CHAPTER TWENTY-TWO
SIXTEENTH-CENTURY ART
IN NORTHERN EUROPE AND
THE IBERIAN PENINSULA
22
Multiple Choice
1. Dürer’s work in which media led to his fame and fortune?
A. goldsmithing
B. graphic arts
C. architecture
D. sculpture
2. What did Dürer openly express in Four Apostles (Fig. 22-9)?
A. Methodism
B. Anglicanism
C. Catholicism
D. Lutheranism
3. 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
4. Which Flemish artist found favor at the French court as a portrait painter?
A. Clouet
B. Altdorfer
C. Grünewald
D. Durër
5. King Manuel I of Portugal commissioned Diogo de Arruda to create a church and sculpture in
A. Moura.
B. Madrid.
C. Lisbon.
D. Tomar.
6. Who built the Escorial (Fig. 22-17), the great monastery-palace complex outside Madrid?
A. Francis
B. Philip
C. Charles
D. Manuel
7. 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.
8. 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.
9. 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
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
11. 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
12. 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
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.
14. 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
15. 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.
16. 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.
17. Foreign influence appears most prominently in what art form of sixteenth-century England?
A. visual art
B. literature
C. music
D. architecture
18. 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.
19. 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
20. 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.
21. 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
22. 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
23. 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.
24. 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
25. 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
Short Answer
1. How did Dürer use printmaking to extend his reputation?
2. How is Grünewald’s Isenheim Altarpiece (Figs. 22-4, 22-5, and 22-6) arranged and why?
3. What was the Krugs’ contribution to metalwork?
4. How did Francis I make Fontainebleau into an artistic center?
5. In what ways is El Greco’s painting style so eccentric?
6. How were women, such as Caterina van Hemessen, involved in Netherlandish art of the
sixteenth century?
7. How did Bruegel’s travels impact his art?
8. How did artists portray Queen Elizabeth I, and why?
9. What was the role of miniatures in sixteenth-century English art?
10. What are the main features of Elizabethan houses?
Essay
1. What was the impact of the Reformation on art in Northern Europe?
2. 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).
Learning Objective: 22.e Interpret a work of sixteenth-century Northern European and Iberian
Peninsular art using the art historical methods of observation, comparison, and inductive
reasoning.
Topic: Germany, Painting; Antwerp
Difficulty Level: Difficult
Skill Level: Apply What You Know and Analyze It
3. How was Northern Renaissance art an amalgam of early Northern and Italian sources and
influences?
4. 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.
5. Discuss the iconography, technique, and context of Albrecht Dürer’s The Four Horsemen of
the Apocalypse (Fig. 22-7).