MyHumanitiesStudio Exercises


1			The Catholic Reformation (pp. 260-262) Art > Shape > Composition > Movement http://www.mhhe.com/HumanitiesStudio/1/1/2/3/1.html Parmigianino's Madonna of the Long Neck (Fig. 10.2) and El Greco's Agony in the Garden (Fig. 10.3) are two landmarks of mannerism, a style closely associated with the Catholic Reformation. How do these paintings use curving lines to great aesthetic effect (even at the expense of verisimilitude)? How does the use of color complement the paintings' compositions? Contrast these paintings with the works of painters from the predominantly Calvinist province of Holland, such as Vermeer (Figs. 10.13-10.14) and Rembrandt (Figs. 10.15-10.17). How do the style and subject matter of the Dutch paintings differ from those of the mannerists? What do the unique qualities of mannerism suggest about the spiritual views of the Catholic Reformation? What do the qualities of the Dutch paintings suggest about Calvinist views of the world and of humankind?




2			The Aristocratic Baroque (pp. 277-284) Architecture > Order > Rhythm http://www.mhhe.com/HumanitiesStudio/2/3/2.html Louis XIV's palatial complex at Versailles was more than just a lavish residence. By compelling his aristocratic subjects to pay court to him there, he removed them from their seats of power and influence, and forced them to recognize his own central position in the French state. Examine the rhythm of Versailles (Figs. 10.20-10.22). How does the layout of the complex, its design, and its ornamentation provide concrete expression of Louis's absolutist beliefs? What principles seem to be enshrined in the physical make-up of Versailles? How did Louis XIV use other media to complement the effect of Versailles (Figs. 10.18, 10.26)? How does Versailles compare to other architectural symbols of royal power such as the Forbidden City (Fig. 10.19) and the Taj Mahal (Fig. 10.30)?

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