Ch. 17, "Renaissance & Mannerism in Cinquecento Italy", pp. 502-553

In Leonardo's Last Supper, how did the artist break with traditional iconography? by excluding Judas By placing Judas on the same side as Christ and the other disciples By including the Virgin seated at the table By including Mary Magdalene in the role of servant

By placing Judas on the same side as Christ and the other disciples

Raphael's School of Athens reconciles the ideas of Plato and Aristotle as well as: Christianity and Humanism Catholicism and Protestantism Julius II and Lorenzo de'Medici Rome and Florence

Christianity and Humanism

Titian's Venus of Urbino is significant because it was the last time an artist sought to depict a reclining female nude. True False

False

Leonardo's use of light and dark in the Madonna of the Rocks built on the work of the artist________. Piero della Francesca Masaccio Gentile da Fabriano Fra Angelico

Masaccio

The major center of art production in the High Renaissance was: Bologna Florence Parma Rome

Rome

Pope Paul III convened the Council of Trent in 1545. It was part of which of the following? The Counter-Reformation The League of Cambrai The Hanseatic League The Hundred Years War

The Counter-Reformation

The Sistine Chapel ceiling represents which of the following themes? The chronology of Christianity The history of the papacy The history of Julius II The chronology of the early Christian church in Rome

The chronology of Christianity

In his representation of Pope Leo X, Raphael portrayed him as: an artist and a philosopher a man of learning and a collector a Franciscan monk a warrior and head of state

a man of learning and a collector

How do the works of Giorgione exemplify Poesia? the atmosphere is depicted as hazy and smoky the lighting is enigmatic all of these the bodies are fluid and softly modeled

all of these

Leonardo's Mona Lisa uses which of the following techniques? atmospheric perspective all of these chiaroscuro sfumato

all of these

Based on what we know from Leonardo's numerous preparatory sketches of The Last Supper, he sought to depict his figures: as unified in their repsonses as individualized all of these as rageful

as individualized

Titian's Meeting of Bacchus and Ariadne was likely inspired by___________. the tradition of romance poetry scholastic philosophy the sermons of Savonarola classical art

classical art

Venetian painters relied more on ______ than on drawn design plans to structure their work. chiaroscuro color form line

color

Titian's altarpiece, the Madonna of the Pesaro Family, differed from High Renaissance compositions in central Italy in the __________. the gesturing of figures towards the viewer the symmetrical arrangement of figures placement of the figures on a steep diagonal creation of a dark darkground

placement of the figures on a steep diagonal

Although it is diverse, the Mannerist style is characterized by a series of artistic techniques intended to: mimic precisely the appearance of the natural world reveal the artifice by which they were produced maintain the traditions of the High Renaissance communicate rational space on a 2D picture plane

reveal the artifice by which they were produced

Michelangelo deviated from earlier representations of David in his rendering by portraying_________. David watching Goliath die the moment of vistory the aftermath of battle the encounter before the battle

the encounter before the battle

What was the goal of the Counter-Reformation? to reestablish the supremacy of the Roman Catholic Church to protest and reform the corruption of the Catholic Church to counter the influence of Savonarola in Florence to reestablish the dominance of the Medici family

to reestablish the supremacy of the Roman Catholic Church

What debate was had between Leonardo and Michelangelo? whether Plato or Aristotle was superior whether Florence or Rome was superior whether painting or sculpture was the superior media whether Catholicism or Protestantism was superior

whether painting or sculpture was the superior media

In his sculpture of David, Michelangelo depicted the figure: as idealized and emotionally neutral with delicate hands and facial features with intense emotionalism with pent-up emotion and tension

with pent-up emotion and tension