Question

8. Because of the somewhat distorted figures, unusual spaces, and lack of proportion, _______ is considered a forerunner of mannerism. A. Quentin Metsys' The Moneylender and his Wife B. Hieronymus Bosch's Garden of Earthly Delights C. Michelangelo's work on the ceiling of the Sistine Chapel D. Tintoretto's The Miracle of St. Mark Freeing the Slave

Answer 1

The answer is option C.

Step-by-step explanation:

As a result of the to some degree twisted figures, strange spaces, and absence of extent, Michelangelo's work on the roof of the Sistine Chapel is thought about a herald of quirk. The Mannerism (or Late Renaissance) is style in European craftsmanship that misrepresents such characteristics of extent, balance what's more, perfect magnificence, frequently bringing about organizations that are unbalanced or unnaturally exquisite. It additionally includes an assortment of methodologies affected by Leonardo da Vinci, Raphael, and early Michelangelo. Michelangelo contorted figures since he needed spotlight to be on the religious importance of the figure furthermore, occasion.

Answer 2

The correct answer is (c). Because of the somewhat distorted figures, unusual spaces, and lack of proportion, Michelangelo's work on the ceiling of the Sistine Chapel is considered a forerunner of mannerism. The Mannerism (or Late Renaissance) is style in European art that exaggerates such qualities of proportion, balance and ideal beauty, often resulting in compositions that are asymmetrical or unnaturally elegant. It also encompasses a variety of approaches influenced by Leonardo da Vinci, Raphael, and early Michelangelo. Michelangelo distorted figures because he wanted focus to be on the religious meaning of the figure and event.