Q&A Hero

Q: 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

Q: 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

Q: How did its patron respond to Veroneses 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 Christs humility and willingness to associate with sinners. D. The patron disliked the luxurious textures, symmetrical composition, and numerical iconography.

Q: Raphaels 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.

Q: How does Michelangelos David differ from the Classical sculpture that inspired it? A. the use of heroic nudity B. the figures contrapposto stance C. the figures emotional intensity D. the figures muscular physique

Q: What characteristic of Tintorettos 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

Q: What encourages viewers to explore Giambolognas The Capture of a Sabine Woman (Fig. 21-45)? A. Classical goddess B. contrapposto pose C. spiraling composition D. detailed rendering of the drapery

Q: Recent scholarship suggests that Titians 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.

Q: 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

Q: What was the cause of the extensive damage to Leonardos 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

Q: 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

Q: In contrast to Leonardo da Vincis 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

Q: The trompe loeil 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.

Q: What feature of Palladios 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

Q: Which city produced a notable number of accomplished women painters and sculptors? A. Bologna B. Venice C. Florence D. Rome

Q: 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.

Q: What did Giorgione introduce into Venetian painting as enigmatic pastoral themes? A. Mannerism B. poesie C. allegories D. Counter-Reformation themes

Q: What original feature is seen in Michelangelos 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.

Q: 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

Q: What about Bronzinos 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

Q: 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

Q: What element of Leonardo da Vincis 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

Q: 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

Q: Discuss the use of perspective, linear and atmospheric, in Peruginos Christ Giving the Keys to St. Peter (Fig. 20-20).

Q: Discuss the interpretations for Botticellis Primavera (Fig. 20-34) and Birth of Venus (Fig. 20-35). Consider the role of the patron in these works.

Q: Discuss the style, narrative, and composition of The Last Supper (Fig. 20-25), and describe how the ideals of the Renaissance are present.

Q: Explain the evolution of patronage in fifteenth-century Italy. Identify specific patrons and discuss their commissions.

Q: Compare and contrast the composition and system of linear perspective of Virgin and Child Enthroned, With SS. Francis, John the Baptist, Job, Dominic, Sebastian, and Louis of Toulouse (Fig. 20-44) and Trinity with the Virgin, St. John the Evangelist, and Donors (Fig. 20-18).

Q: How were the palaces of Venice designed and where were they built?

Q: What did the period that historians now call the Renaissance mean for artists and patrons in fifteenth-century Italy?

Q: How does Fra Angelico inspire meditation in Annunciation (Fig. 20-23)?

Q: Identify a specific commission that drew artists to Rome in the fifteenth century. Name an artist that was part of this commission, and describe his contribution to the project.

Q: Why did Ghiberti win the commission for the Baptistery of Florence?

Q: Consider the artistic career of the sculptor Donatello, and discuss the reason for his success.

Q: Discuss the commission of the Foundling Hospital.

Q: Explain Brunelleschis design for the Florence Cathedral (Fig. 20-5). Be specific in your explanation.

Q: What was the role of the condottieri in fifteenth-century Italy?

Q: What were Cosimo de Medici the Elders primary concerns for the commission of the Medici Palace (Fig. 20-9) in Florence?

Q: Along with pilasters, carved cupboards, and niche-filled statues, the Studiolo of Federico da Montefeltro (Fig. 20-37) also featured a squirrel, the symbol of A. the church. B. an ideal ruler. C. the Virgin Mary. D. the artist.

Q: In Lippis Portrait of a Woman and a Man (Fig. 20-26), what does the male sitter point to, which perhaps identifies him? A. the Bible B. a wedding ring C. the town of Siena D. a heraldic device

Q: The detailed landscape, symbolic details and luminous palette of Bellinis St. Francis in Ecstasy (Fig. 20-45) is reminiscent of A. Trecento art. B. Roman art. C. Flemish art. D. Gothic art.

Q: In contrast to Donatello, Verrocchio portrayed his David as a A. proud, engaging adolescent. B. fully armored soldier. C. muscular Greek warrior. D. triumphant young shepherd.

Q: Which Florentine painter was also a Dominican monk? A. Verrocchio B. Masaccio C. Fra Angelico D. Donatello

Q: Which building created by Pope Sixtus IV greatly enhanced Romes place as a center of Renaissance art? A. Palazzo Medici-Riccardi B. Sistine Chapel C. Brancacci Chapel D. Ospedale degli Innocenti

Q: Which work reflects the taste among the wealthy for collectibles that were reminiscent of ancient Greece and Rome? A. Infant in Swaddling Clothes (Fig. 20-7) B. The Four Crowned Martyrs (Fig. 20-12) C. Equestrian Statue of Erasmo da Narni (Fig. 20-15) D. Hercules and Antaeus (Fig. 20-28)

Q: What was the name for a piece of fifteenth-century Italian furniture that was used to store clothing and was decorated with elaborate woodcarvings and painting? A. camera picta B. chapels C. cassoni D. allantica

Q: In the Foundling Hospital, Brunelleschi carved the architectural detailing of his interior spaces in A. pietra serena. B. marble. C. wood. D. intarsia.

Q: The members of which fifteenth-century Florentine family were powerful and influential patrons of the arts? A. Narni B. Montefeltro C. Bellini D. Medici

Q: The Brancacci Chapel was dedicated to which of the following? A. Saint Peter B. John the Baptist C. Jacob D. St. Sebastian

Q: Which characterizes the work of Piero della Francesca that can be seen through careful formal correspondences in Baptism of Christ (Fig. 20-38)? A. visually perplexing scenes B. calm and peaceful stasis C. richly patterned images D. several light sources

Q: What does art historian Michael Baxandall believe influenced Botticellis paintings? A. the increasing influence of Netherlandish art B. the slow movements of Florentine dance C. the courtyards and gardens of Venetian palaces D. the citys desire to demonstrate civic virtue and pride

Q: Masaccio used linear perspective in the Trinity with the Virgin (Fig. 20-19) to create the illusion A. that the donors are real people in the chapel. B. of a deep barrel vault extending behind the figures. C. of an actual burial beneath the painted figures. D. that the figures are integrated into a single space.

Q: Ghibertis doors for the east side of the Baptistery in Florence were so admired that they came to be known as the A. Gates of Paradise. B. Golden Arches. C. Gateway to Heaven. D. Doors to the Kingdom.

Q: How did the Foundling Hospital in Florence reflect the political nature of artistic production in Florence? A. Brunelleschi won the commission in a public competition. B. It was a public demonstration of social responsibility of a wealthy guild. C. Its reliance on Classical form underscored Florentine power and status. D. It reinforced the role of the church as the dominant artistic patron.

Q: What was the primary reason for the delayed construction of the dome of Florence Cathedral? A. political instability B. funding for the project ran out C. lack of engineering know-how D. a shortage of skilled masons and builders

Q: Which most influenced the architecture of Venice? A. Classical B. Gothic C. Byzantine D. Islamic

Q: What feature of the Palazzo Medici-Riccardi recalls the design of ancient Roman homes? A. the rusticated exterior B. the open loggia used to conduct business C. the rounded arches of the windows D. the placement of rooms around a central courtyard

Q: What detail in Ghirlandaios Nativity and Adoration of the Shepherds (Fig. 20-33) references the new interest in Classical subjects? A. the symbolic use of certain flowers B. the Christ child placed on the ground C. the rugged depiction of the shepherds D. the architectural details surrounding Mary

Q: Why is Florence considered the cradle of the Italian Renaissance? A. its proximity to ancient ruins that inspired Renaissance artists B. the many wealthy merchants who were patrons of the arts C. its competitive atmosphere, which encouraged innovation D. its political and economic dominance among fifteenth-century Italian cities

Q: Who won the competition to design the new doors for the Baptistery in Florence (Fig. 20-3)? A. Donatello B. Ghiberti C. Masaccio D. Nanni di Banco

Q: Pollaiuolos primary concern in The Battle of the Nudes (Fig. 20-29) seems to have been A. exploring the medium of engraving. B. the detailed analysis of movement. C. the use of linear perspective. D. traditions of realism used in Roman portraiture.

Q: The family of artist Andrea della Robbia is best known for its A. distinctive glazes and ceramic production. B. skillful metalworking practice. C. elaborate carved woodwork on cassoni. D. revival of the lost-wax method of bronze casting.

Q: What subject was often painted in refectories of religious communities? A. Annunciation B. Nativity C. Last Supper D. Prodigal Son

Q: Compare and contrast the diptychs of Flemish and French origin, Diptych of Maarten van Nieuwenhove (Fig. 19-20) and tienne Chevalier and St. Stephen and Virgin and Child (Fig. 19-21).

Q: Consider changes in the practice of manuscript illumination from the late fourteenth century into the fifteenth century. Include artists, their work, their style, the medium employed, and the role of patronage in your discussion.

Q: Consider the development of portraiture in fifteenth-century painting. How did it develop? What were the circumstances? Cite specific works of art; address style, technique, and patronage.

Q: Discuss the Flemish school of painting in the fifteenth century. Address its origins, technique, major artists, individual styles, commissions, and subject matter.

Q: Discuss the evolution of the graphic arts in the fifteenth century to an art form comparable to manuscript illumination or painting. Define the techniques used, and cite specific artists and their works to support your discussion.

Q: Define the Flamboyant style. Cite specific examples.

Q: Discuss the patronage and disguised symbolism of the Portinari Altarpiece (Fig. 19-19).

Q: Discuss the achievements of Konrad Witz.

Q: Discuss the achievements of Rogier van der Weyden.

Q: Explain the technique of painting with an oil medium. Include examples of artists and their work as part of your discussion.

Q: Discuss the achievements of Jan van Eyck.

Q: Discuss the importance of the fiber arts in fifteenth-century Flanders. Cite specific examples.

Q: Define the International Gothic style.

Q: Explain the iconography of Jan van Eycks Double Portrait of Giovanni Arnolfini and His Wife (Fig. 19-1).

Q: What is the Order of the Golden Fleece?

Q: What represents the complicated collaboration among scholars, artists, and investors in the history of printed books? A. The Buxheim St. Christopher (Fig. 19-27) B. Nuremberg Chronicle (Fig. 19-29) C. The Temptations of St. Anthony (Fig. 19-27) D. St. Wolfgang Altarpiece (Fig. 19-26)

Q: Why did Philip the Bold commission the Chartreuse de Champmol? A. to hold his manuscript collection B. to attract Franciscan monks C. to rival local churches D. to house his familys tombs