Chapter 9: SEVENTEENTH-CENTURY ART
1. In their representation of vivacious movement, both Bernini’s David and Hals’s Merry Drinker:
a. were self-portraits
b. were characteristic of most seventeenth-century art
c. avoided naturalism and illusionism
d. revealed that they were products of a Protestant nation
2. The Baroque style:
a. was the most typical style of seventeenth-century Italy
b. had symmetrical composition
c. avoided dramatic effects
d. was not well suited to autocratic Counter-Reformation rulers
3. Baroque Classicism:
a. ignored the accomplishments of High Renaissance artists
b. was revealed in the work of Annibale Carracci and Nicolas Poussin
c. was best exemplified in still-life painting
d. drew its subjects from current seventeenth-century society
4. Seventeenth-century art in the Netherlands:
a. was limited to sculpture
b. was characterized by large-scale paintings
c. emphasized mythology and religion
d. was characterized by realism and naturalism
5. Sixteenth-century Counter-Reformation art:
a. was primarily Protestant in sympathies
b. encompassed many Baroque religious images
c. emphasized landscape and genre subject matter
d. was produced primarily for placement in the home
6. In the Netherlands:
a. religion encouraged the production of religious subjects
b. there was a resurgence of interest in architecture
c. sculpture emerged as the dominant art form
d. there was an overwhelming interest in naturalism
7. The Northern Italian artist whose dramatic naturalism contributed to the origin of the
Baroque style in Rome c. 1600 was:
a. Honthorst
b. Annibale Carracci
c. Caravaggio
d. Gaulli
8. Caravaggio’s art:
a. accentuated the patrician origins of subjects
b. called on viewer participation
c. avoided shocking, physical emphasis
d. was praised for its use of idealistic theories of art
9. Genre painting:
a. had its greatest popularity in Italy
b. glorified the mythological classical past
c. found homey domesticity distasteful
d. often found the sacred in everyday scenes
10. Rubens:
a. avoided universal meaning in his art
b. was critical of the use of fantasy in art
c. blended symbolism and allegory
d. concentrated on genre subject matter
11. The Dutch Baroque group portrait:
a. was influenced little by democratic traditions
b. was intended to emphasize the trappings of the aristocracy
c. initially had to treat all subjects equally
d. was intended to embody religious ideals
12. The Dutch artist whose paintings and prints were characterized by innovation and
introspection was:
a. Rembrandt
b. Hals
c. Ruisdael
d. Terbrugghen
13. The nickname “Night Watch” given to Rembrandt’s Militia Company of Captain Frans Banning
Cocq:
a. accurately describes the setting of the painting
b. describes the darkening of the painting’s pigments over time
c. inaccurately suggests that the scene takes place after dark
d. describes the somber mood of the painting
14. Drypoint:
a. enables the production of several dozen prints
b. is an intaglio technique
c. is a development of the woodcut technique
d. emphasizes precision and detail
15. The greatest and most influential of the French Baroque classicists was:
a. Poussin
b. Mansart
c. Vermeer
d. Velázquez
16. Poussin’s The Arcadian Shepherds is:
a. characteristically agitated and convoluted
b. philosophical even about death
c. a recreation of a genre subject
d. a symbolic metaphor about war’s consequences
17. Seventeenth-century Dutch landscape painting:
a. was inspired by ancient Greek and Roman painting
b. was related to Dutch nationalism
c. was devised for rural and pastoral people
d. reflected nostalgia for Poussin’s pastoral settings
ANSWERS TO MULTIPLE CHOICE QUESTIONS
Chapter 9
