Art of the Western World part 3
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| 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
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| When Michelangelo first started carving the David, where did he think it was going to be placed? | Along the roof line of Florence Cathedral
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| The sistine Chapel ceiling | was Michelangelo's first commission for a fresco
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| The School of Athens | is one of four paintings representing areas of knowledge
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| Raphael's teacher was | Perugino
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| Rapheal's Madonna paintings typically | use pyramidal compositions
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| Bramante's plan for the rebuilding of St Peter's | was a central plan based on a Greek cross
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| Venetian painitng in the early sixteenth century | often shows vouptuous women in a landscape setting
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| The artist who painted The Tempest is | Giorgione
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| Titian's paintings were most often done | in oil paint on canvas
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| Palladio designed | Many villas around Venice, including the villa Rotonda
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| Which of the followoing artisits is not usually considered a mannerist? | Veronese
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| 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
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| Michelangelo's late work | is deeply spiritual
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| An artist who was called before the inquistion to defend his work is | Veronese
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| Caravaggio's style of painting | used very deep shadows in a technique called tenebrism
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| in Italy, the leaders of the Counter-Reformation | reaffirmed the importance of images as a way to teach people about religion
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| Artemisia Gentilischi's paintings | often show female heroines
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| The Carracci wanted to reform painting because | they felt mannerism had become too far removed from High Renaissance ideals
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| Bernini's David | shows more intense emotion than Michelangelo's David
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| The Saint Teresa of Avila in Ecstasy | is presented as if it were being renacted on a stage.
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| 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.
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| Peter Paul Rubens | was employed by European courts most of his life
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| The most important painter in England in the seventeenth century was | the Flemish painter Van Dyck
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| Brithish architecture in the seventeenth century | shows the influence of the Italian Renaissance architect Palladio
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| El Greco's work is most similar | to italian mannerism
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| Zurbaran's painting reflects a form of mysticism called | Quietism
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| Velazquez's Las Meninas | is a portrait of the spanish royal family in the artist's studio
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| The patrons of most Dutch painting in the seventeenth century were | merchants and businessmen
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| Judith Layster's self-portait | displays an exuberant style, similar to Frans Hals'
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| Rembrandt's favorite printmaking technique was | etching
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| Rembrandt's self-portraits | are always rather glomy because he was often bankrupt
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| Vermeer probably experimented with a devisce called | the camera obscura
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| Dutch still life paintings | often can be read as allegories of vanity.
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| The main lines of the plan of the Palais de Versilles converge at | the Kings bedroom
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