European Art from 14th Century
Exam Questions
Course Introduction
This course explores the development of European art from the 14th century, tracing the transformation of artistic styles, techniques, and cultural contexts from the late Gothic period through the Renaissance and into the early Baroque. Students will examine key works of painting, sculpture, and architecture, focusing on influential artists such as Giotto, Jan van Eyck, Leonardo da Vinci, Michelangelo, and Caravaggio. The course also considers how historical events, evolving religious beliefs, and shifting social structures shaped the subjects and functions of art across diverse regions in Europe. By analyzing both iconic masterpieces and lesser-known works, students gain an understanding of the dynamic interplay between tradition and innovation that defined European art during this transformative era.
Recommended Textbook
Art History 5th Edition Volume 2 by Marilyn Stokstad
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Page 2
Chapter 1: Fourtheenth-Century Art in Europe
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Q1) Which artist in the court of Charles IV of Bohemia was known for combining his preference for substantial bodies,oversized hands and heads,and dour faces with the graceful quality of French Gothic style?
A) Master Hubert
B) Nicholas of Verdun
C) Master Theodoric
D) Heinrich Musselman
Answer: C
Q2) How did the Holy Roman Empire change during the fourteenth century?
Answer: Not Answer
Q3) Which of the following does NOT apply to Giotto's frescoes of the Scrovegni Chapel ?
A) Their placement complements the building's architectural details.
B) They are organized to create symmetrical pairings that encourage viewers to relate biblical events.
C) They distill complex narratives into compelling moments.
D) They emphasize human emotion in their details.
Answer: A
Q4) Discuss the different phases of construction for Exeter Cathedral.
Answer: Not Answer
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Chapter 2: Fifteenth-century Art in Northern Europe
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Q1) Based on the text's discussion,what art form did women of the fourteenth and fifteenth centuries produce?
A) engraving
B) manuscript illumination
C) sculpture
D) all of the above
Answer: B
Q2) The __________ is a mythical,horse-like animal,with cloven hooves,a goat's beard and a single,long twisted horn.
A) unicorn
B) griffin
C) sphinx
D) centaur
Answer: A
Q3) The richest kind of __________ was made almost entirely of silk and gold.
A) tapestry
B) manuscript
C) painting
D) porcelain
Answer: A
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Chapter 3: Renaissance art in fifteenth-century Italy
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Sample Questions
Q1) What detail in Ghirlandaio's Nativity and Adoration of the Shepherds does NOT derive from his careful observation of the Portinari Altarpiece by Hugo van der Goes.
A) the symbolic use of certain flowers
B) the Christ child placed on the ground
C) the rugged depiction of the shepherds
D) the explicit references to Classical Rome
Answer: D
Q2) __________ considered ancient Roman equestrian portraits in his design for Gattamelata .
A) Verrocchio
B) Donatello
C) Ghiberti
D) Alberti
Answer: B
Q3) What were Cosimo de Medici the Elder's primary concerns for the commission of the Medici Palace in Florence?
Answer: Not Answer
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Page 5
Chapter 4: Sixteenth-century art in Italy
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Q1) What are some general features of painting in the High Italian Renaissance?
Q2) What is the arrangement of images on the Sistine Chapel Ceiling and why are the scenes ordered in that way?
Q3) Which artist was NOT commissioned by Pope Julius II to help him realize his vision of a revitalized Rome as the center of a new Christian architecture?
A) Bramante
B) Raphael
C) Michelangelo
D) Leonardo da Vinci
Q4) In what ways did women figure into the sixteenth-century art in Italy?
Q5) How did its patron respond to Veronese's Feast in the House of Levi?
A) The painting was praised as propaganda for the Counter-Reformation.
B) The church was offended by its grand pageantry among other reasons.
C) It was seen as a testimony of Christ's humility and willingness to associate with sinners.
D) None of the above.
Q6) How was St.Peter's Basilica modified during the sixteenth century?
Q7) What qualities or features typify Venetian Renaissance painting?
Q8) For what reasons did Michelangelo's art change?
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Chapter 5: sixteenth-century art in northern Europe and the Iberian peninsula
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Q1) Juan de Herrera was the second architect on __________.
A) Santiago de Compostela
B) Fontainebleau
C) The Escorial
D) the Louvre
Q2) In Burial of Count Orgaz ,El Greco has crowded the pictorial field with figures and obscured the spatial setting of the scene in a way that recalls ___________paintings in Italy.
A) medieval
B) Raphael's
C) Venetian
D) Mannerist
Q3) What image from the Isenheim Altarpiece emphasizes human emotion and suffering through Grunewald's graphic realism?
A) the Crucifixion
B) the Annunciation
C) Saint Sebastian
D) the Resurrection
Q4) How did Francis I make Fontainebleau into an artistic center?
Q5) What are the main features of Elizabethan houses?
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Chapter 6: Seventeenth-Century art in Europe
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Q1) The Baldacchino by __________ is a canopy over the high altar of St.Peter's.
A) Maderno
B) Bernini
C) Borromini
D) Mansart
Q2) The undulating façade and building of the Church of San Carlo Alle Quattro Fontane is the work of __________.
A) Pietro da Cortona
B) Caravaggio
C) Borromini
D) Maderno
Q3) Why did Rembrandt's fortunes rise and fall?
Q4) How did the Catholic Church use art and architecture as propaganda for the Counter-Reformation?
Q5) What detail of Bernini's Cornaro Chapel helps viewer identify with the event?
A) metal supports that make the sculptural grouping appear to float
B) portrait sculptures on both sides appear as viewers witnessing the event taking place before us
C) a hidden window illuminating the figures with natural light
D) all of the above
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Chapter 7: art of south and southeast Asia after 1200
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Q1) The Kangra school of painting in the Punjab Hills contains characteristics of naturalism from what earlier school of Indian painting?
A) Mughal
B) Nanda
C) Rajbar
D) British Raj
Q2) __________ are the monumental entrance gateways to Hindu temple complexes.
A) Achalas
B) Vinyanas
C) Gopuras
D) Shakis
Q3) In Buddhism,__________ vows to forego buddahood until all others become buddhas.
A) Minar
B) Avalokiteshvara
C) Luna Vasahi
D) Madurai
Q4) What was the state of Buddhism in thirteenth-century India? Specify the particular religious beliefs and the artistic expression of those beliefs.
Q5) Who is Krishna? Give examples of his representation in Indian art.
Page 9
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Chapter 8: Chinese and Korean art after 1279
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Q1) What is the derivation of the word "porcelain"?
Q2) The northern city of __________ developed as a walled,rectangular city with streets laid out in a grid.
A) Shanghai
B) Taipei
C) Beijing
D) Guangzhou
Q3) A __________ was often part of a handscroll and could consist of inscriptions related to the work,such as a poem or comments by various owners of the scroll over time.
A) index
B) antiphon
C) forward
D) colophon
Q4) Unlike many scholars of his time,the painter,__________,did serve the Yuan government and was made a high official.
A) Zhao Mengfu
B) Kublai Khan
C) Jenghiz Khan
D) Yuan Khan
Page 10
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Chapter 9: Japanese art after 1333
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Q1) What design feature was NOT included in the Japanese formal receiving rooms called shoin?
A) a shrine for Buddhist meditation
B) shelves where writing implements were displayed
C) a alcove for flower arrangements or paintings
D) a space fitted for a low writing desk
Q2) What area of Japanese shoin-style interiors were frequently decorated with large-scale mural paintings?
A) the tokonoma
B) shoji screens
C) fusama
D) all of the above
Q3) What was the impact of Hokusai's Thirty-Six Views of Mt.Fuji on the arts?
Q4) Chanoyu is Japanese for __________,although the word itself doesn't convey the full meaning.
A) painting ceremony
B) tea ceremony
C) bathing ceremony
D) healing ceremony
Q5) What are registration marks in the woodblock print process? Are they necessary?
Page 11
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Chapter 10: Art of the Americas after 1300
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Q1) Woodlands art focused on personal adornment and fragile arts such as __________.
A) altars
B) games
C) quillwork
D) sculpture
Q2) How did the Aztecs use feathers?
Q3) __________ was deemed a fitting offering for the Incan gods.
A) lintels
B) rocks
C) cloth
D) wattle
Q4) How did Native Americans use basketry?
Q5) After the Spanish invasion,Aztec craftspeople adapted their skills to create ___________of Christian subjects.
A) gold and silver sculptures
B) feather paintings
C) woven textiles
D) manuscripts
Q6) What is the Four Corners region?
Q7) How do we know about the ceremonial complexes of the Aztecs?
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Chapter 11: art of pacific cultures
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Q1) Which of the following statements does NOT apply to the korambo,or spirit house,found in the Abelam culture of New Guinea?
A) The elaborate façade must be ritually repainted.
B) Secret initiation rites are performed inside.
C) Entering and exiting is the symbolic equivalent to death and rebirth.
D) A completion of the building's façade is celebrated with a six-month ceremony.
Q2) What has been the primary criticism of Pacific culture arts festivals in recent years?
A) A number of smaller cultures have not been represented.
B) Native traditions have been negatively impacted by increased professionalism and commercialism.
C) Organizing the festivals is expensive and drains the local economy.
D) Sacred tribal secrets have been disclosed to uninitiated outsiders.
Q3) How do the arts function in Melanesia?
Q4) What element of tattooing is most sacred to people of the Marquesas islands?
A) the symbolism of the designs and patterns
B) the process of shedding blood
C) the display of status and wealth
D) the ceremony involved upon the completion of the tattoo
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Page 13
Chapter 12: art of Africa in the modern era
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Q1) Progression to higher grades of the Lega people's bwami association depends on the candidate' s character and __________.
A) gender
B) ability to pay
C) hereditary lineage
D) ethnic background
Q2) How are African traditional art forms known to us today?
Q3) What is an example of tradition-based art produced in Africa today?
Q4) In African cultures,the political use of art is closely associated with __________.
A) post-colonial concerns of nationalism
B) a leader's connection to the spirit world
C) asserting a distinct cultural identity
D) underscoring a ruler's elite status within the community
Q5) Africans make figures emphasizing health and well-being to encourage the birth and growth of __________.
A) children
B) crops
C) herds
D) buildings
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Chapter 13: Eighteenth- and early-nineteenth century art
Europe and NORTH America
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Q1) __________ were really only honorary members of the academies.
A) Sculptors
B) Foreigners
C) Women
D) Architects
Q2) Interested in finding new symbolic forms for the nation,Benjamin Latrobe used ______________ in his design for the U.S.Capitol.
A) a new "American" order
B) Native American patterns to decorate carved entablatures
C) tobacco and corn instead of acanthus leaves on Corinthian columns
D) brick made from local clay
Q3) How did French artists Jacques-Louis David incorporate ideas of Grand Manner painting into his depiction of Napoleon Crossing the Saint Bernard ?
A) He represented their subjects in classical settings and costumes.
B) He used artistic license to suggest a heroic quality, similar to the ancient past.
C) He adhered to models for history painting set out by Joshua Reynolds in England.
D) All of the above.
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Page 15
Chapter 14: mid-to late nineteenth-century art in Europe and the united states
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Q1) Julia Margaret Cameron was a creative early proponent of portrait __________.
A) lithography
B) photography
C) painting
D) sketches
Q2) Although associated with the Academy,Gustave Moreau's sensuous treatment of biblical themes served as a precursor to which art movement?
A) Neo-Impressionism
B) Symbolism
C) Impressionism
D) the Pre-Raphaelites
Q3) What was George Seurat's goal in his "Divisionist" paintings?
A) to enliven paintings through the use scientific theories about color and optic function
B) to bring Classical structure to the Impressionists' approach to painting
C) to use color to generate a strong emotional response from the viewer
D) to produce an idiosyncratic style characterized by the use of small dots of color
Q4) Who was Camille Claudel?
Q5) What is Symbolism?
Page 16
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1900-1950
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Q1) The manner in which Picasso and Braque broke objects into parts initiated
A) collage
B) analytic cubism
C) automatism
D) expressionism
Q2) The Surrealists embraced unexpected __________ of disparate realities.
A) colors
B) light
C) juxtapositions
D) motion
Q3) Hartley,Dove,and O'Keeffe were all supported by __________ and shown in his gallery.
A) Henry Moore
B) Jacob Lawrence
C) Alfred Stieglitz
D) Salvador Dali
Q4) What kind of form did Modern Architecture take during this period?
Page 17
Q5) What did Bauhaus artists do with modern mass production?
Q6) What are the different kinds of Surrealism?
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Page 18
Chapter 16: The international scene since 1950
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Q1) ________________ is the term for artists' use of actions,movements,and gestures of their own bodies.
A) Process art
B) Pop art
C) Feminist art
D) Happenings
Q2) Eva Hesse embraced __________ in her art,making works that used the vocabulary of Minimalism for emotional ends.
A) optical illusion
B) Earthworks
C) Pop Art
D) absurdity
Q3) Many feminist artists embraced craft media because _________________.
A) these techniques required less demanding physical skills
B) its marginalization by the art establishment had suppressed women's accomplishments.
C) of the domestic function of most craft objects
D) all of the above
Q4) What is Postmodern art?
Q5) How did the Conceptual artists eliminate the art object?
Page 19
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