Worksheet for Art of the Western World film Realms of ...
Worksheet for Art of the Western World film Realms of Light: The Baroque
1. What feelings characterized Catholic Rome at the beginning of the 17th Century?
2. Pope Paul V (1550-1621) brought ___________________ to Rome by reconstructing the ancient Roman aqueducts.
3. Gian Lorenzo Bernini (1598-1680) designed many of the ___________________ in Rome.
4. Some of the reasons for the Roman Catholic Church’s optimism during the early 17th Century were:
5. Counterreformation, or Baroque, art and architecture had the following purposes:
6. The ceiling of Pope Urban VIII’s (a.k.a. Maffeo Barberini; 1568-1644) Palace by Pietro de Cortona (1596-1669) suggests that the values of the Classical world had been subordinated to the values of triumphant _________________ .
7. Baroque artists were concerned with naturalism and classicism, illusion and reality, light and dark, and movement for the following reasons:
8. What did Copernicus’s (1473-1543) On the Revolution of Heavenly Bodies (1543) do to people?
9. Caravaggio’s (1573-1610) highly naturalistic painting of Christ from 1600 tried to convince viewers that:
10. The technique of chiaroscuro is _________________________.
11. How does the statue of David by John Lorenzo Bernini (1598-1680) differ from the earlier Renaissance Davids of Donatello (1386-1466) and Michelangelo (1475-1564)?
12. The outreaching arms of the Basilica of St. Peter (1546-1564, 1590) in Rome convey:
13. What is conveyed about the relation of God and humanity by Bernini’s altar the Ecstasy of St. Teresa (c. 1650) in the Cornaro chapel in Santa Maria della Vittoria (in Rome)?
14. Francesco Borromini’s (1599-1667) typically Baroque church of St. Ivo della Sapienza (1642-1650) conveys the suggestion that salvation cannot be attained neither by ____________ alone, nor by simple _________________________, but rather only by an imaginative ____________________.
15. When the Austrian Hapsburgs defeated the invading the Muslim Ottoman Turks in 1683, they went on to build a series of castles and churches (such as the Karlskirche), which made the following political points: to bear witness to the unity of __________________ and ___________________; and to assert that the Hapsburg kings, as the “saviors” of Christian Europe, have a __________________ right to rule.
16. The dynastic monarchs of 17th-Century Europe commissioned equestrian portraits (the man on horseback) to suggest:
17. The true subject of Diego Velasquez’s (1599-1660) masterpiece, Las Meninas (1656-7), is the art of_______________.
18. In Las Meninas, Velasquez calls attention to his own artistry by posing the following visual conundrum, or puzzle. Since we can’t see the canvas he’s painting, he might be painting either
___________________________ or _________________________.
19. What does Jan Vermeer’s (1632-1675) view of the town of Delft communicate about the Dutch Netherlands in the 17th Century?
20. The Dutch nation, the Netherlands, was created by the Eighty Years’ War (1568-1648) for independence against _______________________ rule.
21. Unlike absolutist architecture as the Basilica of St. Peter’s in Rome, the new town hall in Amsterdam (1648-1655) is an embodiment of __________________________ of the Netherlands, and an expression of the Dutch sense of itself as ____________________________ .
22. How did the Dutch people become rich?
23. Why did the Dutch group portrait become as important as the equestrian portrait had been in Hapsburg Austria?
24. How did Rembrandt’s (1606-1669) military group portrait The Night Watch (1642) differ from the earlier militia group portraits?
25. Whereas Velasquez’s self-portrait in Las Meninas places the artist in a structured
__________________________, Rembrandt’s self-portraits _______________________________ .
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