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16 Sep 2014, 01:55
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A recent cultural history of the art and architecture of the European Baroque Period, which spanned roughly the entire seventeenth century, uses well-known works to sketch a fresh and surprising perspective on the impact of these works on the imaginations of their original viewers. The author, an emeritus professor at an Ohio university, does not bother to challenge the customary list of Baroque characteristics–opulence, grandeur, movement, large scale, emotion, bold colors, gold–but students of art history, far from entertaining suspicions of insufficient academic rigor due to this oversight, will ultimately find themselves grateful to be left with this piece of familiar ground.
Although the first chapter is spent detailing the debt owed by Baroque style to the theology of the Roman Catholic Church, discussion of the devotional uses of religious pieces thereafter is strictly limited. The prime goal of the following chapters is to define Baroque art’s function within the power structure of the sixteenth century Church in such a way as to make religious devotion beside the point. More specifically, the author is concerned with the role art played in re-centralizing the Church’s power in the wake of the Protestant Reformation, as well as with the significance of the Council of Trent, during which, as part of a cohesive opposition to groups of believers who had broken away, the practice of using art objects as aids to religious devotion was encouraged and codified.
From the author’s perspective, then, the Church’s advocacy of grand and ornate pieces of religious art served the very practical purpose of reminding the faithful that real power was to be found within the Church. St. Peter’s Basilica in Rome, for example, with its almost unimaginatively lofty ceilings, marble floors, and special chapels, solidified the Church’s power by inspiring the viewer’s awe. Likewise, paintings and sculptures produced by most of the period’s Church-sponsored artists depicted human figures, most often saints or martyrs, with a startling realism intended to emphasize presence and immediacy.
The author most likely mentions the ceilings of St. Peter’s Basilica in order to
A. Provide evidence supporting the idea that art can be used to solidify power.
B. Offer readers a visual image of the work of art in question.
C. Demonstrate that works of art often inspire awe.
D. List the distinctive characteristics of a famous building.
E. Present an explanation of the building’s visual power.
Although the first chapter is spent detailing the debt owed by Baroque style to the theology of the Roman Catholic Church, discussion of the devotional uses of religious pieces thereafter is strictly limited. The prime goal of the following chapters is to define Baroque art’s function within the power structure of the sixteenth century Church in such a way as to make religious devotion beside the point. More specifically, the author is concerned with the role art played in re-centralizing the Church’s power in the wake of the Protestant Reformation, as well as with the significance of the Council of Trent, during which, as part of a cohesive opposition to groups of believers who had broken away, the practice of using art objects as aids to religious devotion was encouraged and codified.
From the author’s perspective, then, the Church’s advocacy of grand and ornate pieces of religious art served the very practical purpose of reminding the faithful that real power was to be found within the Church. St. Peter’s Basilica in Rome, for example, with its almost unimaginatively lofty ceilings, marble floors, and special chapels, solidified the Church’s power by inspiring the viewer’s awe. Likewise, paintings and sculptures produced by most of the period’s Church-sponsored artists depicted human figures, most often saints or martyrs, with a startling realism intended to emphasize presence and immediacy.
The author most likely mentions the ceilings of St. Peter’s Basilica in order to
A. Provide evidence supporting the idea that art can be used to solidify power.
B. Offer readers a visual image of the work of art in question.
C. Demonstrate that works of art often inspire awe.
D. List the distinctive characteristics of a famous building.
E. Present an explanation of the building’s visual power.
16 Sep 2014, 01:55
Kudos
Bookmarks
Official Solution:
A recent cultural history of the art and architecture of the European Baroque Period, which spanned roughly the entire seventeenth century, uses well-known works to sketch a fresh and surprising perspective on the impact of these works on the imaginations of their original viewers. The author, an emeritus professor at an Ohio university, does not bother to challenge the customary list of Baroque characteristics–opulence, grandeur, movement, large scale, emotion, bold colors, gold–but students of art history, far from entertaining suspicions of insufficient academic rigor due to this oversight, will ultimately find themselves grateful to be left with this piece of familiar ground.
Although the first chapter is spent detailing the debt owed by Baroque style to the theology of the Roman Catholic Church, discussion of the devotional uses of religious pieces thereafter is strictly limited. The prime goal of the following chapters is to define Baroque art’s function within the power structure of the sixteenth century Church in such a way as to make religious devotion beside the point. More specifically, the author is concerned with the role art played in re-centralizing the Church’s power in the wake of the Protestant Reformation, as well as with the significance of the Council of Trent, during which, as part of a cohesive opposition to groups of believers who had broken away, the practice of using art objects as aids to religious devotion was encouraged and codified.
From the author’s perspective, then, the Church’s advocacy of grand and ornate pieces of religious art served the very practical purpose of reminding the faithful that real power was to be found within the Church. St. Peter’s Basilica in Rome, for example, with its almost unimaginatively lofty ceilings, marble floors, and special chapels, solidified the Church’s power by inspiring the viewer’s awe. Likewise, paintings and sculptures produced by most of the period’s Church-sponsored artists depicted human figures, most often saints or martyrs, with a startling realism intended to emphasize presence and immediacy.
The author most likely mentions the ceilings of St. Peter’s Basilica in order to
A. Provide evidence supporting the idea that art can be used to solidify power.
B. Offer readers a visual image of the work of art in question.
C. Demonstrate that works of art often inspire awe.
D. List the distinctive characteristics of a famous building.
E. Present an explanation of the building’s visual power.
The line reference in the question stem indicates that familiarity with the context of the reference is required to answer the question. The words for example in the sentence indicate the continuation of a preceding idea; specifically, that grand and ornate pieces of religious art reminded churchgoers that real power was found in the Church. Additionally, the end of the sentence re-emphasizes this idea by stating that awe over the lofty ceilings solidified the Church’s power.
Answer: A
A recent cultural history of the art and architecture of the European Baroque Period, which spanned roughly the entire seventeenth century, uses well-known works to sketch a fresh and surprising perspective on the impact of these works on the imaginations of their original viewers. The author, an emeritus professor at an Ohio university, does not bother to challenge the customary list of Baroque characteristics–opulence, grandeur, movement, large scale, emotion, bold colors, gold–but students of art history, far from entertaining suspicions of insufficient academic rigor due to this oversight, will ultimately find themselves grateful to be left with this piece of familiar ground.
Although the first chapter is spent detailing the debt owed by Baroque style to the theology of the Roman Catholic Church, discussion of the devotional uses of religious pieces thereafter is strictly limited. The prime goal of the following chapters is to define Baroque art’s function within the power structure of the sixteenth century Church in such a way as to make religious devotion beside the point. More specifically, the author is concerned with the role art played in re-centralizing the Church’s power in the wake of the Protestant Reformation, as well as with the significance of the Council of Trent, during which, as part of a cohesive opposition to groups of believers who had broken away, the practice of using art objects as aids to religious devotion was encouraged and codified.
From the author’s perspective, then, the Church’s advocacy of grand and ornate pieces of religious art served the very practical purpose of reminding the faithful that real power was to be found within the Church. St. Peter’s Basilica in Rome, for example, with its almost unimaginatively lofty ceilings, marble floors, and special chapels, solidified the Church’s power by inspiring the viewer’s awe. Likewise, paintings and sculptures produced by most of the period’s Church-sponsored artists depicted human figures, most often saints or martyrs, with a startling realism intended to emphasize presence and immediacy.
The author most likely mentions the ceilings of St. Peter’s Basilica in order to
A. Provide evidence supporting the idea that art can be used to solidify power.
B. Offer readers a visual image of the work of art in question.
C. Demonstrate that works of art often inspire awe.
D. List the distinctive characteristics of a famous building.
E. Present an explanation of the building’s visual power.
The line reference in the question stem indicates that familiarity with the context of the reference is required to answer the question. The words for example in the sentence indicate the continuation of a preceding idea; specifically, that grand and ornate pieces of religious art reminded churchgoers that real power was found in the Church. Additionally, the end of the sentence re-emphasizes this idea by stating that awe over the lofty ceilings solidified the Church’s power.
- Both the preceding sentence and the sentence from which the reference is taken focus on the idea of art as a reminder of the power of the Roman Catholic Church.
- A visual image may be produced, but this is not the function of the reference to the ceilings.
- Though this is true, it is only the first step toward identifying the author’s purpose in this sentence.
- Characteristics are listed, but only because they help to prove a certain point.
- The building may have visual power, but this is not the goal of discussing the ceilings.
Answer: A
09 Sep 2016, 04:52
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can anybody explain me academic rigor question?
