AP Art History Set 5

C. Bernini

Both of these works were created by A. Michelangelo B. Borromini C. Bernini D. Donatello

B. theatrical illusion

Both works allude to the artist's interest in A. Neoplatonic ideals B. theatrical illusion C. Franciscan spirituality D. Galileo's theories

D. multiple vanishing points

Both works have all of the following EXCEPT A. chiaroscuro to create volume B. placement within a larger program or cycle of paintings C. the same painting medium D. multiple vanishing points

C. biblical hero

Both works represent a A. gladiator B. discus thrower C. biblical hero D. deity

A. Hellenistic Greek sculpture

Both works show an interest in A. Hellenistic Greek sculpture B. Roman Republican portraiture C. Neoclassical sculpture D. Archaic Greek sculpture

A. Baroque

Both works were painted in which period? A. Baroque B. Renaissance C. Rococo D. Neoclassical

A. Primavera

Botticelli, the artist of the work on the left, also painted which of the following? A. Primavera B. Sacred and Profane Love C. Hercules and Antaeus D. Wedding Portrait (Giovanni Arnolfini and His Bride)

B. Diagonal

The composition of the painting can best be described as which of the following? A. Frontal B. Diagonal C. Tripartite D. Symmetrical

C. Baroque

The diagonal composition of the work on the right is indicative of which style? A. Early Renaissance B. High Renaissance C. Baroque D. Rococo

C. tenebrism

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

A. Medici

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

C. Venus

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

D. balanced and solid

The figures in both paintings can be characterized as A. outlined and flat B. active and spontaneous C. writhing and elongated D. balanced and solid

B. the New Testament

The iconography relates to A. the Old Testament B. the New Testament C. Dante's The Divine Comedy D. Ovid's Metamorphoses

A. architectural structures

The illusion of depth is achieved primarily through the use of A. architectural structures B. warm and cool colors C. cast shadows D. reclining figures

A. donors

The kneeling figures at the lower left and the lower right of the painting represent A. donors B. prophets C. sibyls D. saints

B. marble

The material of both works is A. painted terracotta B. marble C. ivory D. plaster

C. oil

The medium used in the work is A. fresco B. intaglio C. oil D. tempera

A. gestures

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

A. the transience of life

The objects in the work on the right contain references to A. the transience of life B. ancient Roman ritual C. table manners D. paganism

B. Michelangelo

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

C. New Testament

The painting depicts a subject recorded in the A. Decameron B. Divine Comedy C. New Testament D. Old Testament

C. Caravaggio

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

C. graceful linearity

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

A. exaggeration of space and color

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

A. chapel in a church

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

B. chapel

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

C. Italy

The painting was created in A. France B. Spain C. Italy D. Flanders

C. Marie de' Medici

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

D. Federico Cornaro

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

A. a Classical statue

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

B. Michelangelo

The sculptor of the work on the left was A. Ghiberti B. Michelangelo C. Canova D. Donatello

B. Bernini

The sculptor of the work on the right was A. Cellini B. Bernini C. Verrocchio D. Giambologna

C. Bernini

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

C. Michelangelo

The sculptor whose work was most influenced by the work shown was A. Claus Sluter B. Ghiberti C. Michelangelo D. Donatello

C. Mannerist

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

B. Renaissance

The stylistic period of the work is A. Late Gothic B. Renaissance C. Mannerism D. Baroque

D. a mystical experience of Saint Teresa

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

A. conversion

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

B. fifteenth century

The work dates from the end of the A. twelfth century B. fifteenth century C. sixteenth century D. nineteenth century

B. Last Supper

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

B. linear perspective

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

A. wall painting

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

C. Leonardo da Vinci

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

C. Rome

The work is located in A. Florence B. Padua C. Rome D. Venice

C. monastic refectory

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

C. Baroque

The work of this artist dates to which of the following periods? A. Renaissance B. Mannerism C. Baroque D. Rococo

A. civic freedom

The work on the left became a symbol of A. civic freedom B. religions intolerance C. monastic dynasty D. athletic games

C. part of a series

The work on the left can best be described as A. a genre scene B. part of an altarpiece C. part of a series D. an illuminated manuscript

A. Florence

The work on the left is located n A. Florence B. Rome C. Siena D. Venice

C. Baroque Holland

The work on the right is a typical example of a still life from A. Renaissance Germany B. Renaissance Italy C. Baroque Holland D. Neoclassical France

A. Perugino

The work on the right was painted by A. Perugino B. Masaccio C. Bellini D. Raphael

A. Counter-Reformation

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

B. theatrical stage design

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

B. Botticelli

The work shown was painted by A. Bellini B. Botticelli C. Masaccio D. Michelangelo

D. Baroque

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

A. Patron family members

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

C. Sacra conversazione

Which of the following terms best describes the content of the painting? A. Deposition B. Lamentation C. Sacra conversazione D. Piéta

A. Fra Girolamo Savonarola

Works like this were denounced by A. Fra Girolamo Savonarola B. Pope Julius II C. Teresa of Avila D. Fra Filippo Lippi

B. St. Peter

A primary figure found in both works is A. Lorenzo de' Medici B. St. Peter C. Pope Julius II D. the artist

B. political ambitions

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

D. Neoplatonism

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

D. Italian Baroque

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

C. materials

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

D. Pontormo

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

D. Impressionism

The artist of the painting on the left is primarily associated with A. Romanticism B. Neoclassicism C. Post-Impressionism D. Impressionism

C. Venice

The artist of the work dominated painting in which of the following cities? A. Florence B. Rome C. Venice D. Parma

A. Rubens

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

C. Titian

The artist of the work shown is A. Parmigianino B. Raphael C. Titian D. Giotto

D. members of the church hierarchy

The artist's principal patrons were A. Spanish royalty B. Tuscan monks C. members of the merchant class D. members of the church hierarchy

B. nudity

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