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Anton Stevens was born in Prague around 1608 and died approximately in 1675.
Answer: True
The provided sources indicate that Anton Stevens was born in Prague around 1608 and died approximately in 1675.
Anton Stevens was born in Vienna but spent his artistic career primarily in Prague.
Answer: False
Sources confirm Anton Stevens was born in Prague, Kingdom of Bohemia, not Vienna, and spent his significant artistic career there.
Anton Stevens is described as having only Czech nationality.
Answer: False
Anton Stevens is described as having both Flemish and Czech nationalities, indicating a complex heritage or connection.
Anton Stevens's father, Pieter Stevens II, was a renowned sculptor active in Prague.
Answer: False
Anton Stevens's father, Pieter Stevens II, was a Rudolfine landscape painter, not a sculptor.
Anton Stevens was ennobled in 1643 by Count Jaroslav Bořita of Martinice.
Answer: True
In 1643, Anton Stevens received noble status through ennoblement by Count Jaroslav Bořita of Martinice, who also granted him the predicate 'von Steinfels'.
The predicate 'von Steinfels' was granted to Anton Stevens for his exceptional skill in landscape painting.
Answer: False
The predicate 'von Steinfels' was granted to Anton Stevens upon his ennoblement by Count Jaroslav Bořita of Martinice, signifying noble status, not specifically for landscape painting skill.
Anton Stevens's father, Pieter Stevens II, was a painter during the reign of Emperor Rudolf II.
Answer: True
Anton Stevens's father, Pieter Stevens II, was indeed a painter active during the Rudolfine period, associated with Emperor Rudolf II's court.
The predicate 'von Steinfels' signifies that Anton Stevens was recognized as a master craftsman by his guild.
Answer: False
The predicate 'von Steinfels' was granted to Anton Stevens upon his ennoblement by Count Jaroslav Bořita of Martinice, indicating noble status, not guild recognition.
Anton Stevens had a lifelong connection to Prague, being born there, working there, and dying there.
Answer: True
Anton Stevens maintained a strong connection to Prague throughout his life, having been born there, establishing his career there, and ultimately dying in the city.
Anton Stevens's father provided him with advanced training in fresco techniques.
Answer: False
While his father provided foundational training, the text does not specify that it included advanced fresco techniques; rather, it laid the groundwork for his painting career.
The death date of Anton Stevens is definitively recorded as 1675.
Answer: False
The death date of Anton Stevens is recorded as 'perhaps 1675,' indicating uncertainty and not a definitive record.
Describing Anton Stevens as 'Bohemian' primarily refers to his nomadic lifestyle.
Answer: False
Describing Anton Stevens as 'Bohemian' refers to his origin and artistic context within Bohemia, a historical region of the Czech Republic, not his lifestyle.
The attribution of 'Flemish' nationality to Anton Stevens suggests a connection to the artistic traditions of Flanders.
Answer: True
The attribution of Flemish nationality to Anton Stevens suggests a connection to Flanders, a region renowned for its artistic heritage, aligning with influences noted in his work.
Count Jaroslav Bořita of Martinice is mentioned primarily as a subject of Anton Stevens's portraits.
Answer: False
Count Jaroslav Bořita of Martinice is mentioned not as a subject of a portrait, but as the individual who ennobled Anton Stevens in 1643.
According to the source, who was Anton Stevens and what was his primary artistic significance?
Answer: B) A Bohemian painter and early promoter of Baroque art in Bohemia.
Anton Stevens is identified as a Bohemian painter who played a significant role in promoting early Baroque art within Bohemia.
What do the sources indicate about Anton Stevens's birth and death dates?
Answer: C) Born around 1608, Died perhaps 1675.
The sources suggest Anton Stevens was born around 1608 and died approximately in 1675, indicating some degree of uncertainty regarding the precise dates.
Which nationalities are attributed to Anton Stevens in the provided text?
Answer: C) Flemish and Czech.
Anton Stevens is described as having both Flemish and Czech nationalities, reflecting a complex heritage or artistic connection.
What was the profession of Anton Stevens's father, Pieter Stevens II?
Answer: B) A landscape painter associated with the Rudolfine period.
Anton Stevens's father, Pieter Stevens II, was a landscape painter active during the Rudolfine period, associated with Emperor Rudolf II's court.
How did Anton Stevens achieve noble status?
Answer: C) By being ennobled by Count Jaroslav Bořita of Martinice, who granted him the predicate 'von Steinfels'.
Anton Stevens achieved noble status through ennoblement by Count Jaroslav Bořita of Martinice in 1643, who also bestowed upon him the predicate 'von Steinfels'.
Anton Stevens's father, Pieter Stevens II, is described in the text as belonging to which artistic context?
Answer: B) The Mannerist court of Emperor Rudolf II (Rudolfine).
Pieter Stevens II, Anton Stevens's father, is described as a Rudolfine landscape painter, placing him within the artistic context of Emperor Rudolf II's court.
What was the origin and meaning of the predicate 'von Steinfels' granted to Anton Stevens?
Answer: B) It was a title of nobility granted by Count Jaroslav Bořita of Martinice.
The predicate 'von Steinfels' was a title of nobility granted to Anton Stevens by Count Jaroslav Bořita of Martinice upon his ennoblement in 1643.
Anton Stevens's father, Pieter Stevens II, was a landscape painter active during which historical period?
Answer: C) The Rudolfine period associated with Emperor Rudolf II.
Pieter Stevens II, Anton Stevens's father, was a landscape painter active during the Rudolfine period, which is associated with Emperor Rudolf II's reign.
Which statement best describes Anton Stevens's connection to Prague?
Answer: C) He was born, died, and found his first significant patrons in Prague.
Anton Stevens had a profound connection to Prague, as he was born there, died there, and found his initial patrons in the city.
Anton Stevens's father, Pieter Stevens II, was known for painting what genre?
Answer: D) Landscapes
Pieter Stevens II, Anton Stevens's father, was known for painting landscapes.
Who ennobled Anton Stevens in 1643?
Answer: D) Count Jaroslav Bořita of Martinice
Anton Stevens was ennobled in 1643 by Count Jaroslav Bořita of Martinice.
Anton Stevens's study trip between 1629 and 1635 likely included travel to Italy and France.
Answer: False
The study trip undertaken by Anton Stevens between 1629 and 1635 is indicated to have likely included travel to the Spanish Netherlands and Germany, not Italy and France.
Upon returning to Prague in 1635, Anton Stevens's initial patrons were the Augustinian Hermits at St. Thomas Church.
Answer: True
Following his return to Prague in 1635, Anton Stevens secured his first documented commissions from the Augustinian Hermits at St. Thomas Church in Malá Strana.
Prince Gundaker of Liechtenstein sought Anton Stevens's artistic services in Prague in 1640.
Answer: False
Prince Gundaker of Liechtenstein sought Anton Stevens's services in Vienna in 1640, not Prague.
Anton Stevens held a leadership position within the painters' guild of Prague's Malá Strana (Lesser Town).
Answer: True
Anton Stevens was a member of Prague Old Town's painters' guild and served as the head of its branch in Malá Strana (Lesser Town) for a period.
Anton Stevens's artistic style was primarily influenced by German Mannerism and local Bohemian folk art.
Answer: False
Anton Stevens's style was significantly influenced by Flemish painting, particularly the work of Peter Paul Rubens, and by graphic reproductions of Flemish and Italian masters, rather than German Mannerism and Bohemian folk art.
Anton Stevens received his primary artistic training from Italian masters during his study trip.
Answer: False
While his study trip exposed him to Italian art through reproductions, his primary artistic training was foundational, likely from his father, Pieter Stevens II, and later influenced by Flemish masters.
Anton Stevens utilized graphic reproductions solely as inspiration for his portraiture.
Answer: False
Graphic reproductions served as important sources of inspiration for Anton Stevens's compositions across various genres, not solely for his portraiture.
The term 'Rudolfine' refers to the artistic period associated with Emperor Rudolf II's patronage in Prague.
Answer: True
The term 'Rudolfine' correctly denotes the artistic and cultural milieu associated with Emperor Rudolf II's reign and patronage in Prague, particularly during the late 16th and early 17th centuries.
Anton Stevens is primarily associated with the Gothic art movement.
Answer: False
Anton Stevens is primarily associated with the early Baroque painting movement in Bohemia, not the Gothic art movement.
Anton Stevens adopted Peter Paul Rubens's techniques specifically for his landscape paintings.
Answer: False
The influence of Peter Paul Rubens on Anton Stevens is noted primarily in his figural style, not specifically limited to his landscape paintings.
Where did Anton Stevens likely travel during his study trip between 1629 and 1635?
Answer: C) The Spanish Netherlands and Germany.
Anton Stevens's study trip between 1629 and 1635 likely encompassed travel to the Spanish Netherlands and Germany.
Which artistic traditions significantly influenced Anton Stevens's work?
Answer: B) Flemish painting (especially Rubens) and Italian/Flemish graphic reproductions.
Anton Stevens's work was significantly influenced by Flemish painting, notably Peter Paul Rubens, and by graphic reproductions of both Flemish and Italian masters.
What leadership role did Anton Stevens hold within Prague's painters' guilds?
Answer: B) He served as the head of the Malá Strana (Lesser Town) branch of the guild.
Anton Stevens held a leadership position as the head of the Malá Strana (Lesser Town) branch of Prague's painters' guild.
In which city did Prince Gundaker of Liechtenstein attempt to secure Anton Stevens's services in 1640?
Answer: B) Vienna
Prince Gundaker of Liechtenstein sought Anton Stevens's services in Vienna in the year 1640.
What role did graphic reproductions play in Anton Stevens's artistic process?
Answer: B) They served as primary sources of inspiration for compositions, particularly from Flemish and Italian artists.
Graphic reproductions of masterpieces by Flemish and Italian artists served as significant sources of inspiration for Anton Stevens's compositions.
The text specifies that Peter Paul Rubens's influence on Anton Stevens is most discernible in which aspect of his work?
Answer: C) His figural style.
The influence of Peter Paul Rubens on Anton Stevens is most discernible in his figural style, as noted in the source material.
Who were Anton Stevens's first documented clients after his return to Prague in 1635?
Answer: C) The Augustinian Hermits at St. Thomas Church.
Anton Stevens's first documented clients upon his return to Prague in 1635 were the Augustinian Hermits at St. Thomas Church.
Anton Stevens's study trip between 1629-1635 likely included which regions?
Answer: B) The Spanish Netherlands and Germany
Anton Stevens's study trip between 1629 and 1635 likely encompassed regions such as the Spanish Netherlands and Germany.
Anton Stevens painted a notable portrait of Emperor Charles VI.
Answer: False
The text mentions Anton Stevens painted a portrait of Emperor Ferdinand III, not Emperor Charles VI.
Anton Stevens was known exclusively for painting religious altarpieces.
Answer: False
Anton Stevens's oeuvre extended beyond religious altarpieces to include portraits, landscape paintings, and murals.
Anton Stevens painted extensively for the Benedictine monastery in Prague.
Answer: False
Sources indicate that Anton Stevens painted extensively for the Strahov Monastery, not a Benedictine monastery.
All of Anton Stevens's known altarpieces are located within the city of Prague.
Answer: False
While many altarpieces are in Prague, known works are also located in churches in Bělá pod Bezdězem and Žatec, indicating his influence extended beyond the capital.
The 1641 painting by Anton Stevens at the Church of Our Lady of Victory depicts the martyrdom of St. Wenceslas.
Answer: False
The 1641 painting by Anton Stevens at the Church of Our Lady of Victory in Prague depicts Our Lady interceding for victory at the Battle of White Mountain, not the martyrdom of St. Wenceslas.
The 1656 painting by Anton Stevens in the Church of St. Tomas is titled 'Crucifixion'.
Answer: True
The painting by Anton Stevens dated 1656, located in the Church of St. Tomas in Prague, is indeed titled 'Crucifixion'.
The 1666 artwork by Anton Stevens in Bělá pod Bezdězem is a landscape painting.
Answer: False
The 1666 artwork by Anton Stevens in Bělá pod Bezdězem, in the Church of St. Wenceslas, is titled 'Martyrdom of St. Wenceslas', not a landscape painting.
The self-portrait dated around 1670 shows Anton Stevens in his youth.
Answer: False
A self-portrait dated around 1670 depicts Anton Stevens later in his career, not in his youth.
The image caption referring to 'Our Lady Victorious' from 1641 indicates a painting located in Prague's Old Town.
Answer: False
The painting 'Our Lady Victorious' from 1641 is located in the Church of the Virgin Mary Victorious in Prague's Lesser Quarter, not Old Town.
Anton Stevens's artistic output was limited to religious works and portraits.
Answer: False
Anton Stevens's artistic output encompassed a broader range than just religious works and portraits, including landscape paintings and murals.
Historical battle scenes were the primary subject matter of Anton Stevens's known works.
Answer: False
The primary subject matter of Anton Stevens's known works includes religious themes, portraits, and landscapes, not historical battle scenes.
The existence of a self-portrait around 1670 indicates Anton Stevens was primarily a theorist of art rather than a practitioner.
Answer: False
The existence of a self-portrait from around 1670 indicates Anton Stevens was an active practitioner of painting, engaging in self-representation, rather than solely a theorist.
Anton Stevens's work for the Augustinian Hermits was limited to designs for prints.
Answer: False
Anton Stevens's work for the Augustinian Hermits at St. Thomas Church included more than just designs for prints; they were among his first patrons after returning to Prague.
The presence of Anton Stevens's altarpieces in Bělá pod Bezdězem and Žatec indicates his artistic influence extended beyond the capital.
Answer: True
The location of Anton Stevens's altarpieces in churches in Bělá pod Bezdězem and Žatec demonstrates that his artistic commissions and influence reached beyond Prague into the wider Bohemian region.
What is the subject of Anton Stevens's 1641 painting located at the Church of Our Lady of Victory in Prague?
Answer: D) Our Lady interceding for Catholic victory at the Battle of White Mountain.
The 1641 painting by Anton Stevens at the Church of Our Lady of Victory depicts Our Lady interceding for the Catholic victory at the Battle of White Mountain.
Which of the following is NOT listed as a type of work Anton Stevens was known for?
Answer: D) Bronze sculptures
The text lists painting genres such as altarpieces, portraits, landscape paintings, murals, and designs for prints as works by Anton Stevens; bronze sculptures are not mentioned.
For which monastery did Anton Stevens paint extensively?
Answer: B) Strahov Monastery
Anton Stevens painted extensively for the Strahov Monastery.
Besides Prague, where else are altarpieces by Anton Stevens located according to the text?
Answer: B) In Bělá pod Bezdězem and Žatec.
Altarpieces by Anton Stevens are located not only in Prague but also in Bělá pod Bezdězem and the dean church in Žatec.
Anton Stevens, a Bohemian painter, is characterized as a figure primarily recognized for his portraiture, often considered secondary in prominence to his contemporary, Karel Škréta.
Answer: False
While Anton Stevens was a notable painter, the assertion that he was 'minor' and 'overshadowed' is a subjective interpretation. The source material positions him as an important figure in Bohemian Baroque art alongside Škréta.
Anton Stevens's artistic legacy did not continue after his death, as his sons pursued different careers.
Answer: False
The artistic legacy of Anton Stevens continued through his sons, Paul Anton and Johann Jakob, who were also painters, extending the family's artistic dynasty into a fourth generation.
Anton Stevens played a marginal role in the development of early Baroque painting in Bohemia.
Answer: False
Anton Stevens is considered a significant promoter and key figure in the early Baroque painting movement in Bohemia, not a marginal one.
There is no evidence in the text suggesting Anton Stevens had international connections or recognition.
Answer: False
Evidence suggests international connections, including his study trip to the Spanish Netherlands and Germany, commissions from figures like Prince Gundaker of Liechtenstein, and the portrayal of Emperor Ferdinand III.
The Stevens painting dynasty, originating from Anton Stevens, ended with his generation.
Answer: False
The Stevens painting dynasty, originating with Pieter Stevens II and Anton Stevens, continued into a fourth generation, indicating a sustained family tradition in art.
The bibliography indicates that Anton Stevens has been the subject of recent scholarly research.
Answer: True
The bibliography references recent scholarship, such as a 2017 publication, indicating ongoing academic interest and research into Anton Stevens and his contemporaries.
The 'Authority control' section provides biographical details about Anton Stevens's family members.
Answer: False
The 'Authority control' section primarily provides links to databases that catalog information about Anton Stevens himself, aiding in his unique identification and resource connection, rather than detailed family biographies.
Links to databases like VIAF and RKD Artists suggest Anton Stevens was a minor artist with limited documentation.
Answer: False
The presence of links to major international databases like VIAF and RKD Artists indicates that Anton Stevens is a recognized figure in art history, with his biographical and artistic data cataloged, suggesting significant documentation rather than limited.
Anton Stevens's main contribution to art history was the introduction of Mannerist techniques into Bohemian painting.
Answer: False
Anton Stevens's primary contribution was as a promoter and significant figure in the *early Baroque* painting movement in Bohemia, not the introduction of Mannerist techniques.
Anton Stevens played a significant role in Prague's 17th-century art scene, contributing to Baroque development and holding guild leadership positions.
Answer: True
Anton Stevens was indeed a significant figure in Prague's 17th-century art scene, contributing to the development of Baroque art and holding leadership roles within the painters' guild.
The continuation of the Stevens painting dynasty suggests that artistic skills were primarily acquired through independent study in the 18th century.
Answer: False
The continuation of the Stevens painting dynasty into the 18th century suggests the importance of familial transmission of artistic skills and knowledge, rather than primarily independent study.
Anton Stevens, the son of a Rudolfine painter, was a key promoter of early Baroque art in Bohemia, received noble status, and had his works commissioned by religious institutions.
Answer: True
This statement accurately synthesizes key aspects of Anton Stevens's biography: his parentage, his role in Bohemian Baroque art, his ennoblement, and his commissions from religious bodies.
What happened to the Stevens family's artistic legacy after Anton Stevens?
Answer: B) It continued through his two sons, Paul Anton and Johann Jakob, extending into a fourth generation.
The Stevens family's artistic legacy persisted beyond Anton Stevens, as his sons Paul Anton and Johann Jakob were also painters, continuing the dynasty for several generations.
The continuation of the Stevens painting dynasty into a fourth generation suggests:
Answer: C) The importance of familial transmission of artistic skills in that era.
The continuation of the Stevens painting dynasty into a fourth generation highlights the significance of familial transmission of artistic skills and knowledge during the 17th and 18th centuries.
What is the significance of Anton Stevens being linked in databases like VIAF and ULAN?
Answer: B) It shows he is recognized in art history and cataloged in major international biographical resources.
Links to databases such as VIAF and ULAN signify that Anton Stevens is a recognized figure in art history, cataloged in major international biographical resources.
What was Anton Stevens's specific contribution to the Bohemian Baroque art scene?
Answer: C) He was a significant promoter and figure in the *early* Baroque painting movement in Bohemia.
Anton Stevens made a specific contribution as a significant promoter and key figure in the early Baroque painting movement within Bohemia.
Which of the following statements accurately synthesizes information about Anton Stevens from the source?
Answer: B) A Bohemian painter of Flemish-Czech origin, Stevens was a key figure in early Baroque art, received noble status, and his sons continued his artistic dynasty.
This statement accurately synthesizes key aspects of Anton Stevens's life and career: his origin, his role in Bohemian Baroque art, his ennoblement, and the continuation of his family's artistic legacy.