analyze It

11. The trompe l’oeil paintings of the Sala dei Giganti in the Palazzo del Te create the illusion of

A. a window onto the exterior courtyard and gardens.

B. multiple panel paintings and architectural features.

C. a magnificent view over the city.

D. the room collapsing around the viewer.

Answer: D

Learning Objective: 21.a Identify the visual hallmarks of sixteenth-century Italian Renaissance art and architecture for formal, technical, and expressive qualities.

Topic: Northern Italy

Difficulty Level: Easy

Skill Level: Remember the Facts

12. In contrast to Leonardo da Vinci’s beliefs, what did Michelangelo believe to be the most complete means of creating an illusion of the natural world?

A. painting

B. embroidery

C. drawing

D. sculpture

Answer: D

Learning Objective: 21.d Apply the vocabulary and concepts relevant to sixteenth-century Italian Renaissance art, artists, and art history.

Topic: Leonardo da Vinci

Difficulty Level: Easy

Skill Level: Remember the Facts

13. What city attracted some of the greatest Italian artists of the sixteenth century at the beginning of their careers?

A. Rome

B. Florence

C. Venice

D. Mantua

Answer: B

Learning Objective: 21.c Relate sixteenth-century Italian Renaissance artists and art to their cultural, economic, and political contexts.

Topic: The Roman High Renaissance

Difficulty Level: Easy

Skill Level: Remember the Facts

14. What was the cause of the extensive damage to Leonardo’s painting of The Last Supper (Figs. 21-4 and 21-5) that occurred shortly after its completion?

A. the humid climate in Milan

B. the experimental technique used in its production

C. bombings during World War II

D. poor attempts at restoration of the work

Answer: B

Learning Objective: 21.c Relate sixteenth-century Italian Renaissance artists and art to their cultural, economic, and political contexts.

Topic: Leonardo da Vinci

Difficulty Level: Easy

Skill Level: Remember the Facts

15. Which of the following projects in the Sistine Chapel was considered the most prestigious and expensive commission?

A. the Sistine ceiling by Michelangelo

B. The Last Judgment by Michelangelo

C. The Life of Christ frescoes by Perugino

D. the tapestry program by Raphael

Answer: D

Learning Objective: 21.e Interpret a work of sixteenth-century Italian Renaissance art using the art historical methods of observation, comparison, and inductive reasoning.

Topic: Raphael

Difficulty Level: Moderate

Skill Level: Understand the Concepts

16. Recent scholarship suggests that Titian’s “Venus” of Urbino (Fig. 21-30) was meant to represent

A. a classical goddess.

B. a newly married woman.

C. a Venetian courtesan.

D. a specific individual.

Answer: B

Learning Objective: 21.b Interpret the meaning of sixteenth-century Italian Renaissance works of art based on their themes, subjects, and symbols.

Topic: Venice and the Veneto

Difficulty Level: Easy

Skill Level: Remember the Facts

17. What encourages viewers to explore Giambologna’s The Capture of a Sabine Woman (Fig. 21-45)?

A. Classical goddess

B. contrapposto pose

C. spiraling composition

D. detailed rendering of the drapery

Answer: C

Learning Objective: 21.f Select visual and textual evidence in various media to support an argument or an interpretation of a work of sixteenth-century Italian Renaissance art.

Topic: Sculpture

Difficulty Level: Moderate

Skill Level: Understand the Concepts

18. What characteristic of Tintoretto’s painting style was criticized by his contemporaries?

A. the spontaneity of his slashing brushwork

B. his use of strong diagonals and active compositions

C. his deep colors and flashing highlights, reminiscent of Byzantine art

D. his elongated figures with non-Classical proportions

Answer: A

Learning Objective: 21.b Interpret the meaning of sixteenth-century Italian Renaissance works of art based on their themes, subjects, and symbols.

Topic: Venice and the Veneto

Difficulty Level: Difficult

Skill Level: Apply What You Know and Analyze It

19. How does Michelangelo’s David differ from the Classical sculpture that inspired it?

A. the use of heroic nudity

B. the figure’s contrapposto stance

C. the figure’s emotional intensity

D. the figure’s muscular physique

Answer: C

Learning Objective: 21.e Interpret a work of sixteenth-century Italian Renaissance art using the art historical methods of observation, comparison, and inductive reasoning.

Topic: Michelangelo

Difficulty Level: Moderate

Skill Level: Understand the Concepts

20. Raphael’s well-known fresco The School of Athens (Fig. 21-10), in both its subject matter and harmonious formal arrangement, summarizes the ideals envisioned by

A. the Medici family of Florence.

B. the Holy Roman Emperor.

C. the Doni family of Florence.

D. the Renaissance popes.

Answer: D

Learning Objective: 21.f Select visual and textual evidence in various media to support an argument or an interpretation of a work of sixteenth-century Italian Renaissance art.

Topic: Raphael

Difficulty Level: Moderate

Skill Level: Understand the Concepts

21. How did its patron respond to Veronese’s Feast in the House of Levi (Fig. 21-31)?

A. The painting was praised as propaganda for the Counter-Reformation.

B. The church was offended by its grand pageantry and the focus on architectural elements.

C. It was seen as a testimony of Christ’s humility and willingness to associate with sinners.

D. The patron disliked the luxurious textures, symmetrical composition, and numerical iconography.

Answer: B

Learning Objective: 21.c Relate sixteenth-century Italian Renaissance artists and art to their cultural, economic, and political contexts.

Topic: Venice and the Veneto

Difficulty Level: Difficult

Skill Level: Apply What You Know and Analyze It

22. Who was the first pope to pursue church reform in response to Protestants?

A. Francis I

B. Paul III

C. Julius II

D. Clement VII

Answer: B

Learning Objective: 21.c Relate sixteenth-century Italian Renaissance artists and art to their cultural, economic, and political contexts.

Topic: Art and the Counter-Reformation

Difficulty Level: Easy

Skill Level: Remember the Facts

23. What is a full-scale drawing called that is a model for a major painting, tapestry, or other two-dimensional work of art?

A. engraving

B. sinopia

C. cartoon

D. woodcut

Answer: C

Learning Objective: 21.d Apply the vocabulary and concepts relevant to sixteenth-century Italian Renaissance art, artists, and art history.

Topic: Raphael

Difficulty Level: Difficult

Skill Level: Understand the Concepts

24. Raphael’s portrait of Maddalena Strozzi imitates

A. the Mona Lisa.

B. Venus of Urbino.

C. the Pieta.

D. The Tempest.

Answer: A

Learning Objective: 21.e Interpret a work of sixteenth-century Italian Renaissance art using the art historical methods of observation, comparison, and inductive reasoning.

Topic: Raphael

Difficulty Level: Easy

Skill Level: Remember the Facts

25. What is characterized by subtle transitions between light and dark in shading?

A. grisaille

B. sfumato

C. poesie

D. intonaco

Answer: B

Learning Objective: 21.d Apply the vocabulary and concepts relevant to sixteenth-century Italian Renaissance art, artists, and art history.

Topic: Leonardo da Vinci

Difficulty Level: Moderate

Skill Level: Understand the Concepts

Short Answer

1. In what ways was Leonardo da Vinci experimental with his artwork?

Answer: He liked to use experimental paints and surface techniques as well as introduce new shapes, gestures, and iconography to his compositions.

Learning Objective: 21.c Relate sixteenth-century Italian Renaissance artists and art to their cultural, economic, and political contexts.

Topic: Leonardo da Vinci

Difficulty Level: Moderate

Skill Level: Understand the Concepts

2. What was included in a Classical education in the sixteenth century?

Answer: Humanists thought of painting, sculpture, and architecture as liberal arts, requiring education in the Classics, mathematics, and the techniques of each craft.

Learning Objective: 21.b Interpret the meaning of sixteenth-century Italian Renaissance works of art based on their themes, subjects, and symbols.

Topic: Europe in the Sixteenth Century

Difficulty Level: Difficult

Skill Level: Apply What You Know and Analyze It

3. How was Lavinia Fontana inspired by Mannerism?

Answer: She used a strong diagonal line with complicated poses and positioning for her figures in an asymmetrical composition.

Learning Objective: 21.c Relate sixteenth-century Italian Renaissance artists and art to their cultural, economic, and political contexts.

Topic: Anguissola and Fontana

Difficulty Level: Difficult

Skill Level: Apply What You Know and Analyze It

4. What is the arrangement of images on the Sistine Chapel ceiling?

Answer: Scenes from the biblical book of Genesis were created in reverse, from the Drunkenness of Noah to the Separation of Light from Darkness, surrounded by putti and ignudi. The intent is that God’s earliest acts of creation be closest to the altar.

Learning Objective: 21.b Interpret the meaning of sixteenth-century Italian Renaissance works of art based on their themes, subjects, and symbols.

Topic: Michelangelo

Difficulty Level: Moderate

Skill Level: Understand the Concepts

5. How was St. Peter’s Basilica modified during the sixteenth century?

Answer: During the sixteenth century, the structure was rebuilt as a central-plan church. As the congregations grew, the church was once again given a longitudinal plan, with an open nave for processions.

Learning Objective: 21.a Identify the visual hallmarks of sixteenth-century Italian Renaissance art and architecture for formal, technical, and expressive qualities.

Topic: Art and the Counter-Reformation, Rome and the Vatican

Difficulty Level: Moderate

Skill Level: Understand the Concepts

6. What role did the Jesuits play in patronizing Roman artists or architects?

Answer: The Jesuits emphasized individual, emotional participation with sermons and music, wide naves, and unobstructed views of the altar to fuel the Counter-Reformation.

Learning Objective: 21.c Relate sixteenth-century Italian Renaissance artists and art to their cultural, economic, and political contexts.

Topic: Art and the Counter-Reformation, Rome and the Vatican

Difficulty Level: Moderate

Skill Level: Understand the Concepts

7. What was Palladio’s great contribution to Venetian religious architecture?

Answer: He designed the monastery Church of San Giorgio Maggiore in Venice with colossal columns on high pedestals and a wide nave.

Learning Objective: 21.d Apply the vocabulary and concepts relevant to sixteenth-century Italian Renaissance art, artists, and art history.

Topic: The Architecture of Palladio

Difficulty Level: Moderate

Skill Level: Understand the Concepts

8. How did Julius II support and complicate Michelangelo’s artistic life?

Answer: Julius II hired Michelangelo to paint the Sistine ceiling, but the two fought over money and composition.

Learning Objective: 21.c Relate sixteenth-century Italian Renaissance artists and art to their cultural, economic, and political contexts.

Topic: Michelangelo

Difficulty Level: Difficult

Skill Level: Apply What You Know and Analyze It

9. Why did Michelangelo’s art change in his later years?

Answer: With the Counter-Reformation in full swing, an older Michelangelo was tired and preferred darker subjects.

Learning Objective: 21.c Relate sixteenth-century Italian Renaissance artists and art to their cultural, economic, and political contexts.

Topic: Art and the Counter-Reformation, Rome and the Vatican

Difficulty Level: Difficult

Skill Level: Apply What You Know and Analyze It

10. Discuss the meaning and iconography of the Vitruvian Man.

Answer: Based on the Greek idea of the ideal figure, the circle represents the divine and the square represents the earthly.

Learning Objective: 21.a Identify the visual hallmarks of sixteenth-century Italian Renaissance art and architecture for formal, technical, and expressive qualities.

Topic: Leonardo da Vinci

Difficulty Level: Moderate

Skill Level: Understand the Concepts

Essay

1. How did High Renaissance artists produce some of the major monuments during a period of political tumult?

Answer:

1. Leonardo’s The Last Supper was commissioned for the refectory of the monastery of Santa Maria delle Grazie for monks to reflect during dining.

2. Amid war and disease, the popes set out to redecorate the Sistine Chapel and surrounding apartments.

3. David by Michelangelo was created to stand as a reminder of Florence’s republican status, which was briefly reinstated after the expulsion of the Medici.

4. Raphael painted many examples of Virgin and Child and portraits for wealthy patrons to elevate their status.

Learning Objective: 21.d Apply the vocabulary and concepts relevant to sixteenth-century Italian Renaissance art, artists, and art history.

Topic: The Roman High Renaissance

Difficulty Level: Difficult

Skill Level: Apply What You Know and Analyze It

2. How was Venetian Renaissance art similar to and different from High Renaissance art in Florence and Rome?

Answer:

1. Yellow light was a hallmark of the Venetian Renaissance, while white light was more popular in the High Renaissance.

2. Asymmetrical compositions, elaborate architectural details, and enigmatic symbolism were popular in Venice.

3. Pastoral landscapes that included contemporary and literary figures were popular.

4. Artists from both movements still worked in portraiture and religious commissions.

Learning Objective: 21.e Interpret a work of sixteenth-century Italian Renaissance art using the art historical methods of observation, comparison, and inductive reasoning.

Topic: Northern Italy

Difficulty Level: Difficult

Skill Level: Apply What You Know and Analyze It

3. Discuss the emergence of Mannerism in the sixteenth century and Parmigianino’s Madonna of the Long Neck (Fig 21-39). Consider its similarities and differences to art of the High Renaissance and its influence on subsequent Italian art.

Answer:

1. The composition is very asymmetrical, with all figures to the right of Mary and Jesus, unlike works of the Renaissance.

2. Jesus is awkwardly positioned on Mary’s lap and is tugging at her arm and looking off into space.

3. Mary is unnaturally proportioned, with a very long neck and small head.

4. The figure of St. Jerome and the architectural space behind Mary and Jesus are disproportionate and inaccurate.

Learning Objective: 21.e Interpret a work of sixteenth-century Italian Renaissance art using the art historical methods of observation, comparison, and inductive reasoning.

Topic: Portormo, Parmigianino, and Bronzino

Difficulty Level: Difficult

Skill Level: Apply What You Know and Analyze It

4. Leonardo da Vinci’s portrait Mona Lisa (Fig. 21-1) has continued to entrance and mystify viewers over the centuries. Explain some of the mystery and enigma behind this portrait, as well as its beauty.

Answer:

1. Her smile is enigmatic and seems to hide her emotions.

2. She does not wear any jewelry or sumptuous clothing that was typical during the Renaissance.

3. The landscape is not continuous and is higher on one side of the composition.

4. It is unclear why Leonardo kept the portrait with him for the rest of his life instead of selling the work to the patron.

Learning Objective: 21.f Select visual and textual evidence in various media to support an argument or an interpretation of a work of sixteenth-century Italian Renaissance art.

Topic: Chapter Introduction

Difficulty Level: Moderate

Skill Level: Understand the Concepts

5. Discuss the composition, symbolism, and possible interpretations of Titian’s “Venus” of Urbino (Fig. 21-30).

Answer:

1. A nude woman is sprawled on a bed with two servants behind her looking in chests for clothing.

2. A dog sleeps at the end of the bed, symbolizing fidelity, or the lack of fidelity.

3. The flowers and pearl earring and her pose suggest that she is Venus; however, the look and nudity may suggest she is a courtesan.

4. Recent scholarship suggests that this may be a marriage portrait.

Learning Objective: 21.a Identify the visual hallmarks of sixteenth-century Italian Renaissance art and architecture for formal, technical, and expressive qualities.

Topic: Venice and the Veneto

Difficulty Level: Difficult

Skill Level: Apply What You Know and Analyze It