| Question |
Answer |
| Michelangelo's Pieta was made for a French cardinal. Which characteristic of the staue probalbly was a concession to French taste? |
Mary's drapery falls in complex folds |
| When Michelangelo first started carving the David, where did he think it was going to be placed? |
Along the roof line of Florence Cathedral |
| The sistine Chapel ceiling |
was Michelangelo's first commission for a fresco |
| The School of Athens |
is one of four paintings representing areas of knowledge |
| Raphael's teacher was |
Perugino |
| Rapheal's Madonna paintings typically |
use pyramidal compositions |
| Bramante's plan for the rebuilding of St Peter's |
was a central plan based on a Greek cross |
| Venetian painitng in the early sixteenth century |
often shows vouptuous women in a landscape setting |
| The artist who painted The Tempest is |
Giorgione |
| Titian's paintings were most often done |
in oil paint on canvas |
| Palladio designed |
Many villas around Venice, including the villa Rotonda |
| Which of the followoing artisits is not usually considered a mannerist? |
Veronese |
| The later phase of mannerism (form the 1530s and 1540s) |
was cool and ploished and appealed to the people in the courts of France and Italy |
| Michelangelo's late work |
is deeply spiritual |
| An artist who was called before the inquistion to defend his work is |
Veronese |
| Caravaggio's style of painting |
used very deep shadows in a technique called tenebrism |
| in Italy, the leaders of the Counter-Reformation |
reaffirmed the importance of images as a way to teach people about religion |
| Artemisia Gentilischi's paintings |
often show female heroines |
| The Carracci wanted to reform painting because |
they felt mannerism had become too far removed from High Renaissance ideals |
| Bernini's David |
shows more intense emotion than Michelangelo's David |
| The Saint Teresa of Avila in Ecstasy |
is presented as if it were being renacted on a stage. |
| The colonnade around the piazza in front of St. Peter's |
seems to represent two arms embracing the oval piazza and the people within it. |
| Peter Paul Rubens |
was employed by European courts most of his life |
| The most important painter in England in the seventeenth century was |
the Flemish painter Van Dyck |
| Brithish architecture in the seventeenth century |
shows the influence of the Italian Renaissance architect Palladio |
| El Greco's work is most similar |
to italian mannerism |
| Zurbaran's painting reflects a form of mysticism called |
Quietism |
| Velazquez's Las Meninas |
is a portrait of the spanish royal family in the artist's studio |
| The patrons of most Dutch painting in the seventeenth century were |
merchants and businessmen |
| Judith Layster's self-portait |
displays an exuberant style, similar to Frans Hals' |
| Rembrandt's favorite printmaking technique was |
etching |
| Rembrandt's self-portraits |
are always rather glomy because he was often bankrupt |
| Vermeer probably experimented with a devisce called |
the camera obscura |
| Dutch still life paintings |
often can be read as allegories of vanity. |
| The main lines of the plan of the Palais de Versilles converge at |
the Kings bedroom |
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