Chapter 21 Italy, 1400 to 1500 Multiple Choice Select the response that best answers the question or completes the statement. 1. The rebirth of fifteenth-century Italian art had its roots in the. a. thirteenth century c. twelfth century b. fourteenth century d. second century 2. The development of a vernacular (everyday) literature based on the dialect expanded the audience for humanist writings. a. Tuscan c. Venetian b. Roman d. French 3. The invention of movable metal type in facilitated the printing and far-reaching distribution of books. a.england c. Italy b.germany d. France 4. The Medici family acquired its vast fortune from. a. the textile industry c. banking b. the arms industry d. the stock exchange 5. In 1401, the Arte di Calimala (wool merchants guild) of Florence sponsored a competition for a set of doors for the. a. Cathedral c. Santa Maria Novella b. Baptistery, Cathedral d. Santo Spirito 6. The theme paralleled the message the city fathers of Florence wanted to convey to their people. a. Sacrifice of the Lamb c. Sacrifice of Isaac b. Sacrifice of Iphigenia d. Sacrifice of Noah 7. The two finalists for the Wool Merchants Guild competition of 1401 were. a. Donatello and Verrocchio c. Pollaiuolo and Nanni di Banco b. Ghiberti and Brunelleschi d. Andrea Pisano and Ghiberti 8. Ghiberti was trained in painting and. a. sculpture c. woodcut b. architecture d. goldsmithery 13
9. The by Donatello marked the advent of rationalized perspective space. a. Sacrifice of Isaac c. Creation of Eve b. The Crucifixion d. Feast of Herod 10. The invention of true linear perspective is generally attributed to. a. Lorenzo Ghiberti c. Donatello b. Andrea del Verrocchio d. Filippo Brunelleschi 11. Nanni di Banco s Four Crowned Saints represent the. a. return of hollow-cast bronze c. distortion due to elevation b. sculpture starting to leave architectural settings d. introduction of heroic nude 12. Donatello incorporated Greek and Roman principles that surfaced in which of the following: a. Saint Andrew c. Four Crowned Saints b. Saint Theodore d. Saint Mark 13. The International Style was a dominant painting style around 1400 and lasted well into the fifteenth century, produced what is considered the masterpiece of this style, the Adoration of the Magi. a. Masaccio c. Domenico Ghirlandaio b. Fra Angelico d. Gentile da Fabriano 14. The classical principle of contrapposto, or weight shift, was reintroduced into Western art by the sculptor. a. Leon Battista Alberti c. Pollaiuolo b. Donatello d. Lorenzo Ghiberti 15. Which church of Brunelleschi shows his mature style? a. Santa Croce c. Santa Maria Novella b. Santo Spirito d. Sant Andrea, Mantua 16. The reflects Brunelleschian principles to a limited extent. a. Palazzo Medici-Riccardi c. Palazzo Ruccellai b. Palazzo Ducale, Mantua d. Palazzo del T`e, Mantua 17. Donatello reinvented the. a. religious figure c. classical nude b. portrait bust d. equestrian figure 14
18. Botticelli was the pupil of. a. Andrea del Verrocchio c. Fra Filippo Lippi b. Perugino d. Domenico Ghirlandaio 19. In Donatello s equestrian statue of Gattamelata, the orb beneath the left forehoof of the horse represents the. a. patrimony of Padua c. hegemony over the earth b. seal of Florence d. grace of God 20. Which of the following artists detailed the consequences of a sinful life? a. Signorelli c. Ghirlandaio b. Perugino d. Mantegna Slide Questions A. Isaac and His Sons (Figure 21-11) 21. How does this work conform to perspective? 22. How does this theme conform to 15 th century Italy? 23. What was the purpose of this work? 24. Who was the artist? B. Ghirlandaio, Birth of the Virgin (Figure 21-24) 25. How does this work combine the secular and the religious? 26. What is the medium? C. Santa Maria Novella, Florence (Figure 21-39) 27. How does this work define classical style? 28. How does the artist achieve this style? 29. Who is the artist? D. Brunelleschi, Interior, Pazzi Chapel, Florence (Figure 21-35) 30. How does this work express 15 th century Italian style? E. Holy Trinity (Figure 21-20) 31. How does this work express innovation? 32. How does the artist use the technique of perspective? 33. How does the work express 15 th Florentine style? 34. Who is the artist? 15
Short Answer 35. Briefly describe the tenets of humanism. 36. Who are the condotierri? 37. Describe the Medici in fifteenth century Italy. 38. What were the benefits of being a court artist? 39. What is perspective? 40. How did perspective confer a kind of aesthetic legitimacy on painting? 41. Who was Masaccio? 42. How does Domenico Ghirlandaio s composition the Birth of the Virgin epitomize Early Renaissance painting? 43. What was Alberti s most important and influential theoretical work? 44. What is an engaged column? 16
ANSWERS Multiple Choice 1. B page 541 11. B page 545 2. A page 541 12. D page 545 3. B page 541 13. D page 552 4. C page 542 14. B page 545 5. B pages 542-543 15. B page 562 6. C page 543 16. A page 565 7. B page 543 17. C page 549 8. D page 544 18. C page 559 9. D page 547 19. C page 551 10. D page 547 20. A page 570 Slide Questions A. 21. The sculptor has created the illusion of space using pictorial perspective and painting s one-point perspective construction. The figures move through that space in various poses convincing the viewer of the reality of that space. Pages 548-549 22. It combines the grandeur of the architectural space and the new perspective methods to create a new realism in the characterization of the figures and their movement through space. Pages 548-549 23. Panel from the east doors of the Baptistery of Florence Cathedral. Page 548 24. Lorenzo Ghiberti. Page 548 B. 25. The theme is religious but the participants are recognizable citizens of Florence. The interior is an echo image of Florentine palazzo interiors. Pages 558-559 26. Fresco. Page 558 C. 27. The architect designed a pseudoclassical temple front with a pediment on a medieval church. Page 567 28. He defined the areas and related them to one another via proportion, and he unified the entire façade with the classical volutes. Page 567 29. Leon Battista Alberti. Page 567 D. 30. It reflects the rational orderly exploration of balanced proportioned space. It is a harmonious space with clearly defined modular relationships between plan and elevation. Pages 563-565 E. 31. The pictorial organization reflects the new science of perspective. Page 17
556 32. He has created the illusion of space that is real and believable and has tied this space to the vanishing point that has transformed the image into rational measured coherence. Page 556 33. It presents new possibilities for both form and content using the new representational devices. Pages 555-556 34. Masaccio. Page 555 Short Answer 35. Emphasis on education, especially classical antiquity; the exploration of individual potential and a desire to excel; and a commitment to civic responsibility and moral duty. Page 541 36. Military leaders with large numbers of mercenary troops at their disposal, they played a major role in the ongoing struggle for power. Page 551 37. The Medici family acquired its wealth through banking. They were not a court Family, but they rose in power and became the leading family in Florence. They were lavish patrons of the arts and supported the pursuit of humanist ideals. Page 542 38. A guaranteed salary, living quarters in the palace, and, on occasion a member of the prince s inner circle, perhaps even a knighthood. Page 569 39. Constructing a convincing illusion of space in two-dimensional imagery while unifying all objects within a single spatial system. Page 547 40. By making the picture measurable and exact. Page 548 41. The leading innovator in early fifteenth century painting. Page 553 42. Clear spatial representation, statuesque, firmly constructed figures, rational order, and logical relations among these figures and objects. Page 558 43. De re aedificatoria written about 1450 and published 1486. Page 566 44. Half-round columns attached to a wall. Page 567 18