Download TESTBANK

II. TESrBANK
MATCHING. Match the name or term on the left with the identification or
definition on the right.
1. aerial perspective
2. bottega
3. chiaroscuro
4. condottiere
5. contrapposto
6. di sotto in su
7. engraving
8. entablature
9. foreshortening
10. Gattamelata
11. linear perspective
12. Marsilio Ficino
13. Medici
14. orthogonal
15. Pazzi
16. pilaster
17. rustication
18. Sacra Conversazione
19. Savonarola
20. Sigismondo Malatesta
21. stringcourse
22. tondo
23. uomo universale
24. vanishing point
25. Vitruvius
A. Florentine family who supported many artists and writers
B. perspective technique of showing something from below
C. technique of depicting space in which all parallel lines converge at a point on
the horizon
D. family who commissioned Brunelleschi to build a chapel
E. the part of a building above the capitals and columns and below the roof or
upper story
F. painting or relief done in round format
G. studio shop of an Italian artist
H. apparent visual contraction of an object viewed as extended on a plane that is
not perpendicular to the line of sight
I. creation of sense of distance through diminution of intensity of the color and
the blurring of contours as things are moved further away
J. a flat, rectangular, vertical member projecting from the wall of which it is a part
K. technique of beveling the edges of stones to make the stonework appear
rougher
L. nickname for Erasmo da Narni, a condottiere depicted by Donatello
M. use of light and dark to create modeling
N. Renaissance ideal of a man that was good at many things
O. principle of weight shift in which the body is counter-positioned around a
central axis
P. a line imagined to be behind and perpendicular to the pictured place that
seems to recede toward the vanishing point
Q. Lord of Rimini who commissioned Alberti to build a temple tomb for the great
Humanist scholars
R. scholastic Philosopher
S. Neo-Platonic philosopher
T. Italian military leader
U. place on the horizon where all parallel lines appear to converge
V. ancient Roman architect and theoretician whose works had profound
influence on Renaissance architects.
W. horizontal molding usually making an interior division
X. incising into a metal plate or a print made from the plate
Y. saints grouped around the Virgin and Child as though conversing
Z. Reformist monk who became virtual dictator of Florence
MULTIPLE-CHOICE QUESTIONS. Select the response that best answers the
question or completes the statement.
26. The winner of the famous competition for the bronze doors of the Florence
Baptistry was
a. Donatello b. Ghiberti
c. Brunelleschi d. Nanni di Banco
27. The Renaissance architect who wrote influential treatises on painting and
architecture was
a. Brunelleschi b. Michelozzo
c. Alberti d. Vitruvius
28. The painter who was very much interested in linear perspective and whose
work has the strongest geometric structure was a. Piero della Francesca b.
Pollaiuolo c. Fra Angelico d. Fra Filippo Lippi
29. The fifteenth-century Italian artist whose work showed the greatest influence
of the International Gothic style was a. Masaccio b. Gentile da Fabriano c.
Andrea del Castagno d. Pollaiuolo
30. Who of the following was least influenced by Humanist philosophy? a.
Marsilio Ficino b. Botticelli c. Savonarola d. Lorenzo de' Medici
31. The invention of linear perspective is generally credited to a. Donatello b.
Brunelleschi c. Uccello d. Ghiberti
32. Which of Brunelleschi's buildings approximates the centralized plan so loved
by Renaissance architects? a. Ospedale degli Innocenti b. Palazzo
Medici-Riccardi c. Pazzi Chapel d. Santo Spirito
33. Which Italian city played the most important role in the development of
Renaissance ideas and art forms in the early fifteenth century? a. Venice b.
Florence
c. Siena d. Rome
34. Which of the following statements about Brunelleschi is not true?
a . He designed the dome of Florence b. He knew and admired Roman building
Cathedral. techniques.
c. He did his major work in Florence. d. His Palazzo Medici-Riccardi shows the
influence of the Roman Pantheon.
35. Who of the following was first to utilize the new technique of linear
perspective?
a. Gentile da Fabriano b. Masaccio
c. Andrea delCastagno d. Pollaiuolo
36. Who of the following was not an architect?
a. Giuliano da Sangallo b. Alberti
c. Michelozzo d. Desiderio da Settignano
37. Which is least characteristic of the style of Masaccio?
a. simple dramatic settings b. useofchiaroscuro
c. Iight coming from a specific source d. rich color with many gold details and
creating shadows
38. The most important patrons of fifteenth-century Florentine art were the
a. Medici b. Pazzi
c. Papacy d. Malatesta
39. Which characterizes the style of Ghiberti?
a. rhythmic lines b. classical posesand motifs
c. realism in characterization, d. all of the above movement, and surface detail
40. Who of the following was least concerned with the techniques of linear
perspective?
a. Piero della Francesca b. Paolo Uccello
c. Pollaiuolo d. Andreadel Castagno
41. The classical principle of contrapposto, or weight shift, was reintroduced into
western art by
the sculptor
a. Donatello b. Verrocchio
c. Pollaiuolo d. Andreadel Castagno
42. The artist most strongly influenced by the Neo-Platonic ideas of Marsilio
Ficino was
a. Ghirlandaio b. Mantegna
c. Botticelli d. Antonelloda Messina
43. The famous frescoes of the Camera degli Sposi were painted for the Duke of
Mantua by
a. Sandro Botticelli b. AndreaMantegna
c. Perugino d. Piero della Francesca
44. The Umbrian painter who exerted considerable influence on Raphael was
a. Perugino b. Signorelli
c. Pollaiuolo d. Masaccio
45. The artist who introduced oil painting to the Venetians was
a. Antonello da Messina b. Mantegna
c. Perugino d. Signorelli
46. Which family specialized in terracotta figures?
a. Rossellino b. Della Robbia
c. Verrocchio d. Da Settignano
47. The Roman arch and the classical pediment on the west facade of Sant'
Andrea at Mantua were
designed by
a. Brunelleschi b. Giuliano da Sangallo
c. Alberti d. Mantegna
48. Neo-Platonists held that
a. Plato's concern with the specific b. the soul could ascend toward a union with
God
nature of each individual should through the contemplation of beauty
be reinstated
c. Christianity and Platonic ideas d. Plato's Republic was the only book from
were totally antithetical antiquity worth reading
49. Which artist was most interested in depicting the human body in violent
action?
a. Fra Angelico b. Signorelli
c. Mantegna d. Perugino
50. The young Leonardo was a pupil in the studio of
a. Verrocchio b. Della Robbia
c. Donatello d. Antonio Rossellino
SHORT ANSWER QUESTIONS.
51. Name three fifteenth-century artists that were very much interested in linear
perspective.
52. What features characterize the work of Domenico Ghirlandaio?
53. Name two fifteenth-century Italian artists who were particularly interested in
depiction of
the nude.
54. Who were the greatest patrons of art in fifteenth-century Florence?
55. Who is generally considered to have invented linear perspective?
56. Describe the difference between aerial and linear perspective.
57. Name the artist who is thought to have introduced oil painting to the
Venetians.
ESSAY QUESTIONS.
58. Masaccio owed much to the work of Giotto. What had he learned from the
older master and what innovations did he make?
59. What made perspective so important to Renaissance artists? Discuss at
least three examples.
60. Why were Renaissance architects so fascinated with the central plan-church
design? What are its advantages and its disadvantages? Cite at least two
examples of buildings that used this type of design.
61. Discuss the extent to which Alberti realized the principles of his theoretical
writings on architecture in specific buildings he designed.
SLIDE QUESTIONS.
62. When were these two equestrian portraits done? In what ways do they
resemble each other and how do they differ?
63. How does the renovation done on this church by Alberti demonstrate his
ideas about classical form and harmonic relationships between parts?
64. What major change had taken place in the representation of pictorial space
between the time Ghiberti created the panel of the Sacrifice of Isaac and his
completion of the Gates of Paradise? How well did he utilize the new ideas?
65. What is the subject represented here, and how would you know that this
painting was painted after 1425?
66. Who did these two representations of David? Which was done earliest and
which is closest to classical prototypes? Why?
67. What is represented in this painting, and in what way is it thought to
represent Neo-Platonic ideas?
68. Who did this painting, and in what ways does this work embody
fifteenth-century Italian
concern with perspective and the influence of the Humanists?
69. Who did thls painting? Where do the orthogonals converge, and are all
figures depicted in the
same logical space?
70. Who designed this building, and in what ways does it reflect the ideal forms
of Renaissance
architects?
MULTIPLE-CHOICE SLIDE RESPONSES. Select the response that best suits
the image on the screen.
71. a. Mantegna b. Perugino
c. Signorelli d. Botticelli
72. a. Rossellino b. Desiderio
c. Verrocchio d. Donatello
73. a. Brunelleschi b. Michelozzo
c. Alberti d. Sangallo
74. a. Pazzi Chapel b. Ospedale degli Innocenti
c. Santa Spirito d. Santa Maria delle Carceri
75. a. Fra Filippo Lippi b. Fra Angelico
c. Piero della Francesca d. Massaccio
76. a. Leonardo Bruni b. Gattamelata
c. Colleoni d. PippoSpano
77. a. Jacopo della Quercia b. Nanni Di Banco
c. Ghiberti d. Luca della Robbia
78. a. sacra conversazione b. di sotto in su
c. chiaroscuro d. entablature
79. a . St George b. David
c. St. Sebastian d. St. James
80. a. Uccello b. Andrea delCastagno
c. Gentile da Fabriano d. Masaccio
UNKNOWN IMAGES. Short Essays.
81-83. Attribute the images on the screen to a culture or country and to a stylistic
grouping, dating the work to the century. Give the reasons for your attributions,
using complete sentences and referring to specific works that you know.
SWERS
Matching
1. I
2. G
3. M
4. T
5. O
6. B
7. X
8. E
9. H
10. LorT
11. C
12. S
13. A
14. P
15. D
16. J
17. K
18. Y
19. Z
20. Q
21. W
22. F
23. N
24. U
25. V
Multiple-Choice
26. B 27. C
28. A
29. B
30. C
31. B
32. C
33. B
34. D
35. B
36. D
37. D
38. A
39. D
40. C
41. A
42. C
43. B
44. A
45. A
46. B
47. C
48. B
49. B
50. A
&ort Answer Questions
51. Masaccio, Brunelleschi, Uccello, Ghiberti, Piero della Francesca, and
Mantegna
52. Ghirlandaio was a synthesizer, not an innovator. His work gives an excellent
picture of Florence at the end of the fifteenth century, giving detailed
representations of the life, pageantry, costume, and material wealth of the
citizens.
53. Pollaiuolo, Donatello, Signorelli, and possibly Botticelli
54. the Medici
55. Brunelleschi
56. Artists using aerial perspective lessen the intensity of colors and blur the
edges of forms to indicate distance. They often use blue tones that recede to
indicate far distance. Linear perspective is a mathematically based system that
creates a window into space, and in which all parallel lines that are perpendicular
to the picture plane converge at a single point known as the vanishing point,
which falls on the horizon.
57. Antonello da Messina
Essay Questions
58-61. Answers found throughout the chapter
Slide Questions
62. Verrocchio's Colleoni (Figure 16-53) and the Roman Equestrian Portrait of
Marcus Aurelius (Figure 6-77).
63. Alberti, Facade of Santa Maria Novella (Figure 16-39). He designed a small,
pseudo-classical portico for the upper part of the facade and supports it with a
broad base of pilaster-enframed arcades. The height of the facade equals the
width, so that the entire structure can be contained in a square. The upper
portico is exactly one fourth the size of the main square, while a cornice
separates the two halves of the main square. The segments of the lower portion
are all created in sizes that can be expressed in a simple numerical relationship
to the whole.
64. Ghiberti, Sacrifice of Isaac (Figure 16-2) and Isaac and his Sons (Figure
16-11). Perspective had been invented. In the latter panel he creates a deep
logical space. Although the text indicates that he placed his major figures in a
parallel plane in front of the architecture rather than fully utilizing the space, he
did place smaller figures within it.
65. Andrea Castagno, Last Supper (Figure 16-30). The Last Supper is
represented here, and the use of linear perspective would date it after 1425,
which was invented about that time.
66. Donatello, David (Figure 16-12) and Verrocchio, David (Figure 16-52).
Donatello's work was done first, c. 1430, while Verrocchio's was done c. 1465.
Donatello's contemplative nude is closest to the classical prototypes for it has the
closed quiet silhouette seen in classical nudes like Polykleitos' Doryphorus
(Figure 5-58), and not the much more nervous, open silhouette of the
Verrocchio:
67. Botticelli, Birth of Venus (Figure 16-60). Botticelli worked for Lorenzo de'
Medici, who sponsored the Neo-Platonic academy of Marsilio Ficino, and this
work may have been done for him. Ficino taught that the soul could ascend to
God through contemplation of beauty, and this figure of Venus represents such
contemplation of ideal beauty.
68. Mantegna, St. James led to Martyrdom (Figure 16-63). Mantegna was
interested in the principles of logical space as described by the principles of
linear perspective. Here he sets a very low viewpoint, which can be called a
worm's eye view or the Italian name of di sotto in su. The architectural
orthogonals converge on a vanishing point at the viewer's eye level and the
figures are correctly foreshortened. Humanist influence is seen in the utilization
of historically accurate Roman architecture, as well as uniforms for the soldiers
with St. James.
69. Masaccio, The Holy Trinity (Figure 16-28). The orthogonals converge below
Christ's feet. We look down on the tomb and up at the architecture and at the
kneeling donors. These figures appear to be in the same space, and we look at
them from below as though standing on the floor of the church. However, we
look direcKy at God the Father and Christ who are thus in a different spatial
dimension. Masaccio uses perspective to differentiate between the sacred and
the profane realms.
70. Brunelleschi, Pazzi Chapel (Figures 16-21, 16-22). The building nearly
realized the centralized plan that was to fascinate Renaissance architects. The
emphasis is on the central, domecovered space. The wall is articulated with
simple geometric modular forms that can be related with simple arithmetic ratios.
Multiple-Choice Slide Responses
71. B (Figure 16-62)
72. D (Figure 16-14)
73. B (Figure 16-24)
74. D (Figure 16-45)
75. C (Figure 16-33)
76. C (Figure 16-53) 77. D (Figure 16-51)
78. B (Figure 16-65)
79. C (Figure 16-67)
80. A (Figure 16-29)
Unknown Images. Use slides that are not in the text. Suggested Images:
81. Botticelli, a mythological image like the Primavera
82. Uccello, another of the Battle scenes
83. Ghiberti, another panel from the Doors of Paradise