Chapter 14 (Artistic Innovations in Fifteenth-Century Northern Europe)
1. The International Gothic style is characterized by ________.
a. a return to the Classical style
b. an interest in luxury products enlivened with naturalistic details
c. an interest in Roman portraiture
d. the revival of woodcuts
2. Which of the following statements about Jan van Eyck’s The Arnolfini Portrait (14.14),
is true?
a. The identification of the couple is certain.
b. The portrait was painted to commemorate a wedding.
c. The portrait was painted to memorialize the woman portrayed in the painting.
d. The occasion commemorated in this work is open to a variety of interpretations.
3. Melchior Broederlam’s Infancy of Christ (14.2) panels feature a characteristic of the
International Gothic style: ______________.
a. lack of architecture
b. use of red
c. the realistic depiction of small details
d. idealized depictions of city life
4. Bruges Town Hall (14.7) is intended to look like ______________.
a. an ecclesiastical structure
b. a martyrium
c. a Roman villa
d. a town hall
5. Identify the significance of the mousetrap in Robert Campin’s Mérode Triptych (14.8).
a. It signifies the humble origins of Joseph and Mary.
b. It refers to Joseph’s craft as a carpenter.
c. It refers to a popular Flemish symbol popularized by Campin.
d. It refers to God’s plan for salvation.
6. Rogier van der Weyden’s Descent from the Cross (14.15) is characterized by
_______________.
a. emotionless figures
b. lack of movement
c. lack of color
d. emotional figures in a dramatic scene
7. The artist Hugo van der Goes was ____________.
a. Flemish
b. German
c. Italian
d. French
8. Which of the following interpretations for the presence of Jan van Eyck’s signature in
The “Arnolfini Portrait” (14.14) is suggested in your text?
a. The presence of the signature suggests that this was not a commissioned work.
b. The presence of the signature suggests that the marriage was arranged.
c. The presence of the signature suggests that this is a forgery.
d. The presence of the signature suggests that van Eyck was a witness.
9. Which of the following elements contribute to the “unsettling effect” of Hugo van der
Goes’ The Portinari Altarpiece (14.2)?
a. the use of deeply saturated colors
b. the reference to Flanders in the landscape
c. the way that the figures vary in scale
d. the use of atmospheric perspective
10. One interpretation of Hieronymus Bosch’s The Garden of Earthly Delights (14.23) is that
it references _______.
a. baptism
b. marriage
c. alchemy
d. patronage
11. In rendering his patron very realistically in Étienne Chevalier and St. Stephen (14.24),
Jean Fouquet is following in the tradition of ____________painters.
a. Italian
b. German
c. French
d. Flemish
12. Compared to Jean Fouquet’s Madonna and Child (14.25), Bartolomé Bermejo’s Pietà
(14.26) is more ______________.
a. traditional
b. emotional
c. realistic
d. colorful
13. The church of St. Wolfgang (14.28) is located __________.
a. Austria
b. Spain
c. Italy
d. France
14. While Johann Gutenberg is credited with inventing movable type, the roots of printing
come from ___________ traditions.
a. Roman
b. Greek
c. Egyptian
d. Near Eastern
15. A central theme in Sebastian Brant’s satire Ship of Fools (14.32) is ____________.
a. the folly of love
b. a call for revolution
c. dissatisfaction with the Church
d. dissatisfaction with the monarchy