CHAPTER 23—HIGH RENAISSANCE AND MANNERISM IN NORTHERN
EUROPE AND SPAIN
MULTIPLE CHOICE
1. The destruction of images in German cities that occurred in the 1520s is known as the ____.
a.
Thirty Years War
b.
Great Iconoclasm
c.
Saint Anthony’s Fire
d.
Counter-Reformation
2. Hans Holbein, a master portraitist, combines realism with monumental composition and sculpturesque
form. Which of the following traditions does this describe?
a.
Flemish and Italian
b.
French and Italian
c.
Dutch and Italian
d.
Flemish and French
3. In Hunters in the Snow, the artist has captured the atmosphere of a cold winter’s day. The landscape is
snow-covered and stark with the returning hunters wearily trudging home. It is reminiscent of earlier
renditions of seasons. Which of the following also described the seasons and might have been
influential in the conception of this work?
a.
Ambrogio Lorenzetti’s Peaceful Country
b.
Konrad Witz’s Miraculous Draught of Fish
c.
Masaccio’s Tribute Money
d.
Limbourg Brothers’ Les Très Riches Heures du Duc de Berry
4. The Battle of Issus, which depicts the battle that took place between Alexander the Great and the
Persians, was selected as a subject by Wilhelm IV because it reflected his endeavors to ____.
a.
find a wife
b.
hold onto the Catholic Netherlands
c.
stop Muslim expansion
d.
wage war against Martin Luther
5. Which of the following made up the territory known as the Netherlands in the 16th century?
a.
Switzerland, Holland, and Belgium
b.
Bavaria, Holland, and Belgium
c.
Northern Italy, Holland, and Belgium
d.
Luxembourg, Holland, and Belgium
6. In Allegory of Law and Grace, the artist has depicted the differences between the Roman Catholic
Church and the followers of Martin Luther. The artist who created this woodcut was dubbed with the
title, “painter of the Reformation.” Who is the artist?
a.
Lucas Cranach the Elder
b.
Albrecht Dürer
c.
Matthias Grunewald
d.
Hans Holbein
7. The Protestant concern about the role of religious imagery was in many cases outright hostile. Martin
Luther spoke about destroying images. This destruction of religious imagery also occurred during the
Byzantine period. Which of the following defines this act?
a.
idolatry
b.
iconography
c.
iconoclasm
d.
iconology
8. In Grünewald’s Isenheim Altarpiece, the artist has used specific references, saints and symbols to
depict pain, suffering, and salvation and redemption. Which of the following symbols can be
interpreted to mean the Son of God?
a.
white dove
b.
lamb
c.
sword
d.
arrow
9. Why is Saint Anthony prominently featured in the Isenheim Altarpiece?
a.
his association with diseases and miraculous cures
b.
He was the patron saint of the donor, Antonio Mor
c.
his association with the city of Colmar
d.
his assiciation with the papacy
10. Francis I by Jean Clouet presents a worldly prince in an elaborate costume of silk and brocade and
wearing a gold chain with the medallion of the Order of St. Michael. Which of the following suggests
the purpose of this portrait?
a.
It was an attempt to overshadow Henry VIII
b.
It was used as an enticement to find a wife for Francis
c.
It was an attempt to glorify Francis I
d.
It was an attempt to overshadow Charles V
11. The duke of Bavaria, Wilhelm IV, engaged the invading Turks in a battle for supremacy. Which of the
following works of art would be the most likely commission of Wilhelm IV?
a.
Knight, Death, and the Devil
b.
The French Ambassadors
c.
The Battle of Issus
d.
Burial of Count Orgaz
12. The personal tastes of the court of Francis I ran to the elegant, erotic, and unorthodox. Which of the
following styles would most appeal to this king and his court?
a.
classicism of 16th century Italy
b.
mannerism
c.
expressiveness of Grunewald
d.
intellectualism of Leonardo
13. The miniature portrait of Elizabeth I, shows an elegant, formally attired young Elizabeth presented as a
princess. Who is the artist who created this memorable portrait?
a.
Hans Holbein
b.
Caterina van Hemessen
c.
Levina Teerlinc
d.
Albrecht Dürer
14. In Pieter Aertsen’s Meat Still-Life, the artist has created what appears to be a descriptive genre scene, a
butcher’s shop displaying its products, as well as fish and pretzels. This work also has embedded
within it which of the following?
a.
political references
b.
social references
c.
religious references
d.
cultural references
15. In the Money Changer and His Wife by Quentin Massys, the artist has given us an image of a
professional man transacting business. Massys has provided insight into which of the following?
a.
the secular life of the Netherlands
b.
the secular life of France
c.
the secular life of Germany
d.
the secular life of England
16. The first known northern European self-portrait by a woman is purportedly by which of the following?
a.
Levina Teerlinc
b.
Judith Leyster
c.
Caterina van Hemessen
d.
Lavinia Fontana
17. In Bruegel’s Netherlandish Proverbs, the artist has depicted the Netherlandish obsession with
proverbs. The scene is busy with a topsy-turvy multiplicity of figures and activities. It is reminiscent of
which of the following artists?
a.
Bosch
b.
Mantegna
c.
Giovanni Bellini
d.
Jan van Eyck
18. In El Greco’s Burial of Count Orgaz, the artist has successfully merged his early and late styles. He
combined elongated figures and rich color in this one work. Which of the following describes his early
and late styles?
a.
Middle Byzantine and Flemish 15th Century
b.
Italian 16th Century and Venetian 16th Century
c.
Late Byzantine and Venetian 16th Century
d.
Flemish 15th Century and Venetian 16th Century
19. Who created Knight, Death, and the Devil?
a.
Dürer
b.
Cranach the Elder
c.
Jean Goujon
d.
Mabuse
20. The Escorial is in which country?
a.
Germany
b.
France
c.
England
d.
Spain
21. Which artist that did a series of six paintings showing seasonal changes?
a.
Bosch
b.
Grünewald
c.
Pieter Bruegel
d.
Jan Gossaert
22. Who said “Depart not from nature according to your fancy, imagining to find aught better by
yourself?”
a.
Holbein
b.
Cranach the Elder
c.
Mabuse
d.
Dürer
23. In his diary Albrecht Dürer described Joachim Patinir as a good ____.
a.
printmaker
b.
landscape artist
c.
imitator of Michelangelo
d.
Mannerist artist
24. In his print of the Fall of Man, Dürer demonstrated his knowledge of classical art in the representation
of the ____.
a.
figures of Adam and Eve
b.
wooded landscape setting
c.
highly detailed animals
d.
distant view of a goat teetering on the edge of a cliff
25. Which of the following is one of the most important cities of the sixteenth-century Low Countries?
a.
Paris
b.
Munich
c.
Antwerp
d.
Rotterdam
26. Which of the following artists specialized in portraiture?
a.
Grünewald
b.
Hans Holbein
c.
Altdorfer
d.
Pieter Bruegel
27. Spain in the sixteenth century supported which of the following?
a.
the Anabaptists
b.
Martin Luther
c.
the Counter-Reformation
d.
John Calvin
28. Which of the following was not included in Grünewald’s Isenheim Altarpiece?
a.
God the Father
b.
Lamentation
c.
Entombment
d.
Crucifixion
29. What anamorphic symbol appears in Holbein’s French Ambassadors?
a.
skeleton
b.
seal of Francis I
c.
skull
d.
seal of Henry VIII
30. In the 16th century power was focused on the king. This monarch made a concerted effort to elevate his
country’s cultural profile by inviting esteemed Italian artists to his court. Who was this monarch?
a.
Henry VIII
b.
Francis I
c.
Charles V
d.
Elizabeth I
31. Quinten Massys was willing to explore the various styles of the fifteenth and sixteenth centuries. This
exploration can be seen in which of the following works?
a.
Money-Changer and His Wife
b.
Isenheim Altarpiece
c.
Four Apostles
d.
Netherlandish Proverbs
32. Which of the following characterizes Grünewald’s Isenheim Altarpiece?
a.
It is portraits of its patrons
b.
It is an exclusive concern in adhering to the teachings of Martin Luther
c.
It has a flat gold background
d.
It is an exacting rendering of anguish
33. Which of the following artists traveled to Italy yet chose not to incorporate classical elements into his
work?
a.
Pieter Bruegel
b.
Hans Holbein
c.
Dürer
d.
Jan Gossaert
SLIDE IDENTIFICATION
Select the response that identifies or corresponds best to the image on the screen.
34. (Figure 23-17)
a.
Pieter Bruegel
b.
Caterina van Hemessen
c.
Pieter Aertsen
d.
Mabuse
35. (Figure 23-12)
a.
Holbein
b.
Dürer
c.
Jean Clouet
d.
Mabuse
36. (Figure 23-20)
a.
Altdorfer
b.
Massys
c.
Bruegel
d.
Patinir
37. (Figure 23-7)
a.
Four Apostles
b.
Four Rulers
c.
Church Fathers
d.
Four Saints
38. (Figure 23-4A)
a.
oil on canvas
b.
watercolor
c.
oil on panel
d.
fresco
39. (Figure 23-15)
a.
Spain
b.
France
c.
Netherlands
d.
Germany
40. (Figure 23-2)
a.
Dürer
b.
Grünewald
c.
Holbein
d.
Altdorfer
41. (Figure 23-16)
a.
Holbein
b.
Jean Clouet
c.
Bruegel
d.
Massys
42. (Figure 23-19)
a.
Cranach the Elder
b.
Levina Teerlinc
c.
Jan Gossaert
d.
Holbein
43. (Figure 23-24)
a.
German
b.
Netherlandish
c.
French
d.
Spanish
44. (Figure 23-5)
a.
pen and ink
b.
etching
c.
engraving
d.
woodcut
45. (Figure 23-10)
a.
Holbein
b.
Dürer
c.
Altdorfer
d.
Bruegel
46. (Figure 23-13)
a.
Château Chambord
b.
Louvre
c.
Escorial
d.
Fontainebleau
47. (Figure 23-14)
a.
France
b.
Netherlands
c.
Germany
d.
Spain
48. (Figure 23-2)
a.
Crelingen Altarpiece
b.
Isenheim Altarpiece
c.
Portinari Altarpiece
d.
Ghent Altarpiece
49. (Figure 23-26)
a.
Dürer
b.
El Greco
c.
Holbein
d.
Altdorfer
50. (Figure 23-12)
a.
Paris
b.
Rome
c.
Antwerp
d.
Berlin
51. (Figure 23-5A)
a.
charcoal
b.
woodcut
c.
engraving
d.
drawing
52. (Figure 23-22A)
a.
Holbein the Younger
b.
Grünewald
c.
Holbein
d.
Bruegel the Elder
53. (Figure 23-9)
a.
Dürer
b.
Cranach the Elder
c.
Bruegel the Elder
d.
Altdorfer
SHORT ANSWER
1. How does the Isenheim Altarpiece represent suffering and salvation?
2. Why is Dürer compared to Leonardo? How is he different?
3. What did the dissolution of the Burgundian Netherlands in 1477 lead to across Europe?
4. How did the Reformation change the map of Europe?
5. What is allegory and how is it used in art?
6. According to the Protestants, Scripture and Scripture alone could gain the Christian entry into Heaven.
What was the consequence of this notion?
7. Who was Desiderius Erasmus?
8. How did Protestant views of religious art differ from Catholics and what effect did their views have on
the appearance of their churches?
9. How does Dürer’s The Fall of Man (Adam and Eve) represent Classical and Northern traditions?
10. What stylistic influences are apparent in the work of El Greco?
11. Describe Hans Holbein’s style of portraiture.
12. What made the portraits of Jean Clouet significant?
13. How does El Greco’s View of Toledo depart from traditional landscape paintings?
ESSAY
1. How did the implications of Martin Luther affect the work of Matthias Grünewald and Dürer? How
did the work of each artist differ? How did each artist respond to Martin Luther? Use examples to
support your essay.
2. Describe the portraiture styles of Hans Holbein and Jean Clouet. How did they differ, if at all? What
were the motivations of the patrons? Use examples to support your essay.
3. How did patronage affect sixteenth-century French architecture? What were the motivations of the
patrons? How did the architecture reflect the court and period? Use examples to support your essay.
4. How does allegory impact the work of Pieter Aertsen and Pieter Bruegel? How did their use of
allegory reflect the period? Use examples to support your essay.
5. Explain the impact Italy had on the work of Dürer. Include in your essay the assimilations as well as
the changes, if any, Dürer made. Use examples to support your essay.
6. Contrast the works of Dürer with Pieter Bruegel. How are they similar and in what ways are they
different? How did the political climate affect their work? Use examples to support your essay.
7. How did the Reformation affect the artists of sixteenth-century Northern Europe and Spain? How did
they respond to the Reformation? Use examples to support your essay.
OTHER
SLIDE QUESTIONS
1. How does Dürer explore the nature of artistic creativity itself in this work, one of his most famous
engravings?
2. What is the Roman source and story that surrounds this painting?
3. How does the subject of this work reflect contemporary historical events?
4. How does this work represent the Protestant viewpoint?
5. How did this portrait contribute to the reputation of Flemish painters?
6. Compare these two works and identify the artists. How do these two works differ?
7. How does this structure reflect the monarch who commissioned its construction?
8. Who painted this and what is being represented?
9. How did Dürer represent himself in his Self-Portrait and what does this work say about the artist’s
craft?
10. How does this work portray the early and late styles of the artist in the same work?
11. How does this work reflect the growing popularity of landscape?
12. How does this work reflect the architecture of Bramante?