Test #3

Question 1

Information on the painting “Money-Changer and his wife:” (THIS IS THE PAINTING WITH THE WOMAN ON THE RIGHT LOOKING THROUGH A BOOK AND HELPING THE MAN ON THE LEFT WITH THE CHANGE ON THE TABLE)

Answer 1

Created by: QUINTEN MASSYS

1514

Oil on wood, 2’ 3 3/4”  2’ 2 3/8”

Created in Paris

Question 2

What is THE IMPORTANCE of the painting “Money-Changer and his wife:” (THIS IS THE PAINTING WITH THE WOMAN ON THE RIGHT LOOKING THROUGH A BOOK AND HELPING THE MAN ON THE LEFT WITH THE CHANGE ON THE TABLE)

Answer 2

The banker’s wife shows more interest in the money-weighing than in her prayer book.

It highlights the wealth and financial transactions that were an increasingly prominent part of secular life in the Netherlands and that distracted Christians from their religious duties.

Question 3

Netherlandish values shown in the painting “Money-Changer and his wife:” (THIS IS THE PAINTING WITH THE WOMAN ON THE RIGHT LOOKING THROUGH A BOOK AND HELPING THE MAN ON THE LEFT WITH THE CHANGE ON THE TABLE)

Answer 3

The banker’s wife shows more interest in the money-weighing than in her prayer book.

Question 4

IMPORTANT INFORMATION on the painting “Isenheim Altarpiece:” (THIS IS THE STRETCHED-OUT PAINTING WITH JESUS BEING CRUCIFIED AT THE TOP IN THE MIDDLE)

Answer 4

Saints associated with the plague and other diseases and with miraculous cures, such as Saints Anthony and Sebastian, appear prominently in this painting.

This painting also includes little details such as St. Sebastian on the left side of the painting, and St. Anthony on the right side.

Question 5

Information on the painting “Isenheim Altarpiece:” (THIS IS THE STRETCHED-OUT PAINTING WITH JESUS BEING CRUCIFIED AT THE TOP IN THE MIDDLE)

Answer 5

Artist: MATTHIAS GRÜNEWALD

1512-1515

From the chapel of the Hospital
of Saint Anthony, Isenheim, France

Oil on Wood

Question 6

Information on the painting “Melencolia I:” (THIS IS THE BLACK-AND-WHITE DEPRESSING PAINTING WITH A BRIGHT BEAM OF LIGHT IN THE SKY AT THE TOP-LEFT, AND THE SAD-LOOKING PERSON NEAR THE BOTTOM RIGHT, SEEMING “MELANCHOLY”)

Answer 6

Artist: ALBRECHT DÜRER

1514

Engraving, 9 3/8”  7 1/2”

Victoria & Albert Museum, London

Question 7

IMPORTANT INFORMATION on the painting “Melencolia I:” (THIS IS THE BLACK-AND-WHITE DEPRESSING PAINTING WITH A BRIGHT BEAM OF LIGHT IN THE SKY AT THE TOP-LEFT, AND THE SAD-LOOKING PERSON NEAR THE BOTTOM RIGHT, SEEMING “MELANCHOLY”)

Answer 7

Melancholy’s face is OBSCURED BY SHADOW UNDERSCORING HER STATE OF MIND, KNOWN AS MELANCHOLY. But Dürer also included A BURST OF LIGHT, WHICH SYMBOLIZES AN OPTIMISTIC SIGN OF HOPE SYMBOLIZING A SUGGESTON THAT ARTISTS CAN OVERCOME THEIR DEPRESSION AND PRODUCE GENIOUS ARTWORKS on the far horizon behind the bat.

In this “self-portrait” of his artistic personality, Dürer represented Melancholy as a brooding winged woman. All around her are the tools of the artist and builder—but the melancholic artist cannot use them.

Question 8

What is one of the temperaments associated with the four humors?

Answer 8

Melancholy.

Question 9

The Great Iconoclasm:

Answer 9

Bands of Calvinists visited Catholic churches in the Netherlands in 1566, shattering stained-glass windows, smashing statues, and destroying paintings and other artworks that they perceived as idolatrous.

Question 10

Convex mirror:

Answer 10

Reflection of a man reading a Bible in front of a church— images of a righteous life to balance the couple’s pursuit of wealth.

Question 11

Information on the painting “Law and Gospel” (THIS IS THE PAINTING WITH MANY THINGS GOING ON, PAINTED ON SOME SORT OF DIRTY PAPER):

Answer 11

Artist: LUCAS CRANACH THE ELDER

1530

Woodcut, 10 5/8”  1’ 3/4”

Question 12

IMPORTANT INFORMATION on the painting “Law and Gospel” (THIS IS THE PAINTING WITH MANY THINGS GOING ON, PAINTED ON SOME SORT OF DIRTY PAPER):

Answer 12

Lucas Cranach the Elder, who is the artist, gave visual expression to the doctrinal differences between Protestantism and Catholicism.

Catholicism which Luther claimed was based on Old Testament law.

Protestantism which Luther said was based on the Gospel belief in God’s grace.

Question 13

Information on the painting”Three Ages
of Woman and Death” (THIS IS THE PAINTING WITH THE NAKED WOMAN IN FRONT OF THE ROTTING CORPSE BEHIND HER):

Answer 13

Artist: HANS BALDUNG GRIEN

1510

Oil on wood, 1’ 3 3/4”  1’ 3/4”.

Kunsthistorisches Museum, Vienna.

Question 14

IMPORTANT INFORMATION on the painting “Three Ages of Woman and Death” (THIS IS THE PAINTING WITH THE NAKED WOMAN IN FRONT OF THE ROTTING CORPSE BEHIND HER):

Answer 14

The painting is a commentary on
inevitability of old age and death as well
as vanitas (Latin, “vanity”)

Question 14

Information on the painting “The French Ambassadors” (THIS IS THE PAINTING WITH TWO MEN ON EACH END OF THE PAINTING, LEANING ON THE TABLE IN THE MIDDLE):

Answer 14

Artist: HANS HOLBEIN THE YOUNGER

1533

Oil and tempera on wood, 6’ 8”  6’ 9 1/2”.

National Gallery, London.

Question 14

IMPORTANT INFORMATION on the painting “The French Ambassadors” (THIS IS THE PAINTING WITH TWO MEN ON EACH END OF THE PAINTING, LEANING ON THE TABLE IN THE MIDDLE):

Answer 14

Artist painted the two French ambassadors to England through the lens of HUMANISM.

Both men were portrayed with a collection of objects reflective of their worldliness and learning.

There’s an ANAMORPHOSIS image distortion that cuts across the painting.

Question 15

Information on the painting “Garden of Earthly Delights” (THIS IS THE GIANT PAINTING WITH 3 SEPARATE SCENES OCCURRING, ALONG WITH THE THIRD, RIGHT ONE SYMBOLIZING HELL):

Answer 15

Artist: HIERONYMUS BOSCH

1505-1510

Oil on wood, center panel 7’ 2 5/8”  6’ 4 3/4”, each wing 7’ 2 5/8”  3’ 2 1/4”.

Museo del Prado, Madrid.

Question 16

IMPORTANT INFORMATION on the painting “Garden of Earthly Delights” (THIS IS THE GIANT PAINTING WITH 3 SEPARATE SCENES OCCURRING, ALONG WITH THE THIRD, RIGHT ONE SYMBOLIZING HELL):

Answer 16

Moral message: The horrors of Hell include sinners enduring tortures tailored to their conduct while alive.

(A glutton must vomit eternally. A miser squeezes gold coins from his bowels.)

Question 17

Information on the painting “Butcher’s Stall” (THIS IS THE PAINTING WITH BUTCHERED ANIMALS SHOWN THROUGHOUT MOST OF THE PAINTING):

Answer 17

Artist: PIETER AERTSEN

1551

Oil on wood, 4’ 3/8”  6’ 5 3/4”.

Question 18

IMPORTANT INFORMATION on the painting “Butcher’s Stall” (THIS IS THE PAINTING WITH BUTCHERED ANIMALS SHOWN THROUGHOUT MOST OF THE PAINTING):

Answer 18

It appears to be a genre painting (Which is daily paintings of life), but in the far background, we see Joseph leading a donkey that’s carrying Mary and the Christ child, they offer alms to a beggar
and his son.

Reminders are shown about spiritual well-being into paintings of everyday life.

Question 19

Information on the painting “Netherlandish Proverbs” (THIS IS THE PAINTING WITH PEOPLE CAUSING CHAOS OUTSIDE OF A GIANT HOUSE):

Answer 19

Artist: PIETER BRUEGEL THE ELDER

1559

Oil on wood, 3’ 10”  5’ 4 1/8”.

Question 20

IMPORTANT INFORMATION on the painting “Netherlandish Proverbs” (THIS IS THE PAINTING WITH PEOPLE CAUSING CHAOS OUTSIDE OF A GIANT HOUSE):

Answer 20

The many vignettes in the painting are drawn from Netherlandish proverbs, passion for clever imagery, and interest in human folly.

(On the roof, a man “shoots one arrow after the other, but hits nothing” (a fool who throws good money after bad).

Question 21

Information on the painting “Hunters in the Snow” (THIS IS THE PAINTING SHOWING MEN WITH HUNTING DOGS WALKING THROUGH THE WINTER):

Answer 21

Artist: PIETER BRUEGEL THE ELDER

1565

Oil on wood, 3’ 10 1/8”  5’ 3 3/4”.

Kunsthistorisches Museum, Vienna.

Question 22

IMPORTANT INFORMATION on the painting “Hunters in the Snow” (THIS IS THE PAINTING SHOWING MEN WITH HUNTING DOGS WALKING THROUGH THE WINTER):

Answer 22

Grew out of the tradition of depicting months and peasants in Books of Hours.

1 in a series of 6 paintings which illustrated seasonal changes.

Question 23

Information on the painting “Burial of Count Orgaz” (THIS IS THE DOME-PAINTING WHICH HAS JESUS AND THE ANGELS UP AT THE TOP OF THE DOME-PAINTING AND A GROUP AT THE DARK BOTTOM):

Answer 23

Artist: EL GRECO

1586

Oil on canvas, 16’  12’.

Santo Tomé, Toledo.

Question 24

IMPORTANT INFORMATION on the painting “Burial of Count Orgaz” (THIS IS THE DOME-PAINTING WHICH HAS JESUS AND THE ANGELS UP AT THE TOP OF THE DOME-PAINTING AND A GROUP AT THE DARK BOTTOM):

Answer 24

His INTENSE EMOTIONAL CONTENT captured the fervor of Spanish Catholicism, and his DRAMATIC USE OF LIGHT FORESHADOWED THE BAROQUE STYLE.

MANNERIST: Elongated figures in undefined spaces.

Question 25

Mannerist:

Answer 25

Elongated figures in undefined spaces.

Question 26

What did the Baroque Era consist of?

Answer 26

*High drama.

*Dynamic motion.

*Heightened emotionalism.

Question 27

Renaissance Artists:

Answer 27

Embraced the PRECISE, ORDERLY RATIONALITY of CLASSICAL MODELS.

Question 28

Baroque Artists:

Answer 28

Reveled in DYNAMISM, THEATRICALITY, and ELABORATE ORNAMENTATION.

Question 29

Baroque Italy:

Answer 29

With the Catholic Church as the leading art patron in 17th-century Italy, the AIM OF MUCH ITALIAN BAROQUE ART was to RESTORE ROMAN CATHOLICISM’S PREDOMINANCE AND CENTRALITY.

Question 30

Information from “Baldacchino inside Saint Peter’s Vatican City” (THIS IS THE REALLY DETAILED CHURCH WITH A TOMB AT THE BOTTOM):

Answer 30

Artist: GIAN LORENZO BERNINI

1624-1633

Rome, Italy

Bronze columns, 66’ high.

Question 31

IMPORTANT INFORMATION from “Baldacchino inside Saint Peter’s Vatican City” (THIS IS THE REALLY DETAILED CHURCH WITH A TOMB AT THE BOTTOM):

Answer 31

Marks the location of the tomb of Saint Peter beneath the basilic.

Question 32

Information from “Two views of the facade of San Carlo alle Quattro Fontane” (THIS IS THE WHITE DETAILED TEMPLE):

Answer 32

Artist: FRANCESCO BORROMINI

1638-1641

Rome, Italy

Question 33

IMPORTANT INFORMATION from “Two views of the facade of San Carlo alle Quattro Fontane” (THIS IS THE WHITE DETAILED TEMPLE):

Answer 33

The artist, Boromini’s, façade stands in sharp opposition to the idea, which has its roots in antiquity, THAT A FACADE SHOULD BE A FLAT FONTISPIECE that defines a building’s outer limits.

Question 34

Information on the painting “Calling of Saint Matthew” (THIS IS THE DARK PAINTING, WITH A SLIGHT BIT ON THE RIGHT, WITH A FEW PEOPLE GATHERED AROUND A TABLE ON THE LEFT, AND A MAN POINTING AT THEM ON THE RIGHT):

Answer 34

Artist: Caravaggio

1597-1601

Contarelli chapel, San Luigi dei Francesi, Rome

Question 35

IMPORTANT INFORMATION on the painting “Calling of Saint Matthew” (THIS IS THE DARK PAINTING, WITH A SLIGHT BIT ON THE RIGHT, WITH A FEW PEOPLE GATHERED AROUND A TABLE ON THE LEFT, AND A MAN POINTING AT THEM ON THE RIGHT):

Answer 35

Christ’s extended arm is reminiscent of the Lord’s in Michelangelo’s, “Creation of Adam.”

Question 36

Information on the painting “Conversion of Saint Paul” (THIS IS THE DARK PAINTING WITH A SCARY HORSE STOMPING ON A MAN THAT’S ON THE GROUND):

Answer 36

Artist: Caravaggio

1601

Cerasi chapel, Santa Maria del Popolo, Rome.

Question 37

IMPORTANT INFORMATION on the painting “Conversion of Saint Paul” (THIS IS THE DARK PAINTING WITH A SCARY HORSE STOMPING ON A MAN THAT’S ON THE GROUND):

Answer 37

The artist, Caravaggio, typically represented biblical episodes in ordinary settings.

Question 38

Tenebrism:

Answer 38

Caravaggio’s use of dark settings that envelop their occupants is called tenebrism meaning “shadowy manner”

Question 39

Information on the painting “Self-Portrait as the Allegory of Painting” (THIS IS THE PAINTING WITH THE SINGULAR WOMAN PAINTING ON THE WALL THATS ON THE LEFT):

Answer 39

Artist: ARTEMISIA GENTILESCHI

1638-1639

Royal Collection, Kensington Palace, London

Question 40

IMPORTANT INFORMATION on the painting “Self-Portrait as the Allegory of Painting” (THIS IS THE PAINTING WITH THE SINGULAR WOMAN PAINTING ON THE WALL THATS ON THE LEFT):

Answer 40

The painting breaks tradition in that she is not facing the viewer.

Question 41

Information over the painting “Triumph of the Name of Jesus” (THIS IS THE CEILING PAINTING MAKING IT SEEM AS IF HEVAN’S ENTRANCE IS IN THE CENTER WITH THE CLOUDS):

Answer 41

Artist: GIOVANNI BATTISTA GAULLI

1676-1679

Ceiling fresco with stucco figures on the nave vault of Il Gesù, Rome,
Italy

Question 42

IMPORTANT INFORMATION over the painting “Triumph of the Name of Jesus” (THIS IS THE CEILING PAINTING MAKING IT SEEM AS IF HEVAN’S ENTRANCE IS IN THE CENTER WITH THE CLOUDS):

Answer 42

The artist, Gaulli, represented Jesus as a barely visible monogram (IHS) floating heavenward in a blinding radiant light.

Question 43

Information on the painting “Las Meninas” (THIS IS THE PAINTING WITH THE FANCY LOOKING WOMEN, IN WHITE DRESSES AND CURLED-UP HAIR, IN THE ROOM WITH PAINTINGS UP ON THE WALLS):

Answer 43

Artist: DIEGO VELÁZQUEZ

1656

Museo del Prado, Madrid.

Question 44

IMPORTANT INFORMATION on the painting “Las Meninas” (THIS IS THE PAINTING WITH THE FANCY LOOKING WOMEN, IN WHITE DRESSES AND CURLED-UP HAIR, IN THE ROOM WITH PAINTINGS UP ON THE WALLS):

Answer 44

The artist, Velázquez, used many devices to add visual complexity in Las Meninas.

His extension of the composition’s pictorial depth in both directions adds visual complexity:
*Open doorway and its ascending staircase lead the eye beyond the artist’s studio.

*The outward glances of several of the figures incorporate the viewer’s space into the picture as well.

*The mirror on the back wall shows two figures who are possibly viewers of the entire room.

Question 45

International Trade and Art Patronage in the Dutch Republic:

Answer 45

Art in 17th century Protestant Dutch Republic was mainly commissioned by SUCCESSFUL MERCHANTS AND THE MIDDLE CLASS who took pride in their material possessions, the fruit of worldwide trade.

GENRE SCENES, LANDSCAPES, PORTRAITS OF MIDDLE-CLASS MEN AND WOMEN, and STILL LIFES, all appealed to the newly prosperous Dutch merchants.

These paintings were often ACCOMPANIED BY MORALIZING REMINDERS OF HUMAN VICES AND SPIRITUAL WELL-BEING

Question 46

Information on Vanitas still life (THIS IS THE STILL PAINTING WITH THE VIOLIN):

Answer 46

Artist: Pieter Claesz

1630s

Oil on panel, 1′ 2′′ × 1′ 11½′′.

Germanisches National museum, Nuremberg.

Question 47

IMPORTANT INFORMATION on Vanitas still life (THIS IS THE STILL PAINTING WITH THE VIOLIN):

Answer 47

ANITAS (vanity) paintings
consisted of an APPRECIATION AND ENJOYMENT OF THE BEAUTY AND VALUE OF OBJECTS, ACCOMPANIED BY MEMENTO MORI - REFERENCES TO DEATH AND MORTALITY.

Question 48

WAR AND TRADE IN NORTHERN EUROPE:

Answer 48

*The war, which CONCLUDED WITH THE PEACE OF WESTPHALIA IN 1648, was largely responsible for the political restructuring of Europe.

*The Treaty RECONFIGURED TERRITORIAL BOUNDARIES and GRANTED FREEDOM OF RELIGION THROUGHOUT EUROPE.

Question 49

Information on the painting “Elevation of the Cross” (THIS IS THE 3 PAINTINGS WITH, IN THE MIDDLE ONE, JESUS NAILED TO THE CROSS IS BEING PULLED UPWARD STRAIGHT):

Answer 49

Artist: PETER PAUL RUBENS

1610

Saint Walburga, Antwerp

Question 50

IMPORTANT INFORMATION on the painting “Elevation of the Cross” (THIS IS THE 3 PAINTINGS WITH, IN THE MIDDLE ONE, JESUS NAILED TO THE CROSS IS BEING PULLED UPWARD STRAIGHT):

Answer 50

INFLUENCED BY MICHELANGELO’S heroic twisting sculpted and painted nude male figures.

Bright highlights and areas of deep shadow inspired by Caravaggio’s tenebrism.

Rubens built on the innovations of the Italian Renaissance and Baroque masters to formulate the first truly pan-European painting style.

Question 51

Information on the painting “Archers of Saint Hadrian” (THIS IS THE PAINTING THAT HAS THE GROUP OF FRENCH SOLDIERS WITH SPEARS AND AXES, IN THE MIDDLE OF THE PAINTING):

Answer 51

Artist: Frans Hals

1633

Oil on canvas, 6’ 9”  11’.

Frans Halsmuseum, Haarlem

Question 52

IMPORTANT INFORMATION on the painting “Archers of Saint Hadrian” (THIS IS THE PAINTING THAT HAS THE GROUP OF FRENCH SOLDIERS WITH SPEARS AND AXES, IN THE MIDDLE OF THE PAINTING):

Answer 52

Traditional conventions showing wealth/status were shunned by Calvinists so Hals had to adjust.

WIDESPREAD POPULARITY in the Dutch Republic of VERY LARGE CANVASES
commemorating the participation of Dutch citizens in civic organizations.

Question 53

Information on the painting “The Company of Captain Frans Banning Cocq (Night Watch)” (THIS IS THE PAINTING THAT’S IN THE DARK BROWN BUILDING WITH A BUNCH OF PEOPLE CROWDED AROUND 2 MEN TALKING TO WACH OTHER IN THE MIDDLE):

Answer 53

Artist: REMBRANDT VAN RIJN

From the Musketeers Hall, Amsterdam, Netherlands

1642

Rijksmuseum, Amsterdam.

Question 54

IMPORTANT INFORMATION on the painting “The Company of Captain Frans Banning Cocq (Night Watch)” (THIS IS THE PAINTING THAT’S IN THE DARK BROWN BUILDING WITH A BUNCH OF PEOPLE CROWDED AROUND 2 MEN TALKING TO WACH OTHER IN THE MIDDLE):

Answer 54

Rembrandt’s use of light to reveal subtleties of mood and character had a great influence on the later genres of film and photography.

Question 55

Information on the painting “View of Haarlem from the Dunes at Overveen” (THIS IS THE PAINTING THAT SHOWS MOSTLY THE SKY, AND A SMALL BIT OF A FIELD AT THE BOTTOM OF THE PAINTING):

Answer 55

Artist: JACOB VAN RUISDAEL

1670

Mauritshuis, The Hague

Oil on canvas, 1’ 10”  2’ 1”

Question 56

IMPORTANT INFORMATION on the painting “View of Haarlem from the Dunes at Overveen” (THIS IS THE PAINTING THAT SHOWS MOSTLY THE SKY, AND A SMALL BIT OF A FIELD AT THE BOTTOM OF THE PAINTING):

Answer 56

Figures in foreground weave and stretch linen to be bleached— a major industry in Haarlem.

Question 57

Johannes Vermeer (1632-1675):

Answer 57

Made his reputation as a painter of interior scenes, another popular subject among middle-class patrons.

Question 58

Information on the painting “Allegory of the Art of Painting” (THIS IS THE PAINTING THAT HAS A MAN TRYING TO PAINT A WOMAN IN A SLIGHTLY-DIMMED LIGHT ROOM):

Answer 58

Artist: JOHANNES VERMEER

1670–1675

Northern European Baroque

Question 59

IMPORTANT INFORMATION on the painting “Allegory of the Art of Painting” (THIS IS THE PAINTING THAT HAS A MAN TRYING TO PAINT A WOMAN IN A SLIGHTLY-DIMMED LIGHT ROOM):

Answer 59

Far ahead of his time in color science, Vermeer realized that shadows are not colorless, that adjoining colors affect each other, and that light is composed of colors.
Thus, he painted reflections off of surfaces in colors modified by others nearby.

Art historians believe he used a camera
obscura to aid in his virtuoso depiction of light.

Question 60

Information on the painting “MANSART and CHARLES LE BRUN, Galerie des Glaces (Hall of Mirrors)” (THIS IS THE PAINTING THAT HAS THE HUGE, FANCY BALLROOM WITH THE CHANDELIERS AT THE TOP):

Answer 60

Artist: HARDOUIN.

1680

palace of Versailles, Versailles, France

Question 61

IMPORTANT INFORMATION on the painting “MANSART and CHARLES LE BRUN, Galerie des Glaces (Hall of Mirrors)” (THIS IS THE PAINTING THAT HAS THE HUGE, FANCY BALLROOM WITH THE CHANDELIERS AT THE TOP):

Answer 61

Louis XIV decided to convert a royal hunting lodge at Versailles, south of Paris, into a great palace:

A defining STATEMENT OF FRENCH BAROQUE STYLE and a grandiose symbol of Louis XIV’s power and ambition.

Question 62

Information on the painting “Et in Arcadia Ego” (THIS IS THE PAINTING WITH THE TWO PEOPLE ON THE LEFT KNEELING IN FRONT OF THE 2 PEOPLE IN COLORED ROBES ON THE RIGHT):

Answer 62

Artist: Nicholas Poussin

1655

Musée du Louvre, Paris

Oil on canvas, 2’ 10”  4’