Analyzing fourteenth- through sixteenth-century 2D art - AP Art History
Card 1 of 136
The above painting depicts what biblical scene that was a common feature of medieval art?
The above painting depicts what biblical scene that was a common feature of medieval art?
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This painting is by the Medieval artist Fra Angelico and known as the Cortona Annunciation. Painted from 1433-1434, it depicts the archangel Gabriel telling the Virgin Mary that she is pregnant with the Christ child. The Annunciation, as a key moment in the Bible, was a very popular theme in Medieval European art. This particular painting was part of an altarpiece in a church in Cortona, Italy, and painted by a priest.
This painting is by the Medieval artist Fra Angelico and known as the Cortona Annunciation. Painted from 1433-1434, it depicts the archangel Gabriel telling the Virgin Mary that she is pregnant with the Christ child. The Annunciation, as a key moment in the Bible, was a very popular theme in Medieval European art. This particular painting was part of an altarpiece in a church in Cortona, Italy, and painted by a priest.
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In Medieval art, a man dying with arrows in his sides depicts .
In Medieval art, a man dying with arrows in his sides depicts .
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Saint Sebastian was a martyr of the early Christian church who died in the Diocletian persecutions of the third century CE. He became a popular figure in medieval art, usually shown as being tied to a tree with arrows in his sides. This image was to convey what an appropriate Christian martyr should look like.
Saint Sebastian was a martyr of the early Christian church who died in the Diocletian persecutions of the third century CE. He became a popular figure in medieval art, usually shown as being tied to a tree with arrows in his sides. This image was to convey what an appropriate Christian martyr should look like.
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The Virgin Mary is usually depicted wearing what color garment in medieval art?
The Virgin Mary is usually depicted wearing what color garment in medieval art?
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As one of the most revered figures in Christianity, the Virgin Mary was a constant theme of medieval religious art. In order to function as a highly visible symbol in a mostly illiterate culture, many different symbols were used to distinguish Mary. Most important was her robe, which was typically a bright blue color, which denoted expensive silks.
As one of the most revered figures in Christianity, the Virgin Mary was a constant theme of medieval religious art. In order to function as a highly visible symbol in a mostly illiterate culture, many different symbols were used to distinguish Mary. Most important was her robe, which was typically a bright blue color, which denoted expensive silks.
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In Christian hagiography, which figure is depicted as having a stone in his head?
In Christian hagiography, which figure is depicted as having a stone in his head?
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Saint Stephen is traditionally considered the first martyr of Christianity, and his death by stoning is told in the biblical book of Acts. Due to the circumstances of his death, he was usually depicted with a stone implanted in his skull. Thanks to his position as "the first martyr," Saint Stephen very commonly depicted in Medieval art.
Saint Stephen is traditionally considered the first martyr of Christianity, and his death by stoning is told in the biblical book of Acts. Due to the circumstances of his death, he was usually depicted with a stone implanted in his skull. Thanks to his position as "the first martyr," Saint Stephen very commonly depicted in Medieval art.
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Figure 1
Figure 2
The man in red in the lower image is most likely .
Figure 1
Figure 2
The man in red in the lower image is most likely .
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In the Christian tradition, particularly in Medieval Christianity, the inventor of Christian icons and the first person to paint any images of Christ was the Evangelist Saint Luke. In his 1440 painting, "Saint Luke Drawing the Virgin, the early Netherlandish painter Rogier van der Weyden includes someone painting the Madonna and Child with a book open at his feet. Both of these clues indicate that the figure is Saint Luke.
In the Christian tradition, particularly in Medieval Christianity, the inventor of Christian icons and the first person to paint any images of Christ was the Evangelist Saint Luke. In his 1440 painting, "Saint Luke Drawing the Virgin, the early Netherlandish painter Rogier van der Weyden includes someone painting the Madonna and Child with a book open at his feet. Both of these clues indicate that the figure is Saint Luke.
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Image A Image B
One of the key differences in how the subjects of the two paintings are portrayed is that .
Image A Image B
One of the key differences in how the subjects of the two paintings are portrayed is that .
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These two paintings, both portraits by Hans Holbein the Younger of Sir Thomas More (on the left) and Thomas Cromwell (on the right), are extremely similar. Both show councillors to King Henry VIII of England in quite serious poses, representing their important positions; however, More takes up the entire frame of his portrait, making him seem extremely important, while Cromwell is placed behind a table on a bench, relegating him to being a part of the scenery.
Figure 1: Portrait of Sir Thomas More by Hans Holbein the Younger (1527)
Figure 2: Portrait of Thomas Cromwell by Hans Holbein the Younger (c. 1533)
These two paintings, both portraits by Hans Holbein the Younger of Sir Thomas More (on the left) and Thomas Cromwell (on the right), are extremely similar. Both show councillors to King Henry VIII of England in quite serious poses, representing their important positions; however, More takes up the entire frame of his portrait, making him seem extremely important, while Cromwell is placed behind a table on a bench, relegating him to being a part of the scenery.
Figure 1: Portrait of Sir Thomas More by Hans Holbein the Younger (1527)
Figure 2: Portrait of Thomas Cromwell by Hans Holbein the Younger (c. 1533)
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The image above portrays the author of the book of in the Bible.
The image above portrays the author of the book of in the Bible.
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This work by the fifteenth-century Dutch painter Hieronymus Bosch, entitled St. John the Evangelist on Patmos, depicts the author of the Book of Revelation. The key signifiers of this fact in the painting are the subject's location on a small island and his gaze upwards towards both an angelic messenger and an image of heaven.
Image: St. John the Evangelist on Patmos by Hieronymus Bosch (1489)
This work by the fifteenth-century Dutch painter Hieronymus Bosch, entitled St. John the Evangelist on Patmos, depicts the author of the Book of Revelation. The key signifiers of this fact in the painting are the subject's location on a small island and his gaze upwards towards both an angelic messenger and an image of heaven.
Image: St. John the Evangelist on Patmos by Hieronymus Bosch (1489)
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The artist of the above work is .
The artist of the above work is .
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This painting, with its use of perspective and iconographic imagery, can be called "Early Netherlandish." This work's strange imagery and collage-like background, however, place it as a strange and unique mixture, which was made by the Flemish painter Hieronymus Bosch. Bosch's work often portrayed religious themes, such as this painting's subject of St. John on Patmos, and used bizarre imagery, which is in both the upper left and lower right corners.
Image: St. John the Evangelist on Patmos by Hieronymus Bosch (1489)
This painting, with its use of perspective and iconographic imagery, can be called "Early Netherlandish." This work's strange imagery and collage-like background, however, place it as a strange and unique mixture, which was made by the Flemish painter Hieronymus Bosch. Bosch's work often portrayed religious themes, such as this painting's subject of St. John on Patmos, and used bizarre imagery, which is in both the upper left and lower right corners.
Image: St. John the Evangelist on Patmos by Hieronymus Bosch (1489)
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The most likely original placement of this painting would have been in .
The most likely original placement of this painting would have been in .
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The Early Netherlandish painters with whom Hieronymus Bosch was associated painted a number of altarpieces and devotional works to be placed in churches. This portrait of John on Patmos shows the purported author of the Book of Revelation in a reverential stance. Additionally, his positioning indicates this was the far right end of a triptych, a three-fold piece of art that had multiple paintings on one, usually religious, theme. Triptychs were common in church altars in the Late Medieval/Early Modern period.
Image: St. John the Evangelist on Patmos by Hieronymus Bosch (1489)
The Early Netherlandish painters with whom Hieronymus Bosch was associated painted a number of altarpieces and devotional works to be placed in churches. This portrait of John on Patmos shows the purported author of the Book of Revelation in a reverential stance. Additionally, his positioning indicates this was the far right end of a triptych, a three-fold piece of art that had multiple paintings on one, usually religious, theme. Triptychs were common in church altars in the Late Medieval/Early Modern period.
Image: St. John the Evangelist on Patmos by Hieronymus Bosch (1489)
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The artist of the above painting was a precursor to the twentieth-century movement known as .
The artist of the above painting was a precursor to the twentieth-century movement known as .
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Hieronymus Bosch's work, including this painting of St. John on Patmos, very much plays with realistic forms and styles, but also includes bizarrely grotesque and unnatural forms and shapes. While unique in his own time and largely singular for centuries, this use of realistic colors, human forms, and landscapes with bizarre, unnatural imagery would all become hallmarks of the twentieth-century art movement surrealism, particularly as practiced by Salvador Dali, Max Ernst, and Yves Tanguy.
Image: St. John the Evangelist on Patmos by Hieronymus Bosch (1489)
Hieronymus Bosch's work, including this painting of St. John on Patmos, very much plays with realistic forms and styles, but also includes bizarrely grotesque and unnatural forms and shapes. While unique in his own time and largely singular for centuries, this use of realistic colors, human forms, and landscapes with bizarre, unnatural imagery would all become hallmarks of the twentieth-century art movement surrealism, particularly as practiced by Salvador Dali, Max Ernst, and Yves Tanguy.
Image: St. John the Evangelist on Patmos by Hieronymus Bosch (1489)
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The obvious paint strokes on this work of art are known as .
The obvious paint strokes on this work of art are known as .
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"Impasto" is an Italian word meaning "paste" that is used in an artistic context to indicate that the paint on the surface of a work has been applied in thick, visible layers. Hieronymus Bosch's use of techniques that obviously showed his paint work, as in this painting, St. John the Evangelist on Patmos, stood in stark contrast to his fellow Flemish painters, who applied layer upon layer of glaze to give their works a smooth, reflective surface.
Image: St. John the Evangelist on Patmos by Hieronymus Bosch (1489)
"Impasto" is an Italian word meaning "paste" that is used in an artistic context to indicate that the paint on the surface of a work has been applied in thick, visible layers. Hieronymus Bosch's use of techniques that obviously showed his paint work, as in this painting, St. John the Evangelist on Patmos, stood in stark contrast to his fellow Flemish painters, who applied layer upon layer of glaze to give their works a smooth, reflective surface.
Image: St. John the Evangelist on Patmos by Hieronymus Bosch (1489)
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Pictured above is the Arnolfini Portrait, and can be found at the Website of National Gallery, London.
In what century was this work created?
Pictured above is the Arnolfini Portrait, and can be found at the Website of National Gallery, London.
In what century was this work created?
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This is a work from the Northern European Renaissance, a movement that lasted throughout the 1400s, or the fifteenth century. This work was created in 1434.
This is a work from the Northern European Renaissance, a movement that lasted throughout the 1400s, or the fifteenth century. This work was created in 1434.
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![401px-Jan_Gossaert_-Neptune_and_Amphitrite-_WGA9786.jpg]()
Jan Gossaert's 1516 painting Neptune and Amphitrite clearly demonstrates all of the following influences except .
Jan Gossaert's 1516 painting Neptune and Amphitrite clearly demonstrates all of the following influences except .
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Neptune and Amphitrite is largely influenced by Jan Gossaert's time spent abroad in Italy where he adopted and perfected humanist themes in his art and was exposed to Classical history, myth, and architecture. This painting also clearly echoes the composition and poses seen in Durer's The Fall of Man. Neptune and Amphitrite does NOT, however, feature any discernable Protestant themes.
Neptune and Amphitrite is largely influenced by Jan Gossaert's time spent abroad in Italy where he adopted and perfected humanist themes in his art and was exposed to Classical history, myth, and architecture. This painting also clearly echoes the composition and poses seen in Durer's The Fall of Man. Neptune and Amphitrite does NOT, however, feature any discernable Protestant themes.
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Figure 3 Figure 4
Each of these paintings portray a story from .
Figure 3 Figure 4
Each of these paintings portray a story from .
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These two images each portray an important story from the Gospels in the New Testament, the four books that tell the life of Jesus Christ. The image on the left is of the Annunciation, the announcement an angel made to the Virgin Mary telling her that she was pregnant with the Christ child. It was painted in 1433 by Fra Angelico. The image on the right is of the risen Jesus encountering his disciples in Emmaus, painted by Caravaggio in 1606.
Figure 3: The Annunciation (Cortona) by Fra Angelico (1433)
Figure 4: Supper at Emmaus (Milan) by Caravaggio (1606)
These two images each portray an important story from the Gospels in the New Testament, the four books that tell the life of Jesus Christ. The image on the left is of the Annunciation, the announcement an angel made to the Virgin Mary telling her that she was pregnant with the Christ child. It was painted in 1433 by Fra Angelico. The image on the right is of the risen Jesus encountering his disciples in Emmaus, painted by Caravaggio in 1606.
Figure 3: The Annunciation (Cortona) by Fra Angelico (1433)
Figure 4: Supper at Emmaus (Milan) by Caravaggio (1606)
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Figure 3 Figure 4
Images like the painting shown in Figure 3 were particularly important for Christians who were .
Figure 3 Figure 4
Images like the painting shown in Figure 3 were particularly important for Christians who were .
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Most people in Medieval Europe could not read or write, but the Catholic church had a vested interest in helping all of its members to become familiar with and understand the stories of the Bible. A painting like the one presented here by Fra Angelico not only shows the Angel Gabriel telling the Virgin Mary of her status as the mother of the Christ child, but gives a larger symbolic structure to the event.
Figure 3: The Annunciation (Cortona) by Fra Angelico (1433)
Figure 4: Supper at Emmaus (Milan) by Caravaggio (1606)
Most people in Medieval Europe could not read or write, but the Catholic church had a vested interest in helping all of its members to become familiar with and understand the stories of the Bible. A painting like the one presented here by Fra Angelico not only shows the Angel Gabriel telling the Virgin Mary of her status as the mother of the Christ child, but gives a larger symbolic structure to the event.
Figure 3: The Annunciation (Cortona) by Fra Angelico (1433)
Figure 4: Supper at Emmaus (Milan) by Caravaggio (1606)
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Both of these images were painted in .
Both of these images were painted in .
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Each of these images, Leonardo da Vinci's 1489 "Lady with an Ermine" and Sandro Botticelli's 1486 "The Birth of Venus", are classic examples of Italian Renaissance paintings. Da Vinci painted in Milan, under the patronage of the Sforza family, the longtime Dukes of Milan. Botticelli had the Medici family as patrons in the city-state of Florence.
Each of these images, Leonardo da Vinci's 1489 "Lady with an Ermine" and Sandro Botticelli's 1486 "The Birth of Venus", are classic examples of Italian Renaissance paintings. Da Vinci painted in Milan, under the patronage of the Sforza family, the longtime Dukes of Milan. Botticelli had the Medici family as patrons in the city-state of Florence.
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In the painting, the animal represents .
In the painting, the animal represents .
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The animal is an ermine (which is a type of weasel). In Leonardo da Vinci's time, the ermine was commonly used throughout Europe as a symbol for purity.
If you don't remember something like this on test day, you can still make an educated guess. For example, you might not remember anything about ermines, but perhaps you remember that white doves are often used in art to symbolize purity. That would lead you to the correct answer.
At the very least, you can probably eliminate the answers "disgrace" and "sensuality" just from looking at the painting. Eliminating two of the four answer choices doubles your chances of guessing correctly.
The animal is an ermine (which is a type of weasel). In Leonardo da Vinci's time, the ermine was commonly used throughout Europe as a symbol for purity.
If you don't remember something like this on test day, you can still make an educated guess. For example, you might not remember anything about ermines, but perhaps you remember that white doves are often used in art to symbolize purity. That would lead you to the correct answer.
At the very least, you can probably eliminate the answers "disgrace" and "sensuality" just from looking at the painting. Eliminating two of the four answer choices doubles your chances of guessing correctly.
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The painting depicts a scene from .
The painting depicts a scene from .
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Botticelli's "The Birth of Venus" portrays a story from Greek mythology. This is common in Italian Renaissance art.
Botticelli's "The Birth of Venus" portrays a story from Greek mythology. This is common in Italian Renaissance art.
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The painting demonstrates , which was introduced during the Renaissance.
The painting demonstrates , which was introduced during the Renaissance.
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While da Vinci's "Lady with an Ermine" is an excellent portrait in its own right, the truly revolutionary aspect of the work is the small sense of motion in the painting. Da Vinci's subject is turning ever so slightly and is captured in a small amount of tension. The ability to capture movement was something introduced during the Renaissance.
While da Vinci's "Lady with an Ermine" is an excellent portrait in its own right, the truly revolutionary aspect of the work is the small sense of motion in the painting. Da Vinci's subject is turning ever so slightly and is captured in a small amount of tension. The ability to capture movement was something introduced during the Renaissance.
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The painting was created for the leading family of .
The painting was created for the leading family of .
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This is "The Birth of Venus" by Sandro Botticelli. He worked directly for the Medicis, a family of bankers who ruled the northern Italian city-state of Florence.
This is "The Birth of Venus" by Sandro Botticelli. He worked directly for the Medicis, a family of bankers who ruled the northern Italian city-state of Florence.
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