All of the following statements are true of Gianlorenzo Bernini and his artwork, except which one?
A. Bernini's The Ecstasy of Saint Teresa was conceived during the first age of Italian opera, and both share the Baroque affection of dramatic expression on a monumental scale
B. Bernini's David contrasts with earlier Renaissance versions of the subject, as the figure is rugged and spirited, caught in mid-action, and breaks into space with athletic vitality
C. Bernini designed a multimedia altarpiece called The Ecstasy of Saint Teresa, which engages the tools of architecture, sculpture, and painting
D. Bernini was the leading Italian painter of the 17th century, known for using a perspective device called foreshortening to enhance the illusionism of his paintings
Answer: D. Bernini was the leading Italian painter of the 17th century, known for using a perspective device called foreshortening to enhance the illusionism of his paintings
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What is the subject of the personifications on the lower eight panels on Andrea Pisano's bronze doors for the baptistery of San Giovanni?
A. Christian vices B. Christian virtues C. The seasons D. The winds
All of the following are true of the harpsichord except
A. the instrument was a source of visual as well as aural beauty. B. stops provided a change in timbre and allowed abrupt changes of dynamic level. C. some harpsichord cases were even inlaid with precious stones. D. the harpsichord could produce vibrato. E. the cases were often elaborately carved and painted.
Duple meter has ________ beats per measure.
A. two B. a flexible number of C. three D. four
Which of the following is a characteristic of Jean Rouch's Chronique d'un été (Chronicle of a Summer), made in collaboration with sociologist Edgar Morin?
A. It carries forward the suspenseful drama of the Drew films. B. It makes use of hidden cameras to record the subjects of the film. C. It centers on ordinary people explaining their lives, while Morin's insistent questioning makes Direct Cinema a provocative force. D. It involves Rouch and Morin simply observing or sympathizing with the subjects of the film rather than prodding and provoking.