Deck 16: The Renaissance in the North: Between Wealth and Want

Question 1

Unlike in Renaissance Italy,patronage of artists in Northern European cities came from

A)politically powerful families.
B)foreign sources.
C)artists' guilds.
D)the merchant class.

Answer 1

D

Question 2

Bruges became the financial capital of Northern Europe because it

A)was a favorite destination of the Burgundian dukes.
B)was home to the Medici banking interests in the region.
C)occupied a central location.
D)was home to a great fair for painters,goldsmith,and jewelers.

Answer 2

B

Question 3

Giovanni Arnolfini was a

A)painter in Jan van Eyck's studio.
B)member of the Bruges city council.
C)distributor of art in Antwerp.
D)representative of Medici interests.

Answer 3

D

Question 4

Hieronymus Bosch's famous triptych,the Garden of Earthly Delights,seems to have been intended to

A)serve as a conversation piece.
B)frighten sinners into repentance.
C)hang in the 's-Hertogenbosch cathedral.
D)provide instruction on the Seven Deadly Sins

Question 5

Morris dancing and its musical equivalent,the madrigal,were very popular in Northern Europe,because they

A)supplemented traditional sermons in the churches.
B)allowed poets to make their works more visual and musical.
C)enabled the common people to have other sources of employment.
D)provided lighthearted,frivolous entertainment to all the classes.

Question 6

A major advantage of tapestries as decorations is that they

A)provided employment for peasant women
B)were highly transportable
C)served as a means for hiding gold and silver in the threads.
D)were an inexpensive form of art that members of the lower classes could own.

Question 7

The size of Robert Campin's Mérode Altarpiece suggests that it was designed for

A)a cathedral.
B)a government building.
C)private devotions.
D)a hospital chapel.

Question 8

The abundant symbolic elements in Jan van Eyck's Giovanni Arnolfini and His Wife Giovanna Cenami have significance that is

A)secular.
B)religious
C)unique to this work.
D)universal.

Question 9

Bruges's status as an important trade center owed to its

A)waterway that led from a lock on the North Sea.
B)proximity to a road system.
C)location on the North Sea coastline.
D)system of canals connecting it to other cities.

Question 10

In her Heptameron,Marguerite de Navarre expresses Northern pessimism and doubt about the

A)nobility.
B)economy.
C)Church.
D)educational system.

Question 11

Flemish painters favored oil paint because of its

A)ability be painted in layers that reflected light.
B)fast drying time.
C)obvious brushstrokes.
D)ability to be mixed with egg for opacity.

Question 12

In the Ghent Altarpiece,Jan van Eyck's panels of Adam and Eve hold the distinction of including the

A)first instance in which Eve is shown with a serpent.
B)first instance in which Eve is shown with an apple.
C)largest painted nudes since antiquity.
D)first painted representation of a male nude.

Question 13

Marguerite de Navarre modeled her Heptameron on the work of

A)Boccaccio.
B)Chaucer.
C)Dante.
D)Petrarch.

Question 14

Through their financial support,patrons of altarpieces hoped to gain

A)increased social status.
B)appreciation of the townspeople.
C)personal salvation.
D)appointment to church positions.

Question 15

What question does Hieronymus Bosch's Garden of Earthly Delights seem to ask the viewers to ponder?

A)What if Christ had never been born?
B)What if God had not populated his world with humans?
C)What if Heaven and Hell did not exist?
D)What might the world be like if the Fall had never happened?

Question 16

Marguerite de Navarre's tale of the Spanish widow is characteristically Northern because of its emphasis on

A)religion.
B)misogyny.
C)death.
D)money.

Question 17

A particularly distinctive feature of Robert Campin's Mérode Altarpiece is the

A)use of symbols to emphasize the Christian nature of the scene.
B)setting of the Annunciation in an ordinary,middle-class Flemish home.
C)inclusion of the patrons and their family's coat-of-arms.
D)juxtaposition of scenes from the Annunciation and the Crucifixion.

Question 18

Roger van der Weyden's Descent from the Cross displays tension between

A)sexuality and salvation.
B)wealth and poverty.
C)Christianity and paganism.
D)material well-being and spiritual narrative.

Question 19

The opened scene of Matthias Grünewald's Isenheim Altarpiece offered patients the promise of

A)recovery.
B)salvation.
C)marriage.
D)sinlessness.

Question 20

Morris dancing is believed to have originated in Moorish

A)Spain.
B)England.
C)France.
D)Germany.

Question 21

Discuss the role of the North's wealthy business class in fostering the demand for art,supporting the careers of artists,and perhaps even influencing the content of the works.

Question 22

Matthias Grünewald's Isenheim Altarpiece underscores the Northern European preoccupation with

A)death.
B)disease.
C)witchcraft.
D)salvation by faith alone.

Question 23

In his landscape study The Large Turf,Albrecht Dürer blended his Northern European interest in minute detail with an Italian Renaissance interest in

A)Greco-Roman mythology.
B)using the secular to symbolize the religious.
C)one-point linear perspective.
D)the natural world.

Question 24

Hieronymus Bosch's Garden of Earthly Delights was intended to be a conversation piece,a work designed to invite discussion of its meaning.If you were involved in a debate about this work's meaning,what would your response to it be?

Question 25

In German culture,artist Albrecht Dürer represented the trend of

A)emotionalism.
B)humanism.
C)mysticism.
D)abstraction.

Question 26

Explain the reasons Matthias Grünewald's Isenheim Altarpiece was ideal for its placement in the Abbey of Saint Anthony's hospital,which was dedicated to treating people with skin diseases.

Question 27

Identify and explain the ways in which Albrecht Dürer represents a new trend in Northern art.

Question 28

Explain the tension between the clergy and those without money represented in the Heptameron's tale of the Spanish widow.

Question 29

Explore the irony exhibited during the Northern Renaissance,for example,the slapstick amusement of Morris dancing and madrigals appealing to the pessimistic Northern imagination and the use of the crucifixion in art to refer not to the promise of the glory of an afterlife but to the inevitability of pain and suffering.

Question 30

Heinrich Krämer's Malleus Maleficarum (The Hammer of Witches)set forth the attitude that women were

A)one step below angels.
B)to be pitied because of their low financial status.
C)cunning and deceitful.
D)likely to become victims of black magic due to their feeble minds.

Question 31

The frontal pose,bearded face,and intense gaze of Albrecht Dürer's Self-Portrait recall

A)traditional images of Christ.
B)traditional images of John the Baptist.
C)portraits by Piero della Francesca.
D)portraits on Roman coins.

Question 32

Using as examples at least two Northern Renaissance works discussed in this chapter,explore the sense of pessimism that pervaded the art of the North.

Question 33

Compare the portrayal of the Fountain of Life in Jan and Hubert van Eyck's Ghent Altarpiece with the fountain in the center panel of Hieronymus Bosch's Garden of Earthly Delights.