All of the following are true of the rococo style of painting EXCEPT
such art did not generally convey any noble message
The Enlightenment emphasis on reason, clarity, and order was most closely associated with __________ art.
The style of Thomas Jefferson's rotunda at the University of Virginia shows the influence on early America of
The sonata form included ALL BUT which one of the following elements?
encouragement of improvisation
Nowadays, one of the musical forms Haydn developed and excelled at is no longer performed in the space for which it was intended, namely
The most important instrumental musical ensemble grouping that emerged in the eighteenth century was
Exposition, development, and recapitulation are names of the elements of which one of the following eighteenth-century musical genres?
the sonata form
Governmental buildings constructed at the end of the eighteenth century in England and America were most likely to be designed in the __________ style, a symbol of power and prestige.
Jean Jacques Soufflot, one of the leading French architects, designed a national memorial to revolutionary heroes known as the __________.
The designer of the Virginia State Capitol, as well as many neoclassically styled buildings on the University of Virginia campus, was __________.
Roman Maison Carree
The fusion of politics and art, which exalted the ideal of service and sacrifice to one's country, is seen in the painting Oath of the Horatii, by __________.
Jacques- Louis David
The collection illustrated in this drawing shows that the taste of the period was centered PRIMARILY on
Roman art and architecture
Of these three structures, the one that treats the space inside the pediment most like Greek temples such as the Parthenon is
Church of Saint Genevieve
In his presentation of George Washington, Houdon places at the figure's left side
a greek column with fluting
If we review all the paintings in Chapter 26, we see a clear trend in the subject matter of the eighteenth century, namely,
from the representation of historical figures to religious subjects
Comparing Figure 20.20, a ceiling in Borromini's San Carlo with 26.17, a ceiling in Soufflot's Pantheon: The Pantheon's neoclassical rejection of baroque exuberance is apparent first of all in the preference for the circle over the visually and conceptually more complicated oval.
Although not far removed in time, Clodion's The Intoxication of Wine, Figure 26.10 and Canova's Pauline Borghese as Venus, Figure 26.19 seem to belong to different stylistic worlds. This transition is called the change in style from
Baroque to romantic
Figure 26.25, The Oath of the Horatii. The degree of accuracy in depicting ancient scenes characteristic of eighteenth-century neoclassicism can be seen in David's choice of architectural orders in the background of this painting, namely