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Chapter 09: High Renaissance and Mannerism in Europe
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Multiple Choice
1. _____ was the word used to describe the expressive character of Michelangelo’s works.
a.
Terribilità
b.
Sfumato
c.
Chiaroscuro
d.
Mannerism
ANSWER:
a
2. The art commissioned by Julius II broadly reinforced the primacy of _____.
a.
his family
b.
the Catholic Church
c.
Renaissance scholars
d.
Spanish artists
ANSWER:
b
3. Michelangelo’s art focused on the expressive power of _____.
a.
landscape
b.
abstract forms
c.
the human figure
d.
pyramidal compositions
ANSWER:
c
4. Scholars refer to the artistic period from 1495 to Raphael’s death in 1520 as _____.
a.
the Great Schism
b.
the Counter-Reformation
c.
Mannerism
d.
the High Renaissance
ANSWER:
d
5. After departing from Florence, Leonardo entered the service of _____ in Milan.
a.
Ludovico Sforza
b.
Julius II
c.
Philip II
d.
Donato Bramante
ANSWER:
a
6. Leonardo united his figures in Madonna of the Rocks through _____.
a.
exaggerated contrasts of light and dark
b.
gestures
c.
discordant colors
d.
markers in the landscape
ANSWER:
b
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7. The poor condition of Leonardo’s Last Supper can be attributed to his experimentation with medium and _____.
a.
the use of buon fresco
b.
the cold climate of Milan
c.
his use of a secco application
d.
its subsequent relocation to a museum
ANSWER:
c
8. Departing from earlier portraits, Leonardo’s presentation of Mona Lisa was not only an indication of status but also
_____.
a.
hinted at her divinity
b.
a proclamation of his love
c.
an allegory of death
d.
the likeness of an individual
ANSWER:
d
9. Leonardo’s subtle adjustment of light and blurring of contours is described as _____.
a.
sfumato
b.
terribilità
c.
poetic
d.
colorito
ANSWER:
a
10. Julius II gave Raphael the prestigious commission to decorate _____.
a.
the altar at Saint Peter’s
b.
the papal apartments
c.
the town hall
d.
his fountain
ANSWER:
b
11. _____ by Raphael depicts a gathering of philosophers and scientists of the ancient world.
a.
Pietà
b.
Madonna in the Meadow
c.
Philosophy
d.
Pastoral Symphony
ANSWER:
c
12. A symbol of the Republic, Florence commissioned Michelangelo to sculpt _____ for the Palazzo della Signoria.
a.
French Ambassadors
b.
Rape of the Sabines
c.
Venus of Urbino
d.
David
ANSWER:
d
13. Scholars believe that the woman beneath God’s arm in Michelangelo’s Creation of Adam is _____.
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a.
the Virgin Mary
b.
a human soul
c.
Mary Magdalene
d.
his wife
ANSWER:
a
14. The Catholic efforts to counteract the effects of Protestantism is called the _____.
a.
Jesuit order
b.
Counter-Reformation
c.
Union of Arras
d.
Habsburg-Valois wars
ANSWER:
b
15. _____ developed the High Renaissance form of the central-plan church.
a.
Raphael
b.
Francis I
c.
Donato Bramante
d.
Juan de Herrera
ANSWER:
c
16. Pope Julius II made the decision to replace _____.
a.
the Colosseum
b.
Belvedere
c.
Villa Rotonda
d.
Old Saint Peter’s
ANSWER:
d
17. First used by Alberti at Sant’Andrea, Michelangelo incorporated the _____ on the exterior of Saint Peter’s.
a.
colossal order
b.
grid plan
c.
dormers
d.
pediments
ANSWER:
a
18. Conceived as a great hall with side chapels, the design of Il Gesù was based on _____ by Alberti.
a.
Villa Rotonda
b.
Sant’Andrea
c.
El Escorial
d.
Château de Chambord
ANSWER:
b
19. The _____ was especially important in the Counter-Reformation efforts to reassert the standing of the Catholic
Church.
a.
Pope’s army
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b.
Byzantine empire
c.
Jesuit order
d.
humanist scholars
ANSWER:
c
20. _____ was the chief architect of the Venetian Republic.
a.
Jacopo Tintoretto
b.
Titian
c.
Mathias Grünewald
d.
Andrea Palladio
ANSWER:
d
21. Venetian painting is generally described by scholars as _____.
a.
poetic
b.
sfumato
c.
disegno
d.
mystical
ANSWER:
a
22. _____ has been identified as the artist who introduced the different approach of Venetian art.
a.
Hans Holbein
b.
Giorgione da Castelfranco
c.
Donato Bramante
d.
Bronzino
ANSWER:
b
23. A pupil of Giorgione _____ became painter of the Venetian Republic.
a.
Parmigianino
b.
Giacomo della Porta
c.
Titian
d.
Raphael
ANSWER:
c
24. In his Assumption of the Virgin, Titian used _____ to increase the dramatic effects.
a.
gold leaf
b.
small, intimate scale
c.
solemn figures
d.
vibrant color
ANSWER:
d
25. _____ emerged in Italy after 1520 as a distinctive artistic style.
a.
Mannerism
b.
Colorito
c.
Poesie
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d.
Tenebroso
ANSWER:
a
26. Why did Parmigianino elongate the Virgin’s neck in his elegant painting Madonna with the Long Neck?
a.
It was a sign of beauty in the Renaissance.
b.
Medieval hymns compared Mary to an ivory tower or column.
c.
To balance the two sides of the painting.
d.
It connected her to Christ’s suffering.
ANSWER:
b
27. _____ applied Mannerist principles to his sculpture.
a.
Giacomo da Vignola
b.
Palladio
c.
Giambologna
d.
Giulio Romano
ANSWER:
c
28. Considered an example of Mannerist architecture, the _____ has several structural surprises and contradictions.
a.
Il Gesù
b.
Villa Rotonda
c.
El Escorial
d.
courtyard of the Palzzo del Tè
ANSWER:
d
29. The ideas of _____ eventually led to a prolonged war between Protestants and Catholics.
a.
Martin Luther
b.
Francis I
c.
the Council of Trent
d.
Jean de Dintville
ANSWER:
a
30. The destruction of religious images that occurred during the Protestant Reformation is called _____.
a.
the Counter-Reformation
b.
iconoclasm
c.
secularism
d.
the Inquisition
ANSWER:
b
31. The appearance of _____ in the imagery of the Isenheim Altarpiece reflect its location next to a hospital.
a.
the Last Judgment
b.
Mary’s coronation
c.
saints associated with healing
d.
Lazarus’s resurrection
ANSWER:
c
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32. Albrecht Dürer is considered to be the first artist north of the Alps to understand the principles of _____.
a.
Byzantine art
b.
Jan van Eyck
c.
abstract shapes
d.
Italian Renaissance art
ANSWER:
d
33. The poses of Adam and Eve in Dürer’s Fall of Man were based on _____.
a.
ancient statues
b.
real people
c.
the French ambassadors
d.
Hironymus Bosch
ANSWER:
a
34. The exacting and detailed style of Hans Holbein is consistent with _____.
a.
colorito
b.
15th-century Flemish art
c.
Venetian art
d.
sfumato
ANSWER:
b
35. The long gray shape in Holbein’s The French Ambassadors that becomes a skull when viewed from a specific angle is
called _____.
a.
vanitas painting
b.
a memento mori
c.
an anamorphic image
d.
a genre
ANSWER:
c
36. Which artist applied for a position by telling his prospective patron that he could “contrive various and endless means
of offence and defense”?
a.
Raphael
b.
Leonardo da Vinci
c.
Michelangelo
d.
Titian
ANSWER:
b
37. El Escorial is a _____.
a.
palace and monastery
b.
country home and school
c.
chateau and royal academy
d.
villa and convent
ANSWER:
a
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38. The plan of El Escorial is supposedly based on the _____.
a.
cross of St. Peter
b.
sword of St. Paul
c.
arrows of St. Sebastian
d.
gridiron of St. Lawrence
ANSWER:
d
39. Quinten Massys’s Money-Changer and His Wife warns viewers to _____.
a.
prepare for the Last Judgment
b.
save money and donate to the church
c.
avoid sin and work hard
d.
balance worldly and spiritual concerns
ANSWER:
d
40. The first known northern European self-portrait by a woman is by _____.
a.
Levina Teerlinc
b.
Judith Leyster
c.
Caterina van Hemessen
d.
Lavinia Fontana
ANSWER:
c
41. Pieter Aertsen’s Meat Still-Life is an allegory of _____.
a.
greed
b.
prosperity
c.
salvation
d.
papal authority
ANSWER:
c
SLIDE IDENTIFICATION
42. (Figure 9-18)
a.
Leonardo da Vinci
b.
Titian
c.
Parmigianino
d.
Raphael
ANSWER:
b
PREFACE NAME:
SLIDE IDENTIFICATION
43. (Figure 9-12)
a.
Bramante
b.
Palladio
c.
Michelangelo
d.
Bruegel
ANSWER:
a
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b.
Titian
c.
Giorgione
d.
Veronese
ANSWER:
b
PREFACE NAME:
SLIDE IDENTIFICATION
50. (Figure 9-23)
a.
Pontormo
b.
Parmigianino
c.
Bronzino
d.
Anguissola
ANSWER:
c
PREFACE NAME:
SLIDE IDENTIFICATION
51. (Figure 9-33)
a.
Pieter Bruegel
b.
Caterina van Hemessen
c.
Pieter Aertsen
d.
Hieronymus Bosch
ANSWER:
d
PREFACE NAME:
SLIDE IDENTIFICATION
52. (Figure 9-30)
a.
Four Apostles
b.
French Ambassadors
c.
Church Fathers
d.
Four Saints
ANSWER:
a
PREFACE NAME:
SLIDE IDENTIFICATION
53. (Figure 9-25)
a.
Giambologna
b.
Titian
c.
Holbein
d.
Tintoretto
ANSWER:
a
PREFACE NAME:
SLIDE IDENTIFICATION
54. (Figure 9-27)
a.
Holbein
b.
Dürer
c.
Bruegel
d.
Grünewald
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ANSWER:
d
PREFACE NAME:
SLIDE IDENTIFICATION
55. (Figure 9-32)
a.
Château de Chambord
b.
Tempietto
c.
Escorial
d.
Villa Rotunda
ANSWER:
a
PREFACE NAME:
SLIDE IDENTIFICATION
56. (Figure 9-35)
a.
Holy Roman Empire
b.
The Netherlands
c.
Venice
d.
Spain
ANSWER:
b
PREFACE NAME:
SLIDE IDENTIFICATION
Subjective Short Answer
57. How did Michelangelo represent the body in the various scenes in the Sistine Chapel?
ANSWER:
Answers may vary
58. How is the positioning of the subjects that Raphael painted for Julius II in his library meaningful for the Pope?
ANSWER:
Answers may vary
59. Describe one of Michelangelo’s best-known observations about creating a sculpture.
ANSWER:
Answers may vary
60. How did Michelangelo break from his contemporaries in the application of mathematical methods?
ANSWER:
Answers may vary
61. Which features of Michelangelo’s art contribute to the sense of energy in reserve?
ANSWER:
Answers may vary
62. How does Michelangelo’s decoration of the Sistine ceiling differ from Mantegna’s approach to the Camera Picta?
ANSWER:
Answers may vary
63. What differences exist between Early and High Renaissance architectural styles?
ANSWER:
Answers may vary
64. Describe Bramante’s design for Saint Peter’s.
ANSWER:
Answers may vary
65. What advantages did having one large hall achieve at Il Gesù?
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ANSWER:
Answers may vary
66. Why was the Jesuit order significant in Counter-Reformation Rome?
ANSWER:
Answers may vary
67. What do the terms colorito and disegno designate?
ANSWER:
Answers may vary
68. Describe the differences between Catholic and Protestant views on art.
ANSWER:
Answers may vary
69. How was the imagery of the Isenheim Altarpiece meaningful to its viewers?
ANSWER:
Answers may vary
70. How did Albrecht Dürer show his support of Martin Luther’s ideas in his art?
ANSWER:
Answers may vary
71. Explain how Michelangelo adjusted Bramante’s plan for the New St. Peter’s and his purpose for the changes.
ANSWER:
Answers may vary
72. How did El Greco’s travels contribute to his style of painting?
ANSWER:
Answers may vary
SLIDE QUESTIONS
73. What was Leonardo’s greatest achievement in this painting?
ANSWER:
Leonardo da Vinci, Madonna of the Rocks (9-2)
PREFACE NAME:
SLIDE QUESTIONS
74. What devices did Leonardo use to make Christ the focal point?
ANSWER:
Leonardo da Vinci, Last Supper (9-3)
PREFACE NAME:
SLIDE QUESTIONS
75. Which aspects of Leonardo’s style does Raphael borrow? What does he reject?
ANSWER:
Raphael, Madonna in the Meadow (9-5)
PREFACE NAME:
SLIDE QUESTIONS
76. Which features of this work recall Hellenistic art?
ANSWER:
Michelangelo Buonarroti, David (9-8)
PREFACE NAME:
SLIDE QUESTIONS
77. How did this artist depart from the architectural qualities of Leonardo’s compositions?
ANSWER:
Michelangelo Buonarroti, Creation of Adam (9-10)
PREFACE NAME:
SLIDE QUESTIONS
78. How do the architectural elements relate to its function as a belvedere?
ANSWER:
Andrea Palladio, Villa Rotonda (9-16)
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Class:
Date:
Chapter 09: High Renaissance and Mannerism in Europe
Name:
Class:
Date:
Chapter 09: High Renaissance and Mannerism in Europe
90. Albrecht Dürer is described as the first true Renaissance artist north of the Alps. Which elements of his life and art
contribute to this designation? Citing examples, provide evidence of Dürer’s engagement with Italian Renaissance
principles and humanist endeavors.
ANSWER:
Answers may vary
91. How did Italian architects working in the 15th and 16th centuries adjust classical architecture to suit their needs? Use
examples to support your essay.
ANSWER:
Answers may vary
92. Explain the use of allegory and proverbs in 16th-century art. Use examples to support your essay.
ANSWER:
Answers may vary
UNKNOWN IMAGES
93. Attribute the images on the screen to a culture and give an approximate date. Give the reasons for your attributions,
using complete sentences and referring to specific works discussed in class.
Suggested images, not in the text:
ANSWER:
1. Another work by Michelangelo, perhaps Moses, The Rebellious Slave, or The Atlas Slave
2. Another work by Raphael, perhaps another Madonna and Child
3. Another work by Giorgione, perhaps Sleeping Venus
4. Another work by Dürer, perhaps a portrait
5. Another work by Pieter Bruegel, perhaps Netherlandish Proverbs
PREFACE NAME:
UNKNOWN IMAGES
