Medieval History Quiz on Early European Art

Masaccio’s The Tribute Money (c. 1425) is a major fresco in the Brancacci Chapel and showcases early Renaissance mastery of perspective, unified light, and naturalism. Masaccio’s work predates the High Renaissance and influenced artists like Michelangelo. Caravaggio, Titian, and Raphael worked much later, making Masaccio the correct attribution. The narrative technique, use of chiaroscuro, and logical spatial arrangement all reflect Masaccio’s pivotal role in early Renaissance innovation.

Botticelli’s Birth of Venus (c. 1485) is an iconic mythological painting of the Italian Renaissance. Known for its flowing lines, idealized beauty, and mythological symbolism, the work stands apart from the sculptural strength of Michelangelo or the painterly drama of Titian. Botticelli’s emphasis on poetic elegance and mythological storytelling makes him distinctly identifiable as the artist. The subject matter and stylistic traits confirm his authorship.

Raphael’s The School of Athens represents the intellectual spirit of the High Renaissance. Its masterful use of perspective, monumental architecture, and balanced composition reflect Raphael’s mature style. The painting depicts classical philosophers with realism influenced by Leonardo and Michelangelo. Giotto and Masaccio worked in earlier periods, and Jan van Eyck belonged to the Northern Renaissance, making Raphael the historically and stylistically correct answer.

Donatello’s David (1408–1409) is an early Renaissance sculpture known for its naturalism and classical influence. Donatello experimented with contrapposto and expressive realism long before Michelangelo’s later David. Ghiberti focused on bronze reliefs, and Bernini’s David belongs to the Baroque period, making Donatello the clear answer. His early David marks a turning point toward classical revival in sculpture.

Raphael’s Madonna of the Meadow (1506) reflects his serene composition style, soft triangular arrangement, and focus on harmony. The warm color palette and balanced figures set it apart from Leonardo’s sfumato-heavy style, Titian’s rich Venetian colorism, and Masaccio’s early Renaissance crispness. Raphael’s work highlights ideal beauty and spiritual tenderness, making him the correct and stylistically identifiable artist.

Cimabue’s Virgin and Child Enthroned is a foundational work of early Italian panel painting. The piece is notable for its gold background and hierarchical composition, typical of medieval iconography. Cimabue’s style bridges Byzantine influence and the developing naturalism later advanced by Giotto. The subject matter, medium, and stylistic choices differentiate it from Renaissance works like da Vinci’s and Michelangelo’s, confirming Cimabue’s authorship and period.

Giotto’s Kiss of Judas is part of the Scrovegni (Arena) Chapel fresco cycle from 1305–1306. Giotto’s innovative use of volumetric figures, emotional storytelling, and spatial depth marks a transition from medieval flatness to Renaissance naturalism. The scene dramatizes Judas betraying Christ, a recurring biblical theme. Raphael, Leonardo, and Michelangelo were active centuries later, making Giotto the correct and historically contextual answer for this fresco.

The Annunciation of 1333 was collaboratively painted by Simone Martini and Lippo Memmi, two leading figures of the Sienese Gothic school. Their work is known for refined lines, elegant figures, and rich gold leaf detailing. The painting’s style aligns closely with courtly Gothic aesthetics rather than Northern or later Renaissance techniques. None of the other listed pairs worked together or belonged to the same era, confirming Martini and Memmi as the accurate artists.

Jan van Eyck’s Double Portrait of Giovanni Arnolfini and His Wife (1434) is a landmark of Northern Renaissance oil painting. Van Eyck’s mastery of oil allowed extraordinary detail in surfaces, lighting, and textures. The convex mirror, symbolic objects, and realism distinguish his style from the Italian Renaissance artists listed in the other options. Picasso and van Gogh worked in very different artistic periods, making van Eyck the only correct choice.

Rogier van der Weyden’s Deposition is a key early Netherlandish oil painting characterized by emotional intensity and meticulous detail. His use of oil on wood and sculptural arrangement of figures strongly contrasts with the later works of Picasso, Leonardo, and van Gogh. The painting predates oil mastery in Italy, making van der Weyden’s northern technique especially significant. The thematic focus on Christ’s body aligns with his devotional artistic style.