Identifying artists, works, or schools of fourteenth- through sixteenth-century 2D art - AP Art History
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Who was the early Renaissance painter who created the triptych known as The Garden of Earthly Delights?
Who was the early Renaissance painter who created the triptych known as The Garden of Earthly Delights?
The Garden of Earthly Delights, painted between 1490 and 1510, is a highly idiosyncratic and complicated triptych of the Garden of Eden, earthly pleasures, and their subsequent punishment in a hell-like atmosphere. The religious overtones and multi-faceted story are features of most paintings by Hieronymus Bosch, who was an early Netherlandish painter during the Renaissance. Bosch's painting, now in the Museo del Prado in Madrid, was highly influential for its depiction of human forms, its allegorical tales, and its peculiar form of storytelling.
The Garden of Earthly Delights, painted between 1490 and 1510, is a highly idiosyncratic and complicated triptych of the Garden of Eden, earthly pleasures, and their subsequent punishment in a hell-like atmosphere. The religious overtones and multi-faceted story are features of most paintings by Hieronymus Bosch, who was an early Netherlandish painter during the Renaissance. Bosch's painting, now in the Museo del Prado in Madrid, was highly influential for its depiction of human forms, its allegorical tales, and its peculiar form of storytelling.
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The painter well known for portraits of the court of Henry VIII of England is __________.
The painter well known for portraits of the court of Henry VIII of England is __________.
Hans Holbein the Younger made a name for himself by painting nearly every figure associated with the court of the English king Henry VIII. In doing so, he helped pioneer a new use of perspective in his portraits. Holbein's work helped push Renaissance art to new places simply through portraits.
Hans Holbein the Younger made a name for himself by painting nearly every figure associated with the court of the English king Henry VIII. In doing so, he helped pioneer a new use of perspective in his portraits. Holbein's work helped push Renaissance art to new places simply through portraits.
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Who was the fifteenth-century Flemish painter who painted the massive Ghent Altarpiece?
Who was the fifteenth-century Flemish painter who painted the massive Ghent Altarpiece?
Jan van Eyck was a transformative figure in European painting, as his approach to painting depended on realism and a naturalistic viewpoint. His Ghent Altarpiece, also called The Lamb of God, was a departure from Medieval standards that typically valued idealization and symbolism in religious imagery. Van Eyck, who lived from 1390 to 1441, had an outsized influence on the artistic transformations that occurred during the Renaissance.
Jan van Eyck was a transformative figure in European painting, as his approach to painting depended on realism and a naturalistic viewpoint. His Ghent Altarpiece, also called The Lamb of God, was a departure from Medieval standards that typically valued idealization and symbolism in religious imagery. Van Eyck, who lived from 1390 to 1441, had an outsized influence on the artistic transformations that occurred during the Renaissance.
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The artist who created the famous painting of Holy Roman Emperor Charles V on horseback was __________.
The artist who created the famous painting of Holy Roman Emperor Charles V on horseback was __________.
After the Battle of Muhlberg in 1547, the Holy Roman Emperor Charles V had a portrait commissioned to celebrate his victory. He specifically called on the Italian artist Titian, who created a portrait that was a model of Renaissance portraiture. Titian shows a realistic looking Emperor bestride a massive horse, with allusions to mythology, Roman art, and Charles' own history.
After the Battle of Muhlberg in 1547, the Holy Roman Emperor Charles V had a portrait commissioned to celebrate his victory. He specifically called on the Italian artist Titian, who created a portrait that was a model of Renaissance portraiture. Titian shows a realistic looking Emperor bestride a massive horse, with allusions to mythology, Roman art, and Charles' own history.
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The early Renaissance painter of the massive allegorical painting "The Garden of Earthly Delights" was __________.
The early Renaissance painter of the massive allegorical painting "The Garden of Earthly Delights" was __________.
The Dutch painter Hieronymus Bosch took many of the conventions of Medieval art and turned them on their heads. His "Garden of Earthly Delights" is a triptych altarpiece depicting religious themes and is meant as instruction in religious belief. It also, however, features odd figures and a massive scale with unique perspectives that helped kick off many features of Renaissance art.
The Dutch painter Hieronymus Bosch took many of the conventions of Medieval art and turned them on their heads. His "Garden of Earthly Delights" is a triptych altarpiece depicting religious themes and is meant as instruction in religious belief. It also, however, features odd figures and a massive scale with unique perspectives that helped kick off many features of Renaissance art.
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The artist Michelangelo was key to the development of __________ art.
The artist Michelangelo was key to the development of __________ art.
Michelangelo (1475-1564) is often considered the prototypical "Renaissance man," along with Leonardo da Vinci, thanks to his key involvement in painting, sculpture, and design. Michelangelo was one of the earliest painters to use realistic imagery, forced perspective, and an enhanced use of color. His work was key in the development of Renaissance themes like a return to classical motifs, a sense of grandeur, and the use of scientific knowledge in the arts.
Michelangelo (1475-1564) is often considered the prototypical "Renaissance man," along with Leonardo da Vinci, thanks to his key involvement in painting, sculpture, and design. Michelangelo was one of the earliest painters to use realistic imagery, forced perspective, and an enhanced use of color. His work was key in the development of Renaissance themes like a return to classical motifs, a sense of grandeur, and the use of scientific knowledge in the arts.
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Figure 3 Figure 4
The painting shown in Figure 3 is an example of __________.
Figure 3 Figure 4
The painting shown in Figure 3 is an example of __________.
Fra Angelico is considered one of the masters of devotional art from the Middle Ages. This painting, depicting an important scene from the Bible, exhibits many of the key features of such art. Both the angel and Mary have halos around their heads and are placed in a flat space, and important symbolism is used.
Figure 3: The Annunciation (Cortona) by Fra Angelico (1433)
Figure 4: Supper at Emmaus (Milan) by Caravaggio (1606)
Fra Angelico is considered one of the masters of devotional art from the Middle Ages. This painting, depicting an important scene from the Bible, exhibits many of the key features of such art. Both the angel and Mary have halos around their heads and are placed in a flat space, and important symbolism is used.
Figure 3: The Annunciation (Cortona) by Fra Angelico (1433)
Figure 4: Supper at Emmaus (Milan) by Caravaggio (1606)
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The German painter who made portraits of early Protestant reformers and altarpieces for Lutheran churches was __________.
The German painter who made portraits of early Protestant reformers and altarpieces for Lutheran churches was __________.
Lucas Cranach the Elder played an important role in the Protestant Reformation: not only did he paint portraits of leading German reformers like Martin Luther and Philip Melanchthon, but he also made altarpieces and devotional pieces that conformed to Lutheran precepts. Cranach's use of realistic drawings and perspective owed a debt to the Italian renaissance, but his use of symbolism and plain depictions were largely due to the influence of the Protestant Reformation.
Lucas Cranach the Elder played an important role in the Protestant Reformation: not only did he paint portraits of leading German reformers like Martin Luther and Philip Melanchthon, but he also made altarpieces and devotional pieces that conformed to Lutheran precepts. Cranach's use of realistic drawings and perspective owed a debt to the Italian renaissance, but his use of symbolism and plain depictions were largely due to the influence of the Protestant Reformation.
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Portraiture done in three-dimensional settings, with props and furniture, was a signature element of the work of the sixteenth-century artist __________.
Portraiture done in three-dimensional settings, with props and furniture, was a signature element of the work of the sixteenth-century artist __________.
Hans Holbein the Younger had a strange relationship to other early Renaissance painters. Famous for his portraits of the court of King Henry VIII of England, Holbein crafted realistic portraits of his subjects using perspective and other techniques borrowed from Italian Renaissance painters. Nonetheless, his symbolism and allegory contained in settings and props for his portraits called back to Gothic styles.
Hans Holbein the Younger had a strange relationship to other early Renaissance painters. Famous for his portraits of the court of King Henry VIII of England, Holbein crafted realistic portraits of his subjects using perspective and other techniques borrowed from Italian Renaissance painters. Nonetheless, his symbolism and allegory contained in settings and props for his portraits called back to Gothic styles.
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Figure 1
Figure 2
Each of these paintings would have a direct influence on __________.
Figure 1
Figure 2
Each of these paintings would have a direct influence on __________.
Both Jan van Eyck and Rogier van der Weyden are part of what is now known as early Netherlandish painting. This largely fifteenth-century school of painting introduced a few key techniques and styles, such as oil painting and approaches to perspective, that were highly influential. In particular, many artists in the early Italian Renaissance were directly influenced by early Netherlandish painting.
Both Jan van Eyck and Rogier van der Weyden are part of what is now known as early Netherlandish painting. This largely fifteenth-century school of painting introduced a few key techniques and styles, such as oil painting and approaches to perspective, that were highly influential. In particular, many artists in the early Italian Renaissance were directly influenced by early Netherlandish painting.
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The wall fresco behind the altar of the Sistine Chapel in Rome known as The Last Judgement was painted by __________.
The wall fresco behind the altar of the Sistine Chapel in Rome known as The Last Judgement was painted by __________.
The Last Judgement takes up the entire altar wall in the Sistine Chapel with a scene depicting human souls being judged by Christ while surrounded by a number of saints. Michelangelo's masterful composition and stunning portraiture make this painting one of his masterpieces, along with the painting of the ceiling of the Sistine Chapel. The painting has not been without controversy, however, as Michelangelo depicted the souls in judgement as nudes, which both showed them as equals and violated decorum.
The Last Judgement takes up the entire altar wall in the Sistine Chapel with a scene depicting human souls being judged by Christ while surrounded by a number of saints. Michelangelo's masterful composition and stunning portraiture make this painting one of his masterpieces, along with the painting of the ceiling of the Sistine Chapel. The painting has not been without controversy, however, as Michelangelo depicted the souls in judgement as nudes, which both showed them as equals and violated decorum.
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The Catholic saint often portrayed in art with simple robes and accompanied by birds is __________.
The Catholic saint often portrayed in art with simple robes and accompanied by birds is __________.
Francis of Assisi was a minor Italian nobleman of the late twelfth and early thirteenth centuries who took a vow of asceticism and became influential as a monastic reformer and the founder of the Franciscan Order. Francis of Assisi became hugely popular in the Counter Reformation and therefore in Baroque art. Francis of Assisi can be identified in art by his plain brown robes and the birds and animals that usually are flocking around him.
Francis of Assisi was a minor Italian nobleman of the late twelfth and early thirteenth centuries who took a vow of asceticism and became influential as a monastic reformer and the founder of the Franciscan Order. Francis of Assisi became hugely popular in the Counter Reformation and therefore in Baroque art. Francis of Assisi can be identified in art by his plain brown robes and the birds and animals that usually are flocking around him.
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Pictured above is the Arnolfini Portrait, and can be found at the Website of National Gallery, London.
The artist of this work is also responsible for which other famous Northern European work?
Pictured above is the Arnolfini Portrait, and can be found at the Website of National Gallery, London.
The artist of this work is also responsible for which other famous Northern European work?
The painter of the Arnolfini Portrait is Jan van Eyck, who is famous for his other works in the Netherlandish style, including Portrait of a Man in a Turban.
The painter of the Arnolfini Portrait is Jan van Eyck, who is famous for his other works in the Netherlandish style, including Portrait of a Man in a Turban.
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Pictured above is the Arnolfini Portrait, and can be found at the Website of National Gallery, London.
In commemoration of what event was this portrait painted?
Pictured above is the Arnolfini Portrait, and can be found at the Website of National Gallery, London.
In commemoration of what event was this portrait painted?
The joining of their hands, the headdress the woman wears and the position of the woman nearer to the bed are all symbolic of a union of marriage between these two people.
The joining of their hands, the headdress the woman wears and the position of the woman nearer to the bed are all symbolic of a union of marriage between these two people.
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Which painter created the portrait of Holy Roman Emperor Charles V on horseback that commemorated the Imperial victory at the Battle of Mühlberg?
Which painter created the portrait of Holy Roman Emperor Charles V on horseback that commemorated the Imperial victory at the Battle of Mühlberg?
The Equestrian Portrait of Charles V, which includes the actual horse and armor the Emperor used at Mühlberg, is one of Titian's most famous and significant works. The painting combined a realistic foreground of the emperor and his horse with a more airy background, while containing little of the symbolic elements typical of paintings of the era. Titian's painting became a template for many later portraits of monarchs in equestrian poses.
The Equestrian Portrait of Charles V, which includes the actual horse and armor the Emperor used at Mühlberg, is one of Titian's most famous and significant works. The painting combined a realistic foreground of the emperor and his horse with a more airy background, while containing little of the symbolic elements typical of paintings of the era. Titian's painting became a template for many later portraits of monarchs in equestrian poses.
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The Early Netherlandish painter who made the panel painting known as The Descent from the Cross was __________.
The Early Netherlandish painter who made the panel painting known as The Descent from the Cross was __________.
Rogier van der Weyden created the famous panel of The Descent from the Cross in 1435. The work features the rich colors and portraiture representative of much Early Netherlandish art, but also focuses the viewer's attention to the scene's humanity while simultaneously emphasizing the religious nature of the image. The effective combination of these two elements would prove hugely influential to Italian Renaissance painters.
Rogier van der Weyden created the famous panel of The Descent from the Cross in 1435. The work features the rich colors and portraiture representative of much Early Netherlandish art, but also focuses the viewer's attention to the scene's humanity while simultaneously emphasizing the religious nature of the image. The effective combination of these two elements would prove hugely influential to Italian Renaissance painters.
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Which of the following was the official court painter for Henry VIII of England, and in that role created famous portraits of Anne Boleyn, Thomas More, and Thomas Cromwell?
Which of the following was the official court painter for Henry VIII of England, and in that role created famous portraits of Anne Boleyn, Thomas More, and Thomas Cromwell?
Hans Holbein the Younger is referred to with the suffix to differentiate him from his father, who was a painter of the Late Gothic school. Holbein the Younger was an innovator in the Northern Renaissance style, beginning in Germany and then moving to England to become the official painter for the court of King Henry VIII. There, he made significant advances to the art of portraiture with his paintings of the important figures of the court life in England.
Hans Holbein the Younger is referred to with the suffix to differentiate him from his father, who was a painter of the Late Gothic school. Holbein the Younger was an innovator in the Northern Renaissance style, beginning in Germany and then moving to England to become the official painter for the court of King Henry VIII. There, he made significant advances to the art of portraiture with his paintings of the important figures of the court life in England.
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Which sixteenth-century artist worked primarily in Spain and painted The Burial of the Count of Orgaz, incorporating his own face into the scene?
Which sixteenth-century artist worked primarily in Spain and painted The Burial of the Count of Orgaz, incorporating his own face into the scene?
El Greco, born Domenikos Theotopoulos (1541–1614) was a Mannerist painter and sculptor. He born in Crete and worked in Rome and Spain. His well-known work The Burial of the Count of Orgaz was commissioned in 1586 by the parish priest of Santo Tomé.
El Greco, born Domenikos Theotopoulos (1541–1614) was a Mannerist painter and sculptor. He born in Crete and worked in Rome and Spain. His well-known work The Burial of the Count of Orgaz was commissioned in 1586 by the parish priest of Santo Tomé.
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This artistic style flourished in Europe during the mid-to-late sixteenth century, and tended to be expressive and dynamic rather than serene and idealized.
This artistic style flourished in Europe during the mid-to-late sixteenth century, and tended to be expressive and dynamic rather than serene and idealized.
Mannerism departed from the High Renaissance style that emphasized symmetry, balance, and perfection. Instead, Mannerist artists allowed the imperfections, emotions, and disproportions of their subjects to show through, sometimes even enhancing them.
Mannerism departed from the High Renaissance style that emphasized symmetry, balance, and perfection. Instead, Mannerist artists allowed the imperfections, emotions, and disproportions of their subjects to show through, sometimes even enhancing them.
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Which early Baroque Italian painter was is known for his dramatic use of chiaroscuro and darkly expressive biblical scenes, as well as frequently portraying young boys?
Which early Baroque Italian painter was is known for his dramatic use of chiaroscuro and darkly expressive biblical scenes, as well as frequently portraying young boys?
Michelangelo Caravaggio's paintings showed a striking use of the high contrast between dark and light known as chiaroscuro, pushing the technique further than any artist had previously. He used it to give drama to many of his psychologically charged paintings of religious scenes. He also often painted boys, sometimes incorporated into these scenes and sometimes in a non-religious or Classical context.
Michelangelo Caravaggio's paintings showed a striking use of the high contrast between dark and light known as chiaroscuro, pushing the technique further than any artist had previously. He used it to give drama to many of his psychologically charged paintings of religious scenes. He also often painted boys, sometimes incorporated into these scenes and sometimes in a non-religious or Classical context.
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