Transcript
1. Which of the following features is NOT a characteristic of Mannerism?
1. (a) erudite subject matter
2. (b) complex compositions
3. (c) muted palettes and somber colors
4. (d) elongated or distorted proportions
Davies, et. al., Janson’s History of Art: The Western Tradition, Eighth Edition , ©2011, Education
1. Answer: 3.(c.) See pages 591-594. The new style that emerged in Florence in the 1520s was a clear rejection of the stability, assurance and ideal forms of the High Renaissance. The technical virtuosity, complex compositions and ambiguous meaning that characterized Mannerism appealed to the sophisticated and refined taste of court patrons.
Davies, et. al., Janson’s History of Art: The Western Tradition, Eighth Edition , ©2011, Education
2. Which artist created this Saltcellar of Francis I?
1. (a) Giovanni Bologna
2. (b) Benvenuto Cellini
3. (c) Rosso Fiorentino
4. (d) none of the above
Davies, et. al., Janson’s History of Art: The Western Tradition, Eighth Edition , ©2011, Education
2. Answer: 2.(b.) See pages 600-601. Cellini was a master goldsmith and sculptor. This object is his only work to survive in a precious metal. It reveals the artist’s technical skill, working with gold and various enamels, and his ability to produce an object with rich iconographic meaning. In true Mannerist fashion, the allegorical significance of the design is simply a pretext for this display of artistic virtuosity.
Davies, et. al., Janson’s History of Art: The Western Tradition, Eighth Edition , ©2011, Education
3. How did Giulio Romano subvert conventions of traditional classical architecture in the courtyard of the Palazzo del Te?
1. (a) the use of a pediment over an arch
2. (b) the use of engaged columns
3. (c) the use of rusticated stone
4. (d) the use of a Doric frieze
Davies, et. al., Janson’s History of Art: The Western Tradition, Eighth Edition , ©2011, Education
3. Answer: 1.(a). Giulio Romano relied on the vocabulary of classical architecture, but blatantly breaks the rules to suggest they do not apply to him or his patron. In this façade, the only true arch spans the courtyard opening, but it is framed by engaged columns and a triangular pediment, a combination that would not appear in traditional examples. Similarly, he used oversized keystones that appear to burst from the angled lintels above the blank windows and allowed the triglyph in the center of each bay to “slip” down as though the entire structure might fall at any moment.
Davies, et. al., Janson’s History of Art: The Western Tradition, Eighth Edition , ©2011, Education
4. Andrea Palladio’s architectural theories and designs influenced which of these famous people?
1. (a) Thomas Jefferson
2. (b) Martin Luther
3. (c) Adolf Hitler
4. (d) Henry VIII
Davies, et. al., Janson’s History of Art: The Western Tradition, Eighth Edition , ©2011, Education
4. Answer: 1.(a.) See pages 614-617. Palladio’s ideas were widely known, largely due to the publication of his treatise The Four Books on Architecture in 1570. The 18th century saw a renewed interest in Palladio’s use of classicizing architectural principles and his innovative designs for domestic structures. The Villa Rotonda (above) served as a model for a long tradition of domed country houses, including Monticello, Thomas Jefferson’s estate in Charlottesville, Virginia (below)
5. Which of these paintings (shown in the next slide)
led to a summons for the artist to appear before the
religious tribunal of the Inquisition?
a. Michelangelo, The Last Judgment
b. Veronese, The Feast in the House of Levi
c. Tintoretto, The Last Supper
Davies, et. al., Janson’s History of Art: The Western Tradition, Eighth Edition , ©2011, Education
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
5. Answer: 2.(b.) See pages 620-622. Veronese’s painting came under scrutiny by the Inquisition for his inclusion of issue of “buffoons, drunkards, Germans, dwarfs, and similar vulgaries,” subjects that members of the tribunal felt were inappropriate in an image of Christ’s Last Supper. Instead of changing his work, however, Veronese simply retitled the painting to The Feast in the House of Levi.
