Chapter 7: FIFTEENTH-CENTURY ART
1. Both the Piero Resurrection and the Rogier Deposition show:
a. an interest in ancient classical motifs
b. Christ like a Greek god
c. naturalism
d. triangular composition
2. The term Renaissance:
a. emerged during the Late Medieval period
b. implies a rebirth of classical values and a new worth of the individual in art
c. implied copying from medieval works
d. is Italian in origin
3. Humanism:
a. was developed in Flanders
b. set itself apart from Christianity
c. was originally applied to monarchs
d. was concerned with the dignity of the individual
4. Humanism:
a. was developed in Flanders
b. set itself apart from Christianity
c. was originally applied to monarchs
d. helps explain the development of the portrait in Renaissance Italy
5. The fifteenth-century artist:
a. was viewed as a humble craftsperson
b. was accorded dignity
c. sought solace in anonymity
d. always worked alone
6. Scientific perspective was:
a. a discovery gleaned from classical antiquity
b. a refinement of the aesthetic concerns of the Middle Ages
c. a technique for psychological realism
d. the rendering of figures and objects in illusory space
7. Jan van Eyck’s Arnolfini Portrait is a good example of the new technique of:
a. oil painting on canvas
b. oil painting on wood
c. fresco
d. tempera
8. The new oil painting technique was developed by:
a. adding a fine layer of white plaster
b. adding oil as a final layer over the tempera
c. inclusion of a new material
d. a new method of using traditional materials
9. Foreshortening represents a figure or object as if seen in:
a. sharp recession
b. contrapposto
c. flattened illusory space
d. dramatic light/dark patterns
10. In fifteenth-century Italy:
a. illusionism in painting was avoided
b. the most popular subjects were mythological scenes from antiquity
c. portraiture was well established by the end of the century
d. portraiture was never popular in sculpture
11. Leonardo da Vinci developed a form of composition that:
a. emphasized two-dimensional illusionary space
b. created visual unity
c. separates the macrocosmic from the microcosmic
d. avoided references to three-dimensional realism
12. Leonardo da Vinci’s Last Supper is unusual because:
a. Judas is on “our” side of the table
b. Judas is seated with the other apostles
c. Judas holds moneybags
d. Judas is seated next to Christ
13. Botticelli’s mythological subjects:
a. were in mainly small-scale paintings
b. utilized Medieval lore and symbolism
c. concentrated on themes of battle and war
d. exemplify Renaissance attitudes
14. Leonardo da Vinci’s use of pyramidal composition did not:
a. offer visual unity and stability
b. have one special meaning
c. relate to geometry
d. relate the human figure to the universe
15. The figures in da Vinci’s Last Supper:
a. express emotional and psychological realism
b. do not reveal their thoughts
c. reveal the apostles’ peace of mind
d. respond to the agitation of the Christ figure
16. The pietà concept:
a. is based on a passage in the Bible
b. first appeared in Italy
c. means both pity and piety
d. can be traced to the traditions of classical antiquity
17. Michelangelo’s Florentine Pietà:
a. used natural figural proportions
b. had a stable composition
c. conveyed a tragic, pessimistic mood
d. reflected the current optimism in society
18. Which of the following paintings displays a wealth of “disguised symbolism”?
a. The Battle of Issus by Altdorfer
b. The Creation of Adam by Michelangelo
c. The Annunciation Triptych by Robert Campin
d. Mrs. Siddons by Gainsborough
19. The architect who developed scientific perspective was:
a. Alberti
b. Bramante
c. Michelozzo
d. Brunelleschi
20. The Italian artist who did the most to re-establish classical attitudes toward the human body
in early fifteenth-century Florence was:
a. Nanni di Banco
b. Ghiberti
c. Pollaiuolo
d. Donatello
21. The early fifteenth-century Florentine painter who joined the influence of Giotto with the
renewed interest in naturalism and perspective was:
a. Ghiberti
b. Donatello
c. Botticelli
d. Masaccio
22. The Italian artist whose work bears the influence of Renaissance Neo-Platonism is:
a. Piero della Francesca
b. Mino da Fiesole
c. Perugino
d. Botticelli
ANSWERS TO MULTIPLE CHOICE QUESTIONS
Chapter 7
