Deck 22: Sixteenth-Century Art in Northern Europe and the Iberian Peninsula

Question 1

Which Flemish artist found favor at the French court as a portrait painter?

A) Clouet
B) Altdorfer
C) Grünewald
D) Durër

Answer 1

A

Question 2

The elaborate steel armor with gold inlay made for George Clifford (Fig. 22-31) would have been

A) used as sculptural decoration in Clifford's study.
B) worn at royal functions to demonstrate his family's military legacy.
C) worn in jousting competitions at festivals and public celebrations.
D) worn only once at the ceremony when the queen knighted him.

Answer 2

C

Question 3

Dürer's work in which media led to his fame and fortune?

A) goldsmithing
B) graphic arts
C) architecture
D) sculpture

Answer 3

B

Question 4

Which category of painting became popular in the sixteenth century because, although it had no overt religious content, it could be seen as a reflection of God's works?

A) genre works
B) still lifes
C) landscapes
D) miniatures

Question 5

What did Dürer openly express in Four Apostles (Fig. 22-9)?

A) Methodism
B) Anglicanism
C) Catholicism
D) Lutheranism

Question 6

What technique, used by Martin Schongauer, did Dürer adapt to the woodcut medium in The Four Horsemen of the Apocalypse (Fig. 22-7)?

A) silverpoint drawing
B) niello
C) stamping
D) metal engraving

Question 7

Why did painters in the Netherlands begin producing smaller-scale paintings during the sixteenth century?

A) Canvas was in short supply.
B) Patrons wanted paintings appropriate for homes.
C) Church patrons desired less ostentatious artwork.
D) The smaller size made them easier to transport.

Question 8

The format of Hieronymus Bosch's Garden of Earthly Delights (Figs. 22-20 and 22-21), which was commissioned by an aristocrat for his Brussels townhouse, conforms to a long tradition of

A) palace decoration.
B) frescoes in private chapels.
C) public art in government buildings.
D) church altarpieces.

Question 9

What motivated the building of many lavish country residences in England during the sixteenth century?

A) newly titled aristocrats wanting to display their wealth and status
B) the mobile nature and international interactions of the Tudor court
C) the growth of England's middle class, who had prospered from commercial trade
D) the political and economic stability brought on by the Tudor dynasty

Question 10

How did Riemenschneider's Altarpiece of the Holy Blood (Fig. 22-3) differ from earlier German traditions for wooden sculpture?

A) his use of bright colors and gilding
B) his heightened naturalism
C) his use of natural finishes
D) his use of a Gothic framework for the sculpture

Question 11

Foreign influence appears most prominently in what art form of sixteenth-century England?

A) visual art
B) literature
C) music
D) architecture

Question 12

The text suggests that Dutch artist Caterina van Hemessen probably specialized in painting

A) religious subjects.
B) botanical specimens.
C) moral allegories.
D) portraits of women.

Question 13

How does the figure in Lucas Cranach the Elder's Nymph of the Spring (Fig. 22-10) compare to idealized nudes in Italian Renaissance paintings?

A) Both derive from Classical models of female beauty.
B) It suggests a distinctly different conception of the figure in Germany.
C) It shows that Cranach was familiar with contemporary Italian art.
D) It shows that Italian artists were influenced by Northern prototypes.

Question 14

What image from the Isenheim Altarpiece (Figs. 22-5 and 22-6) emphasizes human emotion and suffering through Grünewald's graphic realism?

A) the Crucifixion
B) the Annunciation
C) Saint Sebastian
D) the Resurrection

Question 15

Who built the Escorial (Fig. 22-17), the great monastery-palace complex outside Madrid?

A) Francis
B) Philip
C) Charles
D) Manuel

Question 16

Hans Holbein is best known for his

A) detailed prints, such as engravings and woodcuts.
B) portraits of nobles and diplomats in the Tudor court.
C) polychromed wooden sculptures.
D) survey of art history detailing the lives of Northern artists.

Question 17

King Manuel I of Portugal commissioned Diogo de Arruda to create a church and sculpture in

A) Moura.
B) Madrid.
C) Lisbon.
D) Tomar.

Question 18

What did Dürer encounter on his trip to Italy in 1494 that is clearly reflected in his Self-Portrait of 1500 (Fig. 22-1)?

A) Leonardo's Mona Lisa
B) a conception of artists as noble intellectuals
C) Roman copies of ancient Greek sculpture
D) the art collection of the Medici family

Question 19

What encouraged the development of a specialized art market in Antwerp?

A) the spread of Classical themes
B) the demand for luxury goods
C) the revived interest in religious subjects
D) the decreasing wealth of European monarchies

Question 20

Bruegel's Return of the Hunters (Fig. 22-25) is one of a cycle that included six large paintings focused on the theme of

A) the months.
B) the seasons.
C) local landscapes.
D) peasant life.

Question 21

How did Francis I make Fontainebleau into an artistic center?

Question 22

How was Northern Renaissance art an amalgam of early Northern and Italian sources and influences?

Question 23

What was the Krugs' contribution to metalwork?

Question 24

Which artist helped inspire an Italianate tradition at the French court of King Francis I?

A) Michelangelo
B) Juan de Herrera
C) Giulio Romano
D) Leonardo da Vinci

Question 25

In what ways is El Greco's painting style so eccentric?

Question 26

What was the role of miniatures in sixteenth-century English art?

Question 27

What was the impact of the Reformation on art in Northern Europe?

Question 28

Bosch's Garden of Earthly Delights (Figs. 22-20 and 22-21) is filled with symbolism. Explore some of those symbols and discuss why it was such a revolutionary work for its time.

Question 29

What attribute of the figures in Death and the Matron (Fig. 22-11) shows the juxtaposition between sensuality and mortality?

A) their environment
B) their poses
C) their expressions
D) their skin color

Question 30

In Burial of Count Orgaz (Fig. 22-19), which style did El Greco recall with the crowded pictorial field and obscured spatial setting of the scene?

A) Medieval
B) Byzantine
C) Venetian
D) Mannerist

Question 31

In Dürer's Adam and Eve (Fig. 22-8), which of the following are symbols for the human temperaments?

A) animals
B) castles
C) trees
D) flowers

Question 32

How did Dürer use printmaking to extend his reputation?

Question 33

How did artists portray Queen Elizabeth I, and why?

Question 34

How is Grünewald's Isenheim Altarpiece (Figs. 22-4, 22-5, and 22-6) arranged and why?

Question 35

How did Bruegel's travels impact his art?

Question 36

How were women, such as Caterina van Hemessen, involved in Netherlandish art of the sixteenth century?

Question 37

Discuss the iconography, technique, and context of Albrecht Dürer's The Four Horsemen of the Apocalypse (Fig. 22-7).

Question 38

The subject of Quentin Massys's Money Changer and His Wife (Fig. 22-23) concerns itself with the challenges of

A) the use of images in Christian worship.
B) living a Christian life in a worldly society.
C) the parable of the Good Samaritan.
D) punishment for sins.

Question 39

What are the main features of Elizabethan houses?

Question 40

Discuss the similarities and differences in the landscapes of Albrecht Altdorfer (Fig. 22-12) and Pieter Bruegel the Elder (Figs. 22-25 and 22-26).