AP Art History - Northern Renaissance Multiple Choice Test

(Unit 3 Chapter 14 - Northern Renaissance (c. 1400 - 1600 CE)) Introduction to the Northern Renaissance

• Historical Background: Various Artistic Developments

  • Modern European art emerges from global interactions with other cultures. Western Europe & the American colonies are at the center of Renaissance studies. Europeans began to collect & organize knowledge from their various expansions around the globe.

  • There’s an interest in returning to _________ ______ in the 15th century

    • Greater emphasis on ______ _________ & ________ ________

    • Exploration of ________, ___________, & _____

      • Artistic training is enhanced by the birth of academies and art becomes a way to glorify patrons

1. classical ideals (Ancient Greece & Rome)

2. formal education

3. artistic training

4. painting

5. composition

6. color

(Unit 3 Chapter 14 - Northern Renaissance (c. 1400 - 1600 CE)) Introduction to the Northern Renaissance

• Religion: Reformation and Counter-Reformation caused a rift in Christian art of Western Europe

  • ________ Europe = emphasis on ____________ subjects (portraits, genre paintings, still lives)

1. Northern

2. non-religious

(Unit 3 Chapter 14 - Northern Renaissance (c. 1400 - 1600 CE)) Introduction to the Northern Renaissance

• Religion: Reformation and Counter-Reformation caused a rift in Christian art of Western Europe

  • ________ Europe = emphasis on _________ subjects with more action & dynamism

1. Southern

2. religious

(Unit 3 Chapter 14 - Northern Renaissance (c. 1400 - 1600 CE)) Introduction to the Northern Renaissance

• Religion: Reformation and Counter-Reformation caused a rift in Christian art of Western Europe

  • __________ ___________ → one of the greatest upheavals in religious/political European history

1. Protestant Reformation

(Unit 3 Chapter 14 - Northern Renaissance (c. 1400 - 1600 CE)) Introduction to the Northern Renaissance

• Religion: Reformation and Counter-Reformation caused a rift in Christian art of Western Europe

  • ______ ______ → German monk/Catholic scholar/founder of Lutherans (Protestant)

    • Found issues within the Catholic church and wrote his __ ______ detailing its abuses (specifically, indulgences…. Indulgences → Money paid by Catholics for the repentance of sins)

1. Martin Luther

2. 95 Theses

(Unit 3 Chapter 14 - Northern Renaissance (c. 1400 - 1600 CE)) Introduction to the Northern Renaissance

• Religion: Reformation and Counter-Reformation caused a rift in Christian art of Western Europe

  • Reformation → Martin Luther called for reform in the Catholic church— instead, he caused a schism where Martin Luther began a new branch of Christianity called the Lutherans

    • What are the Catholic Countries and Protestant Countries?

• Catholic Countries: Spain, Italy, Portugal, Poland

• Protestant Countries: Germany, Scandinavia, and the Netherlands

(Unit 3 Chapter 14 - Northern Renaissance (c. 1400 - 1600 CE)) Introduction to the Northern Renaissance

• Developments in Art Forms: Oil Paint

  • Produces ____ ___ _______ colors & imitate _______ hues & tones

    • Takes a while to dry, so artists can change & update their work

    • Becomes the medium of choice

1. rich and vibrant

2. natural

(Unit 3 Chapter 14 - Northern Renaissance (c. 1400 - 1600 CE)) Introduction to the Northern Renaissance

• Developments in Art Forms: Woodcut VS Engraving VS Etching

  • ___________ → Development of ____________ _________ _ ___________ _____

    • ________ _____: developed by ______ _________

1. Printmaking

2. mechanically producing & reproducing books

3. Printing Press

4. Johann Gutenberg

(Unit 3 Chapter 14 - Northern Renaissance (c. 1400 - 1600 CE)) Introduction to the Northern Renaissance

• Developments in Art Forms: Woodcut VS Engraving VS Etching

  • Describe the features of Woodcut (carved, inked, pressed).

• Sharp Lines

• Stiff Figures

(Unit 3 Chapter 14 - Northern Renaissance (c. 1400 - 1600 CE)) Introduction to the Northern Renaissance

• Developments in Art Forms: Woodcut VS Engraving VS Etching

  • Describe the features of Engraving (incised, inked, printed).

• Amazing Details

• Fine Contour Lines

(Unit 3 Chapter 14 - Northern Renaissance (c. 1400 - 1600 CE)) Introduction to the Northern Renaissance

• Developments in Art Forms: Woodcut VS Engraving VS Etching

  • Describe the features of Etching (resist, acid, print).

• Even BETTER Details

• Even More Fine Lines

(Unit 3 Chapter 14 - Northern Renaissance (c. 1400 - 1600 CE)) Name this piece!

Merode Altarpiece (Annunciation Triptych)

(Unit 3 Chapter 14 - Northern Renaissance (c. 1400 - 1600 CE)) #66: Merode Altarpiece (Annunciation Triptych)

• LOCATION

• Tournai, Belgium

(Unit 3 Chapter 14 - Northern Renaissance (c. 1400 - 1600 CE)) #66: Merode Altarpiece (Annunciation Triptych)

• ERA

• Northern European Renaissance

(Unit 3 Chapter 14 - Northern Renaissance (c. 1400 - 1600 CE)) #66: Merode Altarpiece (Annunciation Triptych)

• ARTIST

• Robert Campin

(Unit 3 Chapter 14 - Northern Renaissance (c. 1400 - 1600 CE)) #66: Merode Altarpiece (Annunciation Triptych)

• FORM

• Oil Paint on Wood

(Unit 3 Chapter 14 - Northern Renaissance (c. 1400 - 1600 CE)) #66: Merode Altarpiece (Annunciation Triptych)

• PATRON

• Unknown

(Unit 3 Chapter 14 - Northern Renaissance (c. 1400 - 1600 CE)) #66: Merode Altarpiece (Annunciation Triptych)

• FUNCTION

• Triptych Altarpiece depicting the Annunciation

(Unit 3 Chapter 14 - Northern Renaissance (c. 1400 - 1600 CE)) #66: Merode Altarpiece (Annunciation Triptych)

• VOCABULARY: Triptych

• a picture expanding across 3 panels, typically hinged, usually used as an altarpiece

(Unit 3 Chapter 14 - Northern Renaissance (c. 1400 - 1600 CE)) #66: Merode Altarpiece (Annunciation Triptych)

• VOCABULARY: Annunciation

• Angel Gabriel comes down from heaven to tell Mary she is with child

(Unit 3 Chapter 14 - Northern Renaissance (c. 1400 - 1600 CE)) #66: Merode Altarpiece (Annunciation Triptych)

• VOCABULARY: One-Point Perspective

• drawing method that shows how things appear to get smaller as they get further away, converging towards a single “vanishing point” on the horizon line

(Unit 3 Chapter 14 - Northern Renaissance (c. 1400 - 1600 CE)) #66: Merode Altarpiece (Annunciation Triptych)

• VOCABULARY: Humanizing

• to create something that appeals to the lives of average human beings

(Unit 3 Chapter 14 - Northern Renaissance (c. 1400 - 1600 CE)) #66: Merode Altarpiece (Annunciation Triptych)

• CONTENT (visual evidence): Label the artwork.

(Unit 3 Chapter 14 - Northern Renaissance (c. 1400 - 1600 CE)) #66: Merode Altarpiece (Annunciation Triptych)

• CONTENT (visual evidence)

Left Panel:

• Donor Portrait: a portrait of the patron

• middle class

• small details

• wife added later

Middle:

• LOTS of Christian symbolism/iconography…

  • White Towel = Mary’s purity

  • Lillies w/ 3 Buds = Holy Trinity

• everyday Flemish interior

• thick folded fabric

• VERY forced one point perspective (orthogonal lines)

Right:

• Joseph in carpentry workshop making mousetrap = JC traps the devil

• more small details

(Unit 3 Chapter 14 - Northern Renaissance (c. 1400 - 1600 CE)) #66: Merode Altarpiece (Annunciation Triptych)

• CONTEXT (what is happening historically)

• Culture = Flemish (Dutch): people from Flanders (Belgium)

(Unit 3 Chapter 14 - Northern Renaissance (c. 1400 - 1600 CE)) #66: Merode Altarpiece (Annunciation Triptych)

• OTHER ART CONNECTIONS

• Rottgen Pieta → humanizing

(Unit 3 Chapter 14 - Northern Renaissance (c. 1400 - 1600 CE)) Name this piece!

Arnolfini Portrait

(Unit 3 Chapter 14 - Northern Renaissance (c. 1400 - 1600 CE)) #68: Arnolfini Portrait

• LOCATION

• Berlin, Germany

(Unit 3 Chapter 14 - Northern Renaissance (c. 1400 - 1600 CE)) #68: Arnolfini Portrait

• ERA

• Northern European Renaissance

(Unit 3 Chapter 14 - Northern Renaissance (c. 1400 - 1600 CE)) #68: Arnolfini Portrait

• ARTIST

• Jan Van Eyck

(Unit 3 Chapter 14 - Northern Renaissance (c. 1400 - 1600 CE)) #68: Arnolfini Portrait

• FORM

• Oil Paint on Wood

(Unit 3 Chapter 14 - Northern Renaissance (c. 1400 - 1600 CE)) #68: Arnolfini Portrait

• PATRON

• Giovanni Arnolfini

(Unit 3 Chapter 14 - Northern Renaissance (c. 1400 - 1600 CE)) #68: Arnolfini Portrait

• FUNCTION

• Wedding portrait of Giovanni Arnolfini & his wife

(Unit 3 Chapter 14 - Northern Renaissance (c. 1400 - 1600 CE)) #68: Arnolfini Portrait

• VOCABULARY: St. Margaret

• Patron saint of childbirth

(Unit 3 Chapter 14 - Northern Renaissance (c. 1400 - 1600 CE)) #68: Arnolfini Portrait

• CONTENT (visual evidence): Label the artwork.

(Unit 3 Chapter 14 - Northern Renaissance (c. 1400 - 1600 CE)) #68: Arnolfini Portrait

• CONTENT (visual evidence)

• LOTS of symbolism/iconography…

  • Puppy = fidenlity / loyalty

  • Not wearing shoes = standing on holy ground

  • Man, Near Window = role in outside world

  • Woman, Near interior of home = role as homemaker

  • St. Margaret on bedpost = hope for a family!

• Convex Mirror → back of Arnolfini + wife, Jan Van Eyck in back (wrote was here on wall), exact measurement in scale, space, proportions to the actual staged scene, passion of Christ in roundels on mirror frame

• glass beads

(Unit 3 Chapter 14 - Northern Renaissance (c. 1400 - 1600 CE)) #68: Arnolfini Portrait

• CONTEXT (what is happening historically)

• OTHER FUNCTIONS…

  • betrothal scene

  • memorial portrait

  • husband passing legal and business privileges to wife in prep for upcoming absence

(Unit 3 Chapter 14 - Northern Renaissance (c. 1400 - 1600 CE)) Name this piece!

Adam and Eve (The Fall of Man)

(Unit 3 Chapter 14 - Northern Renaissance (c. 1400 - 1600 CE)) #74: Adam and Eve (The Fall of Man)

• LOCATION

• Nuremberg, Germany

(Unit 3 Chapter 14 - Northern Renaissance (c. 1400 - 1600 CE)) #74: Adam and Eve (The Fall of Man)

• ERA

• Northern European Renaissance

(Unit 3 Chapter 14 - Northern Renaissance (c. 1400 - 1600 CE)) #74: Adam and Eve (The Fall of Man)

• ARTIST

• Albrecht Dürer

(Unit 3 Chapter 14 - Northern Renaissance (c. 1400 - 1600 CE)) #74: Adam and Eve (The Fall of Man)

• FORM

• Engraving (burin on a copper plate, ink to print)

(Unit 3 Chapter 14 - Northern Renaissance (c. 1400 - 1600 CE)) #74: Adam and Eve (The Fall of Man)

• PATRON

• Unknown

(Unit 3 Chapter 14 - Northern Renaissance (c. 1400 - 1600 CE)) #74: Adam and Eve (The Fall of Man)

• FUNCTION

• Shows the figures of Adam and Eve in the Garden of Paradise before the “fall of man”

(Unit 3 Chapter 14 - Northern Renaissance (c. 1400 - 1600 CE)) #74: Adam and Eve (The Fall of Man)

• CONTENT (visual evidence): Label the artwork.

(Unit 3 Chapter 14 - Northern Renaissance (c. 1400 - 1600 CE)) #74: Adam and Eve (The Fall of Man)

• CONTENT (visual evidence)

• Other symbolism/iconography…

  • parrot = cleverness

  • Mountain Ash Branch = Tree of Life (branch in Adam’s right hand)

  • Snake’s Branch Perch = Tree of Knowledge

(Unit 3 Chapter 14 - Northern Renaissance (c. 1400 - 1600 CE)) #74: Adam and Eve (The Fall of Man)

• CONTEXT (what is happening historically)

• Classical Sculpture Influence:

  • Apollo Belvedere → Adam

  • Medici Venus → Eve

• The 4 Fundamental Personality Types

  • AKA

• The 4 Temperaments

  • AKAKA

• The 4 Humors

• established by AN Ancient Greek Physician

• Represented by animals…

• Durer is THE guy for detailed artwork… and he made printmaking an elevated art form!

(Unit 3 Chapter 14 - Northern Renaissance (c. 1400 - 1600 CE)) #74: Adam and Eve (The Fall of Man)

• OTHER ART CONNECTIONS

• Doryphoros (Classical Greece) → contrapposto

(Unit 3 Chapter 14 - Northern Renaissance (c. 1400 - 1600 CE)) Name this piece!

Isenheim Altarpiece

(Unit 3 Chapter 14 - Northern Renaissance (c. 1400 - 1600 CE)) #77: Isenheim Altarpiece

• LOCATION

• Chapel of St. Anthony (Isenheim, Germany)

(Unit 3 Chapter 14 - Northern Renaissance (c. 1400 - 1600 CE)) #77: Isenheim Altarpiece

• ERA

• Northern European Renaissance

(Unit 3 Chapter 14 - Northern Renaissance (c. 1400 - 1600 CE)) #77: Isenheim Altarpiece

• ARTIST

• Matthias Grünewald

(Unit 3 Chapter 14 - Northern Renaissance (c. 1400 - 1600 CE)) #77: Isenheim Altarpiece

• FORM

• Oil on wood

(Unit 3 Chapter 14 - Northern Renaissance (c. 1400 - 1600 CE)) #77: Isenheim Altarpiece

• PATRON

• Guy Guers (hospital preceptor (instructor))

(Unit 3 Chapter 14 - Northern Renaissance (c. 1400 - 1600 CE)) #77: Isenheim Altarpiece

• FUNCTION

• Triptych, multi-layered (polyptych) altarpiece placed in a monastery hospital (where people were treated for ergotism (St. Anthony’s Fire) caused by fungus in rye bread)

(Unit 3 Chapter 14 - Northern Renaissance (c. 1400 - 1600 CE)) #77: Isenheim Altarpiece

• CONTENT (visual evidence): Label the artwork.

(Unit 3 Chapter 14 - Northern Renaissance (c. 1400 - 1600 CE)) #77: Isenheim Altarpiece

• CONTENT (visual evidence)

Level 1:

• Predella Panel below (Lamentation)

• Crucifixion

  • Mary swoons in arms of St. John (gospel writer)

  • Mary Magdalene in knees, hands clasped in prayer

  • JC on the cross

  • Lamb → JC = good shepherd

Level 2:

• Musicians → music therapy used at this time

(Unit 3 Chapter 14 - Northern Renaissance (c. 1400 - 1600 CE)) #77: Isenheim Altarpiece

• CONTEXT (what is happening historically)

• Ergotism Symptoms: Gangrene of limbs, convulsions, tummy problems

• Consider the Audience & Function

  • To die from Ergotism RLLY RLLY sucks… how are sick Christians supposed to have hope???

(Unit 3 Chapter 14 - Northern Renaissance (c. 1400 - 1600 CE)) Name this piece!

Allegory of Law and Grace

(Unit 3 Chapter 14 - Northern Renaissance (c. 1400 - 1600 CE)) #79: Allegory of Law and Grace

• LOCATION

• Wittenberg, Germany

(Unit 3 Chapter 14 - Northern Renaissance (c. 1400 - 1600 CE)) #79: Allegory of Law and Grace

• ERA

• Northern European Renaissance

(Unit 3 Chapter 14 - Northern Renaissance (c. 1400 - 1600 CE)) #79: Allegory of Law and Grace

• ARTIST

• Lucas Cranach the Elder (court painter, chief, artist of the Reformation)

(Unit 3 Chapter 14 - Northern Renaissance (c. 1400 - 1600 CE)) #79: Allegory of Law and Grace

• FORM

• Woodcut

(Unit 3 Chapter 14 - Northern Renaissance (c. 1400 - 1600 CE)) #79: Allegory of Law and Grace

• PATRON

• Followers of the Reformation

(Unit 3 Chapter 14 - Northern Renaissance (c. 1400 - 1600 CE)) #79: Allegory of Law and Grace

• FUNCTION

• Diptych illustrating Lutheran beliefs, guidelines, rewards, and punishments

(Unit 3 Chapter 14 - Northern Renaissance (c. 1400 - 1600 CE)) #79: Allegory of Law and Grace

• VOCABULARY: Martin Luther

• German priest whose theological beliefs spurred the Protestant Reformation

(Unit 3 Chapter 14 - Northern Renaissance (c. 1400 - 1600 CE)) #79: Allegory of Law and Grace

• VOCABULARY: Protestant Reformation

• Catholic Church was becoming OVERLY rich in money, power, and art… not all agreed w/ religious rules and needed a new version of Christian faith

(Unit 3 Chapter 14 - Northern Renaissance (c. 1400 - 1600 CE)) #79: Allegory of Law and Grace

• VOCABULARY: Lutheranism

• is the largest of the Protestant denominations

(Unit 3 Chapter 14 - Northern Renaissance (c. 1400 - 1600 CE)) #79: Allegory of Law and Grace

• VOCABULARY: Allegory

• a picture that can be interpreted to reveal a hidden meaning, usually moral or political

(Unit 3 Chapter 14 - Northern Renaissance (c. 1400 - 1600 CE)) #79: Allegory of Law and Grace

• CONTENT (visual evidence): Label the artwork.

(Unit 3 Chapter 14 - Northern Renaissance (c. 1400 - 1600 CE)) #79: Allegory of Law and Grace

• CONTENT (visual evidence)

Left:

• Last Judgement Scene

• Moses holds 10 commandments (which represents old law & Catholicism)

• Not enough to live a good life

Right:

• Figure is now bathed in the blood of JC

• FAITH is needed for true salvation

(Unit 3 Chapter 14 - Northern Renaissance (c. 1400 - 1600 CE)) #79: Allegory of Law and Grace

• CONTEXT (what is happening historically)

• Lucas Cranach the Elder created a painting first in 1529 before he switched to printmaking techniques…why?

  • THE PRINTING PRESS IS HERE → things can be mechanically produced quicker and cheaper (better for lower class)

• Not enough to live a good life, FAITH is needed for true salvation

(Unit 3 Chapter 14 - Northern Renaissance (c. 1400 - 1600 CE)) Name this piece!

Hunters in the Snow

(Unit 3 Chapter 14 - Northern Renaissance (c. 1400 - 1600 CE)) #83: Hunters in the Snow

• LOCATION

• Antwerp, Belgium

(Unit 3 Chapter 14 - Northern Renaissance (c. 1400 - 1600 CE)) #83: Hunters in the Snow

• ERA

• Northern European Renaissance

(Unit 3 Chapter 14 - Northern Renaissance (c. 1400 - 1600 CE)) #83: Hunters in the Snow

• ARTIST

• Pieter Bruegel the Elder

(Unit 3 Chapter 14 - Northern Renaissance (c. 1400 - 1600 CE)) #83: Hunters in the Snow

• FORM

• Oil on wood

(Unit 3 Chapter 14 - Northern Renaissance (c. 1400 - 1600 CE)) #83: Hunters in the Snow

• PATRON

• Nicolaes Jonghelinck (merchant who wanted the images to hang in the dining room of his suburban Antwerp home)

(Unit 3 Chapter 14 - Northern Renaissance (c. 1400 - 1600 CE)) #83: Hunters in the Snow

• FUNCTION

• 1 of 6 secular paintings that depict the different seasons, this on being Nov. and Dec,

(Unit 3 Chapter 14 - Northern Renaissance (c. 1400 - 1600 CE)) #83: Hunters in the Snow

• VOCABULARY: Alpine

• adjective for the Alps mountain range

(Unit 3 Chapter 14 - Northern Renaissance (c. 1400 - 1600 CE)) #83: Hunters in the Snow

• VOCABULARY: Secular

• non-religious

(Unit 3 Chapter 14 - Northern Renaissance (c. 1400 - 1600 CE)) #83: Hunters in the Snow

• CONTENT (visual evidence)

• Foreground → hunters returning from unsuccessful hunt (only 1 rabbit)

  • use faith through harsh winter

• Middleground → winter activities

• Background → Alpine landscape, sad expression of dog, reflection of skaters on ice