Transcript
1. Which feature is NOT a characteristic of paintings by Caravaggio?
1. (a) tenebrism
2. (b) eroticism
3. (c) elongated forms
4. (d) naturalism
Davies, et. al., Janson’s History of Art: The Western Tradition, Eighth Edition , ©2011, Education
Answer: 3.(c). See pages 664-667. Caravaggio’s art, characterized by an almost brutal naturalism and the use of dramatic lighting, was influential throughout Europe. His scenes of young men engaged in musical and other pleasurable activities possess an underlying sensuality that was also imitated by other artists.
Davies, et. al., Janson’s History of Art: The Western Tradition, Eighth Edition , ©2011, Education
2. What term applies to Annibale Carracci’s ceiling fresco Loves of the Gods in the Farnese Palace?
1. (a) bozzetti
2. (b) cartoon
3. (c) quadratura
4. (d) quadri riportati
Davies, et. al., Janson’s History of Art: The Western Tradition, Eighth Edition , ©2011, Education
2. Answer: 4.(d). See pages 670-675. Illusionistic ceiling paintings became popular during the 17th century as a display of the patron’s power and extravagance. Although Carracci’s ceiling is fresco, the painted frames around each scene gives the appearance of easel paintings set within elaborate trompe-l’oeil architecture.
Davies, et. al., Janson’s History of Art: The Western Tradition, Eighth Edition , ©2011, Education
3. Which of these works (shown in the next slide) is by Gianlorenzo Bernini?
1. (a) Baldacchino, 1624-1633
2. (b) Piazza and colonnade of St. Peters, designed 1657
3. (c) The Ecstasy of St. Teresa, 1645-1652
4. (d) all of the above
Davies, et. al., Janson’s History of Art: The Western Tradition, Eighth Edition , ©2011, Education
a.
b.
c.
Davies, et. al., Janson’s History of Art: The Western Tradition, Eighth Edition , ©2011, Education
3. Answer: 4. (d). See pages 676-678 and 684-687. All three of these works demonstrates Bernini’s skill at integrating sculpture and architecture. As “architect of St. Peter’s,” Bernini created structures that could bring the overwhelming size of the church to a more human scale. This reveals Bernini’s awareness of the psychological and physical impact of art on its viewer. Similarly, Bernini creates a theatrical spectacle in The Ecstasy of St. Teresa that melds spiritual enlightenment with human experience.
Davies, et. al., Janson’s History of Art: The Western Tradition, Eighth Edition , ©2011, Education
4. Zubaràn’s St. Serapion shows the influence of which Italian artist on painting of the Spanish Baroque?
1. (a) Bernini
2. (b) Caravaggio
3. (c) Raphael
4. (d) Titian
Davies, et. al., Janson’s History of Art: The Western Tradition, Eighth Edition , ©2011, Education
4. Answer: 2.(b). See pages 695-696. Zubaràn’s work recalls Caravaggio in his realistic treatment of the dead monk, whose head falls limply to one side, in the way the figure is pressed against the picture plane to fill the composition, and the dark background that contrasts to the glowing robes of the saint. However, the scene’s quiet stillness, which exudes a kind of mystical spiritualism, is distinctly characteristic to Zubaràn.
Davies, et. al., Janson’s History of Art: The Western Tradition, Eighth Edition , ©2011, Education
5. Who was the primary patron of Diego Velázquez?
1. (a) King Philip IV of Spain
2. (b) King Charles I of England
3. (c) The Pope
4. (d) The Medici family of Italy
Davies, et. al., Janson’s History of Art: The Western Tradition, Eighth Edition , ©2011, Education
5. Answer: 1.(a). See pages 689-694. Philip IV’s long reign was marked by an ambitious program of artistic patronage, intended to proclaim the greatness of the Spanish monarchy. Velázquez was appointed to the Spanish court in the late 1620s, where he quickly became a favorite of the king. He spent much of his career painting royal portraits and other images of court life.
