CHAPTER 24—THE BAROQUE IN ITALY AND SPAIN
MULTIPLE CHOICE
1. Which of the following Renaissance churches influenced Maderno’s design for Santa Susanna in
Rome?
a.
San Carlo alle Quattro Fontane, Rome
b.
Il Gesù, Rome
c.
Cathedral, Florence
d.
Sta. Maria Novella, Florence
2. Which of the following influenced Paul V’s decision to convert the central plan of Saint Peter’s into a
basilican plan through the addition of a nave?
a.
The longitudinal plan resembled Byzantine churches
b.
Paul V wanted a larger space for symbolic purposes
c.
Central plan buildings evoked pagan temples
d.
The Papacy wanted to outshine St. Paul’s in London
3. Which of the following represents a symbolic function of Bernini’s Baldacchino?
a.
The columns invoke the Early Christian past.
b.
The columns reiterate the promise of Salvation.
c.
The columns visually state the wealth of the Church.
d.
The columns invoke the theme of Redemption.
4. Which of the following works by Bernini illustrates his mastery of perspective in architecture?
a.
Spanish Steps
b.
Scala Regia
c.
Papal Steps
d.
Scala Romana
5. 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.
6. One of the distinctive qualities of Francesco Borromini’s architecture, visible in the façade of San
Carlo alle Quattro Fontane, is ____.
a.
the wave-like movement created by concave and convex lines
b.
its similarity to Greek temple design
c.
the smooth treatment of the wall
d.
towers and tracery of Gothic architecture
7. Caravaggio’s Conversion of St. Paul presents the same dynamic emotion and dramatic religious fervor
with the use of eloquent pictorial devices and stage lighting in much the same way as in which of the
following works of art?
a.
Bernini’s Ecstasy of St. Teresa
b.
Carracci’s Flight into Egypt
c.
Velásquez’s Water Carrier of Seville
d.
Rembrandt’s Return of the Prodigal Son
8. As part of his training in art Annibale Carracci received instruction in the classical and Renaissance
traditions as well as anatomy studies and life drawing. Which of the following styles would describe
the style of Carracci?
a.
a more naturalistic style
b.
a strictly Renaissance style
c.
a more classically ordered style
d.
a more experimental style
9. The ceiling fresco for Gran Salone in the Palazzo Barberini in Rome is a visual eulogy to the family.
The papal tiara and keys seen in the fresco announce the personal triumph of a family member. Who is
that family member?
a.
Alexander VII
b.
Leo III
c.
Gregory VII
d.
Urban VIII
10. Velásquez was the court painter for Philip IV. He accompanied the king to Fraga during the Aragonese
campaign. While there he painted Philip’s portrait, it is known as the Fraga Philip. Due to the dynastic
inbreeding in the Hapsburg line, Philip inherited the Hapsburg jaw. How did Velásquez compensate
for this “jaw” in the Fraga portrait?
a.
He painted a heavy beard on the king’s face.
b.
He used a large brimmed hat to shade the king’s face.
c.
He focused attention of the cloak and baldric worn by the king by making them shimmer.
d.
He focused on the mustache of the king.
11. How does Fra Andrea Pozzo create the illusion of Heaven opening above the heads of the
congregation in the church of Sant’Ignazio?
a.
He illusionistically continued the church’s actual architecture into the vault so the roof
seems to be lifting off.
b.
He narrowed the nave ceiling so it is difficult to see the vault.
c.
He widened the vault so the perspective is skewed.
d.
He illusionistically lowered the church’s actual architecture so the roof seems to be lifting
off.
12. Velásquez held the titles of First Painter to the King and which of the following?
a.
Manager of the Stables
b.
Treasurer of the Escorial
c.
Curator of the Escorial
d.
Chief Steward of the Palace
13. Which city has been generally credited with the birth of the Baroque style?
a.
Madrid
b.
Seville
c.
Rome
d.
Florence
14. The Roman Catholic response to the Reformation was formulated at which of the following?
a.
Council of Trent
b.
Convocation of Rome
c.
Council of Toledo
d.
Council of Westphalia
15. Which of the following were among the founding members of the Bolognese Academy of Art?
a.
the Farnese
b.
the Caravaggisti
c.
Fra Andrea Pozzo
d.
the Carracci
16. José de Ribera was most strongly influenced by the work of which of the following artists?
a.
Annibale Carracci
b.
Caravaggio
c.
Guido Reni
d.
Bernini
17. Which of the following artists most influenced the work of Artemisia Gentileschi?
a.
Annibale Carracci
b.
Guido Reni
c.
Bernini
d.
Caravaggio
18. The gallery ceiling in the Palazzo Farnese in Rome was arranged as framed easel paintings. Who was
the artist?
a.
Guido Reni
b.
Annibale Carracci
c.
Caravaggio
d.
Artemisia Gentileschi
SLIDE IDENTIFICATION
Select the response that identifies or corresponds best to the image on the screen.
19. (Figure 24-18)
a.
Pozzo
b.
Cortona
c.
Caravaggio
d.
Carracci
20. (Figure 24-8)
a.
Borromini
b.
Ribera
c.
Bernini
d.
Carracci
21. (Figure 24-9)
a.
Bernini
b.
Guarini
c.
Maderno
d.
Borromini
22. (Figure 24-20)
a.
Annibale Carracci
b.
Caravaggio
c.
Guido Reni
d.
Artemisia Gentileschi
23. (Figure 24-24)
a.
ceiling of Sant’Ignazio, Rome
b.
ceiling of Farnese Palace, Rome
c.
ceiling of Villa Ludovisi, Rome
d.
ceiling of Chapel of Saint Ivo, Rome
24. (Figure 24-26)
a.
Velazquez
b.
Zurburan
c.
Ribera
d.
Pozzo
25. (Figure 24-4A)
a.
Bernini
b.
Guarini
c.
Maderno
d.
Borromini
26. (Figure 24-14)
a.
Bernini
b.
Guarini
c.
Maderno
d.
Borromini
27. (Figure 24-18A)
a.
Pozzo
b.
Cortona
c.
Caravaggio
d.
Carracci
28. (Figure 24-25A)
a.
Gentileschi
b.
Murillo
c.
Caravaggio
d.
Carracci
29. (Figure 24-28A)
a.
Murillo
b.
Cotan
c.
Caravaggio
d.
Velazquez
SHORT ANSWER
1. How does the Martyrdom of Saint Philip reflect Spanish taste?
2. How does the Surrender of Breda glorify Spanish military authority?
3. What is the Baldacchino?
4. How did the worldwide mercantile system change the face of Europe?
5. How did the Roman Catholic Church use art to respond via the Counter-Reformation?
6. Briefly describe the characteristics of Caravaggio’s style.
7. In designing the piazza of Saint Peter’s, which objects was Bernini obligated to incorporate into the
design and how to did he arrive at a solution?
ESSAY
1. Describe the representation of Bernini’s David. How has it evolved from the earlier works of
Donatello, Verrocchio, and Michelangelo?
2. How is Bernini’s intimate experience with theater reflected in the Cornaro chapel?
3. Evaluate the role played by art in the revitalization of the Roman Catholic Church and Catholic
theology during the 17th century. How did the art become propaganda and how did that affect Europe
in general? Use examples to support your essay.
4. Describe the various illusionistic techniques employed in ceiling paintings during the seventeenth
century.
5. Caravaggio’s style found many imitators. Identify some of the artists who were influenced by
Caravaggio’s art. Which elements of his art did they incorporate? What are the unique aspects of their
own style?
OTHER
SLIDE QUESTIONS
1. What is the spiritual reference at work in this painting?
2. Explain the break from the traditional approach to painting self-portraits seen here.
3. Which features enhanced the illusionism of this ceiling painting?
4. How is this an attempt on the part of the artist to elevate himself and his profession?
5. How does this painting evoke the Barberini family for whom it was commissioned?