AP art history unit 3: renaissance and baroque

The work was created during which art-historical period?(Teresa) A Renaissance B Rococo C Gothic D Baroque

D Baroque

The facade shown contains which of the following architectural elements? A Flying buttresses and a central spire B Jamb statues and a recessed portal C Horseshoe arches and intricate muqarnas D Engaged columns and decorative pediments

D Engaged columns and decorative pediments

The patron of the work was A Pope Julius II B Pope Urban VIII C Lorenzo de' Medici D Federico Cornaro

D Federico Cornaro

Stylistic aspects of the painting identify it as being from the A Italian Renaissance B Northern Renaissance C Dutch Baroque D Italian Baroque

D Italian Baroque

One leading interpretation of the painting is that it reflects the ideas of A scholasticism B the Counter-Reformation C empiricism D Neoplatonism

D Neoplatonism

Lamenation angels The artist is A Rosso Fiorentino B Mantegna C Caravaggio D Pontormo

D Pontormo

The subject of the work is A the Annunciation to the Virgin Mary B the martyrdom of Saint Catherine C a miracle of Saint Ursula D a mystical experience of Saint Teresa

D a mystical experience of Saint Teresa

Giovanni Battista Gaulli's Triumph of the Name of Jesus can be linked to Michelangelo's Sistine Chapel ceiling frescoes through the two works' A incorporation of mythological figures B blending of painted and stucco figures C division of a narrative into separate episodes D blurred distinction between painting and architecture

D blurred distinction between painting and architecture

Like other paintings of the Northern Renaissance, the work shown differs from Italian paintings of the same period in that it shows A more concern for unified lighting and less for the narrative moment B a greater emphasis on anatomical accuracy and less interest in drapery C more emphasis on wealth and status and less on religious piety or humility D greater interest in the depiction of details and less concern for perspective

D greater interest in the depiction of details and less concern for perspective

Fra Filippo Lippi's Madonna and Child with Two Angels exemplifies stylistic aspects linked to the Italian Renaissance through its A incorporation of a landscape modeled on ancient frescoes B emphasis on strong shadows and the frontality of the subjects C emphasis on angular forms and hierarchical composition D naturalistic rendering of the holy subjects

D naturalistic rendering of the holy subjects

The work reveals the sculptor's interest in A scientific research B theatrical stage design C genre painting D political ideologies

B theatrical stage design

The images show two views of the same building. The addition of the Pazzi Chapel to the Basilica di Santa Croce exemplifies which of the following? A A private family's financial support for a monastic church through a building commission B The availability of land for new construction in dense urban zones C The need for additional spaces for congregational worship in crowded cities D A requirement that burials of private citizens occur outside of the church walls

A A private family's financial support for a monastic church through a building commission

The artist of the painting shown used which of the following techniques in the scene depicted? A Atmospheric perspective through the inclusion of cool colors in the background B Tenebrism through the inclusion of contrasting light and dark areas C One-point perspective through the inclusion of a single vanishing point D Symmetrical balance through the inclusion of a central axis to divide the composition

A Atmospheric perspective through the inclusion of cool colors in the background

The work promoted ideas associated with the A Counter-Reformation B Protestant Reformation C Age of Enlightenment D Scholastic movement

A Counter-Reformation

The sculpture on the left represents A David B Isaac C Trajan D Apollo

A David

In the Arena (Scrovegni) Chapel, Giotto used which of the following? A Fresco, the application of pigment onto damp plaster B Mosaic, the application of colored tesserae to wet plaster C Glazing, the application of thin, transparent layers of paint D Impasto, the thick, textured application of paint

A Fresco, the application of pigment onto damp plaster

Gian Lorenzo Bernini's inclusion of sculptures of the Cornaro family members in the side balconies of the chapel was intended to elicit which of the following audience responses? A Identification with their role as witnesses of Saint Teresa's experience B An understanding that lay people had an equal role in the ministry of the church C Empathy for the family members as well as for their expressions of remorse and regret for past sins D Anger over the reinstatement of a Venetian family that had been ousted from power

A Identification with their role as witnesses of Saint Teresa's experience

Which of the following are depicted in carved balconies on each side of the work? A Patron family members B Allegorical figures C Classical mythological deities D Martyred saints

A Patron family members

Saint Teresa's writings most likely influenced which of the following aspects of Bernini's sculpture? A The figure's pose and expression B The depiction of the patron statues C The depiction of the nun's habit D The figure's placement in a grotto

A The figure's pose and expression

Although Jan van Eyck's Arnolfini Portrait has traditionally been interpreted as representing a wedding, the painting has more recently been interpreted as representing a A betrothal ceremony between a wealthy merchant and his future bride B ritual marking a young woman's entry into a convent C family portrait of a father and a daughter in a domestic interior D biblical story regarding the Virgin Mary's presentation at the temple

A betrothal ceremony between a wealthy merchant and his future bride

Angels The painting was commissioned for a A chapel in a church B town hall C monastic cell D guildhall

A chapel in a church

The use of light symbolizes a moment of A conversion B coronation C damnation D betrothal

A conversion

Angel lamenation The painting style is characterized by A exaggeration of space and color B naturalistic anatomical proportions C clear narrative representation D compositional symmetry

A exaggeration of space and color

The narrative moment is expressed through the A gestures B textual gloss C color palette D lighting

A gestures

Giotto di Bondone's Lamentation demonstrates a shift from Gothic painting traditions in its A plastic modeling of form B choice of subject matter C elongation of figures D use of a gold leaf background

A plastic modeling of form

The right side of the work shown, Cranach's Allegory of Law and Grace, can be interpreted as being an illustration of Protestant Reformation theology, because A the connection made between the nude man on the right side and the crucified Christ shows that salvation can only be granted through God's grace and sacrifice B the depiction of Moses with the Ten Commandments next to the nude man on the left side shows that all those who obey God's law will enter Heaven C it contrasts with the depiction of chaos the left, showing that the upholding the hierarchy and order of the church by the faithful is essential for salvation D it depicts New Testament scenes that complement Old Testament scenes shown on the left, foreshadowing Christ's death and resurrection

A the connection made between the nude man on the right side and the crucified Christ shows that salvation can only be granted through God's grace and sacrifice

The two kneeling figures in the panel on the left are included because they represent A the patrons who commissioned the altarpiece for private use in their home B the saints whose relics were venerated at the altar for which the work was created C figures in a biblical story that happened before the scene depicted in the central panel D philosophers from classical antiquity who foretold the story of the Annunciation

A the patrons who commissioned the altarpiece for private use in their home

Both Gaulli's Triumph of the Name of Jesus and Rubens' Henri IV Receives the Portrait of Marie de' Medici express emotional drama by A using asymmetrical compositions focused on diagonals and contrast between light and dark B combining a two-dimensional painting with three-dimensional relief elements C depicting human figures inside a rational architectural space with a central vanishing point D placing classically depicted figures in mysterious and wild landscape settings

A using asymmetrical compositions focused on diagonals and contrast between light and dark

Last supper The work is a A wall painting B panel painting C manuscript illumination D tapestry

A wall painting

Gian Lorenzo Bernini's sculpture Ecstasy of Saint Theresa was designed to be seen by the viewer A within a chapel, as though seen on a stage B within a palace courtyard, elevated on a large pedestal C in front of a large government building, at eye level D at the base of a large temple, recessed in the ground

A within a chapel, as though seen on a stage

The pose of the figure in the center is derived from A a Classical statue B an Early Christian sarcophagus C a Byzantine icon D a Baroque ceiling

A. Classical Statue

The family name of the patrons of this work was A Medici B Habsburg C Gonzaga D Buonarroti

A. Medici

The painting incorporates(Van Eyck) A. religious symbolism B political propaganda C musical metaphors D Classical mythology

A. religious symbolism

Sandro Botticelli's painting Birth of Venus and Albrecht Dürer's engraving Adam and Eve are similar in that both artists A combined deep space with dramatic light to create emotional scenes B relied on classical models to represent the concept of ideal beauty C set their figures in exotic landscapes that were intriguing to the viewers D used decorative patterning and harmonious colors to create serene images

B relied on classical models to represent the concept of ideal beauty

The work on the left revives classical representations of the male figure in all of the following ways EXCEPT through the A artist's rendering of the subject as a free-standing sculpture B miniature scale of the figure C subject's youth and near-complete nudity D use of bronze as a medium

B miniature scale of the figure

The central figure was innovative in its time because of its A proportions B nudity C contrapposto D color

B nudity

The work exemplifies a central concern of Northern European painting traditions in its inclusion of A elements from different artistic traditions that reflect a diverse cultural identity B objects from everyday life that communicate deeper symbolic meaning C biblical scenes that were intended to illustrate Protestant doctrines D figures in classical attire and poses that represent humanist ideals

B objects from everyday life that communicate deeper symbolic meaning

The architectural elements on the facade of the Palazzo Rucellai include A porticoes and cornices B pilasters and entablatures C coffers and pendentives D engaged columns and pediments

B pilasters and entablatures

Allegorical content in the work on the left alludes to the patron's A religious beliefs B political ambitions C literary talents D scientific achievements

B political ambitions

The progressive arrangement of the three ancient architectural orders on the exterior of the Colosseum proved influential for the design of A the Palace at Versailles B the Palazzo Rucellai C the Pazzi Chapel D Monticello

B the Palazzo Rucellai

The facade of Borromini's San Carlo alle Quattro Fontane exemplifies Baroque architecture because it includes which of the following characteristic elements? A Jamb statues that represent religious figures B Curving elements that create a dynamic design C Columns that appear on two separate levels D Sculptural decorations that are symmetrically organized

B Curving elements that create a dynamic design

The painting shown can be attributed to a follower of Caravaggio based on which of the following formal qualities? A Monochromatic palette B Dramatic tenebrism C Pyramidal composition D Prominent grisaille

B Dramatic tenebrism

The work was painted in which century?(Van eyck) A Thirteenth B Fifteenth C Seventeenth D Nineteenth

B Fifteenth

On the basis of subject and style, the work shown can be attributed to which of the following artists? A Robert Campin B Fra Filippo Lippi C Jacopo da Pontormo D Johannes Vermeer

B Fra Filippo Lippi

On the basis of its subject matter and its style, the painting shown can be attributed to which of the following artists? A Rembrandt van Rijn B Johannes Vermeer C Albrecht Dürer D Matthias Grünewald

B Johannes Vermeer

The work depicts the A Feast in the House of Levi B Last Supper C Marriage at Cana D Supper at Emmaus

B Last Supper

The outstretched hand of the figure on the far right is a visual homage to a famous painting by A Giotto B Michelangelo C Leonardo D Raphael

B Michelangelo

On the basis of subject, style and composition, the large full-scale drawing shown can be attributed as a preparatory study for A Leonardo da Vinci's Last Supper B Raphael's School of Athens C Diego Velázquez' Las Meninas D Michelangelo's Last Judgment

B Raphael's School of Athens

Both works come from which art-historical period? A Baroque B Renaissance C Rococo D Classical

B Renaissance

Raphael's School of Athens was likely interpreted by his contemporaries as both an homage to classicism and a reflection of A Christianity's moral triumph over paganism B Rome's rise as a center of learning under Julius II C Raphael's interest in then-current scientific debates D Leo X's suppression of the Protestant Reformation

B Rome's rise as a center of learning under Julius II

The design of the facade of the Palazzo Rucellai was most closely influenced by which of the following ancient monuments? A The Pantheon B The Colosseum C The Trajan markets D The Basilica Ulpia

B The Colosseum

Which of the following is an aspect of the work shown that is characteristic of the Baroque style of Peter Paul Rubens? A The use of hierarchical scale B The use of a diagonal composition C The use of a flattened pictorial plane D The use of expressively distorted figures

B The use of a diagonal composition

The Palazzo Rucellai demonstrates Leon Battista Alberti's knowledge of antiquity, which he gained through reading the writings of A Constantine B Vitruvius C Archimedes D Julius Caesar

B Vitruvius

Rembrandt's use of etching in his Self-Portrait with Saskia allowed him to A model the composition from life B achieve a wide range of different tones C use a woodblock instead of a metal plate D enlarge prints for publication

B achieve a wide range of different tones

Both works depict the same subject. The work on the right is by Michelangelo. Michelangelo can be interpreted as responding to the work on the left through his A even more exaggerated use of contrapposto B decision to depict the subject poised at the moment before decisive action C nonheroic depiction of the body D overt rejection of the bronze medium as too antiquating

B decision to depict the subject poised at the moment before decisive action

In Triumph of the Name of Jesus, Giovanni Battista Gaulli uses sculpture and painting to A draw attention to the architectural innovations of the church B erase a clear division between the ceiling's illusionism and the church structure C engender a feeling of intimacy through the confined space of the barrel vault D create distinctions between the arts of painting, sculpture, and architecture

B erase a clear division between the ceiling's illusionism and the church structure

Like other Baroque era still-life paintings, Rachel Ruysch's Fruit and Insects is composed of A gestural brushstrokes that are used to create thick impasto B fine brushstrokes that create a smooth, detailed surface C strong black lines that are used to outline important shapes D twisting forms that are painted with delicate pastel colors

B fine brushstrokes that create a smooth, detailed surface

Last supper The work incorporates A hierarchical scale B linear perspective C elongated proportions D strident colors

B linear perspective

Vermeer's genre painting of Woman Holding a Balance and Rachel Ruysch's still life painting Fruit and Insects convey meaning in a similar way by A including written text that provides a commentary on the depicted subject matter B using depictions of everyday objects to communicate a moral message C depicting allegorical scenes in the service of political propaganda D combining stylized animal and plant forms to create a primarily decorative effect

B using depictions of everyday objects to communicate a moral message

The painting was created as part of a larger decorative program for a A tavern B chapel C palace D prison

B chapel

In in the work shown, Cranach used which of the following means of demonstrating that Luther's radical ideas were still part of the Christian tradition? A) He included nude saints modeled after specific classical examples. B He included several biblical scenes in a single image. C He depicted several characters from classical mythology. D He referenced the role of financial donations to the Church.

B) He included several biblical scenes in a single image.

The work shown was painted by(Venus) A Bellini B Botticelli C Masaccio D Michelangelo

B. Botticelli

The artist includes himself in the painting in the form of(Van eyck) A animal representation B written text C symbolic representation D narrative elements

B. written text

The subject of both works centers on the A Nativity B Lamentation C Annunciation D Crucifixion

C Annunciation

The sculptor of the work was A Cellini B Donatello C Bernini D Michelangelo

C Bernini

The painting is by A Velázquez B Vermeer C Caravaggio D Rembrandt

C Caravaggio

Both works depict the same subject. The work on the right is by Michelangelo. The work on the left is by A Gian Lorenzo Bernini B Francesco Borromini C Donatello D Caravaggio

C Donatello

Angels he painting was created in A France B Spain C Italy D Flanders

C Italy

Lamenation The style of the painting is A Early Renaissance B High Renaissance C Mannerist D Baroque

C Mannerist

Which of the following artists did Bernini acknowledge as being the most influential on his depiction of the human form? A Giotto di Bondone B Sandro Botticelli C Michelangelo D Titian

C Michelangelo

The illusionistic architecture depicted in the School of Athens is A closely modeled on the unrealized plans for the pope's residential palace B a reflection of the archaeological excavation of the nearby markets of Trajan C an idealized recreation of a classical gymnasium inspired by Roman baths D part of the artist's strategy for acquiring architectural commissions from Julius II

C an idealized recreation of a classical gymnasium inspired by Roman baths

Marie de' Medici, commissioned this work, as well as the larger cycle it belongs to, in order to A appease foreign governments during a time of war in France B support her husband's rule and defend his unpopular decisions C celebrate her virtues and advocate her political position D justify France's involvement in European military conflicts of the time

C celebrate her virtues and advocate her political position

The design of the architectural work shown can be attributed to Francesco Borromini because of its A careful re-creation of an actual facade from Roman antiquity B bold and inventive use of coffers of varying shapes C curved, undulating forms and broken entablatures D combined use of molded concrete and carved stone

C curved, undulating forms and broken entablatures

The painting is noteworthy for its A one-point perspective B scientific content C graceful linearity D geometric patterns

C graceful linearity

The work is located in a A ducal palace B papal chapel C monastic refectory D city hall

C monastic refectory

The artist of the work shown was able to achieve highly naturalistic textures and luminous color by using A tempera paint, whose quick-drying nature allows countless brushstroke variations B a primer mixed with ground glass, which results in a brilliant refraction of colored light C oil paint, whose properties allow for translucent color and the depiction of illusionistic details D gold leaf, which adds brilliance to the painting's surface and glowing warmth to the colors

C oil paint, whose properties allow for translucent color and the depiction of illusionistic details

The drama in the painting is reinforced by the use of A complex symbolism B linear perspective C tenebrism D sfumato

C tenebrism

While Caravaggio uses light in The Calling of Saint Matthew to suggest a divine presence within a religious narrative, Joseph Wright of Derby uses light in A Philosopher Giving a Lecture on the Orrery to emphasize A the battle between good and evil B a literary character's moral awakening C the act of learning and education D a reference to classical mythology

C the act of learning and education

In Hunters in the Snow, Bruegel unifies the composition through A visible, textured brushstrokes B a symmetrical, balanced arrangement C the repetition of a limited color palette D the use of hierarchical scale in the figures

C the repetition of a limited color palette

The work on the right is a A diptych B predella C triptych D polyptych

C triptych

The work is located in(angelic chapel) A Florence B Padua C Rome D Venice

C Rome

The work was painted by(people, dog, reflection in mirror) A Vermeer B Rembrandt C Van Eyck D Memling

C Van Eyck

The figure in the center of the illustration represents A Mary Magdalene B Aurora C Venus D Eve

C. Venus

The interior view of the chapel provides evidence that Brunelleschi emphasized the geometric order of the design by A raising the floor of the side chapel above that of the central space B flooding the interior with light from windows in the dome C including low-relief sculpture in the circular roundels D outlining component forms with gray stone

D outlining component forms with gray stone

Giacomo da Vignola's use of a wide nave and shallow side chapels in his plan for the church of Il Gesù in Rome proved influential for the design of other Catholic churches because it A enabled unobstructed light to suffuse the nave B provided an inexpensive means of accommodating large masses C divided the church into individual spaces that could be used for different functions D provided a theatrical space for the liturgy and processions

D provided a theatrical space for the liturgy and processions

Both works depict the same subject. The work on the right is by Michelangelo. After its creation, the work on the left was relocated to within the Palazzo della Signoria in Florence, indicating the A desires of the Medici to secure and decorate their new palace B swiftness in which the tastes of Florentine elites changed C artist's loss of favor within the guilds of Florence D use of a biblical subject to achieve political motives

D use of a biblical subject to achieve political motives

Works like Cranach's Allegory of Law and Grace would have appealed to a wide audience because A people believed that buying them would improve their chances of salvation B people believed that they were holy objects that possessed healing properties C prints on paper were a novelty and therefore considered to be status symbols D woodcuts were inexpensive and could be reproduced in large quantities

D woodcuts were inexpensive and could be reproduced in large quantities

The artist who created the painting worked primarily in(Van Eyck) A Paris B Antwerp C London D Bruges

D. Bruges

The work is by last supper A Masaccio B Michelangelo C Leonardo da Vinci D Andrea del Castagno

LEO

The artist of the work on the left is A Rubens B Rigaud C Holbein D Poussin

Rubens

The patron for the work on the left was A Elizabeth I B Louis XIV C Marie de' Medici D Marie Antoinette

The patron for the work on the left was A Elizabeth I B Louis XIV C Marie de' Medici D Marie Antoinette

The artist experimented with the work's last supper A placement B iconography C materials D size

materials