Q&A Hero

Q: What did members of the Carracci family consciously reject, instead fusing their style with that of the Italian High Renaissance? A. etching B. Mannerism C. tenebrism D. the poussinistes

Q: Berninis Baldacchino (Fig. 23-3) symbolized the Popes authority and was executed as a shrine for. A. Pope Paul III. B. St. Longinus. C. St. Peter. D. Pope Urban VIII

Q: In the fourth state of the Three Crosses (Fig. 23-38), Rembrandt modified the scene by A. adding God the Father at the top. B. increasing the amount of figures. C. expanding it to include more landscape. D. making it darker and simpler.

Q: In Malle Babbe (Fig. 23-33), how did Frans Hals stray from his formal portraits? A. an informal costume B. an interior space C. a looser manner D. a more detailed style

Q: The undulating faade and building of the Church of San Carlo Alle Quattro Fontane (Fig. 23-6) is the work of A. Pietro da Cortona. B. Caravaggio. C. Borromini. D. Maderno.

Q: What is the name for the period of spiritual renewal, from about 1545 to 1648, that was, in part, a reaction to Protestantism? A. Counter-Reformation B. Council of Trent C. Congregation of the Oratory D. High Renaissance

Q: The columns surrounding the drum on the exterior of St. Pauls Cathedral (Figs. 23-59 and 23-60) recall A. Bernini. B. Bramante. C. Vignola. D. Hardoin-Mansart.

Q: Claude Lorrain is known for his landscapes that typically include A. musical iconography. B. poesie themes. C. atmospheric lighting effects. D. erotic overtones.

Q: Despite the extravagant surroundings and clothing in Hyacinthe Rigauds portrait of Louis XIV, the artist also made the king appear A. tired and aged. B. as a beneficiary of the people. C. like a Roman aristocrat. D. surprisingly human.

Q: The Le Nain brothers are best known for their paintings of A. peasants. B. religious subjects. C. aristocrats. D. mythological scenes.

Q: The play of flickering light against mirrors in the Hall of Mirrors at Versailles (Fig. 22-51) created A. a conduit between the Kings original hunting lodge and the lateral wings added later. B. a sacred space where Gods presence is symbolized through reflected light all around. C. a tableau in which the king and courtiers saw themselves as they promenaded. D. a grand entrance and hallway meant to awe those who visited the palace.

Q: Genre scenes were popular in the Netherlands for their A. idealized portrayal of the peasant lifestyle. B. symbolic references to moral virtues. C. biting political satire of the Spanish monarchy. D. detailed depictions of flowers and fruit.

Q: What innovative device did Hals introduce in the painting of group portraits? A. placing the figures symmetrically according to height B. including distinctive symbols that identified each sitter C. depicting figures as engaged in a lively social event D. showing figures in allegorical roles from myths or biblical stories.

Q: How does Anthony van Dyck convey the kings powerful status in Charles I at the Hunt (Fig. 23-29)? A. He makes the environment appear submissive. B. He idealizes Charless figure. C. He shows an active hunting scene. D. He enlarges the horse and servant.

Q: Which Italian artist became known in the Netherlands because of the influence he had on Dutch painter Hendrick ter Brugghen? A. Annibale Carracci B. Bernini C. Gaulli D. Caravaggio

Q: How did Rubens portray Marie de Medici in the series of portraits she commissioned? A. He represented her as a powerful Greek goddess in well-known myths. B. He depicted scenes from her life as a continuous triumph overseen by Classical gods and goddesses. C. He emphasized her religious convictions by showing her praying and performing good deeds. D. He depicted her as a powerful presence who physically dominated each composition.

Q: What detail of Berninis Cornaro Chapel (Fig. 23-5) helps viewers identify with the event? A. metal supports that make the sculptural grouping appear to float B. portrait sculptures on both sides, witnessing the event C. a hidden window illuminating the figures with natural light D. rays of gold streaming in from the space above

Q: How does Berninis David (Fig. 23-4) distinguish itself from Renaissance images of the same subject? A. He captures the action of the figure moving through space. B. He based the figure on ancient sculptures of athletes. C. He depicts David at a dramatic moment of quiet contemplation. D. He shows David as a young contemporary man.

Q: English artists excelled in which field during the seventeenth century? A. portrait painting B. landscape painting C. architecture D. stained glass

Q: French academicians who favored Classical principles of subject and design were known as A. conservatives. B. rubnistes. C. poussinistes. D. radicals.

Q: What is the term for still-life paintings with a moralizing theme that were very popular in the seventeenth century? A. intaglio B. quadri riportati C. caravaggisti D. vanitas

Q: A painting long thought to be the work of Franz Hals was recently discovered to be the work of A. Leyster. B. Gentileschi. C. Rembrandt. D. Caravaggio.

Q: What element of Caravaggios painting style was the subject of criticism and occasionally deemed inconsistent with the artistic guidelines established by the Council of Trent? A. his dramatic lighting effects that implied a spiritual presence B. his brutally naturalistic renderings that were deemed unsuitable for religious subjects C. his use of common folk for models in lavishly decorated interior spaces D. the erotic undertones of his paintings of men under the guise of Roman gods

Q: In what ways is El Grecos painting style so eccentric?

Q: How did Francis I make Fontainebleau into an artistic center?

Q: What was the Krugs contribution to metalwork?

Q: How is Grnewalds Isenheim Altarpiece (Figs. 22-4, 22-5, and 22-6) arranged and why?

Q: How did Drer use printmaking to extend his reputation?

Q: In Drers Adam and Eve (Fig. 22-8), which of the following are symbols for the human temperaments? A. animals B. castles C. trees D. flowers

Q: What attribute of the figures in Death and the Matron (Fig. 22-11) shows the juxtaposition between sensuality and mortality? A. their environment B. their poses C. their expressions D. their skin color

Q: The subject of Quentin Massyss Money Changer and His Wife (Fig. 22-23) concerns itself with the challenges of A. the use of images in Christian worship. B. living a Christian life in a worldly society. C. the parable of the Good Samaritan. D. punishment for sins.

Q: In Burial of Count Orgaz (Fig. 22-19), which style did El Greco recall with the crowded pictorial field and obscured spatial setting of the scene? A. Medieval B. Byzantine C. Venetian D. Mannerist

Q: Which artist helped inspire an Italianate tradition at the French court of King Francis I? A. Michelangelo B. Juan de Herrera C. Giulio Romano D. Leonardo da Vinci

Q: The elaborate steel armor with gold inlay made for George Clifford (Fig. 22-31) would have been A. used as sculptural decoration in Cliffords study. B. worn at royal functions to demonstrate his familys military legacy. C. worn in jousting competitions at festivals and public celebrations. D. worn only once at the ceremony when the queen knighted him.

Q: What motivated the building of many lavish country residences in England during the sixteenth century? A. newly titled aristocrats wanting to display their wealth and status B. the mobile nature and international interactions of the Tudor court C. the growth of Englands middle class, who had prospered from commercial trade D. the political and economic stability brought on by the Tudor dynasty

Q: Hans Holbein is best known for his A. detailed prints, such as engravings and woodcuts. B. portraits of nobles and diplomats in the Tudor court. C. polychromed wooden sculptures. D. survey of art history detailing the lives of Northern artists.

Q: Foreign influence appears most prominently in what art form of sixteenth-century England? A. visual art B. literature C. music D. architecture

Q: Why did painters in the Netherlands begin producing smaller-scale paintings during the sixteenth century? A. Canvas was in short supply. B. Patrons wanted paintings appropriate for homes. C. Church patrons desired less ostentatious artwork. D. The smaller size made them easier to transport.

Q: The text suggests that Dutch artist Caterina van Hemessen probably specialized in painting A. religious subjects. B. botanical specimens. C. moral allegories. D. portraits of women.

Q: What encouraged the development of a specialized art market in Antwerp? A. the spread of Classical themes B. the demand for luxury goods C. the revived interest in religious subjects D. the decreasing wealth of European monarchies

Q: How does the figure in Lucas Cranach the Elders Nymph of the Spring (Fig. 22-10) compare to idealized nudes in Italian Renaissance paintings? A. Both derive from Classical models of female beauty. B. It suggests a distinctly different conception of the figure in Germany. C. It shows that Cranach was familiar with contemporary Italian art. D. It shows that Italian artists were influenced by Northern prototypes.

Q: What technique, used by Martin Schongauer, did Drer adapt to the woodcut medium in The Four Horsemen of the Apocalypse (Fig. 22-7)? A. silverpoint drawing B. niello C. stamping D. metal engraving

Q: What image from the Isenheim Altarpiece (Figs. 22-5 and 22-6) emphasizes human emotion and suffering through Grnewalds graphic realism? A. the Crucifixion B. the Annunciation C. Saint Sebastian D. the Resurrection

Q: How did Riemenschneiders Altarpiece of the Holy Blood (Fig. 22-3) differ from earlier German traditions for wooden sculpture? A. his use of bright colors and gilding B. his heightened naturalism C. his use of natural finishes D. his use of a Gothic framework for the sculpture

Q: What did Drer encounter on his trip to Italy in 1494 that is clearly reflected in his Self-Portrait of 1500 (Fig. 22-1)? A. Leonardos Mona Lisa B. a conception of artists as noble intellectuals C. Roman copies of ancient Greek sculpture D. the art collection of the Medici family

Q: Bruegels Return of the Hunters (Fig. 22-25) is one of a cycle that included six large paintings focused on the theme of A. the months. B. the seasons. C. local landscapes. D. peasant life.

Q: The format of Hieronymus Boschs Garden of Earthly Delights (Figs. 22-20 and 22-21), which was commissioned by an aristocrat for his Brussels townhouse, conforms to a long tradition of A. palace decoration. B. frescoes in private chapels. C. public art in government buildings. D. church altarpieces.

Q: Who built the Escorial (Fig. 22-17), the great monastery-palace complex outside Madrid? A. Francis B. Philip C. Charles D. Manuel

Q: King Manuel I of Portugal commissioned Diogo de Arruda to create a church and sculpture in A. Moura. B. Madrid. C. Lisbon. D. Tomar.

Q: Which Flemish artist found favor at the French court as a portrait painter? A. Clouet B. Altdorfer C. Grnewald D. Durr

Q: Which category of painting became popular in the sixteenth century because, although it had no overt religious content, it could be seen as a reflection of Gods works? A. genre works B. still lifes C. landscapes D. miniatures

Q: What did Drer openly express in Four Apostles (Fig. 22-9)? A. Methodism B. Anglicanism C. Catholicism D. Lutheranism

Q: Drers work in which media led to his fame and fortune? A. goldsmithing B. graphic arts C. architecture D. sculpture

Q: Discuss the iconography, technique, and context of Albrecht Drers The Four Horsemen of the Apocalypse (Fig. 22-7).

Q: Boschs Garden of Earthly Delights (Figs. 22-20 and 22-21) is filled with symbolism. Explore some of those symbols and discuss why it was such a revolutionary work for its time.

Q: How was Northern Renaissance art an amalgam of early Northern and Italian sources and influences?

Q: Discuss the similarities and differences in the landscapes of Albrecht Altdorfer (Fig. 22-12) and Pieter Bruegel the Elder (Figs. 22-25 and 22-26).

Q: What was the impact of the Reformation on art in Northern Europe?

Q: What are the main features of Elizabethan houses?

Q: What was the role of miniatures in sixteenth-century English art?

Q: How did artists portray Queen Elizabeth I, and why?

Q: How did Bruegels travels impact his art?

Q: How were women, such as Caterina van Hemessen, involved in Netherlandish art of the sixteenth century?

Q: Discuss the composition, symbolism, and possible interpretations of Titians Venus of Urbino (Fig. 21-30).

Q: Leonardo da Vincis 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.

Q: Discuss the emergence of Mannerism in the sixteenth century and Parmigianinos 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.

Q: How was Venetian Renaissance art similar to and different from High Renaissance art in Florence and Rome?

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

Q: Discuss the meaning and iconography of the Vitruvian Man.

Q: Why did Michelangelos art change in his later years?

Q: How did Julius II support and complicate Michelangelos artistic life?

Q: What was Palladios great contribution to Venetian religious architecture?

Q: What role did the Jesuits play in patronizing Roman artists or architects?

Q: How was St. Peters Basilica modified during the sixteenth century?

Q: What is the arrangement of images on the Sistine Chapel ceiling?

Q: How was Lavinia Fontana inspired by Mannerism?

Q: What was included in a Classical education in the sixteenth century?

Q: In what ways was Leonardo da Vinci experimental with his artwork?

Q: What is characterized by subtle transitions between light and dark in shading? A. grisaille B. sfumato C. poesie D. intonaco

Q: Raphaels portrait of Maddalena Strozzi imitates A. the Mona Lisa. B. Venus of Urbino. C. the Pieta. D. The Tempest.