For Closer Look: Raphael’s School of Athens: Why do you suppose that Raphael chose to use the likenesses of so many of his contemporaries as models for the figures from Classical antiquity depicted in the painting?
What will be an ideal response?
Raphael’s use of his contemporaries as models for the School of Athens reflects the broader humanist goals of the painting. By using these contemporaries, the artist was implicitly positioning himself and his Italian colleagues as the new embodiment of the ancient schools of learning and the arts.
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"Ethnic minorities" in China such as Uighurs and Tibetans
A. are, as a rule, very appreciative of conservatory-style Chinese compositions that are based on their traditional musical forms and styles. B. are often critical of the appropriation of their music and other forms of cultural expression by agents of mainstream Chinese culture. C. have increasingly come to dominate the conservatories as the leading performers on Chinese instruments like the zheng and the pipa. D. A and C, but not B.
One of the effects of the Renaissance was to change the status of artists in Europe from:
A. skilled crafts workers to intellectuals. B. observers of nature to designers. C. shamans to documentarians. D. monks to nobility. E. None of these answers is correct.
Wallace Berman’s Untitled exemplifies how artists often produce rhythm through __________.
a. unity b. symmetry c. repetition d. scale
What is the term that best names a madrigal that combines voices and instruments?
a) polyphonic madrigal b) ripieno madrigal c) concertato madrigal d) seconda prattica madrigal