CHAPTER 25—THE BAROQUE IN NORTHERN EUROPE
MULTIPLE CHOICE
1. The creation of which of the following allowed merchant firms to hold money on account instead of
carrying precious metals as a form of payment for trade goods?
a.
transfer merchandizing
b.
International Company of Bankers
c.
Bank of Amsterdam
d.
Bank of Genoa
2. In Rembrandt’s Anatomy Lesson of Dr. Tulp, he has clustered the participants on the left side and has
placed Dr. Tulp on the right side with the diagonally placed foreshortened corpse disrupting the strict
horizontal, planar orientation. This is in sharp contrast to which of the following traditions of group
portraiture?
a.
The subjects were placed evenly across the canvas
b.
Group portraits of professional organizations were never portrayed
c.
Only five subjects were allowed per group portrait portrayals
d.
Only guilds were allowed as subjects for group portraits
3. In contrast to Catholic religious images Rembrandt’s Return of the Prodigal Son can be said to be
which of the following?
a.
It is a painting of inward turning contemplation.
b.
It illustrated lofty theological ideals.
c.
It celebrated the celestial triumph of the Roman Catholic church.
d.
It consisted of figures in dramatic poses with emphatic gestures
4. In Judith Leyster’s Self-Portrait she portrays herself as a confident, accomplished painter, seated in
front of her easel working yet taking time to stop work and meet the viewer’s eye. Unlike Rembrandt
she does not portray herself in a painter’s smock. Which of the following would account for this?
a.
She wanted to demonstrate her ability to paint the textures of cloth.
b.
She wanted to show off her costume.
c.
She wanted to indicate her social prominence.
d.
Her vanity would not allow herself to be seen in the dull and dirty smock.
5. Rubens has synthesized the styles of three Italian artists in his Elevation of the Cross. Which of the
following are those three artists?
a.
Michelangelo, Tintoretto, and Caravaggio
b.
Leonardo, Titian, and Carracci
c.
Masaccio, Fra Angelico, and Mantegna
d.
Castagno, Piero della Francesca, and Uccello
6. In Jan Steen’s The Feast of St. Nicolas the artist has captured the joy and chaos of Christmas holidays.
He has also added a subtle satirical jab at adult society by using children and their behaviors to mirror
adult behaviors. Which of the following behaviors did Steen allude to in this painting?
a.
calm
b.
generosity
c.
selfishness
d.
greed
7. Poussin was fascinated by ancient Rome and Italian Renaissance cultures. In his Et in Arcadia Ego
that fascination has been translated into a visual text illustrating rational order and classicism. It is
reminiscent of which of the following artists?
a.
Titian
b.
Tintoretto
c.
Michelangelo
d.
Raphael
8. In London at the age of twenty-five, Christopher Wren was appointed to which of the following
positions?
a.
official court painter
b.
professor of astronomy
c.
secretary of public woks
d.
parliamentarian
9. Reflected in Poussin’s Et in Arcadia Ego, the dominant style in France during the Baroque period was
____.
a.
tenebrism
b.
orientalism
c.
mannerism
d.
classicism
10. How did Georges de la Tour eliminate dogmatic significance and traditional iconographic meaning in
his Adoration of the Shepherds?
a.
the figures are garbed as simple peasants
b.
the absence of halos
c.
the positioning of the infant
d.
The figures are not elegantly portrayed
11. Which of the following artists was most closely associated with the style known as classical Baroque?
a.
Rubens
b.
Caravaggio
c.
Bernini
d.
Poussin
12. Vermeer was known to have used which of the following tools?
a.
stencils
b.
camera obscura
c.
clip targets
d.
photo lens
13. Inigo Jones created a clear and dignified design for the Banqueting House at Whitehall. He
superimposed two orders by using columns in the center and pilasters near the ends. The balustrade
roofline has an uninterrupted horizontal sweep that predates which of the following structures?
a.
Garden Façade, Versailles
b.
St. Paul’s, London
c.
East façade, Louvre
d.
San Carlo alle Quattro Fontane, Rome
14. Hardouin-Mansart’s Church of the Invalides in Paris is reminiscent of which of the following styles?
a.
Versailles
b.
English Baroque
c.
Banqueting Hall, London
d.
Italian Baroque
15. Jacob van Ruisdael specialized in which of the following genres?
a.
landscapes
b.
church interiors
c.
still life
d.
portraits
16. Wren synthesized the design elements from the Italians, French, and Inigo Jones into a unified
monumentality for which of the following churches?
a.
St. Paul’s, London
b.
St. Martin-in-the-Fields, London
c.
All Hallows, London
d.
St. Dunstan’s, London
SLIDE IDENTIFICATION
Select the response that identifies or corresponds best to the image on the screen.
17. (Figure 25-5)
a.
Flemish
b.
Dutch
c.
French
d.
Italian
18. (Figure 25-10)
a.
Hals
b.
Vermeer
c.
Leyster
d.
Rembrandt
19. (Figure 25-16)
a.
Rachel Ruysch
b.
Rembrandt
c.
Judith Leyster
d.
Franz Hals
20. (Figure 25-36)
a.
Georges de La Tour
b.
Poussin
c.
Claude Lorrain
d.
Le Nain
21. (Figure 25-20)
a.
Rembrandt
b.
Vermeer
c.
Kalf
d.
Steen
22. (Figure 25-30)
a.
Church of the Sorbonne
b.
St. Paul
c.
Sta. Susanna
d.
Church of the Invalides
23. (Figure 25-25)
a.
Le Vau and Mansart
b.
Perrault
c.
Guarini
d.
Wren
24. (Figure 25-6)
a.
Artemisia Gentileschi
b.
Clara Peeters
c.
Judith Leyster
d.
Rachel Ruysch
25. (Figure 25-9)
a.
Rubens
b.
Van Dyck
c.
van Honthorst
d.
Hals
26. (Figure 25-23)
a.
Artemisia Gentileschi
b.
Clara Peeters
c.
Judith Leyster
d.
Rachel Ruysch
27. (Figure 25-15)
a.
Hals
b.
Fra Andrea Pozzo
c.
Rembrandt
d.
Caravaggio
28. (Figure 25-17)
a.
Jacob van Ruisdael
b.
Jacque Callot
c.
Louis Le Nain
d.
Aelbert Cuyp
29. (Figure 25-32A)
a.
Georges de La Tour
b.
Poussin
c.
Claude Lorrain
d.
Le Nain
30. (Figure 25-1A)
a.
Allegory of Sight
b.
Landscape with Saint John
c.
Garden of Love
d.
View of Delft
31. (Figure 25-15A)
a.
Hals
b.
Fra Andrea Pozzo
c.
Rembrandt
d.
Caravaggio
32. (Figure 25-1)
a.
vanitas
b.
still life
c.
portrait
d.
relief
33. (Figure 25-18A)
a.
metaphor
b.
portrait
c.
still life
d.
allegory
SHORT ANSWER
1. How did Louis Le Nain differ from his Dutch counterparts in representing the peasants?
2. How did Jacques Callot impact 17th century France?
3. What was the impact of Versailles on architecture?
4. How does the phrase “controlling nature” reflect the gardens of Versailles?
5. What was the significance of the series Marie de’Medici commissioned from Rubens?
6. How did Vermeer celebrate his profession?
7. How did the worldwide mercantile system change the face of Europe?
8. Briefly describe the Dutch school of painting.
9. What role did the city of Amsterdam play in the 17th century?
10. How did the French monarchy respond to the Baroque Age?
11. How is Dutch Baroque uniquely different from Italian Baroque art?
12. How did Louis XIV use art as a tool of the monarchy?
ESSAY
1. Contrast the Elevation of the Cross by Rubens with Rembrandt’s Return of the Prodigal Son. How
does each work reflect the artist and his temperament? How does each work mirror the sociopolitical
environment of each artist?
2. Contrast the work of Poussin and Claude Lorrain. How does each artist reflect 17th century France?
Use examples to support your essay.
3. Describe the development of portraiture in Dutch 17th century society. How does this genre reflect the
society and the country? Use examples to support your essay.
4. Evaluate the effect of religious and economic conditions on the art of Holland and Flanders. How did
each country respond to the conditions and how did those conditions affect the art? Use examples to
support your essay.
5. What does the term classical Baroque mean? And to what extent can it be appropriately applied to the
art of 17th century France? Cite specific examples from painting, architecture, and sculpture to support
your essay.
6. Contrast the architecture of France with the architecture of England. How did each style reflect its
respective country and what were the similarities and differences? How did each style accommodate
the political inclination of the respective monarchies? Use examples to support your essay.
OTHER
SLIDE QUESTIONS
1. How does perspective control what we see in this painting? Why?
2. How id Ruisdael’s presentation of landscape differ from other landscape artists?
3. In what guise did Rembrandt portray himself and what statement does it make about his craft?
4. How does this interior reflect French society?
5. How does this structure represent French 17th century architecture?
6. Both of these paintings represent peasants. The artists are from the same country and same century.
How do you account for the differences you see in the depictions?