Chapter 20
15th Century Art In Northern Europe
A. Fill in the Blank
genre
glazes
edition
fidelity
Cologne
Bruges
retables
purity
intaglio
Hugo van der Goes
the Madonna
the Hundred Years War
the Limbourg brothers
Tilman Riemenschneider
Hieronymus Bosch
Chancellor Nicholas Rolin
Old Testament/New Testament
crossbow
vanishing point
Jan van Eyck
mousetrap
Claus Sluter
matrimony
acid bath
St. Margaret
cardinal virtues
Protestant iconoclasts
adoring shepherds
the archangel Michael
Passion of Christ
Eucharistic wafer
Saint Luke
horrors of Hell
Lake Geneva
Hapsburg, Burgundian, and Spanish
1.
While using oil paint, Flemish painters built up their pictures by superimposing translucent paint
layers, called ______________________, on a layer of underpainting, which in turn had been built up
from a carefully planned drawing made on a white-grounded panel.
2.
The Portinari Altarpiece was painted by ____________________________ for Tommaso Portinari, an
Italian shipowner and Medici agent.
3.
In the Merode Altarpiece, the book, extinguished candle, lilies, copper basin, towels, fire screen, and
bench symbolize, in different ways, the Virgin’s ____________________ and her divine mission.
4.
Philip the Bold placed sculptor ______________________, who created the Well of Moses for the
cloister of the Chartreuse de Champmol, in charge of his workshop.
5.
Rogier van der Weyden’s Last Judgment altarpiece was commissioned by ______________________
for his Hotel-Dieu (a hospital) in the city of Beaune.
6.
In Dirk Bouts’ Last Supper, all of the depicted room’s orthogonals lead to a single
__________________________ in the center of the mantelpiece above Christ’s head to create the
illusion of depth by means of linear perspective.
7.
Viet Stoss is one of many German and Spanish artists who specialized in carving large wooden
altarpieces called _________________________.
8.
In contrast to the production of relief prints, the ____________________ method involves a positive
process where the artist incises or scratches an image on a metal plate, often copper.
9.
In Jan van Eyck’s Giovanni Arnolfini and His Bride the bedpost’s finial is a tiny statue of
______________________, the patron saint of childbirth.
10. Despite its title, the far right panel of Bosch’s Garden of Earthly Delights bombards viewers with the
_______________________________.
11. In the process of creating an etching, a/an __________________ eats into the exposed parts of a metal
plate where the artist has drawn through an acid-resistant coating.
12. Rogier van der Weyden acknowledged the patrons of his large Deposition by incorporating the
___________________, which was the guild’s symbol, in to the decorative spandrels in the corners.
13. On the lower wings of the Ghent Altarpiece, the groups approaching the altar of the Lamb of God
symbolize the four __________________________.
14. In Melchior Broederlam’s Retable de Champmol, the rotunda refers to the ______________________
while the Gothic porch relates to the _____________________________.
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Douglas Darracott, Plano Senior High
Chapter 20
15th Century Art In Northern Europe
15. The Tres Riches Heures was a Book of Hours painted by ____________________________ for Jean,
the Duke of Berry.
16. In Rogier van der Weyden’s Last Judgment, a radiant Christ appears in the center panel, above
______________________, who holds the scales to weigh souls.
17. Domenico Ghirlandaio paid tribute to the northern master of the Portinari Altarpiece by using his most
striking motif, the ____________________________, in one of his own nativity paintings.
18. Most scholars believe individuals concerned with conserving the Ghent Altarpiece removed its
elaborately carved frame and dismantled the altarpiece in 1566 to protect it from
________________________________________.
19. Due to his meticulous use of detail in the Miraculous Draught of Fish, scholars have been able to
determine that the Swiss painter Konrad Witz used an exact location, the shores of
____________________________, as the setting for his depiction of a biblical event.
20. Eventually through a series of fortuitous marriages, untimely deaths, and political shifts, Charles I
(who later became known as the Holy Roman emperor Charles V), the grandson of Ferdinand and
Isabella of Spain, united the three major dynastic lines - _____________________________________
__________________________.
21. __________________ scenes, or scenes of everyday life, were incorporated in to the conventional
range of subject matter in Les Tres Tiches Heures created for the Duke of Berry.
22. The small medallions set into the convex mirror of Jan van Eyck’s Giovanni Arnolfini and His Bride
show tiny scenes from the __________________________.
23. In the right panel of the Merode Altarpiece, Joseph has made a ________________________,
symbolic of the theological tradition that Christ is bait set in the trap of the world to catch the Devil.
24. The Ghent Altarpiece was painted by _____________________________.
25. The subject of A Goldsmith in His Shop, Possilby Saint Eligius by Petrus Christus involves and couple
and the holy sacrament of _______________________________.
26. The little dog in Jan van Eyck’s Giovanni Arnolfini and His Bride represents ___________________.
27. The artistic community in Flanders held Hans Memling, who specialized in images of
__________________________, in high esteem.
28. Scholars have documented the artistic activity of Stephan Lochner in _______________________ by
1440, and by 1447 he had accred sufficient respect to be named city councilor, representing the
painters’ guild.
29. The set of prints an artist creates from a single print surface is often referred to as a/an
___________________.
30. The Creglingen Altarpiece was created by the German artist _________________________________.
31. In the early part of the fifteenth century, England, France, and the Burgundian Netherlands were all
involved in a long, drawn-out conflict known as ___________________________________.
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Douglas Darracott, Plano Senior High
Chapter 20
15th Century Art In Northern Europe
32. Although the Duke of Burgundy’s official capital and court were at Dijon in Burgundy in the early part
of the fifteenth century, the source of Burgundian wealth and power was at ____________________,
the city that made Burgundy a dangerous rival of royal France.
33. In Dirk Bouts’s Last Supper, the artist did not focus on the biblical narrative itself but instead
presented Christ in the role of a priest performing a ritual form the liturgy of the Christian Church – the
consecration of the _____________________________.
34. The so-called triptych The Garden of Earthly Delights was painted by
_______________________________.
35. Flemish painters sought admission to the Guild of ___________________________, which included
the saddlers, glassworkers, and mirrorworkers as well.
B. Multiple Choice
1.
A “retable” is a/an
a) set of prints
b) altarpiece
c) illuminated manuscript
d) tool used for painting
2.
Which of the following artists did NOT live
and work during the fifteenth century?
a) Martin Schongauer
b) Jan van Eyck
c) Pieter Bruegel the Elder
d) Rogier van der Weyden
3.
Jan van Eyck’s Man in a Red Turban is
believed by most scholars to be a portrait of
a) a pope
b) the duke of Burgundy
c) the artist himself
d) the king of France
4.
5.
The figures in the Well of Moses by Claus
Sluter can BEST be described as
a) naturalistic
b) heavily stylized
c) floating and elongated
d) completely freestanding
Martin Schongauer’s Madonna and Child in
a Rose Arbor from Colmar appears to have
most LIKELY been influenced by the work
of
a) El Greco
b) Rogier van der Weyden
c) Duccio
d) Piero della Francesca
6.
Which of the following scenes is NOT
depicted in the Portinari Altarpiece?
a) the Annunciation to the Shepherds
b) the Flight into Egypt
c) the Arrival of the Magi
d) the Entry into Jerusalem
7.
Which of the following works of art was
created by the Limbourg Brothers?
a) the Merode Altarpiece
b) the Ghent Altarpiece
c) the Tres Riches Heures for the Duke of
Berry
d) the Portinari Altarpiece
8.
Jan van Eyck’s Giovanni Arnolfini and his
Bride is painted with
a) tempera paint on canvas
b) oil paint on wood panel
c) encaustic
d) the fresco technique
9.
Which of the following is NOT a
characteristic of the Ghent Altarpiece?
a) attention to minute detail and
appearances
b) disguised symbolism
c) grisaille paintings
d) a tiny size that makes it easily portable
10. Who commissioned the building of the
Chartreuse de Champmol near Dijon?
a) Philip the Bold
b) Charles VI
c) Jean, Duke of Berry
d) Henry V
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Douglas Darracott, Plano Senior High
Chapter 20
15th Century Art In Northern Europe
11. Which of the following works was created
BEFORE the others during the fifteenth
century?
a) the Garden of Earthly Delights
b) the Ghent Altarpiece
c) the Tres Riches Heures for the Duke of
Berry
d) the Portinari Altarpiece
18. What images are seen on the side panels of
the Portinari Altarpiece?
a) scenes of the Nativity and the
Resurrection
b) portraits of the donors and their patron
saints
c) Old Testament scenes
d) images of heaven and hell
12. Which of the following works was created at
approximately the same time that Bosch
created his Garden of Earthly Delights?
a) Masaccio’s Tribute Money
b) Duccio’s Maesta Altarpiece
c) Michelangelo’s ceiling of the Sistine
Chapel
d) Jan van Eyck’s Ghent Altarpiece
19. The Limbourg Brothers are known for their
a) engravings
b) woodcuts
c) panel paintings
d) illuminated manuscripts
13. Which of the following is NOT a feature or
characteristic of Jan van Eyck’s Giovanni
Arnolfini and His Bride?
a) symbolic references to presence of God
b) the signature of the artist
c) an interest in light and reflecting
surfaces
d) a marriage scene in a church setting
20. An important characteristic of much of
fifteenth-century Flemish art was the use of
a) painterly brush strokes
b) disguised symbolism
c) linear perspective
d) contrapposto
14. The Portinari Altarpiece was noted by the
Italians for its
a) use of linear perspective
b) classical allegorical figures
c) painstaking realism
d) simplified figure style
15. Chartreuse de Champmol near Dijon was a
Carthusian monastery. The Carthusian order
consisted of monks who devoted their lives
to solitary living and prayer and was
founded by
a) Saint Benedict
b) Saint Bruno
c) Saint Anthony Abbot
d) Saint Eligius
16. Philip the Bold (1342-1404) ruled over
a) France
b) England
c) the Burgundian Netherlands
d) the Holy Roman Empire
17. The artist Hans Memling worked primarily
in
a) Germany
b) France
c) Flanders
d) England
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Douglas Darracott, Plano Senior High