Transcript
CHAPTER 17 The Baroque Style in Western Europe
Multiple-Choice Questions
1. Which is the best match?
a. Hobbes – astronomy
b. Copernicus – political philosophy
c. Galileo – biology
d. Kepler – heliocentrism
Answer: d
2. Which is the best match?
a. Philip IV – Habsburg
b. Charles I – Protector
c. Louis XIII – the Sun King
d. Cromwell – Stuart
Answer: a
3. High Baroque style is
a. dynamic.
b. sensual.
c. theatrical.
d. All these answers are correct.
Answer: d
4. Baroque intellectuals and artists were interested in
a. showing the hand of God at work in an orderly world.
b. demonstrating the laws of creation in action.
c. illustrating the hierarchy of authority in society and religion.
d. All these answers are correct.
Answer: d
5. Which is the most characteristic feature of Baroque style?
a. elongation
b. violent action
c. restraint
d. flat spaces
e. frontal figures
Answer: b
6. ________ was the place Baroque art was born.
a. London
b. Rome
c. Versailles
d. Florence
Answer: b
7. Which of the following gained new status in the 17th century?
a. landscape, mythology, and genre
b. portraiture, mythology, and still life
c. landscape, portraiture, and mythology
d. landscape, genre, and still life
Answer: d
8. The “Throne of Saint Peter” is
a. an elaborate chair in St. Peter’s cathedral.
b. a baldacchino.
c. a reliquary.
d. a triptych.
e. an altarpiece.
Answer: c
9. The two main shapes used by Bernini in front of Saint Peter’s are
a. a square and a circle
b. a trapezoid and an oval
c. a rectangle and an oval
d. a trapezoid and a circle
Answer: b
10. A piazza is
a. an Italian pie.
b. an Italian villa.
c. an Italian costume.
d. an Italian square.
e. an Italian palace.
Answer: d
11. Bernini’s colonnades outside St. Peter’s are made of
a. marble.
b. travertine.
c. tufa.
d. concrete.
e. stucco.
Answer: b
12. Which is by Borromini?
a. San Carlo alle Quattro Fontane
b. Martyrdom of St. Lieven
c. the façade of the Louvre
d. Collegiate Church of Sant’Ivo della Sapienza
e. both San Carlo alle Quattro Fontane and the Collegiate Church of Sant’Ivo della Sapienza
Answer: e
13. Borromini’s buildings are characterized by
a. dramatic frontality and heightened proportion.
b. curved movement from space to space.
c. contrasting concave and convex forms.
d. both curved movement from space to space and contrasting concave and convex forms.
Answer: d
14. The Collegiate Church of Sant’Ivo della Sapienza was Baroque because of its
a. centralized but asymmetrical plan.
b. all-embracing arms as at St. Peter’s.
c. remarkably classical façade.
d. orderly, symmetrical floor plan.
Answer: a
15. Which is true of the interior dome of San Carlo alle Quattro Fontane?
a. It has square coffers only.
b. It has square, hexagonal, and octagonal coffers.
c. It has hexagonal, square, and cross-shaped coffers.
d. It has hexagonal, octagonal, and cross-shaped coffers.
Answer: d
16. The purpose of Louis XIV’s Academy was to
a. educate artists in humanism.
b. establish a national style.
c. have a school for the court painters.
d. teach the principles of Baroque style.
e. revive the Socratic method.
Answer: b
17. ________ worked for Louis XIV in a style called the Classical Baroque.
a. Poussin
b. Caravaggio
c. Bernini
d. Rubens
Answer: a
18. Nicolas Poussin was a Classical Baroque painter because we can see ________ in his work.
a. restraint
b. passion
c. moderation
d. both restraint and moderation
Answer: d
19. Louis XIV moved the court to Versailles in
a. 1665.
b. 1660.
c. 1667.
d. 1650.
Answer: c
20. Which is the best set?
a. Poussin – color – Apollo – Moderns
b. Rubens – color – Apollo – Ancients
c. Poussin – line – Dionysos – Moderns
d. Rubens – color – Moderns – Dionysos
e. Poussin – line – Dionysos – Ancients
Answer: d
21. The landscape architect at Versailles was
a. Le Brun.
b. Le Nôtre.
c. Le Vau.
d. Hardouin-Mansart.
e. Colbert.
Answer: b
22. The Greek god most closely associated with Louis XIV was
a. Zeus.
b. Ares.
c. Dionysos.
d. Apollo.
e. Poseidon.
Answer: d
23. Which is NOT a feature of Wren’s facade of St. Paul’s?
a. pediment
b. columns
c. entablature
d. towers
e. pointed arches
Answer: e
24. When Christopher Wren designed St. Paul’s Cathedral in London he was influenced by
a. Borromini.
b. Bernini.
c. the architecture of Louis XIV.
d. a synthesis of all of these: Borromini, Bernini, and the architecture of Louis XIV.
Answer: d
25. The Great Fire of London occurred in
a. 1666.
b. 1677.
c. 1688.
d. 1655.
Answer: a
26. Which does NOT appear in Bernini’s Pluto and Proserpina?
a. contrapposto
b. Cerberus
c. figura serpentinata
d. Ceres
e. Pluto
Answer: d
27. Which is NOT true of Bernini’s Saint Teresa?
a. She has an erotic quality.
b. She is on a horizontal plane.
c. She is in the process of levitating.
d. She is both relaxed and aroused.
e. She synthesizes emotion with mysticism.
Answer: b
28. The Farnese Grand Gallery ceiling frescoes illustrate
a. Christian scenes.
b. scenes of the Farnese family.
c. mythological scenes.
d. scenes of Roman history.
Answer: c
29. The Italian Baroque equivalent of Vasari was
a. van Mander.
b. Carracci.
c. Cortona.
d. Bellori.
Answer: d
30. Which is NOT true of Pietro da Cortona’s Glorification of the Reign of Urban VIII?
a. It is on a ceiling in the Palazzo Barbarini.
b. It depicts three huge bees.
c. It exalts the Catholic Church.
d. It is organized like a Last Judgment.
e. It contains mythological figures.
Answer: d
31. Gaulli’s Triumph of the Name of Jesus
a. is in the vault of Saint Peter’s.
b. is in the vault of the Gesú.
c. is a collaboration between Gaulli and Bernini.
d. was commissioned by the pope.
Answer: b
32. Caravaggio was described by van Mander as
a. combining the qualities of Mars and Minerva.
b. violent but charming.
c. a realist and a Neoplatonist.
d. a good tennis player.
Answer: a
33. Caravaggio’s Medusa
a. was based on the features of his lover.
b. was a wedding present.
c. is oil on wood.
d. is the same figure as the boy in the Boy with a Basket of Fruit.
Answer: b
34. Caravaggio’s Calling of Saint Matthew quotes visually from
a. the Gospel of Matthew.
b. the Amor Vincit Omnia.
c. Gaulli’s ceiling.
d. Michelangelo’s Sistine ceiling.
Answer: d
35. Tenebrism refers to
a. chiaroscuro.
b. a preponderance of cast shadows.
c. sharply contrasting light and dark.
d. the tenets of shading.
e. atmospheric perspective.
Answer: c
36. Artemisia Gentileschi was influenced by
a. Rubens.
b. El Greco.
c. Tintoretto.
d. Caravaggio.
Answer: d
37. Artemisia Gentileschi’s Judith Slaying Holofernes is based on
a. the Bible.
b. the Old Testament Apocrypha.
c. the Metamorphoses.
d. the New Testament Apocrypha.
Answer: b
38. Which is the best match?
a. Catholic – the Dutch Republic
b. Catholic – Switzerland
c. Protestant – the Dutch Republic
d. Protestant – France
Answer: c
39. Rubens’s paintings are characterized by
a. strong angular compositions.
b. brilliant colors and textures.
c. the human body in motion.
d. All these answers are correct.
Answer: d
40. Rubens synthesized the ideas of
a. Caravaggio.
b. Michelangelo.
c. Titian.
d. All these answers are correct.
Answer: d
41. The figure in Rubens’s Straw Hat was
a. a wealthy patron.
b. the artist’s sister.
c. the artist’s wife.
d. the artist’s future sister-in-law.
e. the artist’s future mother-in-law.
Answer: d
42. Which best describes Rubens’s women?
a. They are overweight.
b. They are voluptuous.
c. They are pious.
d. They are mythological.
e. They are peasants.
Answer: b
43. The court portrait painter to Charles I of England was
a. Anthony van Dyck.
b. Christopher Wren.
c. Hans Holbein.
d. Oliver Cromwell.
Answer: a
44. The Dutch East India Company secured a monopoly on
a. textiles.
b. slaves.
c. spices.
d. tulips.
e. porcelain.
Answer: c
45. Three emperors who patronized Mughal painting in India were
a. Genghis Khan, Akbar, and Shah Jehan.
b. Genghis Khan, Akbar, and Jahangir.
c. Mumtaz, Jahangir, and Akbar.
d. Akbar, Jahangir, and Shah Jehan.
Answer: d
46. The Taj Mahal was a memorial to
a. Akbar.
b. Mumtaz.
c. Shah Jehan.
d. Jahangir.
Answer: b
47. Rembrandt’s painted light is typically
a. yellow.
b. white.
c. light blue.
d. gray.
e. light green.
Answer: a
48. The “writing on the wall” appears in
a. Blinding of Samson.
b. the Night Watch.
c. Belshazzar’s Feast.
d. The Assumption of the Virgin.
Answer: c
49. Most of ________’s paintings are interior scenes, many with allegorical meanings.
a. Holbein
b. Anthony Van Dyck
c. Velázquez
d. Jan Vermeer
Answer: d
50. The seventeenth-century artist most interested in the science of optics was
a. Spinoza.
b. Rubens.
c. Vermeer.
d. Ucello.
Answer: c
51. Jacob van Ruisdael specialized in
a. landscape.
b. moralizing pictures.
c. vanitas.
d. portraits.
Answer: a
52. The predominant planes in Baroque painting are
a. horizontal.
b. vertical.
c. curvilinear.
d. spiral.
e. diagonal.
Answer: e
53. The Baroque artist best known for self-portraits is
a. Poussin.
b. Rubens.
c. Rembrandt.
d. Vermeer.
e. Bernini.
Answer: c
54. Rembrandt’s religious work was
a. contemplative.
b. spiritual.
c. heated and exotic.
d. both contemplative and spiritual.
Answer: d
55. The Baroque artist known to have used the camera obscura was
a. Vermeer.
b. Rubens.
c. Leyster.
d. Rembrandt.
e. Hals.
Answer: a
56. Which of the following is NOT a correct match of artist with city of origin?
a. Hals – Haarlem
b. Rembrandt – Leiden
c. Vermeer – Delft
d. Leyster – Amsterdam
Answer: d
57. Vanitas is the Latin word for
a. emptiness.
b. vanity.
c. vainglory.
d. lies.
Answer: a
58. Which is LEAST likely to appear as vanitas iconography?
a. a skull
b. a windmill
c. a watch
d. a candle
e. a shell
Answer: b
59. Diego de Velázquez was strongly influenced by
a. Annibale Carracci.
b. Caravaggio.
c. Tintoretto.
d. El Greco.
Answer: b
60. Velázquez’s main patron was
a. Philip II.
b. Louis XIV.
c. Philip IV.
d. Charles V.
Answer: c
61. Which is NOT by Velázquez?
a. Night Watch
b. Surrender of Breda
c. Rokeby Venus
d. Las Meninas
Answer: a
62. The most “classical” of the following Baroque artists was
a. Bernini.
b. Caravaggio.
c. Poussin.
d. Rubens.
e. Rembrandt.
Answer: c
Key Works
Gianlorenzo Bernini, baldacchino, Saint Peter’s, Rome, 1624–1633
Gianlorenzo Bernini, Aerial view of colonnade and Piazza of Saint Peter’s, Rome, begun 1656
Francesco Borromini, San Carlo alle Quattro Fontane, Rome, 1665–1667
Francesco Borromini, view toward the high altar, San Carlo alle Quattro Fontane, Rome, 1638–1641
Francesco Borromini, interior dome of San Carlo alle Quattro Fontane, Rome, 1665–1667
Francesco Borromini, Collegiate Church of Sant’Ivo alla Sapienza, Rome, 1642–1660
Francesco Borromini, interior of dome, Collegiate Church of Sant’Ivo alla Sapienza, 1642–1660
Claude Perrault, Louis le Vau, and Charles Le Brun, east façade of the Louvre, Paris, 1667–1670
Aerial view of the park, palace, and town of Versailles, after a 17th-century engraving by
G. Pérelle
Charles Le Brun and Jean-Baptiste Tuby, Fountain of Apollo, Versailles, 1668–1670
Jules Hardouin-Mansart and Charles Le Brun, Galerie des Glaces (Hall of Mirrors), Palace of Versailles, c. 1680
Gianlorenzo Bernini, Louis XIV, 1665
Christopher Wren, Saint Paul’s Cathedral, London, western façade, 1675–1710
Gianlorenzo Bernini, Pluto and Proserpina (Rape of Persephone), front and side views,
1621–1622
Gianlorenzo Bernini, David, 1623
Gianlorenzo Bernini, David, side view (after cleaning)
Gianlorenzo Bernini, Cornaro Chapel, Santa Maria della Vittoria, Rome, 1640s
Gianlorenzo Bernini, Ecstasy of Saint Teresa, Cornaro Chapel, Santa Maria della Vittoria, Rome, 1645–1652
Annibale Carracci, ceiling frescoes in the Grand Gallery, Farnese Palace, Rome, 1597–1601
Annibale Carracci, Venus and Anchises, detail of ceiling frescoes in the Grand Gallery, Farnese Palace
Pietro da Cortona, Glorification of the Reign of Urban VIII, 1633–1639
Giovanni Battista Gaulli, Triumph of the Name of Jesus, 1676–1679
Caravaggio (Michelangelo Merisi), Boy with a Basket of Fruit, c. 1594
Caravaggio, Medusa, c. 1597
Caravaggio, Calling of Saint Matthew, Contarelli Chapel, San Luigi dei Francesi, Rome,
1599–1600
Caravaggio, Conversion of Saint Paul, 1601
Artemisia Gentileschi, Judith Slaying Holofernes, c. 1614–1620
Artemisia Gentileschi, Judith and Her Maidservant with the Head of Holofernes, c. 1625
Peter Paul Rubens, Venus and Adonis, c. 1635
Peter Paul Rubens, Straw Hat (Susanna Fourment), c. 1620–1625
Peter Paul Rubens, Raising of the Cross, Antwerp Cathedral, 1609
Peter Paul Rubens, Nude Man with Arms Raised, c. 1610
Anthony van Dyck, Charles I on Horseback, c. 1638
Rembrandt van Rijn, Blinding of Samson (Triumph of Delilah), 1636
Rembrandt van Rijn, Belshazzar’s Feast, c. 1635
Rembrandt van Rijn, Militia Company of Captain Frans Banning Cocq (known as the Night Watch), 1642
Rembrandt van Rijn, Self-Portrait, Leaning on a Sill (aged thirty-four), 1640
Rembrandt van Rijn, Saskia, 1634
Rembrandt van Rijn, Self-Portrait as Saint Paul (aged fifty-five), 1661
Rembrandt van Rijn, Self-Portrait in a Cap, Openmouthed and Staring, 1630
Rembrandt van Rijn, Self-Portrait, Leaning on a Stone Sill, 1639
Frans Hals, Laughing Cavalier, 1624
Judith Leyster, The Last Drop (Gay Cavalier), c. 1628–1629
Jan Vermeer, Geographer, c. 1668
Jan Vermeer, Lacemaker, c. 1669–1670
Jan Vermeer, View of Delft (after restoration), c. 1660–1661
Jacob van Ruisdael, Extensive Landscape with Ruins, c. 1670
Maria van Oosterwyck, Vanitas Still Life, 1668
Juan Sánchez Cotán, Still Life with Quince, Cabbage, Melon, and Cucumber, c. 1602
Francisco de Zurbarán, Saint Serapion, 1628
Diego Velázquez, Crucifixion, 1630s
Diego Velázquez, Philip IV on Horseback, 1629–1630
Diego Velázquez, Surrender of Breda, c. 1635
Diego Velázquez, Venus with a Mirror (Rokeby Venus), c. 1648
Diego Velázquez, Las Meninas (after cleaning), 1656
Nicolas Poussin, Assumption of the Virgin, c. 1626
Nicolas Poussin, Dance of Human Life, c. 1638–1640
Nicolas Poussin, Ashes of Phokion, 1648
Claude Lorrain, Landscape with Hagar and the Angel, 1646–1647
Maps, Diagrams, and Projections
Map of Europe during the Baroque period
Plan of St. Peter’s and the piazza
Francesco Borromini, plan of San Carlo alle Quattro Fontane, Rome, 1638–1641
Francesco Borromini, plan of Collegiate Church of Sant’Ivo alla Sapienza
Longitudinal section and plan of Saint Paul’s Cathedral, London
Key Terms
Academy
aedicule
asymmetrical
baldacchino
balustrade
burr
camera obscura
cantilever
château
clerestory
drypoint
etching
etching ground
foreshortening
gable (or pitched) roof
illusionism
impasto
naturalism
obelisk
podium
rectilinear
section
silhouette
state
stylus
tenebrism
travertine
vanitas
Window on the World
Mughal Art and the Baroque
Key Works
Lal and Sanwah, Akbar Viewing a Wild Elephant Captured near Malwa, 1600
Bichtir, Allegorical Representation of the Emperor Jahangir Seated on an Hourglass Throne, early 17th century
Taj Mahal, Agra, India, 1634
Maps, Diagrams, and Projections
Map of India in the 17th century
Key Terms
calligraphy
chattra
mausoleum, mausolea
minaret
miniature
stupa
