Deck 19: Fifteenth-century Art in Northern Europe

Question 1

What do art historians mean by the use of "hidden symbols" in the Mérode Altarpiece ?

A) secret meanings in the work that only the patron would know
B) symbols obscured by extraneous details
C) ordinary objects that also possess symbolic meaning
D) symbolic meaning that has been lost over the years

Answer 1

C

Question 2

A contemporary of Robert Campin, __________, was a painter of renown in the court of Philip the Good.

A) Jan van Eyck
B) Hugo van der Goes
C) Master Theodoric
D) the Mary of Burgundy painter

Answer 2

A

Question 3

One of the techniques used by printmakers during the fifteenth century was the __________.

A) woodcut
B) fresco secco
C) sinopia
D) giornata

Answer 3

A

Question 4

The __________ is one of the most well-known surviving tapestry series.

A) Marriage at Cana
B) Woman at the Well
C) Flight from Egypt
D) Hunt of the Unicorn

Question 5

Fifteenth-century __________ painters perfected the technique of painting with an oil medium.

A) Italian
B) Flemish
C) English
D) Portuguese

Question 6

Although no signed paintings by Rogier van der Weyden exist, art historians use a painting of the ___________________to establish the characteristics of his art.

A) Annunciation
B) Deposition
C) Last Judgment
D) Virgin and Child

Question 7

What element of Claus Sluter's Well of Moses signaled a break with the International Gothic style?

A) the unpainted stone
B) the detailed naturalism
C) the individualized figures
D) all of the above

Question 8

Philip the Bold commissioned __________ to paint the altarpiece for the Chartreuse de Champmol.

A) Melchior Broederlam
B) Jean Limbourg
C) Hubert van Eyck
D) Robert Campin

Question 9

Engraving on metal requires a technique called __________ in which the lines are cut into the metal plate with sharp tools.

A) gouging
B) intaglio
C) sinopia
D) giornata

Question 10

The distinctive character of Claus Sluter's sculpture can still be seen in the surviving parts of his monumental __________.

A) Unicorn Fountain
B) Well of Moses
C) Jacob's Ladder
D) Isenheim Altarpiece

Question 11

One reason for the limited number of female artists in the Middle Ages and the Renaissance was that women__________________.

A) were not allowed to learn skills of drawing or painting
B) could not work professionally as artists
C) were not allowed formal apprenticeships
D) were not admitted to guilds

Question 12

_________ belonged to the second-generation of Flemish painters.

A) Jan van Eyck
B) Robert Campin
C) Petrus Christus
D) Roger van der Weyden

Question 13

Of all the dukes of Burgundy, it was __________, who was the most enthusiastic art collector and lover of books.

A) Jean, duke of Berry
B) Henri, duke of Cornwall
C) Martin, duke of Poitiers
D) Richard, duke of Vichy

Question 14

For most of the fifteenth century, the __________ were the most powerful rulers and art patrons in northern Europe.

A) dukes of Normandy
B) earls of Hampden
C) dukes of Windsor
D) dukes of Burgundy

Question 15

According to the text, the second generation of Flemish painters was largely responsible for ______________________.

A) the development of a standard fee structure for artistic commissions
B) the rapid spread of the Flemish style through Europe
C) the introduction of oil paint in Italy
D) a shift to more complex compositions

Question 16

An altarpiece which has multiple, movable wings, attached to the altar's central, stationary section is known as a __________.

A) diptych
B) triptych
C) predella
D) polyptych

Question 17

Which of the following is characteristic of the International Gothic style in late fourteenth-century Europe?

A) a preference for grisaille and pale colors
B) a microscopic detailed rendering of natural objects
C) the use of scientific perspective
D) dark simple costumes that make facial details stand out

Question 18

The German artist, __________, was a skilled printmaker as well as painter.

A) Martin Schongauer
B) Hans Memling
C) Dirck Bouts
D) Petrus Christus

Question 19

How did the artists visually distinguish the duke of Berry in the illustration for the calendar

A) hieratic scale
B) a written inscription above him
C) the banner with heraldic arms above him
D) positioning him in the center of the composition

Question 20

The __________ is a mythical, horse-like animal, with cloven hooves, a goat's beard and a single, long twisted horn.

A) unicorn
B) griffin
C) sphinx
D) centaur

Question 21

How does the manuscript

A) It highlights her close relationship with the priest.
B) The church setting underscores her regular attendance at Mass.
C) Her spiritual vision comes through private meditation.
D) The light through the widow symbolizes God's presence.

Question 22

The major work of the Limbourg brothers was __________ commissioned for Jean, the Duke of Berry.

A) the Ghent Altarpiece
B) the Tres Riches Heures (Very Sumptuous Book of Hours)
C) the Merode Altarpiece
D) the Portinari Altarpiece

Question 23

Jan van Eyck describes the physical appearance of the Man in a Red Turban with detailed renderings of ________________.

A) his blood shot eyes
B) tiny wrinkles around his eyes
C) showing the stubble of his beard
D) all of the above

Question 24

What detail is NOT included in the mirror on the back wall of Jan van Eyck's Double Portrait of A Giovanni Arnolfini and His Wife ?

A) the backs of the couple
B) two frontal figures
C) scenes from the life of Christ
D) a donor portrait

Question 25

What detail of the Mérode Altarpiece indicates that the scene of the Annunciation is a religious vision of the donors?

A) the enclosed garden
B) the opened door to the other room
C) the mousetrap
D) the turned

Question 26

The Très Riches Heures depicts peasants ______________________.

A) realistically, through the inclusion of anecdotal details
B) as happily working or amusingly uncouth
C) as crude and uncivilized
D) as servants to the upper classes

Question 27

Which naturalistic device did Hugo van der Goes use in the Portinari Altarpiece ?

A) a gold leaf background
B) a vision of Christ as Judge
C) atmospheric perspective in the landscape
D) None of the above.

Question 28

How did the use of oil paint contribute to Flemish artists' ability to create varied surface textures in paintings?

A) It reflects light.
B) It dries slowly.
C) It is applied in thin layers.
D) All of the above.

Question 29

The Unicorn is Found at the Fountain is evidence of the intricate details, subtle modeling, and tonal variations that are possible in ____________.

A) manuscript illumination
B) engraving
C) woven textiles
D) oil painting

Question 30

The richest kind of __________ was made almost entirely of silk and gold.

A) tapestry
B) manuscript
C) painting
D) porcelain

Question 31

How does Martin Schongauer's intensify the moment portrayed in his Demons Tormenting St. Anthony ?

A) placing the action in a panoramic landscape
B) condensing the action into a swirling vortex of figures
C) arranging the figures into a pyramidal shape
D) none of the above

Question 32

Where do the donors' portraits appear in Jan and Hubert van Eyck's Ghent Altarpiece?

A) in the semi-circular areas at the top of closed shutters
B) they were depicted Adam and Even on the outer wings of the opened doors
C) in the outer compartments of the lower section of the closed shutters
D) in the outer compartments of the lower section of the interior with the people before the lamb of God

Question 33

In France, the leading court artist of the fifteenth century was __________.

A) Jan van Eyck
B) Jean Fouquet
C) Rogier van der Weyden
D) Hugo van der Goes

Question 34

The printing technique of engraving probably derived from workers in what trade?

A) stained glass
B) goldsmithing
C) potters
D) sculptors

Question 35

Among the finest Netherlandish illuminators of the early fifteenth century were __________.

A) the Limbourg brothers
B) the Rohan Master and workshop
C) the Master of Champol and workshop
D) Nicholas of Verdun and workshop

Question 36

What do scholars know for certain about Jan van Eyck's Double Portrait of A Giovanni Arnolfini and his Wife ?

A) the work celebrates the couple's wedding
B) the couple was quite wealthy
C) the couple's identity
D) the painting originally hung in the couple's home

Question 37

The common household objects in the Annunciation of the Mérode Altarpiece are ________________.

A) symbolic in meaning
B) typical of Italian households
C) clumsily rendered
D) representative of the International Gothic style

Question 38

How does Rogier van der Weyden's use of space heighten the emotional impact of his Deposition altarpiece ?

A) The use of deep illusionistic space makes the scene seem more realistic.
B) The full-sized figures seem to press forward into the viewer's space.
C) He used multiple perspectives so viewers could see all the figures.
D) His use of atmospheric perspective draws the viewer into the image.

Question 39

Based on the text's discussion, what art form did women of the fourteenth and fifteenth centuries produce?

A) engraving
B) manuscript illumination
C) sculpture
D) all of the above

Question 40

What symbolic meaning is NOT suggested in Hunt of the Unicorn series of tapestries?

A) the Incarnation of Christ
B) moral character and bravery
C) romantic love
D) Christ's death on the cross

Question 41

Which figure does NOT exemplify the exacting naturalism that characterizes Flemish portraiture of the fifteenth century?

A) the woman in Jan van Eyck's Double Portrait of A Giovanni Arnolfini and His Wife
B) the figure in Jan van Eyck's Man in a Red Turban
C) the Virgin in Dieric Bouts's Virgin and Child
D) the donor in the Mérode Altarpiece by the Master of Flémalle

Question 42

Tapestries provided both __________ and __________ for the stone walls of fifteenth century buildings.

A) decoration; light
B) information; light
C) insulation; decoration
D) hiding; information

Question 43

In landscapes, fifteenth-century Flemish painters relied on __________ to convey spatial depth.

A) gold leaf
B) atmospheric perspective
C) local color
D) supernatural visions

Question 44

A __________ was a selection of prayers and readings to be used in daily prayer and meditation; it also included a calendar of holy days.

A) Block Book
B) Nuremberg Chronicle
C) Book of Hours
D) Diptych

Question 45

Which feature is characteristic of French painting in the fifteenth century?

A) elaborate details and complex iconography
B) a reserved detachment among the figures
C) an emphasis on symmetry and geometric patterns
D) the use of Gothic architectural settings

Question 46

Patrons in Germanic lands preferred altarpieces that featured_______________.

A) groups of panel paintings similar to those of Flemish masters
B) other worldly images evoking Christian mysticism and spiritual revelation
C) polychromed wood sculpture and carvings
D) an icon of the Virgin and Child

Question 47

Flemish painters used an __________ to convey the illusion of forms becoming smaller and closer together as they recede in the distance.

A) symbolism
B) intaglio
C) hierarchy
D) intuitive perspective

Question 48

Which of the following was NOT a reason that the Flemish style of art became popular outside Flanders?

A) Flemish artists worked in foreign courts.
B) Artists from abroad traveled to Flanders to study.
C) The influence of the Flemish court was powerful.
D) Flemish paintings were exported abroad.

Question 49

How does an engraving differ from a woodcut?

A) The artist must cut the image into the metal plate.
B) The artist must cut away the excess metal surrounding the image to be printed.
C) Tonal gradations are made by varying the thickness and density of printed lines.
D) A press must be used to transfer the image onto paper.

Question 50

The __________ in a Christian church symbolizes both the table of Jesus's Last Supper and the tombs of Christ and the saints.

A) door
B) nave
C) altar
D) clerestory

Question 51

At the death of the sculptor, Jean de Marville, the sculptor __________ succeeded him as overseer for the decoration of the monastery at Champmol.

A) Claus Sluter
B) Hugo van der Goes
C) Limbourg Brothers
D) Jean Fouquet

Question 52

An altarpiece may be placed on a base, known as a __________.

A) mensa
B) diptych
C) manuscript
D) predella

Question 53

The __________ reflects the popularity of the Flamboyant style for secular architecture.

A) House of Jacques de Coeur
B) Chartreuse de Champmol
C) Saint Bavo's
D) Saint-Maclou

Question 54

The earliest printed books were __________ books.

A) intaglio
B) engraving
C) block
D) textile

Question 55

In addition to their use in books, woodcuts and engraving techniques were used to make many ____________prints in the early fifteenth century.

A) single-sheet
B) textile
C) secular
D) domestic

Question 56

__________ emerged in Europe at the end of the fourteenth century with the development of printing presses and the wider availability of paper.

A) Oil painting
B) Printmaking
C) Manuscript Illumination
D) Fresco

Question 57

__________ carved and gilded the elaborate altarpiece for the church at the Champmol monastery.

A) Michael Pacher
B) Jacques de Baerze
C) Claus Sluter
D) Konrad Witz

Question 58

In the Mérode Altarpiece , the __________ is placed inside a contemporary Flemish home.

A) Donor
B) Visitation
C) Christ's Baptism
D) Annunciation

Question 59

Before the fifteenth century, printed images from woodblocks _____________.

A) did not exist
B) were sold as souvenirs for pilgrims
C) were used as designs on cloth
D) were considered a lower-class art form

Question 60

The __________ was one of the first books to be printed in the workshop of Johann Gutenberg.

A) Broadsheet
B) Bible
C) Book of Hours
D) Very Sumptuous Hours

Question 61

Explain the technique of painting with an oil medium. Include examples of artists and their work as part of your discussion.

Question 62

The term "Flamboyant" in architecture is a reference to the

A) the flame-like tracery patterns
B) geometric character
C) the height of the building
D) presence of windows

Question 63

__________ was first achieved in the workshop of Johann Gutenberg in Germany.

A) relief printing
B) engraving
C) movable-type printing
D) block books

Question 64

What is the Order of the Golden Fleece? Describe the purpose and decoration of the cope associated with this Order.

Question 65

Explain the achievements of the Limbourg brothers in their art.

Question 66

Discuss the major work of Claus Sluter. Address the patronage surrounding his work as well as his style and his use of medium.

Question 67

Why did Philip the Bold commission the Chartreuse de Champmol?

A) to hold his manuscript collection
B) to attract Franciscan monks
C) to rival local churches
D) to house his family tombs

Question 68

Petrus Christus's A Goldsmith in His Shop includes a small__________, which unites the interior and exterior spaces and draws the viewer into the painting.

A) vase of lilies
B) water basin
C) sheath of hay
D) mirror

Question 69

Define the International Gothic style. Cite specific works of art and address style, technique, and subject matter.

Question 70

Discuss the achievements of Jan van Eyck. Cite specific works of art, address style, technique, subject matter, and patronage.

Question 71

Similar to Jan van Eyck, the objects in Hugo van der Goes's Portinari Altarpiece _________________.

A) contain a personal meaning for the donor
B) are secular references
C) have symbolic meaning
D) refer to the wealth of the donor

Question 72

The French church of __________ is an outstanding example of the Flamboyant style.

A) Saint-Maclou
B) St. Wolfgang
C) Cathedral of Ghent
D) St. Stephen's

Question 73

In __________ printing, individual letters could be arranged, inked, and then printed onto paper.

A) woodcut
B) movable-type printing
C) single-sheet
D) relief

Question 74

Characterized by slender figures and miniature landscape settings the _____________ became the prevailing manner of late fourteenth-century Europe.

A) International Gothic style
B) linear perspective
C) noble
D) Flemish school

Question 75

Discuss the importance of the fiber arts in -fifteenth century Flanders. Cite specific examples.

Question 76

Discuss the patronage that produced the Chartreuse de Champmol. Consider the painting and sculpture that were designed for this project.

Question 77

How did women artists in the fourteenth and fifteenth centuries learn to paint? Cite examples of individual women artists.

Question 78

Intaglio is a technique associated with __________.

A) oil painting
B) Books of Hours
C) engraving
D) Chartreuse de Champmol

Question 79

Étienne Chevalier and St. Stephen and __________ by Jean Fouquet were originally the two wings of a diptych.

A) Adam and Eve
B) Prophets
C) Virgin and Child
D) Saint Anthony

Question 80

The _______________ represents the complicated collaboration among scholars, artists and investors in the history of printed books.

A) The Buxheim St. Christopher
B) Nuremberg Chronicle
C) The Temptations of St. Anthony
D) St. Wolfgang Altarpiece