Gardner Chapter 24 Practice Test
Diego Velázquez, Las Meninas, 1656. Oil on canvas, 10' 5" × 9'. To what does the title of the painting refer?
"The Maids of Honor" - the attendants of the princess
What is tenebrism?
"shadowy", referring to dark, shadowy settings
José de Ribera (1591-1652), Martyrdom of Saint Philip, ca. 1639. Oil on canvas, 7' 8" × 7' 8" Why were pictures of martyrdoms, such as Ribera's Martyrdom of St. Philip, popular in Baroque (17th century) Spain?
After the Protestant Reformation, Spain remained devotedly Catholic, and such images of faith and devotion resonated powerfully in Spain.
Diego Velázquez, Las Meninas (The Maids of Honor), 1656. Oil on canvas, 10' 5" × 9'. What suggests that Velázquez might be consciously demonstrating the artifice of painting and his mastery of it? Group of answer choices
All of these
Gian Lorenzo Bernini (1598-1680), Ecstasy of Saint Teresa, Cornaro chapel, Santa Maria della Vittoria, Rome, Italy, 1647-1652. Marble, group of Teresa and angel, 11' 6" high What is The Ecstasy of St. Teresa about? What is happening? Group of answer choices
An angel appears and pierces St. Teresa's heart with an arrow that embodies divine love.
Giovanni Battista Gaulli (1639-1709), Triumph of the Name of Jesus, ceiling fresco with stucco figures on the nave vault of Il Gesù (fig. 22.59, left), Rome, Italy, 1676-1679 Which artist's works inspired Gaulli to such brilliantly theatrical effects? Group of answer choices
Bernini
Aerial view of Saint Peter's (looking northwest), Vatican City, Rome, Italy Which architects contributed to the design of St. Peter's? (multiple answers are correct) Group of answer choices
Bernini Bramante Maderno Michelangelo
Francesco Borromini, dome (seen from below) of San Carlo alle Quattro Fontane (fig. 24.9), Rome, Italy, 1638-1641 Which of the following is true?
Borromini used a complex geometry in the design of this church, following the Medieval idea that God was a divine architect/geometer.
Diego Velázquez (1599-1660), Water Carrier of Seville, ca. 1619. Oil on canvas, 3' 5 1/2" × 2' 7 1/2". Velázquez uses artistic techniques inspired by which artist?
Caravaggio
rancisco de Zurbarán, (1598-1664) Saint Serapion, 1628. Oil on canvas, 3' 11 1/2" × 3' 4 3/4". Like other Spanish Baroque painters, Zurbarán adopted many innovations developed by _______________.
Caravaggio
José de Ribera (1591-1652), Martyrdom of Saint Philip, ca. 1639. Oil on canvas, 7' 8" × 7' 8" Ribera's Martyrdom of St. Philip, shows the impact of _____________ art in Spain.
Caravaggio's
Artemisia Gentileschi (ca. 1593-1653), Self-Portrait as the Allegory of Painting, ca. 1638-1639. Oil on canvas, 3' 2 7/8" × 2' 5 5/8" The sweeping curve of her pose, the close-up view, the dramatic contrasts of light and shadow, and the strong foreshortening are characteristic of _____________________.
Caravaggio's painting
Which architect was responsible for the design of the facade of St. Peter's?
Carlo Maderno
Caravaggio, Calling of Saint Matthew, ca. 1597-1601. Oil on canvas, 11' 1" × 11' 5". Contarelli chapel, San Luigi dei Francesi, Rome. What is happening?
Christ and St. Peter appear in a tavern, and Christ summons Matthew to follow him.
Caravaggio, Calling of Saint Matthew, ca. 1597-1601. Oil on canvas, 11' 1" × 11' 5". Contarelli chapel, San Luigi dei Francesi, Rome. Why do Christ and Peter wear clothing that differs from that of the others?
Christ and St. Peter wear what was believed to be Biblical era clothing, suggesting the continuing nature of Christ's calling from the past into the present.
1601. Oil on canvas, 11' 1" × 11' 5". Contarelli chapel, San Luigi dei Francesi, Rome. Because this is an example of Caravaggio's early work, The Calling of St. Matthew is not a good example of Caravaggio's tenebrism. Group of answer choices
False
Aelbert Cuyp (ca. 1620-1691), Distant View of Dordrecht, with a Milkmaid and Four Cows, and Other Figures, late 1640s. Oil on canvas, 5' 1" × 6' 4 7/8" Aelbert Cuyp's landscapes were visions inspired by Classical images of pastoral landscapes, and not images of actual places in the Dutch region.
False
Diego Velázquez, Las Meninas (The Maids of Honor), 1656. Oil on canvas, 10' 5" × 9'. This kind of portrait, showing a private family scene, was common in Spain, during the Baroque period. Group of answer choices
False
Francesco Borromini (1599-1667), two views of the facade of San Carlo alle Quattro Fontane (left: looking south; right: looking southeast), Rome, Italy, 1638-1641 Boromini completely rejects the use of classical elements in his architecture.
False
Giovanni Battista Gaulli (1639-1709), Triumph of the Name of Jesus, ceiling fresco with stucco figures on the nave vault of Il Gesù (fig. 22.59, left), Rome, Italy, 1676-1679 Gaulli's painting of the Triumph of the Name of Jesus, was so over the top, that it was not considered appropriate for the Counter Reformation. Group of answer choices
False
In this group portrait, the painter, Frans Hals, moves away from standard portrait conventions of images of royalty and the aristocracy. In what ways does he do this? (multiple answers are correct)
He gives some sense of informality and spontaneity. He poses the figures as if they are in the middle of some activity. He uses non-traditional poses and body language.
Caravaggio, The Taking of Christ, from the Palazzo Mattei, Rome, Italy, 1602. Oil on canvas, 4' 4 5/8" × 5' 8 3/4" How does Caravaggio draw the viewer into the painting?
He gives us a close up view of the figures, places the heads at eye level, uses foreshortening, creates the illusion that we are present.
Caravaggio, Calling of Saint Matthew, ca. 1597-1601. Oil on canvas, 11' 1" × 11' 5". Contarelli chapel, San Luigi dei Francesi, Rome. In Calling of Saint Matthew, how does Caravaggio draw the viewer into the scene as if the viewer were present?
He uses foreshortening and a perspective that creates the illusion that we're in the room watching.
Gian Lorenzo Bernini (1598-1680), Ecstasy of Saint Teresa, Cornaro chapel, Santa Maria della Vittoria, Rome, Italy, 1647-1652. Marble, group of Teresa and angel, 11' 6" high How does Bernini intensify the sense of action and drama happening right at the moment? (multiple answers are correct)
He uses sweeping curves and diagonals vibrant, dynamic play of light and shadow twisting bodily poses a sense of taut muscular tension in the figures constrasts of textures
Artemisia Gentileschi (ca. 1593-1653), Judith Slaying Holofernes, ca. 1614-1620. Oil on canvas, 6' 6 1/3" × 5' 4" How did Artemisia Gentileschi learn how to paint?
Her father taught her.
Aerial view of Saint Peter's (looking northwest), Vatican City, Rome, Italy. Piazza designed by Gian Lorenzo Bernini, 1656-1667. Why was St. Peter's so important to the popes in Rome?
It marked the tomb of St. Peter, who was understood to be the first pope.
Gian Lorenzo Bernini, baldacchino (looking west) inside Saint Peter's (fig. 24.4), Vatican City, Rome, Italy, 1624-1633. Bronze columns, 66' high Where is this grand structure located?
It marks the crossing in the interior of St. Peter's
Artemisia Gentileschi (ca. 1593-1653), Self-Portrait as the Allegory of Painting, ca. 1638-1639. Oil on canvas, 3' 2 7/8" × 2' 5 5/8". How does Artemisia Gentileschi's self-portrait differ from the earlier Renaissance approach such as that taken by Caterina van Hemessen? Group of answer choices
It shows her as a mythic personification of Painting in the act of painting.
Francesco Borromini (1599-1667), two views of the facade of San Carlo alle Quattro Fontane (left: looking south; right: looking southeast), Rome, Italy, 1638-1641 The alternation of concave and convex forms, the deep shadows, the dramatic sculptural quality of the architectural elements, the use of ovals, etc., are elements of __________________.
Italian Baroque architecture
Gian Lorenzo Bernini (1598-1680), Ecstasy of Saint Teresa, Cornaro chapel, Santa Maria della Vittoria, Rome, Italy, 1647-1652. Marble, group of Teresa and angel, 11' 6" high The extremely decorative setting, the theatrical effects, the sense of dynamic action, the dramatic effects of light and color are characteristic of ____________.
Italian Baroque art
Gian Lorenzo Bernini, David, from the Villa Borghese, Rome, Italy, 1623. Marble, 5' 7" high. The moment Bernini chooses to depict, the powerful muscles, and twisting pose are characteristic of
Italian Baroque art
Caravaggio, The Taking of Christ, from the Palazzo Mattei, Rome, Italy, 1602. Oil on canvas, 4' 4 5/8" × 5' 8 3/4" The intense drama; the stark contrasts of light and shadow; the mysterious, dramatic quality of the setting; the use of foreshortening and close-up view; the sense that the viewer is present are qualities of __________________.
Italian Baroque painting
Pieter Claesz (1597-1660), Vanitas Still Life, 1630s. Oil on panel, 1' 2" × 1' 11 1/2" The popularity of still life paintings like this reflects what aspect of 17th century Dutch society?
Its wealth, and the absence of Catholic patronage
In 1540, St. Ignatius Loyola founded the _____________________, which became one of the most important forces for the Counter Reformation.
Jesuit Order
Gentileschi (ca. 1593-1653), Judith Slaying Holofernes, ca. 1614-1620. Oil on canvas, 6' 6 1/3" × 5' 4" What is the story?
Judith, along with her servant, saves the Jews from the Assyrian king, Holofernes.
Diego Velázquez, Las Meninas (The Maids of Honor), 1656. Oil on canvas, 10' 5" × 9'. For whom was this painting made?
King Philip IV for his private chambers
Frans Hals, Archers of Saint Hadrian, ca. 1633. Oil on canvas, 6' 9" × 11' How does Hals engage the viewer, and draw the viewer into the scene? (multiple answers)
Many of the figures look directly at us. He gathers the figures at the front of the picture, towards the viewer. He sets the figures off against a dark, shadowy background, so they seem brightly lit directly in front of the viewer.
Caravaggio, Calling of Saint Matthew, ca. 1597-1601. Oil on canvas, 11' 1" × 11' 5". Contarelli chapel, San Luigi dei Francesi, Rome. The gesture that Christ makes with his right hand is inspired by what work of art that Caravaggio was sure to have seen and studied?
Michelangelo's Creation of Adam
What accounted for the difference in Dutch preferences of subject matter in painting?
Protestantism and the growth of a wealthy middle class
Aelbert Cuyp (ca. 1620-1691), Distant View of Dordrecht, with a Milkmaid and Four Cows, and Other Figures, late 1640s. Oil on canvas, 5' 1" × 6' 4 7/8" What might have been the interest in the subject of landscapes with cows and milkmaids in Cuyp's paintings?
Such landscapes reflected the success of the dairy industry in the 17th century Dutch Republic.
Giovanni Battista Gaulli (1639-1709), Triumph of the Name of Jesus, ceiling fresco with stucco figures on the nave vault of Il Gesù (fig. 22.59, left), Rome, Italy, 1676-1679 What meaning might the illusion of entering Heaven through the ceiling of the church have?
The monogram of Jesus' name appears, judgement is passed, and the blessed ascend to heaven, while the damned fall down towards hell.
Gian Lorenzo Bernini, baldacchino (looking west) inside Saint Peter's (fig. 24.4), Vatican City, Rome, Italy, 1624-1633. Bronze columns, 66' high Why are the columns spiral?
They refer to the spiral columns thought to have been brought to Rome by Emperor Constantine from King Solomon's Temple in Jerusalem.
Caravaggio, Calling of Saint Matthew, ca. 1597-1601. Oil on canvas, 11' 1" × 11' 5". Contarelli chapel, San Luigi dei Francesi, Rome. Light in the painting both heightens the emotional effect and symbolizes divine light.
True
Diego Velázquez, Las Meninas (The Maids of Honor), 1656. Oil on canvas, 10' 5" × 9'. In many ways, the painting is about Velazquez himself and his art.
True
During the 17th and 18th centuries, of all of the Western states, only the Dutch Republic held trade rights with Japan.
True
Dutch maritime trade extended as far as Japan, the Pacific Islands, and Africa.
True
Diego Velázquez, Las Meninas (The Maids of Honor), 1656. Oil on canvas, 10' 5" × 9'. What is Velazquez painting?
We don't know for certain.
Gian Lorenzo Bernini, baldacchino (looking west) inside Saint Peter's (fig. 24.4), Vatican City, Rome, Italy, 1624-1633. Bronze columns, 66' high What is this structure?
a grand canopy of bronze marking the sacred center of St. Peter's
Frans Hals, Archers of Saint Hadrian, ca. 1633. Oil on canvas, 6' 9" × 11' The subject here is unique to Dutch 17th century painting. What is it?
a group portrait of a civic guard or militia
Diego Velázquez (1599-1660), Water Carrier of Seville, ca. 1619. Oil on canvas, 3' 5 1/2" × 2' 7 1/2". This is an example of a "genre scene". What is a "genre scene"? Group of answer choices
a scene from everyday life
Diego Velázquez (1599-1660), Water Carrier of Seville, ca. 1619. Oil on canvas, 3' 5 1/2" × 2' 7 1/2". Velázquez encourages us to engage in an intense kind of looking. How does he do this?. Group of answer choices
all of these
Pieter Claesz (1597-1660), Vanitas Still Life, 1630s. Oil on panel, 1' 2" × 1' 11 1/2" What conventions of 17th century Dutch still life paintings are seen here?
all of these
Gian Lorenzo Bernini, baldacchino (looking west) inside Saint Peter's (fig. 24.4), Vatican City, Rome, Italy, 1624-1633. Bronze columns, 66' high What do the orb and cross atop this structure symbolize?
divine power and authority over the world, the triumph of Church authority
Gian Lorenzo Bernini, David, from the Villa Borghese, Rome, Italy, 1623. Marble, 5' 7" high. Bernini was commissioned to do this image of David, to symbolize the heroism of the city of Florence.
false
Giovanni Battista Gaulli (1639-1709), Triumph of the Name of Jesus, ceiling fresco with stucco figures on the nave vault of Il Gesù (fig. 22.59, left), Rome, Italy, 1676-1679 What meaning might the illusion of entering Heaven through the ceiling of the church have?
greater sense of upward movement the rhythm of light and shadow the shift from pilasters to columns the in and out rhythm of the entablature the rhythm of the changing shapes of the windows and doors the narrowing of the space between pilasters and columns
Frans Hals, The Women Regents of the Old Men's Home at Haarlem, 1664. Oil on canvas, 5' 7" × 8' 2" What do their black and white garments indicate?
high status and wealth
Frans Hals, The Women Regents of the Old Men's Home at Haarlem, 1664. Oil on canvas, 5' 7" × 8' 2" Who are these women?
high status and wealth
Caravaggio, Calling of Saint Matthew, ca. 1597-1601. Oil on canvas, 11' 1" × 11' 5". Contarelli chapel, San Luigi dei Francesi, Rome. What was it about Caravaggio's approach to religious painting that critics did not like?
his use of unidealized figures and settings
Aerial view of Saint Peter's (looking northwest), Vatican City, Rome, Italy. When was the new St. Peter's begun?
in the early 1500s, under Pope Julius II
Frans Hals, Archers of Saint Hadrian, ca. 1633. Oil on canvas, 6' 9" × 11' Where would such portraits be hung on display?
in the local hall where the group would hold meetings
Pieter Claesz (1597-1660), Vanitas Still Life, 1630s. Oil on panel, 1' 2" × 1' 11 1/2" Pieter Claesz' still life is called a "vanitas" painting. What does that mean?
it included memento mori, reminding the viewer of the inevitability of death, and of the vanity of clinging to material life.
Peter Paul Rubens, Arrival of Marie de' Medici at Marseilles, from the Luxembourg Palace, Paris, France, 1622-1625. Oil on canvas, 12' 11 1/2" × 9' 7" How does Frans Hals' portrait The Women Regents of the Old Men's Home at Haarlem, differ from Rubens' painting of Marie de' Medici? (multiple answers)
its interest in the individual character of the women its comparative sense of informality its expression of Dutch Calvinist/Protestant values its religious significance
Diego Velázquez (1599-1660), Water Carrier of Seville, ca. 1619. Oil on canvas, 3' 5 1/2" × 2' 7 1/2". What is new about this painting?
its interest in the life of the poor
Gian Lorenzo Bernini, David, from the Villa Borghese, Rome, Italy, 1623. Marble, 5' 7" high. Unlike Donatello, Verrocchio, and Michelangelo, Bernini chooses to show what moment in his sculpture of David?
just at the moment when David is about to hurl the stone
Gian Lorenzo Bernini (1598-1680), Ecstasy of Saint Teresa, Cornaro chapel, Santa Maria della Vittoria, Rome, Italy, 1647-1652. Marble, group of Teresa and angel, 11' 6" high Who are shown in the side balconies, witnessing the miraculous event?
male members of the Cornaro family, one of whom sponsored Bernini's chapel
Gian Lorenzo Bernini, baldacchino (looking west) inside Saint Peter's (fig. 24.4), Vatican City, Rome, Italy, 1624-1633. Bronze columns, 66' high What is directly below this structure?
one of the main altars of St. Peter's and further below the altar, the tomb of St. Peter
Artemisia Gentileschi (ca. 1593-1653), Self-Portrait as the Allegory of Painting, ca. 1638-1639. Oil on canvas, 3' 2 7/8" × 2' 5 5/8". What does the necklace she is wearing symbolize?
painting as illusion and the lineage of past painting masters
Caravaggio, Calling of Saint Matthew, ca. 1597-1601. Oil on canvas, 11' 1" × 11' 5". Contarelli chapel, San Luigi dei Francesi, Rome. What is our point of view in Caravaggio's Calling of Saint Matthew?
straight on, eye level the same as Christ's, as if standing from a slight distance
1601. Oil on canvas, 11' 1" × 11' 5". Contarelli chapel, San Luigi dei Francesi, Rome. What belief is indicated by Christ's right hand gesture?
that Christ was the second Adam
Caravaggio, The Taking of Christ, from the Palazzo Mattei, Rome, Italy, 1602. Oil on canvas, 4' 4 5/8" × 5' 8 3/4" Would Caravaggio's painting have suited the Counter Reformation or the Protestant Reformation?
the Counter Reformation
Gian Lorenzo Bernini (1598-1680), Ecstasy of Saint Teresa, Cornaro chapel, Santa Maria della Vittoria, Rome, Italy, 1647-1652. Marble, group of Teresa and angel, 11' 6" high Bernini's approach to the subject was well-suited to promoting ________.
the Counter Reformation
Caravaggio, Calling of Saint Matthew, ca. 1597-1601. Oil on canvas, 11' 1" × 11' 5". Contarelli chapel, San Luigi dei Francesi, Rome. Which figure is Matthew?
the central figure at the table, pointing to himself
osé de Ribera (1591-1652), Martyrdom of Saint Philip, ca. 1639. Oil on canvas, 7' 8" × 7' 8" What are some of the techniques that Ribera borrows from Caravaggio to intensify the dramatic impact of this painting? (multiple answers) Group of answer choices
the close view, looking up from down below unidealized setting and people stark contrasts of light and shadow lots of foreshortening
Giovanni Battista Gaulli (1639-1709), Triumph of the Name of Jesus, ceiling fresco with stucco figures on the nave vault of Il Gesù (fig. 22.59, left), Rome, Italy, 1676-1679 What are some of the qualities and characteristics of Italian Baroque ceiling painting, as seen in such paintings as this one by Giovanni Battista Gaulli - The Triumph of the Name of Jesus - for the church of Il Gesu in Rome? (multiple answers are correct) Group of answer choices
the illusion of the ceiling opening up to the heavens the illusion that figures and forms are extending into the space of the church, as well as up into the heavens breathtaking illusionism the use of tenebrism high drama and theatricality blending with the architecture grand scale brilliant use of color and light absolute mastery of foreshortening
Gian Lorenzo Bernini (1598-1680), Ecstasy of Saint Teresa, Cornaro chapel, Santa Maria della Vittoria, Rome, Italy, 1647-1652. Marble, group of Teresa and angel, 11' 6" high What were some of the strategies Bernini used here that reflect his background in theater? (multiple answers are correct)
the illusion that the figures are floating on clouds the opening up of the niche, as if the columns and pediment were moving to the sides the placement of the Cornaro family in theater boxes the dramatic poses of the figures the stage-like setting the dramatic use of light and color
Francesco Borromini, dome (seen from below) of San Carlo alle Quattro Fontane (fig. 24.9), Rome, Italy, 1638-1641 What Catholic belief, challenged by Protestantism, was affirmed by the Trinitarians, for whom this church was built?
the mystery of the Holy Trinity
East facade of Saint Peter's (fig. 24.4), Vatican City, Rome, Italy, 1606-1612 What elements does the architect of facade of St. Peter's use to create a dramatic movement towards the center? (multiple answers)
the narrowing of the space between pilasters and columns the shift from pilasters to columns the in and out rhythm of the entablature greater sense of upward movement the rhythm of light and shadow the rhythm of the changing shapes of the windows and doors
Francesco Borromini, dome (seen from below) of San Carlo alle Quattro Fontane (fig. 24.9), Rome, Italy, 1638-1641 What is characteristically baroque about Boromini's dome in San Carlo alle Quattro Fontane? Group of answer choices
the oval shape and the play of convex and concave forms
Diego Velázquez, Las Meninas, 1656. Oil on canvas, 10' 5" × 9'. Why is the subject (and meaning) of the painting unclear? (multiple answers are correct)
the painter includes himself, at work painting that the setting is Velazquez studio, which was formerly the chamber of a prince The painting seems that it is supposed to be a portrait, but it's not quite a portrait, or at least a conventional portrait. the presence of a mirror with the reflection of the king and queen
Pieter Claesz (1597-1660), Vanitas Still Life, 1630s. Oil on panel, 1' 2" × 1' 11 1/2" Pieter Claesz' still life is called a "vanitas" painting. What does that mean?
the partially cracked open walnut the skull the overturned dark glass goblet the open time piece in the lower left hand corner
Gian Lorenzo Bernini, David, from the Villa Borghese, Rome, Italy, 1623. Marble, 5' 7" high. What is characteristic of the Italian Baroque in Bernini's sculpture of David?
the powerful, dramatic, theatrical effect
Aelbert Cuyp (ca. 1620-1691), Distant View of Dordrecht, with a Milkmaid and Four Cows, and Other Figures, late 1640s. Oil on canvas, 5' 1" × 6' 4 7/8" How does Cuyp create a sense of peace, harmony, and stability? (multiple answers)
the quiet and relaxed behavior of the cows and people a composition emphasizing horizontals steep, contrasting diagonals soft, warm glowing light and color the gentle quality of textures and forms tenebrism
East facade of Saint Peter's (fig. 24.4), Vatican City, Rome, Italy, 1606-1612 What differentiates the architecture of St. Peter's baroque facade from earlier High Renaissance architecture?
the sense of sculptural movement towards the center
Caravaggio, Calling of Saint Matthew, ca. 1597-1601. Oil on canvas, 11' 1" × 11' 5". Contarelli chapel, San Luigi dei Francesi, Rome. What in Caravaggio's painting tells us that the subject is religious, and that Christ is present?
the tiny curved sliver of gold color that indicates Christ's halo, and the cross that is part of the window frame
Gian Lorenzo Bernini, David, from the Villa Borghese, Rome, Italy, 1623. Marble, 5' 7" high. Given the context for Bernini's David - its patron, and location, etc. - what might this statue represent?
the triumph of the Church and its followers over evil, or perhaps over the Protestant Reformation
Artemisia Gentileschi (ca. 1593-1653), Judith Slaying Holofernes, ca. 1614-1620. Oil on canvas, 6' 6 1/3" × 5' 4" What in this painting suggests that she had learned from some of Caravaggio's ideas? (multiple answers are correct)
the use of tenebrism the dramatic and stark constrasts of light and shadow dramatic use of foreshortening the close up, eye-witness point of view
Aelbert Cuyp (ca. 1620-1691), Distant View of Dordrecht, with a Milkmaid and Four Cows, and Other Figures, late 1640s. Oil on canvas, 5' 1" × 6' 4 7/8" The calm, peaceful, and stable quality of this landscape painting would appeal to its Dutch viewership, because __________________.
they affirmed Dutch success, wealth, prosperity, and stability
Frans Hals, The Women Regents of the Old Men's Home at Haarlem, 1664. Oil on canvas, 5' 7" × 8' 2" What quality of Hals' group portraits is evident in this picture?
though posed, the sense that the group was engaged in some activity, such as a meeting
Caravaggio, The Taking of Christ, from the Palazzo Mattei, Rome, Italy, 1602. Oil on canvas, 4' 4 5/8" × 5' 8 3/4" In The Taking of Christ, Caravaggio directs his viewer's attention to the faces, hands, and gleaming black armor. How does he do this?
through the careful placement of strongly contrasting light and shadow
What kinds of paintings did Dutch buyers prefer? (multiple answers are correct)
till lifes landscapes genre scenes portraits
Caravaggio, Calling of Saint Matthew, ca. 1597-1601. Oil on canvas, 11' 1" × 11' 5". Contarelli chapel, San Luigi dei Francesi, Rome. Why does Caravaggio choose such figures and such a setting for his painting?
to bring the story closer to his viewers' experience
Aerial view of Saint Peter's (looking northwest), Vatican City, Rome, Italy. Why was St. Peter's basilica built?
to replace the late Roman basilica - Old St. Peter's - built by Emperor Constantine in the 4th century
Aerial view of Saint Peter's (looking northwest), Vatican City, Rome, Italy. Piazza designed by Gian Lorenzo Bernini, 1656-1667. What shapes does Bernini use in his design of the piazza of St. Peter's to create a grand, dynamic space that fits the Italian Baroque style?
trapezoid and ellipse
Artemisia Gentileschi (ca. 1593-1653), Self-Portrait as the Allegory of Painting, ca. 1638-1639. Oil on canvas, 3' 2 7/8" × 2' 5 5/8". In good Italian Baroque tradition, Artemisia shows herself at work, but in a dramatic, "performed", theatrical kind of pose. Group of answer choices
true
Gian Lorenzo Bernini (1598-1680), Ecstasy of Saint Teresa, Cornaro chapel, Santa Maria della Vittoria, Rome, Italy, 1647-1652. Marble, group of Teresa and angel, 11' 6" high Bernini uses elements of Classical architecture.
true
Francisco de Zurbarán, (1598-1664) Saint Serapion, 1628. Oil on canvas, 3' 11 1/2" × 3' 4 3/4". The quiet, meditative effect of Zurbarán's paintings were well-suited for his most common patrons, who were ____________.
wealthy monastic orders
