Titian's altarpiece, the madonna of the pesaro family, differed from high renaissance compositions in central italy in the
a. symmetrical arrangement of figures
b. creation of a dark background
c. placement of the figures on a steep diagonal
d. the gesturing of figures toward the viewer

the answer is C

Placement of the figures on a steep diagonal

Explanation:

Extract from the Altarpiece in Renaissance Venice, by Peter Humfrey ,

"Titian’s altarpiece, the Madonna of the Pesaro Family depicting the Virgin and Child is located in the church of Santa Maria Gloriosa dei Frari (otherwise known simply as the Frari) in Venice.  The painting shows both of these figures near the top of a stepped platform; the Virgin wears a beautifully colored red robe covered with a blue garment and a white mantle, under which the Christ Child playfully appears.  The Virgin looks down to the figures on the left side of the canvas, while Christ looks to the right side.  Before discussing these various figures, it is important to take note of the monumental architecture in which they appear.  We see the bottoms of two enormous columns, which appear to form part of a gateway or portico preceding a large, classical structure only partially visible to the right.  This use of grand, classical architecture echoes the same practice being done by artists such as Raphael in his great fresco at the Vatican, the School of Athens.

An earlier painting by Titian (perhaps Titian’s earliest surviving work) commissioned by Pesaro just after the naval victory, shows a similar subject. Pesaro is being presented to Saint Peter by Pope Alexander VI (the same pope whose insignia appears in the Madonna of the Pesaro Family"

Further Reading

The Discovery of Pictorial Composition: Theories of Visual Order in Painting, 1400-1800, by Thomas Puttfarken

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