Download AP Art History Chapter 22: Renaissance and Mannerism in

AP Art History Chapter 22: Renaissance and Mannerism in Cinquecento Italy 1. Who were the patron and artist of the ceiling of the Sistine Chapel? How was this propaganda? Why did he not want to do it? Because he painted with a sculpture’s eye, many of the figures seem to be painted _____ (599) 2. What was the time period of the High Renaissance? The Renaissance style and the interest in _____ culture, _____, ______, and _____ anatomy dominated the remainder of the 16th century. (600) 3. Who were the three international art celebrities of High Renaissance? (600) 4. Why was Leonardo Da Vinci the quintessential “Renaissance man?” (601) 5. In Leonardo’s, Madonna of the Rocks, he used chiaroscuro, pyramidal grouping, and atmospheric perspective. Define these terms and explain how he used those in this painting. What was the medium of this painting?(601) 6. In Leonardo’s, Last Supper, he presents the story by dividing the disciples in four groups of ____ that symbolizes the ______. This echoes the four wall hangings on each side of the room and the three windows on the wall behind Jesus. (603) 7. Unlike other Last Supper paintings, Judas on this fresco is on the ____ side of the table as Jesus but his face is in ______. Why is the painting in such poor condition (what fresco method was used)? (603) 8. What is the name of the most famous portrait? Describe how Leonardo used chiaroscuro, atmospheric perspective, and sfumato on this painting. Define sfumato. The enduring appeal of this art work was the mysterious uninhabited _______. (603‐6o4) 9. Leonardo’s anatomical studies helped the modern method of scientific illustration by incorporating the _____ views. (605) 10. In Raphael, Madonna in the Meadow, he adopted Leonardo’s _____ composition and modeling of faces and figures in ______. (606) 11. Raphael gets a commission by _______ to paint the four walls of the Stanza della Segnatura in the ______ Palace by presenting images symbolizing the four branches of _____ knowledge. List many of the great philosophers and scientists in Philosophy (School of Athens). Who are in the center of the painting? Can you find Michelangelo and Raphael? (606‐607) 12. In Raphael, Pope Leo X with Cardinals Giulio de’ Medici and Luigi de’ Rossi, he used meticulous details and is influenced by __________painting. (608) 13. Although Michelangelo is most famous for being the painter of the Sistine Chapel frescoes, he was also an ____, ____, _____, and ______. He considered ______ superior to painting. (609) 14. Discuss how Michelangelo portrays Mary and Christ in the Pieta? Why was her age controversial? (610) 15. Why was Michelangelo’s, David, a civic symbol? Describe the way in which he has represented the human body and the influence of Greco‐Roman statues. (611) 16. Compare and contrast Michelangelo’s, David, with Donatello’s, David (figure 21‐12). (611) 17. Describe how Michelangelo’s, Moses, captured emotional and physical energy. Who was the patron? (612) 18. What were some of the many difficulties that Michelangelo faced painting the frescos? How long did it take him? What was the Christine theme of this work? (614) 19. What was the Counter‐Reformation? What was the Council of Trent?(616) 20. How did Bramante’s, Tempietto, combine the classical past in a new Renaissance architectural style? Who were the patrons of this building? What is the importance of this location?(618) 21. What was the design or plan of the New Saint Peter’s? Who were the patron and architect? What architect finished the project? How did the design or plan change? (619‐620) 22. The Palazzo Farnese was the standard for _______ Renaissance palaces and fully expresses the _____ order, ______, simplicity, and _______ of the High Renaissance. (621) 23. The chief architect of the Venetian Republic from 1570 to his death was _______ ______. (622) AP Art History Chapter 22: Renaissance and Mannerism in Cinquecento Italy 24. In 1570, Andrea Palladio wrote a treatise on architecture called ______________. His most famous villa near Vicenza was called _____ ______. It was a ______ plan with ____ identical facades with projecting_____ that resembled a ______ ______ temple. (622‐623) 25. In Bellini’s, Madonna and Child with Saints, he creates a harmonious and balanced presentation by the use of ______ and _____. (624) 26. The Feast of the Gods was a collaborative effort between what two painters? (625) 27. Compare and contrast the Venetian artists and the artist in Florence and Rome. (625) 28. What does “poesia” mean and why is an appropriate term for Venetian art? (626) 29. Why does Giorgione’s, The Tempest, defy interpretation? (626) 30. How does Titan’s, Pastoral Symphony, conjure poetry? (627) 31. Discuss the unusual composition of Titan’s Madonna of the Pesaro Family. (628) 32. Discus how Titan uses rich and luminous colors in Meeting of Bacchus and Ariadne and Venus of Urbino. (629) 33. Read the grey insert on page 630. List two important women artist s during the Renaissance. 34. What Italian word does Mannerism derived from? Describe Mannerist style of paining.(632) 35. In Pontormo’s, Entombment of Christ, how is composition very different from earlier Renaissance painters?(632) 36. In Parmigianino’s, Madonna with the long Neck, how does he display the stylish elegance of Mannerism? (633) 37. Who were the artist and patron of the portrait of Eleanora of Toledo and Giovanni de Medici? Describe how this is an idealized version of these two people. (635) 38. Compare and contrast Eleanora of Toledo and Giovanni de Medici with the Portrait of the Artist’s Sisters and Brother. (635) 39. Compare and contrast the Last Supper of Tintoretto and Veronese. Discuss the color, action, and setting.(636) 40. Veronese’s, Triumph of Venice is not a projection directly up from below but a ____ degree angle to spectators. (637) 41. In Cellini’s Saltcellar of Francis I, how is this sculpture in the mannerists style? (638) 42. Bologna’s, Abduction of the Sabine Women, is the first _____‐ _____ group since classical antiquity designed to be seen from _____ viewpoints. (639) 43. How is Romano’s, courtyard of the Palazzo del Te’, an enormous parody of Bramante’s classical style. (640) 44. How did Michelangeo’s, vestiblule of Laurentian Library, working in a Mannerist mode disposed of almost all rules of classical architecture? (641) 45. In Porta’s west façade of II Gesu, his innovative design was an enormous influence on church architecture of what later period? (642)