Analyzing seventeenth- and eighteenth-century 2D art - AP Art History
Card 1 of 92
The Dutch artist Rembrandt van Rijn was particularly noted for his ability to .
The Dutch artist Rembrandt van Rijn was particularly noted for his ability to .
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Rembrandt van Rijn was perhaps the greatest Dutch master of the seventeenth century, notable for his portraits and paintings on biblical themes. Rembrandt's themes and subjects were almost provincial, but his style built on Italian baroque painting that used strong contrasts. Rembrandt's ability to use darkness and shadow in unique and interesting ways is particularly notable.
Rembrandt van Rijn was perhaps the greatest Dutch master of the seventeenth century, notable for his portraits and paintings on biblical themes. Rembrandt's themes and subjects were almost provincial, but his style built on Italian baroque painting that used strong contrasts. Rembrandt's ability to use darkness and shadow in unique and interesting ways is particularly notable.
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Figure 3 Figure 4
The painting shown in Figure 4 portrays a(n) .
Figure 3 Figure 4
The painting shown in Figure 4 portrays a(n) .
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Johannes Vermeer did title his painting The Astronomer, but the painting also gives many clues as to the nature of the individual's profession. The placement of the man working in a study with tools indicates he was some kind of scholar, and not a notable figure in his society. The use of a globe, and his looking out a window, indicate his interest in astronomy, which in the seventeenth century utilized "celestial globes" portraying stars.
Figure 3: The Night Watch by Rembrandt van Rijn (1642)
Figure 4: The Astronomer by Johannes Vermeer (1668)
Johannes Vermeer did title his painting The Astronomer, but the painting also gives many clues as to the nature of the individual's profession. The placement of the man working in a study with tools indicates he was some kind of scholar, and not a notable figure in his society. The use of a globe, and his looking out a window, indicate his interest in astronomy, which in the seventeenth century utilized "celestial globes" portraying stars.
Figure 3: The Night Watch by Rembrandt van Rijn (1642)
Figure 4: The Astronomer by Johannes Vermeer (1668)
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Figure 3 Figure 4
The image shown in Figure 3 is remarkable for portraying .
Figure 3 Figure 4
The image shown in Figure 3 is remarkable for portraying .
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In one sense, Rembrandt van Rijn's The Night Watch is similar to many other Dutch golden-age works, focusing on light and dark contrasts, scenes of Dutch life, and celebrating Dutch unity against the Spanish in war. However, Rembrandt's sense of motion and movement stands out in this painting, with every figure in the painting doing something and interacting with each other and the painting's viewer.
Figure 3: The Night Watch by Rembrandt van Rijn (1642)
Figure 4: The Astronomer by Johannes Vermeer (1668)
In one sense, Rembrandt van Rijn's The Night Watch is similar to many other Dutch golden-age works, focusing on light and dark contrasts, scenes of Dutch life, and celebrating Dutch unity against the Spanish in war. However, Rembrandt's sense of motion and movement stands out in this painting, with every figure in the painting doing something and interacting with each other and the painting's viewer.
Figure 3: The Night Watch by Rembrandt van Rijn (1642)
Figure 4: The Astronomer by Johannes Vermeer (1668)
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Figure 3 Figure 4
The painting shown in Figure 4 creates depth by using .
Figure 3 Figure 4
The painting shown in Figure 4 creates depth by using .
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Perspective was still a relatively new innovation when Vermeer painted The Astronomer in 1668, having only been developed in the early sixteenth century in Italy. Vermeer's ability to portray the intense depth of the room shows his own mastery of perspective, and its utilization in painting.
Figure 3: The Night Watch by Rembrandt van Rijn (1642)
Figure 4: The Astronomer by Johannes Vermeer (1668)
Perspective was still a relatively new innovation when Vermeer painted The Astronomer in 1668, having only been developed in the early sixteenth century in Italy. Vermeer's ability to portray the intense depth of the room shows his own mastery of perspective, and its utilization in painting.
Figure 3: The Night Watch by Rembrandt van Rijn (1642)
Figure 4: The Astronomer by Johannes Vermeer (1668)
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Figure 1 Figure 2
The painting shown in Figure 1 is an example of .
Figure 1 Figure 2
The painting shown in Figure 1 is an example of .
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The Spanish painter Diego Velázquez was one of the leading lights of Baroque painting, and Las Meninas, shown here, is widely held as his masterpiece. The 1656 painting shows many aspects typical of Baroque painting, including highly mannered poses, a strict composition, and ornate detail.
Figure 1: Las Meninas by Diego Velázquez (1656)
Figure 2: Charles IV of Spain and His Family Francisco de Goya (1801)
The Spanish painter Diego Velázquez was one of the leading lights of Baroque painting, and Las Meninas, shown here, is widely held as his masterpiece. The 1656 painting shows many aspects typical of Baroque painting, including highly mannered poses, a strict composition, and ornate detail.
Figure 1: Las Meninas by Diego Velázquez (1656)
Figure 2: Charles IV of Spain and His Family Francisco de Goya (1801)
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Figure 1 Figure 2
Based on the content of the painting shown in Figure 2, it is most probably set in .
Figure 1 Figure 2
Based on the content of the painting shown in Figure 2, it is most probably set in .
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Francisco de Goya's placement of himself behind an easel indicates the Royal Family stands in a room in which he is working, making "the artist's studio" the most likely choice, especially given the exhibition of other pieces of art in the room behind the Royal Family. This answer choice can be further confirmed by ruling out the other answer choices: nothing in the image suggests that it portrays a royal balcony, the Princess' bedroom, or the royal dining room. Plus, the members of the Royal Family in de Goya's painting look somewhat uncomfortable; this suggests that they are not in a space in which they would normally be, adding further evidence that the painting shows the artist's studio.
Figure 1: Las Meninas by Diego Velázquez (1656)
Figure 2: Charles IV of Spain and His Family Francisco de Goya (1801)
Francisco de Goya's placement of himself behind an easel indicates the Royal Family stands in a room in which he is working, making "the artist's studio" the most likely choice, especially given the exhibition of other pieces of art in the room behind the Royal Family. This answer choice can be further confirmed by ruling out the other answer choices: nothing in the image suggests that it portrays a royal balcony, the Princess' bedroom, or the royal dining room. Plus, the members of the Royal Family in de Goya's painting look somewhat uncomfortable; this suggests that they are not in a space in which they would normally be, adding further evidence that the painting shows the artist's studio.
Figure 1: Las Meninas by Diego Velázquez (1656)
Figure 2: Charles IV of Spain and His Family Francisco de Goya (1801)
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Figure 1 Figure 2
In comparison to the painting shown in Figure 2, the subjects in the painting shown in Figure 1 are .
Figure 1 Figure 2
In comparison to the painting shown in Figure 2, the subjects in the painting shown in Figure 1 are .
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While de Goya based his painting on Velázquez', their portrayals of a royal family are completely different. Where Velázquez show the young princess Margaret Teresa smiling, with attendants and jesters trying to please her, de Goya shows only the royal family looking extremely uncomfortable. The seriousness of the family of Charles IV in a painting based on the playful Las Meninas was intentionally cultivated by de Goya.
Figure 1: Las Meninas by Diego Velázquez (1656)
Figure 2: Charles IV of Spain and His Family Francisco de Goya (1801)
While de Goya based his painting on Velázquez', their portrayals of a royal family are completely different. Where Velázquez show the young princess Margaret Teresa smiling, with attendants and jesters trying to please her, de Goya shows only the royal family looking extremely uncomfortable. The seriousness of the family of Charles IV in a painting based on the playful Las Meninas was intentionally cultivated by de Goya.
Figure 1: Las Meninas by Diego Velázquez (1656)
Figure 2: Charles IV of Spain and His Family Francisco de Goya (1801)
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Figure 3 Figure 4
Which of the following is a true statement contrasting the paintings shown in Figure 3 and Figure 4?
Figure 3 Figure 4
Which of the following is a true statement contrasting the paintings shown in Figure 3 and Figure 4?
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Caravaggio's Supper at Emmaus, painted in 1606, is like Fra Angelico's in that both men were Italian and the paintings are each of Biblical scenes. Yet the one hundred and fifty years between them demonstrates the revolution that happened in painting during the Renaissance. Caravaggio's work, emblematic of seventeenth century Baroque painting, has a sense of perspective that places Jesus well behind his disciples, and also places them in a realistic setting amid rich, dark colors. So, one can accurately say that the use of perspective in the Carravagio painting is more developed and realistic than the use of perspective in the Fra Angelico painting. The answer choices comparing the relative brightness of the paintings' colors and each painting's use of light and shadow are incorrect, as is the answer choice claiming that more figures are shown in the Fra Angelico painting than in the Caravaggio painting; the same number of figures are shown in each, though the three figures in the upper right hand corner of the Fra Angelico painting are easy to miss.
Figure 3: The Annunciation (Cortona) by Fra Angelico (1433)
Figure 4: Supper at Emmaus (Milan) by Caravaggio (1606)
Caravaggio's Supper at Emmaus, painted in 1606, is like Fra Angelico's in that both men were Italian and the paintings are each of Biblical scenes. Yet the one hundred and fifty years between them demonstrates the revolution that happened in painting during the Renaissance. Caravaggio's work, emblematic of seventeenth century Baroque painting, has a sense of perspective that places Jesus well behind his disciples, and also places them in a realistic setting amid rich, dark colors. So, one can accurately say that the use of perspective in the Carravagio painting is more developed and realistic than the use of perspective in the Fra Angelico painting. The answer choices comparing the relative brightness of the paintings' colors and each painting's use of light and shadow are incorrect, as is the answer choice claiming that more figures are shown in the Fra Angelico painting than in the Caravaggio painting; the same number of figures are shown in each, though the three figures in the upper right hand corner of the Fra Angelico painting are easy to miss.
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
In the painting shown in Figure 4, the figure in green in the middle of the scene is .
Figure 3 Figure 4
In the painting shown in Figure 4, the figure in green in the middle of the scene is .
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Although not obviously marked out in any way, the figure in the middle of the Caravaggio painting is Jesus Christ. One clue is that this painting is entitled Supper at Emmaus, but the scene would be obvious to anyone familiar with the story from the Gospel of Luke, which many Renaissance-era Europeans would have been. The painting displays the wonderment of everyone around a serene bearded figure, who raises his hand in a traditional gesture of blessing associated with Jesus Christ.
Figure 3: The Annunciation (Cortona) by Fra Angelico (1433)
Figure 4: Supper at Emmaus (Milan) by Caravaggio (1606)
Although not obviously marked out in any way, the figure in the middle of the Caravaggio painting is Jesus Christ. One clue is that this painting is entitled Supper at Emmaus, but the scene would be obvious to anyone familiar with the story from the Gospel of Luke, which many Renaissance-era Europeans would have been. The painting displays the wonderment of everyone around a serene bearded figure, who raises his hand in a traditional gesture of blessing associated with Jesus Christ.
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
Figure 3 represents the King of .
Figure 3
Figure 4
Figure 3 represents the King of .
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Figure 3 is Anthony van Dyck's triple portrait of King Charles I of England, Scotland, and Ireland from 1635. Charles inherited all of his crowns from his father James, and ruled all three beginning in 1625. Charles' reign was cut short after the English Civil War saw his subjects in England overthrow him and cut off his head in 1649.
Figure 3 is Anthony van Dyck's triple portrait of King Charles I of England, Scotland, and Ireland from 1635. Charles inherited all of his crowns from his father James, and ruled all three beginning in 1625. Charles' reign was cut short after the English Civil War saw his subjects in England overthrow him and cut off his head in 1649.
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Figure 3
Figure 4
In contrast to Figure 3, the King in Figure 4 is portrayed as .
Figure 3
Figure 4
In contrast to Figure 3, the King in Figure 4 is portrayed as .
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In Spanish, this 1633 portrait by Diego Velazquez is known as "Felipe IV Cazador," or "Philip IV the Hunter." This portrait is atypical for Velazquez' portraits of Philip, which are usually in his palace or against a simple background. This was done presumably to show a different side of Philip, that expressed his love of the outdoors, hunting, and adventurous pursuits.
In Spanish, this 1633 portrait by Diego Velazquez is known as "Felipe IV Cazador," or "Philip IV the Hunter." This portrait is atypical for Velazquez' portraits of Philip, which are usually in his palace or against a simple background. This was done presumably to show a different side of Philip, that expressed his love of the outdoors, hunting, and adventurous pursuits.
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Figure 3
Figure 4
Each of these kings represented monarchs who believed in .
Figure 3
Figure 4
Each of these kings represented monarchs who believed in .
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The image on the left is one of Anthony van Dyck's portrayals of King Charles I of England, Scotland, and Ireland, while the image on the right is a Diego Velazquez portrait of King Philip IV of Spain. As seventeenth-century monarchs, both kings believed in the divine right of kings to rule in an absolute monarchy. This worked out differently for each, however, as Philip IV ruled Spain at a time when it was at the apex of its power, and Charles I was the King who incited England into civil war.
The image on the left is one of Anthony van Dyck's portrayals of King Charles I of England, Scotland, and Ireland, while the image on the right is a Diego Velazquez portrait of King Philip IV of Spain. As seventeenth-century monarchs, both kings believed in the divine right of kings to rule in an absolute monarchy. This worked out differently for each, however, as Philip IV ruled Spain at a time when it was at the apex of its power, and Charles I was the King who incited England into civil war.
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Questions 7-12 are based on Figures 3 and 4.
Figure 3
Figure 4
Figure 3 most likely has three portraits because .
Questions 7-12 are based on Figures 3 and 4.
Figure 3
Figure 4
Figure 3 most likely has three portraits because .
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As a practical purpose, this triple portrait of King Charles I, by Anthony van Dyck, was probably needed so that a bust could be made by a sculptor the King could not sit for. In executing it, however, van Dyck gets to show the King in multiple ways, showing his ability to capture different elements of the King. The King wears different robes, and his smile is ever so slightly different in each image.
As a practical purpose, this triple portrait of King Charles I, by Anthony van Dyck, was probably needed so that a bust could be made by a sculptor the King could not sit for. In executing it, however, van Dyck gets to show the King in multiple ways, showing his ability to capture different elements of the King. The King wears different robes, and his smile is ever so slightly different in each image.
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Figure 3
Figure 4
Each of these paintings is an example of .
Figure 3
Figure 4
Each of these paintings is an example of .
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Both Anthony van Dyck, who created the triple portrait of Charles I in Figure 3, and Diego Velazquez, who made the image of Philip IV in Figure 4, were leading lights of the Baroque era. Baroque painting featured stylized portraiture, high contrast between colors, and emotional approaches to its subjects. Each portrait demonstrates these characteristics quite well.
Both Anthony van Dyck, who created the triple portrait of Charles I in Figure 3, and Diego Velazquez, who made the image of Philip IV in Figure 4, were leading lights of the Baroque era. Baroque painting featured stylized portraiture, high contrast between colors, and emotional approaches to its subjects. Each portrait demonstrates these characteristics quite well.
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Figure 3
Figure 4
The painting in Figure 3 was made by a painter originally from modern-day .
Figure 3
Figure 4
The painting in Figure 3 was made by a painter originally from modern-day .
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Anthony van Dyck, who created the image in Figure 3, Charles I in Three Positions, continued the English tradition of monarchs importing court painters. Anthony van Dyck was born in Antwerp, then in the Spanish Netherlands, but now in Belgium. Van Dyck had made a career in Italy in the 1620s, but was convinced by Charles to move to London to be the offical court painter there.
Anthony van Dyck, who created the image in Figure 3, Charles I in Three Positions, continued the English tradition of monarchs importing court painters. Anthony van Dyck was born in Antwerp, then in the Spanish Netherlands, but now in Belgium. Van Dyck had made a career in Italy in the 1620s, but was convinced by Charles to move to London to be the offical court painter there.
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For what reason did the artist include a wide range of servants and attendants in the work shown?
For what reason did the artist include a wide range of servants and attendants in the work shown?
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Diego Velazquez' painting is named Las Meninas, literally "The Maids of Honor" in Spanish, but the center of the painting is still the Infanta, Margaret Theresa, the daughter of the King and Queen of Spain. By showing the Infanta's retinue, including the maids of honor, a chaperone, dwarves, and pets, as well as himself painting the work, Velazquez presents the reality of the royal household in a critical, if non-judgmental, manner. Adding to this effect is the presentation of the King and Queen in a mirror at the back of the room, putting the viewer in the position of the royal couple.
Image is in the public domain, accessed through Wikipedia Media Commons: https://commons.wikimedia.org/wiki/File:Las\_Meninas,\_by\_Diego\_Velázquez,\_from\_Prado\_in\_Google\_Earth.jpg
Diego Velazquez' painting is named Las Meninas, literally "The Maids of Honor" in Spanish, but the center of the painting is still the Infanta, Margaret Theresa, the daughter of the King and Queen of Spain. By showing the Infanta's retinue, including the maids of honor, a chaperone, dwarves, and pets, as well as himself painting the work, Velazquez presents the reality of the royal household in a critical, if non-judgmental, manner. Adding to this effect is the presentation of the King and Queen in a mirror at the back of the room, putting the viewer in the position of the royal couple.
Image is in the public domain, accessed through Wikipedia Media Commons: https://commons.wikimedia.org/wiki/File:Las\_Meninas,\_by\_Diego\_Velázquez,\_from\_Prado\_in\_Google\_Earth.jpg
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The artist included a self-portrait in this work in order to show .
The artist included a self-portrait in this work in order to show .
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Las Meninas is, essentially, a portrait of the royal household, especially the retinue of people surrounding the Infanta Margaret Theresa. In the middle of this portrait Diego Velazquez has included an image of himself painting the scene. Velazquez official position was as the court painter to Philip IV, King of Spain, which meant he lived and worked in the Alcazar, the royal palace of the Spanish Monarchs.
Image is in the public domain, accessed through Wikipedia Media Commons: https://commons.wikimedia.org/wiki/File:Las\_Meninas,\_by\_Diego\_Velázquez,\_from\_Prado\_in\_Google\_Earth.jpg
Las Meninas is, essentially, a portrait of the royal household, especially the retinue of people surrounding the Infanta Margaret Theresa. In the middle of this portrait Diego Velazquez has included an image of himself painting the scene. Velazquez official position was as the court painter to Philip IV, King of Spain, which meant he lived and worked in the Alcazar, the royal palace of the Spanish Monarchs.
Image is in the public domain, accessed through Wikipedia Media Commons: https://commons.wikimedia.org/wiki/File:Las\_Meninas,\_by\_Diego\_Velázquez,\_from\_Prado\_in\_Google\_Earth.jpg
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The principal subject of the work shown here is .
The principal subject of the work shown here is .
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This work of art is known as Self-Portrait with Saskia. In the foreground is the artist, Rembrandt van Rijn, with his wife Saskia positioned slightly behind him. Rembrandt portrays them as ordinary people, rather than wealthy patrons or significant figures from history, a common theme of seventeenth century Dutch painting, but uncommon in other parts of Europe.
Image is in the public domain, accessed through Wikipedia Media Commons: https://commons.wikimedia.org/wiki/File:Self-portrait\_with\_Saskia.jpg
This work of art is known as Self-Portrait with Saskia. In the foreground is the artist, Rembrandt van Rijn, with his wife Saskia positioned slightly behind him. Rembrandt portrays them as ordinary people, rather than wealthy patrons or significant figures from history, a common theme of seventeenth century Dutch painting, but uncommon in other parts of Europe.
Image is in the public domain, accessed through Wikipedia Media Commons: https://commons.wikimedia.org/wiki/File:Self-portrait\_with\_Saskia.jpg
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The style in which A Philosopher Giving a Lecture on the Orrery was painted was unusual in what way?
The style in which A Philosopher Giving a Lecture on the Orrery was painted was unusual in what way?
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The style in which Wright painted A Philosopher Giving a Lecture on the Orrery was normally reserved for "history painting." These paintings would often be scenes with historical or religious figures, or of mythological heroes, and usually had a moral implication. Wright chose to paint a scientific scene in this way, which emphasized the importance of the Enlightenment at the time.
Image is in the public domain, accessed through Wikipedia Media Commons: https://en.wikipedia.org/wiki/File:Wright\_of\_Derby,\_The\_Orrery.jpg
The style in which Wright painted A Philosopher Giving a Lecture on the Orrery was normally reserved for "history painting." These paintings would often be scenes with historical or religious figures, or of mythological heroes, and usually had a moral implication. Wright chose to paint a scientific scene in this way, which emphasized the importance of the Enlightenment at the time.
Image is in the public domain, accessed through Wikipedia Media Commons: https://en.wikipedia.org/wiki/File:Wright\_of\_Derby,\_The\_Orrery.jpg
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The positioning of the adults in the image was intentional and meant to represent a specific scientific theme -- which of the following does their positioning represent?
The positioning of the adults in the image was intentional and meant to represent a specific scientific theme -- which of the following does their positioning represent?
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The positioning of each adult in the photo is meant to represent the phases of the moon -- new moon, half moon, gibbous moon and full moon. Wright demonstrates this by his dramatic use of light and shadow. The shadows on their faces illustrate what the moon looks like when it rotates around the sun.
Image is in the public domain, accessed through Wikipedia Media Commons: https://en.wikipedia.org/wiki/File:Wright\_of\_Derby,\_The\_Orrery.jpg
The positioning of each adult in the photo is meant to represent the phases of the moon -- new moon, half moon, gibbous moon and full moon. Wright demonstrates this by his dramatic use of light and shadow. The shadows on their faces illustrate what the moon looks like when it rotates around the sun.
Image is in the public domain, accessed through Wikipedia Media Commons: https://en.wikipedia.org/wiki/File:Wright\_of\_Derby,\_The\_Orrery.jpg
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