SECTION TEST THREE
Renaissance and Baroque
(Chapters 19-24)
CHRONOLOGY
Place the following works in chronological order, putting the letters corresponding to the
oldest work in the first blank, the next oldest in the next blank, and so on.
1. ______Jan van Eyck 14th century Italian A
2. ______Caravaggio 15th century Italian B
3. ______Giotto 15th century Flemish C
4. ______Masaccio 15th century German D
5. ______Pieter Brueghel 16th century Italian E
6. ______Raphael 16th century German F
7. ______Rubens 16th century Flemish G
8. ______Velásquez 17th century Italian H
9. ______Dürer 17th century Dutch I
10. ______Titian 17th century Flemish J
17th century Spanish K
Answers:
1. C
2. H
3. A
4. B
5. G
6. E
7. J
8. K
9. F
10. E
MULTIPLE CHOICE
11. The word Renaissance means rebirth. Which of the following was a revived interest during this time?
a. Hiberno-Saxon manuscripts
b. Classical culture
c. Islamic culture
d. Platonic interpretation of Christianity
Answer: b. Classical culture Comprehension
12. The most devastating natural disaster in Europe during the late 1300s was which of the following?
a. mad cow disease
b. the collapse of the linen market
c. the failure of the Medici banks
d. the Black Death
Answer: d. the Black Death Knowledge
13. Which of the following cities was considered the rightful capital of the Roman Catholic Church?
a. Rome
b. Avignon
c. Florence
d. Paris
Answer: a. Rome Knowledge
14. Which of the following would be a valid argument for Italy’s renewed interest in humanist values during the fourteenth century?
a. close association with Byzantium
b. important trade agreements with Baghdad
c. crowded with classical monuments
d. support of public monuments dedicated to the values of good government
Answer: c. crowded with classical monuments Analysis
15. The frontality, stiff poses, and lack of modeling as seen in Berlinghieri’s Saint Francis Altarpiece can be said to be which of the following?
a. fundamentally medieval
b. merging with classical traditions
c. reflects the “new” Italo-Byzantine style
d. directly influenced by Platonic philosophy
Answer: a. fundamentally medieval Analysis
16. What does the fountain created by Claus Sluter for the cloister of Chartreuse de Champmol symbolize?
a. Everlasting Life
b. the Well of Moses
c. flowing water
d. the Dukes of Burgundy
Answer: a. Everlasting Life Analysis/Comprehension
17. The following phrase from Revelations, “pure river of water of life, clear as crystal, proceeding out of the throne of God and of the Lamb” is depicted in which of the following?
a. Deposition
b. Last Supper from the Holy Sacrament Altarpiece
c. Altar of the Lamb from the Ghent Altarpiece
d. Adoration of the Shepherds from the Portinari Altarpiece
Answer: c. Altar of the Lamb from the Ghent Altarpiece Analysis
18. The following phrase, “…activity of a thousand intertwined motifs unifies the whole design…” describes which of the following styles?
a. German Late Gothic
b. Flemish 15th century
c. French 15th century
d. Spanish Plateresque
Answer: d. Spanish Plateresque Analysis
19. A mystic marriage would have resonated in particular with nuns. Which of the following accounts for this?
a. It validated marriage
b. It secured the woman’s position as wife
c. It was a special spiritual marriage
d. It secured certain rights for the wife
Answer: c. It was a special spiritual marriage Analysis
20. The Portinari Altarpiece contains medieval pictorial devices, small scenes that stress the meaning and significance of the depicted event. Which of the following is one such medieval pictorial device?
a. the Arrival of the Magi
b. the Crucifixion
c. the Baptism of Christ
d. the Resurrection
Answer: a. the Arrival of the Magi Analysis/Comprehension
21. In 1401 an important competition was held to determine the design of the Baptistery doors for the Cathedral of Florence. Even at this early date Renaissance traits were evident. Which of the following is one of those traits?
a. adherence to the 14th century frame
b. a new pictorial illusionism
c. maintaining artist anonymity
d. humility of civic pride
Answer: b. a new pictorial illusionism Comprehension/Analysis
22. The theme for the competition for the Baptistery doors was the Sacrifice of Isaac. How did this theme parallel the current state of affairs for the city?
a. City fathers were encouraging self-sacrifice in the face of the tense political situation
b. City fathers were encouraging self-sacrifice in order to commission the doors
c. City fathers were encouraging self-sacrifice for the Medici in order to gain funding for the commission of the doors
d. City fathers were encouraging self-sacrifice in order to petition Rome for the monies to commission the doors
Answer: a. City fathers were encouraging self-sacrifice in the face of the tense political situation Analysis/Comprehension
23. Ghiberti’s competitive panel shows classical references that indeed reflect the influences of humanism. Which of the following is a classical reference seen on Ghiberti’s panel?
a. the drapery flowing from the body of Isaac
b. the elongated S curve of Isaac’s body
c. the profusion of cloth puddled around Abraham
d. the naked figure of Isaac
Answer: d. the naked figure of Isaac Analysis/Comprehension
24. Which of the following describes Brunelleschi’s submission for the competition for the Baptistery doors?
a. His knowledge of classical elements is apparent in the acanthus scrolled altar
b. The panel represented his ability to observe carefully and present faithfully
c. His knowledge of musculature is apparent in the naked figure of Isaac
d. The meticulousness of the panel represents his training in metalsmithing
Answer: c. The panel represented his ability to observe carefully and present faithfully Analysis/Comprehension
25. In Ghiberti’s Isaac and his Sons from the east doors of the Baptistery, he arranged the figures in front of grandiose architecture. Which of the following architects stated, “the grandeur of the architecture reflects the dignity of the events shown in the foreground”?
a. Michelozzo
b. Brunelleschi
c. Alberti
d. Andrea da Sangallo
Answer: c. Alberti Analysis/Comprehension
26. In Leonardo’s Virgin of the Rocks he modeled the figures with light and shadow-- a technique he learned from earlier works. Which 15th century Italian artist would have influenced Leonardo in this regard?
a. Piero della Francesca
b. Fra Angelico
c. Masaccio
d. Gentile da Fabriano
Answer: c. Masaccio Analysis/Comprehension
27. How has Michelangelo portrayed David?
a. At the moment of victory
b. With stern watchfulness before the battle
c. By celebrating the defeat of Goliath
d. By watching Goliath die
Answer: b. With stern watchfulness before the battle Comprehension/Analysis
28. The Sistine ceiling represents which of the following themes?
a. the chronology of Christianity
b. the history of the papacy
c. the history of Julius II
d. the chronology of the Early Christian Church in Rome
Answer: a. the chronology of Christianity Comprehension/Analysis
29. In Raphael’s Stanza della Segnatura, which of the following two images represent Julius II?
a. Theology (Disputà) and Philosophy (School of Athens)
b. Law (Justice) and Poetry (Parnassus)
c. Philosophy (School of Athens) and Poetry (Parnassus)
d. Theology (Disputa) and Poetry (Parnassus)
Answer: a. Theology (Disputa) and Philosophy (School of Athens) Analysis/Comprehension
30. In Knight, Death, and the Devil, the mounted Christian knight displays a monumental strength and character reminiscent of which of the following Italian artists?
a. Verrocchio
b. Pollaiuolo
c. Nanni di Banco
d. Ghiberti
Answer: a. Verrocchio Analysis
31. It is said the Escorial is an expression of simplicity of form and streamlined clarity of surfaces and it represents the character of its royal patron. Who was the patron?
a. Henry VIII
b. Elizabeth I
c. Philip II
d. Charles V
Answer: c. Philip II Analysis/Comprehension
32. Hans Holbein, a master portraitist, combines realism with monumental composition and sculpturesque form. Which of the following traditions does this describe?
a. Flemish and Italian
b. French and Italian
c. Dutch and Italian
d. Flemish and French
Answer: a. Flemish and Italian Analysis
33. In Hunters in the Snow, the artist has captured the atmosphere of a cold winter’s day. The landscape is snow-covered and stark with the returning hunters wearily trudging home. It is reminiscent of earlier renditions of seasons. Which of the following also described the seasons and might have been influential in the conception of this work?
a. Ambrogio Lorenzetti’s Peaceful Country
b. Konrad Witz’s Miraculous Draught of Fish
c. Masaccio’s Tribute Money
d. Limbourg Brothers’ Les Très Riches Heures du Duc de Berry
Answer: d. Limbourg Brothers’ Les Très Riches Heures du Duc de Berry Analysis/Comprehension
34. In Dürer’s Great Piece of Turf, he has created a precise and scientifically accurate rendering of a small botanical landscape. Which of the following artists also heeded this notion of “observation yielded truth”?
a. Broederlam
b. Leonardo
c. Uccello
d. Rogier van der Weyden
Answer: b. Leonardo Analysis/Comprehension
35. Bernini was commissioned to replace a dangerous stairway in the Vatican. He created a highly sophisticated design that was dramatic and dynamic. This design repeated on a smaller scale the grand processional sequence found in St. Peter’s. Which of the following is that stairway?
a. Spanish Steps
b. Scala Regia
c. Papal Steps
d. Scala Romana
Answer: b. Scala Regia Comprehension/Analysis
36. Bernini’s statue of David differs from previous generations of this depiction. His David seems to be moving through time and space. Which of the following would support this description?
a. The pivoting motion of the figure implies the movement through space and time
b. The figure’s upright stance implies movement through space and time
c. The crouching figure implies movement through space and time
d. The action of raising the sling above his shoulder implies movement
Answer: a. The pivoting motion of the figure implies the movement through space and time Analysis/Comprehension
37. In Rembrandt’s Anatomy Lesson of Dr. Tulp, he has clustered the participants on the left side and has placed Dr. Tulp on the right side with the diagonally placed foreshortened corpse disrupting the strict horizontal, planar orientation. This is in sharp contrast to which of the following traditions of group portraiture?
a. The subjects were placed evenly across the canvas
b. Group portraits of professional organizations were never portrayed
c. Only five subjects were allowed per group portrait portrayals
d. Only guilds were allowed as subjects for group portraits
Answer: a. The subjects were placed evenly across the canvas Analysis/Comprehension
SHORT ANSWER
38. How did Duccio reorganize the elements in the Virgin and Child Enthroned with Saints (Maestà) and yet maintain the functionality of the work?
Answer: He recognized the function of work by limiting his experimentation with depicting the narrative action and producing illusionistic effects. He then modeled the forms and adjusted their placement within the pictorial space. Analysis
39. Briefly describe humanism.
Answer: A code of civil conduct and a theory of education, the chief concerns of which revolve around human values and interests. Knowledge
40. How did the Antique past or the classical past impact the humanists of 14th century Italy?
Answer: The classical past provided a model for living that focused on human needs and addressed human problems. This was a model derived from reason and not from an authoritative and traditional religious model. Analysis
41. What role did the Holy Roman Emperor Sigismund play in the Great Schism?
Answer: He convened a council to resolve the crisis within the church by calling for the election of a pope who would be satisfactory to all. Martin V, pope from 1417 through 1431 was acceptable to all parties and the Great Schism was finally over. Knowledge
42. How did the Great Schism disrupt the religious realm of 14th century Italy?
Answer: In the very early years of the century the College of Cardinals elected a French pope, Clement V. He then moved the papal court to Avignon and subsequent French popes remained in Avignon. This caused great friction between the Italians and the French. The Italians held that the capital of the universal church was Rome. The conflict was not resolved, and two popes were concurrently elected, Clement VII, the French pope and Urban VI, the Italian pope. This produced the break between the Church of Rome and France. This disruption would continue for 40 more years before a peaceful solution could be found. Analysis/Comprehension
43. How does the work of Stoss Veit reflect Late Gothic elements in German art?
Answer: His work’s intense theme of piety together with the sharp, broken and pierced forms and swirling draperies echo Late Gothic elements. Analysis/Comprehension
44. How does Rogier van der Weyden’s style differ from Jan van Eyck’s?
Answer: He stressed human action and emotion rather than the complex symbolism seen in Jan van Eyck’s work. Analysis/Comprehension
45. How is the art of Bosch different?
Answer: His most famous work, Garden of Earthly Delights reveals the ambiguities for which he is known. The triptych suggests a religious work, yet the subject matter does not support the standard representational themes of the period. Analysis/Comprehension
46. What made the portraits of Jan van Eyck significant?
Answer: He revived and secularized portraiture. Analysis/Comprehension
47. How did Masaccio impact 15th century Florence?
Answer: His artistic adjustments, such as pictured space to the position of the viewer allowed current and subsequent artists to fully explore the advantages of such tools. His ability to create illusion as a measured, rational coherent statement also allowed further explorations. Masaccio laid the foundation for perspective but also for a unified and harmonious monumental composition, which was fully realized in the 16th century. Analysis/Comprehension
48. What features characterize the work of Domenico Ghirlandaio?
Answer: Ghirlandaio was a synthesizer, not an innovator. His work provides an excellent picture of Florence at the end of the fifteenth century. He depicted detailed representations of the life, pageantry, costume, and material wealth of the citizens. Comprehension/Analysis
49. How did Donatello shift the interest in the depiction of the nude?
Answer: Donatello reinvented or rediscovered the classical nude. Even though his figure of David is biblical, he used the relaxed contraposto and proportions of Praxitelean classicism. He invoked classical formats and furthered the pursuit of humanist ideals. He reintroduced the nude back into the artistic vocabulary. Analysis/Comprehension