renaissance, mannerism, baroque

Both works were painted in which period? a. Baroque b. Renaissance c. Rococo d. Neoclassical

a. Baroque

The work promoted ideas associated with the a. Counter-Reformation b. Protestant Reformation c. Age of Enlightenment d. Scholastic movement

a. Counter-Reformation

The work on the left is located n a. Florence b. Rome c. Siena d. Venice

a. Florence

Works like this were denounced by a. Fra Girolamo Savonarola b. Pope Julius II c. Teresa of Avila d. Fra Filippo Lippi

a. Fra Girolamo Savonarola

Both works show an interest in a. Hellenistic Greek sculpture b. Roman Republican portraiture c. Neoclassical sculpture d. Archaic Greek sculpture

a. Hellenistic Greek sculpture

The family name of the patrons of this work was a. Medici b. Habsburg c. Gonzaga d. Buonarroti

a. Medici

Which of the following are depicted in carved balconies on each side of the work? a. Patron family members b. Allegorical figures c. Classical mythological deities d. Martyred saints

a. Patron family members

The work on the right was painted by a. Perugino b. Masaccio c. Bellini d. Raphael

a. Perugino

Botticelli, the artist of the work on the left, also painted which of the following? a. Primavera b. Sacred and Profane Love c. Hercules and Antaeus d. Wedding Portrait (Giovanni Arnolfini and His Bride)

a. Primavera

The artist of the work on the left is a. Rubens b. Rigaud c. Holbein d. Poussin

a. Rubens

The pose of the figure in the center is derived from a. a Classical statue b. an Early Christian sarcophagus c. a Byzantine icon d. a Baroque ceiling

a. a Classical statue

The illusion of depth is achieved primarily through the use of a. architectural structures b. warm and cool colors c. cast shadows d. reclining figures

a. architectural structures

The painting was commissioned for a a. chapel in a church b. town hall c. monastic cell d. guildhall

a. chapel in a church

The work on the left became a symbol of a. civic freedom b. religions intolerance c. monastic dynasty d. athletic games

a. civic freedom

The use of light symbolizes a moment of a. conversion b. coronation c. damnation d. betrothal

a. conversion

The kneeling figures at the lower left and the lower right of the painting represent a. donors b. prophets c. sibyls d. saints

a. donors

The painting style is characterized by a. exaggeration of space and color b. naturalistic anatomical proportions c. clear narrative representation d. compositional symmetry

a. exaggeration of space and color

The narrative moment is expressed through the a. gestures b. textual gloss c. color palette d. lighting

a. gestures

The objects in the work on the right contain references to a. the transience of life b. ancient Roman ritual c. table manners d. paganism

a. the transience of life

The work is a a. wall painting b. panel painting c. manuscript illumination d. tapestry

a. wall painting

The sculptor of the work on the right was a. Cellini b. Bernini c. Verrocchio d. Giambologna

b. Bernini

The work shown was painted by a. Bellini b. Botticelli c. Masaccio d. Michelangelo

b. Botticelli

The composition of the painting can best be described as which of the following? a. Frontal b. Diagonal c. Tripartite d. Symmetrical

b. Diagonal

The work depicts the a. Feast in the House of Levi b. Last Supper c. Marriage at Cana d. Supper at Emmaus

b. Last Supper

The outstretched hand of the figure on the far right is a visual homage to a famous painting by a. Giotto b. Michelangelo c. Leonardo d. Raphael

b. Michelangelo

The sculptor of the work on the left was a. Ghiberti b. Michelangelo c. Canova d. Donatello

b. Michelangelo

The stylistic period of the work is a. Late Gothic b. Renaissance c. Mannerism d. Baroque

b. Renaissance

A primary figure found in both works is a. Lorenzo de' Medici b. St. Peter c. Pope Julius II d. the artist

b. St. Peter

The painting was created as part of a larger decorative program for a a. tavern b. chapel c. palace d. prison

b. chapel

The work dates from the end of the a. twelfth century b. fifteenth century c. sixteenth century d. nineteenth century

b. fifteenth century

The work incorporates a. hierarchical scale b. linear perspective c. elongated proportions d. strident colors

b. linear perspective

The material of both works is a. painted terracotta b. marble c. ivory d. plaster

b. marble

The central figure was innovative in its time because of its a. proportions b. nudity c. contrapposto d. color

b. nudity

Allegorical content in the work on the left alludes to the patron's a. religious beliefs b. political ambitions c. literary talents d. scientific achievements

b. political ambitions

The iconography relates to a. the Old Testament b. the New Testament c. Dante's The Divine Comedy d. Ovid's Metamorphoses

b. the New Testament

Both works allude to the artist's interest in a. Neoplatonic ideals b. theatrical illusion c. Franciscan spirituality d. Galileo's theories

b. theatrical illusion

The work reveals the sculptor's interest in a. scientific research b. theatrical stage design c. genre painting d. political ideologies

b. theatrical stage design

The diagonal composition of the work on the right is indicative of which style? a. Early Renaissance b. High Renaissance c. Baroque d. Rococo

c. Baroque

The work of this artist dates to which of the following periods? a. Renaissance b. Mannerism c. Baroque d. Rococo

c. Baroque

The work on the right is a typical example of a still life from a. Renaissance Germany b. Renaissance Italy c. Baroque Holland d.Neoclassical France

c. Baroque Holland

Both of these works were created by a. Michelangelo b. Borromini c. Bernini d. Donatello

c. Bernini

The sculptor of the work was a. Cellini b. Donatello c. Bernini d. Michelangelo

c. Bernini

The painting is by a. Velázquez b. Vermeer c. Caravaggio d. Rembrandt

c. Caravaggio

The painting was created in a. France b. Spain c. Italy d. Flanders

c. Italy

The work is by a. Masaccio b. Michelangelo c. Leonardo da Vinci d. Andrea del Castagno

c. Leonardo da Vinci

The style of the painting is a. Early Renaissance b. High Renaissance c. Mannerist d. Baroque

c. Mannerist

The patron for the work on the left was a. Elizabeth I b. Louis XIV c. Marie de' Medici d. Marie Antoinette

c. Marie de' Medici

The sculptor whose work was most influenced by the work shown was a. Claus Sluter b. Ghiberti c. Michelangelo d. Donatello

c. Michelangelo

The painting depicts a subject recorded in the a. Decameron b. Divine Comedy c. New Testament d. Old Testament

c. New Testament

The work is located in a. Florence b. Padua c. Rome d. Venice

c. Rome

Which of the following terms best describes the content of the painting? a. Deposition b. Lamentation c. Sacra conversazione d. Piéta

c. Sacra conversazione

The artist of the work shown is a. Parmigianino b. Raphael c. Titian d. Giotto

c. Titian

The artist of the work dominated painting in which of the following cities? a. Florence b. Rome c. Venice d. Parma

c. Venice

The figure in the center of the illustration represents a. Mary Magdalene b. Aurora c. Venus d. Eve

c. Venus

Both works represent a a. gladiator b. discus thrower c. biblical hero d. deity

c. biblical hero

The painting is noteworthy for its a. one-point perspective b. scientific content c. graceful linearity d. geometric patterns

c. graceful linearity

The artist experimented with the work's a. placement b. iconography c. materials d. size

c. materials

The work is located in a a. ducal palace b. papal chapel c. monastic refectory d. city hall

c. monastic refectory

The medium used in the work is a. fresco b. intaglio c. oil d. tempera

c. oil

The work on the left can best be described as a. a genre scene b. part of an altarpiece c. part of a series d. an illuminated manuscript

c. part of a series

The drama in the painting is reinforced by the use of a. complex symbolism b. linear perspective c. tenebrism d. sfumato

c. tenebrism

The work was created during which art-historical period? a. Renaissance b. Rococo c. Gothic d. Baroque

d. Baroque

The patron of the work was a. Pope Julius II b. Pope Urban VIII c. Lorenzo de' Medici d. Federico Cornaro

d. Federico Cornaro

The artist of the painting on the left is primarily associated with a. Romanticism b. Neoclassicism c. Post-Impressionism d. Impressionism

d. Impressionism

Stylistic aspects of the painting identify it as being from the a. Italian Renaissance b. Northern Renaissance c. Dutch Baroque d. Italian Baroque

d. Italian Baroque

One leading interpretation of the painting is that it reflects the ideas of a. scholasticism b. the Counter-Reformation c. empiricism d. Neoplatonism

d. Neoplatonism

The artist is a. Rosso Fiorentino b. Mantegna c. Caravaggio d. Pontormo

d. Pontormo

The subject of the work is a. the Annunciation to the Virgin Mary b. the martyrdom of Saint Catherine c. a miracle of Saint Ursula d. a mystical experience of Saint Teresa

d. a mystical experience of Saint Teresa

The figures in both paintings can be characterized as a. outlined and flat b. active and spontaneous c. writhing and elongated d. balanced and solid

d. balanced and solid

The artist's principal patrons were a. Spanish royalty b. Tuscan monks c. members of the merchant class d. members of the church hierarchy

d. members of the church hierarchy

Both works have all of the following EXCEPT a. chiaroscuro to create volume b. placement within a larger program or cycle of paintings c. the same painting medium d. multiple vanishing points

d. multiple vanishing points