Exam 6: Seventeenth-Century art in Europe

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How are Zurbarán and Murillo similar and different as painters?

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__________ succeeded Maderno in 1629 as Vatican architect.

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In the fourth state of the Three Crosses,Rembrandt modified the scene ________________.

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Caravaggio actively used __________,in which he painted forms emerging from a dark background into a strong light that often falls from a single source outside the painting

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A popular form of Dutch still-life painting,showing a table set for a meal,is called a __________.

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How did the patronage change in seventeenth-century art and what impact did it have on art?

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Genre scenes were popular in the Netherlands for their _______________.

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What object or objects seen in Dutch still lifes conveys the theme of vanitas?

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Frans Hals painted Malle Babbe in _____________ than his formal portraits.

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Neighbors in Antwerp,__________ and Jan Brueghel frequently collaborated on paintings.

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The columns surrounding the drum on the exterior of St.Paul's Cathedral recall _____________.

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Rachel Ruysch created still-life paintings,which capitalized on the Dutch preoccupation with ________ to make her one of the most sought after and highly paid artists of the period.

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The Banqueting House,Whitehall Palace demonstrates the influence of __________Classicizing style on Inigo Jones in England

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Vermeer is known for his ability to transform everyday scenes into ones of unearthly perfection.What techniques doe she use to achieve this?

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The tenebrism and highly realistic style characterizing of seventeenth-century Spanish painting was influenced by __________.

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What is one way that scientific discoveries impacted on art of the seventeenth century?

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How are Baroque naturalism and Baroque classicism similar and different?

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Still-life paintings with a moralizing __________ theme were very popular in the seventeenth century.

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Which Italian artist became known in the Netherlands because of the influence he had on the Dutch painter Hendrick ter Brugghen?

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Why did women artists gain success and notoriety in seventeenth century art?

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