For most of the fifteenth century, the __________ were the most powerful rulers and art patrons in northern Europe.
B. the Tres Riches Heures (Very Sumptuous Book of Hours)
The major work of the Limbourg brothers was __________ commissioned for Jean, the Duke of Berry.
C. ordinary objects that also possess symbolic meaning
What do art historians mean by the use of "hidden symbols" in the Mérode Altarpiece(Fig. 18-9)?
A. Jan van Eyck
A contemporary of Robert Campin, __________, was a painter of renown in the court of Philip the Good.
B. as happily working or amusingly uncouth
The Très Riches Heures depicts peasants ______________________.
B. the couple was quite wealthy
What do scholars know for certain about Jan van Eyck's Double Portrait of A Giovanni Arnolfini and his Wife (Fig. 18-1)?
D. All of the above.
How did the use of oil paint contribute to Flemish artists' ability to create varied surface textures in paintings? A. It reflects light. B. It dries slowly. C. It is applied in thin layers. D. All of the above.
D. a donor portrait
What detail is NOT included in the mirror on the back wall of Jan van Eyck's Double Portrait of A Giovanni Arnolfini and His Wife (Fig. 18-12)? A. the backs of the couple B. two frontal figures C. scenes from the life of Christ D. a donor portrait
B. manuscript illumination
Based on the text's discussion, what art form did women of the fourteenth and fifteenth centuries produce?
C. in the outer compartments of the lower section of the closed shutters
Where do the donors' portraits appear in Jan and Hubert van Eyck's Ghent Altarpiece (page 576-577)?
B. The full-sized figures seem to press forward into the viewer's space.
How does Rogier van der Weyden's use of space heighten the emotional impact of his Deposition altarpiece (Fig. 18-13)?
C. The artist varied the size of the figures for emphasis.
How does Hugo van der Goes's Portinari Altarpiece (Fig. 18-16) differ from other Flemish paintings included in the text?
B. a microscopic detailed rendering of natural objects
Which of the following is characteristic of the International Gothic style in late fourteenth-century Europe?
C. were not allowed formal apprenticeships
One reason for the limited number of female artists in the Middle Ages and the Renaissance was that women__________________.
A. Jean, duke of Berry
Of all the dukes of Burgundy, it was __________, who was the most enthusiastic art collector and lover of books.
Fifteenth-century __________ painters perfected the technique of painting with an oil medium.
A. the Limbourg brothers
Among the finest Netherlandish illuminators of the early fifteenth century were __________.