Final Exam Review

What are the two main differences between prints and most other forms of art? A. Prints are always machine made and relatively inexpensive. B. Prints are copies of works of art and don't involve artists in the production process. C. Prints have very little resale value and are a poor investment for collectors. D. Prints are made using an indirect process and this process results in multiples of the same image.

D. Prints are made using an indirect process and this process results in multiples of the same image.

_____________ is known for a revival of Classical themes in art and literature, a return to the realistic depiction of nature through keen observation, and the revitalization of the Greek philosophy of humanism, in which human dignity, ideas, and capabilities are of central importance. A. Roman Empire period B. Romanesque period C. Baroque period D. Renaissance

D. Renaissance

What is the term for colors opposite to each other on the color wheel, and they intensify each other when placed next to each other?

Complementary Colors (orange and blue)

Ideas are paramount, while form is secondary

Conceptual Art

Indebted to Marcel Duchamp

Conceptual Art

Yoko Ono's Grapefruit

Conceptual Art

According to the author, the impulse to create art comes from basic human interests in _________________________________. A. constructing images and forms that carry meaning B. exploring aesthetic possibilities C. creating order and structure D. all of these

D. All of these

Which of the following was designed as a place of worship or meditation? A. Sainte-Chapelle B. Great Mosque at Cordoba C. The Buddhas in Bamiyan, Afghanistan D. All of these

D. All of these

_________________ is the physical appearance of a work - its materials, style, and composition - the product of the composition of the visual elements. A. Composition B. Content C. Style D. Form

D. Form

__________________ in the visual arts and art history is the study of the themes and the significance attached to symbols that can help identify subject matter and place a work of art in its historical context. A. Form B. Content C. Style D. Iconography

D. Iconography

________ helped shape the Neoclassical style. A. The American Civil War B. The invention of photography C. The Catholic Counter-Reformation D. The excavations of ancient Pompeii and Herculaneum

D. The excavations of ancient Pompeii and Herculaneum

The following characteristics are all typical of Italian Baroque art EXCEPT ________________. A. emotion. B. ornamentation. C. movement. D. classic simplicity. E. theatricality

D. classic simplicity

King Narmer is shown in commanding position, larger than the surrounding figures, this use of relative size to indicate the importance of the figure of King Namer is know as _______________. A. scale B. proportion C. distortion of scale D. hierarchical scale

D. hierarchical scale

The Riace warriors were created during the Classical period of Greek art.Here is an idealized, virile male body, athletic physique. The warrior stands in a relaxed yet vigilant contrapposto or the weight shift principle is an important improvement in a more naturalistic figure. The human figure is situated so that the legs shifting of weight results in a diagonal balancing of tension and relaxation.

A. "Warrior A"

Transept: The arm of a cruciform church perpendicular to the nave. The transept often marks the beginning of the apse.

1. top of the picture in the skinny rectangle

Aspe: The semicircular, protruding niche at one or both ends of the nave of a Roman basilica. In basilica-based church architecture, an apse houses the altar and may be elongated to include a choir.

2. semicircle at the very top of figure

Aisle; Generally. a passageway flanking a central area. In a basilica or cathedral, aisles flank the nave.

3. points in between two dotted lines

Nave: In an ancient Roman basilica, the taller central space flanked by aisles. In a cruciform church, the long space flanked by aisles and leading from the entrance to the transept.

4. middle of the figure. big gap

Narthex: In early Christian architecture, the porch of vestibule serving as an entryway to a church.

5. inbetween space from the first half and the second half. towards the bottom

Atrium: The court of a Roman house that is partly open to the sky. Also the open, colonnaded court in front of and attached to a Christian basilica.

6. box at the bottom of figure

Consider Botticelli's Primavera. Identify which statements are true about Botticelli and this work. (MS) A. Botticelli's usual linear style and shallow modeling were an exception to Renaissance norms, for example Venus looks as though she might be modeled in high relief, but not fully rounded. B. The implied space is shallow, with the grove of trees serving almost as a backdrop, as in a theatrical production. C. Appearances of Medici family symbols emphasize the role of patrons in Renaissance art. Botticelli's work displays the rarefied and learned side of Renaissance art. D. Botticelli paints the goddess in the nude, with only a few concessions to modesty. Such a large-scale depiction of the female nude in art was unknown since the nudity of classical art. E. Works like the Primavera hung in the great homes of wealthy Italian nobles, merchants, and bankers. They represented a family's power and social status within this elite community. F. In addition to Christian themes, Renaissance artists also turned to stories of Greek and Roman gods and goddesses for subject matter. An example is Botticelli's tempera painting Primavera, whose central subject is Venus, the Roman goddess of love and beauty.

A. Botticelli's usual linear style and shallow modeling were an exception to Renaissance norms, for example Venus looks as though she might be modeled in high relief, but not fully rounded. B. The implied space is shallow, with the grove of trees serving almost as a backdrop, as in a theatrical production. C. Appearances of Medici family symbols emphasize the role of patrons in Renaissance art. Botticelli's work displays the rarefied and learned side of Renaissance art. E. Works like the Primavera hung in the great homes of wealthy Italian nobles, merchants, and bankers. They represented a family's power and social status within this elite community. F. In addition to Christian themes, Renaissance artists also turned to stories of Greek and Roman gods and goddesses for subject matter. An example is Botticelli's tempera painting Primavera, whose central subject is Venus, the Roman goddess of love and beauty.

The artist Edouard Manet was pivotal in the development of Impressionism and one of his most important works was Le Dejeuner sur L'Herbe (Luncheon on the Grass). Which of these statements is/are innovations within the work that met with disapproval from critics and the public, but would change the future of art? M-S A. Even though the theme had precedents in other pastoral paintings of the past, Monet's luncheon guests were ordinary members of the French middle class. What was alarming to the Parisian viewer, there is no explanation for what is depicted and they were not prepared to see one of their own displayed so shamefully. This nude, seated woman also meets the viewers stare, as if the viewer is intruding. B. The bather is as far away as the rowboat, but if you imagine her standing in it, you realize that she is a giantess. It was evidently more important to Manet to have her form that apex of his triangle of figures than to paint her in natural scale. This, too, flattens the painting. C. Clearly, they a posing in a studio. The landscape is painted around them like a stage set or a photographer's backdrop. D. He did not use traditional chiaroscuro to model his figures. In modeling his figures, he focused on the highest and lowest of values, all but eliminating the middle, transitional tones. As a result, forms such as the nude woman's body appear flattened, as though illuminated by a sudden flash of light. E. He advocated the spontaneity of painting directly on canvas especially going outside, without the tyranny of meticulous preparatory sketches. He believed that color ought to be subordinated to line, but he maintained that composition should be constructed of color.

A. Even though the theme had precedents in other pastoral paintings of the past, Monet's luncheon guests were ordinary members of the French middle class. What was alarming to the Parisian viewer, there is no explanation for what is depicted and they were not prepared to see one of their own displayed so shamefully. This nude, seated woman also meets the viewers stare, as if the viewer is intruding. B. The bather is as far away as the rowboat, but if you imagine her standing in it, you realize that she is a giantess. It was evidently more important to Manet to have her form that apex of his triangle of figures than to paint her in natural scale. This, too, flattens the painting. C. Clearly, they a posing in a studio. The landscape is painted around them like a stage set or a photographer's backdrop. D. He did not use traditional chiaroscuro to model his figures. In modeling his figures, he focused on the highest and lowest of values, all but eliminating the middle, transitional tones. As a result, forms such as the nude woman's body appear flattened, as though illuminated by a sudden flash of light.

____________ should appear to reach up to heaven, it should have harmonious proportions, and it should be filled with light, which are created using pointed arches, ribbed vaulting, flying buttresses, and stainged-glass windows so large they seemed like translucent walls. A. Gothic cathedrals. B. Renaissance architecture. C. the church of Sainte Foy. D. Romanesque churches.

A. Gothic cathedrals

Focus on scientific principles of composition, accurate perspective (Linear, atmospheric) A. Italian Renaissance B. Northern Renaissance

A. Italian Renaissance

Have a personal link to the creators of the Classical past. A. Italian Renaissance B. Northern Renaissance

A. Italian Renaissance

Underlining musculature of the body. A. Italian Renaissance B. Northern Renaissance

A. Italian Renaissance

During the 20th century, which of the following became a recognized element of art? A. Motion B. Texture C. Color D. Line

A. Motion

Which art movement was directly influenced by Sigmund Freud's theories of the unconscious? A. Surrealism B. Dada C. Fauvism D. Cubism

A. Surrealism

Consider the fragment of a wall painting from the tomb of Nebamun, which of these statements are true about this work and true about Egyptian art in general. (MS) A. The Egyptian wall painting from the tomb of Nebamun represents a hunting scene with the large figure of the hunter in keeping with the Egyptian stylized convention depicting the body, lower body is seen in profile, the torso full front, the head in profile, but the eye front again. B. The birds and other creatures are painted with exact biological precision, conveying Egyptians' love of detail. C. It gives the impression of a lighthearted, cheerful people devoted to games and sport. D. The composition employs the use of hierarchical scale, the largest figure being the most important, and suggests this is a male due to the dark coloring. The other, smaller figures are female, as indicated by the lighter, yellowish hue, color being a convention to depict gender.

A. The Egyptian wall painting from the tomb of Nebamun represents a hunting scene with the large figure of the hunter in keeping with the Egyptian stylized convention depicting the body, lower body is seen in profile, the torso full front, the head in profile, but the eye front again. B. The birds and other creatures are painted with exact biological precision, conveying Egyptians' love of detail. D. The composition employs the use of hierarchical scale, the largest figure being the most important, and suggests this is a male due to the dark coloring. The other, smaller figures are female, as indicated by the lighter, yellowish hue, color being a convention to depict gender.

Identify characteristics associated with digital art by choosing the appropriate text. (Multi- selection) A. The Internet B. Appropriation C. Incorporeal D. Software manipulation E. Often Ephemeral

A. The Internet C. Incorporeal D. Software manipulation E. Often Ephemeral

Which of these statements is true about The Villa of Mysteries fresco? (MS) A. The Villa of Mysteries fresco is an example of the mastery of Roman wall painting. Located in a house of the same name, the fresco depicts a scene believed to represent secret cult rituals associated with the wine god Dionysus. B. The figures stand as though on a ledge, in shallow but convincing space, interacting only slightly with one another. The artist segmented the mural into panels separated by black bands. C. The figures overlap these panels freely, and there is no strong sense of individual episodes, or compartments, offering rhythm and design unity. D. The fresco was preserved because it was covered by ashes when Mt. Vesuvius erupted and buried the town of Pompeii.

A. The Villa of Mysteries fresco is an example of the mastery of Roman wall painting. Located in a house of the same name, the fresco depicts a scene believed to represent secret cult rituals associated with the wine god Dionysus. B. The figures stand as though on a ledge, in shallow but convincing space, interacting only slightly with one another. The artist segmented the mural into panels separated by black bands. C. The figures overlap these panels freely, and there is no strong sense of individual episodes, or compartments, offering rhythm and design unity. D. The fresco was preserved because it was covered by ashes when Mt. Vesuvius erupted and buried the town of Pompeii.

As a response to the Protestant Reformation, the Catholic Church decided the arts should communicate religious themes in an emotional presentation, which gave rise to the Baroque style. Which of these statements show how the artist used form and content to exemplify the religious Baroque style to support the Roman Catholic Church during the Counter-Reformation. MS A. The deeply cut folds of the garment create abrupt contrasts of light and shadow, illuminated from a hidden window. Bernini sought to create a theatrical performance, and the viewer is caught up in the theatrical experience. B. There is ambiguity in the subject, as we can only guess at the subject he is painting, but that is part of the fascination. C.Ecstasy of St. Theresa is a sculpture in the Cornaro Chapel and depicts a Spanish mystic nun, who is an important Counter-Reformation figure. D. The entire chapel employs all of Bernini's talents, creating a theatrical arena, with St. Theresa as the focal point, setting the drama as if on a stage. An angel wields a spear, and the figure falls back in a dramatic collapse, her face full of emotional rapture.

A. The deeply cut folds of the garment create abrupt contrasts of light and shadow, illuminated from a hidden window. Bernini sought to create a theatrical performance, and the viewer is caught up in the theatrical experience. C.Ecstasy of St. Theresa is a sculpture in the Cornaro Chapel and depicts a Spanish mystic nun, who is an important Counter-Reformation figure. D. The entire chapel employs all of Bernini's talents, creating a theatrical arena, with St. Theresa as the focal point, setting the drama as if on a stage. An angel wields a spear, and the figure falls back in a dramatic collapse, her face full of emotional rapture.

Sketches and Drawings ______________________. (MS) A. are quickly executed; a direct expression from the artist's brain to hand, usually not intended to be a finished work. B. are preliminary plans for future drawings, paintings or sculptures..., and function as working ideas that lead to a finished work of art. C. are fully developed and autonomous works of art. D. are works of art for the general public, because paper and pencil are inexpensive they can be owned by the general public not just the wealthy few.

A. are quickly executed; a direct expression from the artist's brain to hand, usually not intended to be a finished work. B. are preliminary plans for future drawings, paintings or sculptures..., and function as working ideas that lead to a finished work of art. C. are fully developed and autonomous works of art.

The technology of painting with oils was developed ________________________. A. by northern Europeans. B. by the Chinese. C. by Mannerist painters. D. for life painting.

A. by northern Europeans

Leonardo da Vinci used ______________ the technique of gradual shifting from light to dark through a successive gradation of tone across a curved surface in the work. A. chiaroscuro B. value contrast C. hue D. value

A. chiaroscuro

Paintings depicting scenes of everyday life are known as ________ paintings. A. genre B. trompe l'oeil C. still-life D. vanitas

A. genre

The chances that a work of art from ancient times will be found or preserved are greatly increased if ______________________. (MS) A. it was located where access from the outside world was limited. B. the culture from which it came was stable and organized. C. the local climate is conducive to preservation. D. it is made of durable materials.

A. it was located where access from the outside world was limited. B. the culture from which it came was stable and organized. C. the local climate is conducive to preservation. D. it is made of durable materials.

All the following are features of Romanesque architecture EXCEPT: A. large windows of stained glass. B. barrel-vaulted stone ceilings. C. round arches. D. overall massiveness. E. thick stone walls.

A. large windows of stained glass

In Aaron Douglas's work From Slavery Through Reconstruction we see much of the spirit embodied in the Harlem Renaissance Art. Which of these is not one of the three experiences that were merged to create this work of art? A. the rich heritage of Africa B. "geometric symbolism" C. the reality of modern urban life D. the ugly legacy of slavery in America E. the flattened spaces of contemporary modern art with narrative clarity of the Mexican muralists

A. the rich heritage of Africa C. the reality of modern urban life D. the ugly legacy of slavery in America

___________________ is literally tactile, a quality we can experience through touch.

Actual Texture

Italian artists Duccio, from Sienna, and his contemporary Giotto, from Florence, were influential in making the shift from art styles of the Middle Ages to the significantly different styles of the Renaissance. Which of these statements supports this? ms A. Duccio's tempera on panel Christ Entering Jerusalem displays a departure from the flattened forms of medieval art. B. Duccio attempted to create believable space in a scene and employed architecture to define the space and direct the movement. This was Duccio's almost unprecedented contribution using architecture to demarcate space rather than to function as a simple background. C. Giotto made a more remarkable break with art traditions in The Lamentation, a fresco panel employing a highly original use of space. His scenes are composed as a stage, and the space in the foreground and background appears to be continuous. Giotto's presentation of the human figure displays rounded, full-bodied people who define the spatial aspect. D. Both artists sought a new direction for painting in a more naturalistic, more human, and engaging representation of the physical world.

All are correct

A Bronze sculpture occupies three-dimensional space and has measurable volume and weight. So it has _______________. A. implied mass B. actual mass C. implies shape D. actual shape

B. Actual Mass

__________________ is the art and science of designing buildings, bridges, and other structures to help us meet our personal and communal needs. It is experienced from within as well as without. A. sculpture B. architecture C. design D. imaging

B. Architecture

There are three levels of ______________ subject matter, elements and composition, and underlying or symbolic meaning or themes. A. Composition B. Content C. Style D. Form

B. Content

________________ the personal, social, cultural, and historical setting in which a work of art was created, received, and interpreted. A. Form B. Context C. Style D. Iconography

B. Context

Velázquez's Las Meninas (The Maids of Honor) and Rembrandt's Sortie of Captain Cocq's Company of the Civic Guard (The Night Watch) were made within 10 years of one another, but in countries with very different cultures. Which of these statements explains the social/political forces that contribute to the works' differences? MS A. The Spanish court, under the rule of King Phillip IV, was eager to emulate the pomp and pageantry of the French court. In his capacity as the king's court painter, Velázquez created his masterpiece Night Watch portrays a kind of private elite militia. Such groups played a prominent role, but their function was largely ceremonial. B. Dutch society, and particularly the wealthy merchant class, centered on the home and family, business and social organizations, the community. Rembrandt's Night Watch portrays a kind of private elite militia. Such groups played a prominent role, but by Rembrandt's time their function was largely ceremonial. Rembrandt's innovation was to paint individual portraits within the context of a larger activity, a call to arms. C. The Spanish court, under the rule of King Phillip IV, was eager to emulate the pomp and pageantry of the French court. In his capacity as the king's court painter, Velázquez created his masterpiece Las Meninas. The setting is a room in the royal palace with an assembly of people, the royal couple, their daughter, attendants, dwarfs, and fine objects that represent court life. The painting is an official portrait and Velázquez conveys a warm, everyday quality. D. Dutch society, and particularly the wealthy merchant class, centered on the home and family, business and social organizations, the community. Velázquez created his masterpiece Las Meninas. The setting is a room assembly of people, The painting is an official portrait and Velázquez conveys a warm, everyday quality. There is ambiguity in the subject, as we can only guess at the subject he is painting, but that is part of the fascination.

B. Dutch society, and particularly the wealthy merchant class, centered on the home and family, business and social organizations, the community. Rembrandt's Night Watch portrays a kind of private elite militia. Such groups played a prominent role, but by Rembrandt's time their function was largely ceremonial. Rembrandt's innovation was to paint individual portraits within the context of a larger activity, a call to arms. C. The Spanish court, under the rule of King Phillip IV, was eager to emulate the pomp and pageantry of the French court. In his capacity as the king's court painter, Velázquez created his masterpiece Las Meninas. The setting is a room in the royal palace with an assembly of people, the royal couple, their daughter, attendants, dwarfs, and fine objects that represent court life. The painting is an official portrait and Velázquez conveys a warm, everyday quality.

The sculptural tradition of Greece begins with small bronze figures of horses and men in styles much like the abstract figures on the krater.This Geometric work , a bronze cast group made up of two schematic figures locked in a hand-to-hand struggle. The geometric artist conceived the centaur as a man in front and a horse in back.

B. Herakles and Nessos, from Olympia, Greece

Which statement is not true about Judy Chicago and her work of art The Dinner Party? A. Judy Chicago was a feminist artist who created works addressing gender in a variety of media, subjects, and themes. Judy Chicago's The Dinner Party is perhaps the most important work from the 1970s feminist movement. B. Judy Chicago's art takes on the highly charged subject of racism in her installation The Dinner Party. C. Arranged around a triangular table, this collaborative work that involved hundreds of women is 39 place settings, each created in honor of an influential woman. D. By using craft techniques such as ceramics, weaving, needlepoint, and embroidery, Chicago physically associated the piece with "women's work." E. The 13 places on each side invoke the seating arrangement of Leonardo's Last Supper, a reference to an all-male gathering that is a central work in Western art history.

B. Judy Chicago's art takes on the highly charged subject of racism in her installation The Dinner Party

Absorbed with the countless details of the visible world; decoration and surface and things. A. Italian Renaissance B. Northern Renaissance

B. Northern Renaissance

Surface detail, capturing texture of velvet, sheen of silver. A. Italian Renaissance B. Northern Renaissance

B. Northern Renaissance

_________________ refers to size relationships between parts of a whole, or between two or more items perceived as a unit. A. Rhythm B. Proportion C. Scale D. Emphasis

B. Proportion

The Hellenistic style that overthrew Classical values in favor of dynamic poses and extreme emotions. One of the best-known examples of this style is the Laocoön Group, Its subject matter, filled with drama and tension, would have been unthinkable three centuries earlier. The three figures writhe in agony, thrusting their bodies outward in different directions, pushing into space. A. "Warrior A" B. Herakles and Nessos, from Olympia, Greece C. Aphrodite of Melos D. Laocoon Group E. Kouros, from Attica, Greece

D. Laocoon Group

The _______________ has been studied in greater detail than perhaps any other building in the Western tradition, for it served generations of European architects as a model of perfection. A. Acropolis B. Colosseum C. Funerary Temple of Hatshepsut D. Parthenon

D. Parthenon

Which of these statements does NOT represent the the similarities and differences in Entombment, a painting by Italian artist Carvaggio, and Raising of the Cross, by the Flemish artist Peter Paul Rubens. A. The action in Entombment is contained on four sides within the canvas frame. But Ruben's figures burst outside the picture in several directions, suggesting a continuation of the action. B. There is ambiguity in the subject of Carvaggio's work, as we can only guess at the subject he is painting, but that is part of the fascination of his work, but Rubens gives us a precise image that clearly defines the subject and story of the work of art. C. Both paintings are in the Baroque style. Rubens traveled to Italy and studied the works of Italian masters, including Caravaggio. There are similarities between these two paintings in the sharply diagonal composition and dramatic lighting. D. There are differences in the two masters' styles in regard to the placement of the figures. Caravaggio's seem almost frozen in a moment of anguish, but Ruben's painting teems with movement and energy, each of the participants balanced precariously and straining at his task.

B. There is ambiguity in the subject of Carvaggio's work, as we can only guess at the subject he is painting, but that is part of the fascination of his work, but Rubens gives us a precise image that clearly defines the subject and story of the work of art.

Which artists intentionally used their work to shape the public's view of prominent figures? A. Van Ruisdael and Leyster B. Vigée-Lebrun and David C. Gentileschi and Caravaggio D. Fragonard and Watteau

B. Vigée-Lebrun and David

Unlike their Greek and Roman predecessors, Byzantine artists preferred _________________. A. calligraphy in their art. B. a flattened, abstracted style of art. C. re-creation of daily life in their art. D. a natural, more realistic art.

B. a flattened, abstracted style of art.

Bernini combined the arts of ________________ to archive the desired theatrical effect in the sculptural group The Ecstasy of St. Theresa for the chapel of the Cornaro family in the church of Saint Maria Della Vittoria. Uncontrollable passion and theatrical drama best describe this masterpiece of Baroque art. A. sculpture, painting, and metalwork. B. architecture, sculpture, and painting C. architecture, sculpture, and stained glass D. sculpture, metalwork and tapestry

B. architecture, sculpture, and painting

By positioning the dark, dense image of death next to the billowing, light form representing life, Gustav Klimt's painting Death and Life demonstrates artistic use of ________________. A. symmetrical balance B. asymmetrical balance C. bilateral symmetry D. radial balance

B. asymmetrical balance

A new art form known as "installation" ________________________. A. has again flattened the art object to two dimensions. B. creates an environment for the viewer to enter and experience. C. predominantly focuses on film. D. gives credit to the work done by installers, people who hang other people's art. E. forces the viewer to create the art in his or her mind based on verbal description.

B. creates an environment for the viewer to enter and experience

As seen in Adoration of the Shepherds by Giorgione, Renaissance Venetian artists took advantage of oil paint's _________ to build luminous layers of color. A. impasto B. glazes C. alla prima D. encaustic

B. glazes

In comparison to Baroque art, the style of Rococo ________ . A. tends to employ more intense colors. B. is more playful and lighthearted. C. is more suitable for public places. D. All of these.

B. is more playful and lighthearted

The Arts and Crafts movement came about as a reaction to _________________. A. the fall of the Roman empire B. the Industrial Revolution C. the Renaissance D. the Sixties

B. the Industrial Revolution

A Hellenistic work, the Aphrodite of Melos, continued the Classical style that emphasized balance and restraint. It was also known as the Venus de Milo. Sculptors had begun admitting female nudes into the public realm—though only as goddesses or mythological characters. This statue exemplifies the ideal of female beauty that resulted.

C. Aphrodite of Melos

This Sculpture was the first full-rounded nude sculpture to be made since antiquity. The young David stands in contrapposto, and his body is naturally proportioned. A. David by Michelangelo B. David by Verrocchio C. David by Donatello D. Saint Mark by Ghiberti

C. David by Donatello

_________________ is an area of emphasis within a work of art. A. Design B. Figure C. Focal Point D. Visual Weight

C. Focal Point

The _________________________ is one of the best-preserved and most innovative temples and it was for one of the few female rulers. It rises in a series of three broad terraces, then continues into the steep cliffs behind it, from which an inner sanctuary was hollowed out. A. Temple of Luxor B. Egyptian Funerary Temple of Khafre C. Funerary Temple of Hatshepsut D. Funerary tomb of Meketre

C. Funerary Temple of Hatshepsut

We have a better understanding and appreciation for a work of art when we have a knowledge of its place in time. Which of these does that not include? A. What traditions was the artist building on or rebelling against?B. What did society at that time expect of its artist? C. If it is a sculpture or a painting? D. When and where was it made?

C. If it is a sculpture . or a painting?

Eva Hesse's Contingent is an example of ________________ . In this type of art the meaning of a work embraced what it was made of and how it was made. A. Conceptual art. B. Surrealism. C. Process art. D. realism.

C. Process Art

___________________ is a characteristic, ore a number of characteristics, that we can identify as a constant, reoccurring, or coherent. In art, the sum of such characteristics associated with a particular artist, group, or culture, or with an artist's work a specific time. A. Composition B. Content C. Style D. Form

C. Style

What feature of James McNeill Whistler's work, Billingsgate, creates rhythm? A. Wavelike, horizontal bars B. Repeating colored circles C. Vertical lines of ship masts D. Strong use of negative space

C. Vertical lines of ship masts

A comparison of Tintoretto's The Last Supper with Leonardo's The Last Supper will show the dramatic changes that had taken place in both art and the concept of art over almost a century. a. In Tintoretto's work the space is sliced by a sharp diagonal, it has asymmetrical balance which only enhances the energy and movement of the composition. Leonardo's work appears static in comparison with the space divided down the middle and its symmetrical balance, only adds to the balance between emotion and restraint in his composition. b. Both works use chiaroscuro the balance of light and shade in a work to represent light falling across a curved or rounded surface to create very realistic figures and forms in their compositions. But Tintoretto increases the use of contrast between highlights and shadows, which enhances the sense of drama. c. Tintoretto depicts Christ just as he offers his body and blood, in the form of bread and wine, to the disciples. Leonardo chose to depict Christ the moment he said "One of you will betray me." Leonardo chose a moment signifying death, Tintoretto a moment signifying life, depicted with in an atmosphere that is teeming with life. d. Leonardo's apostles seem posed for the occasion when contrasted with Tintoretto's spontaneously gesturing figures who look like they should move any moment. e. Both works have diagonals that lead toward a single horizon point and are balanced by strong horizontals and verticals in the architecture and figural groupings, lending a feeling of Classical stability and predictability. A. e only B. b. and d. C. a, b, c, and d D. b, d, and e.

C. a, b, c, and d

The fresco The School of Athens uses __________________ a system for depicting the depth, in which parallel lines receding into the distance converge at a point on the horizon line known as the vanishing point. Forms get smaller in proportion to the receding lines. A. isometric perspective B. overlapping C. atmospheric perspective D. linear perspective

D. linear perspective

The Merode Altarpiece: the Annunciation with Donors and St. Joseph, is a work from the Northern Renaissance believed to be by Robert Campin. Which of these statements is true about this work? a. This work is a historical biblical painting in which the figures are placed in contemporary dress, usually the dress from the time period and culture of the artist. b. This work is full of symbolism, such as the vase of lilies is a symbol for Mary's purity. c. There is no symbolic significance in this work and it is just a rendering of a typical Flemish family in the family dwellings. d. This painting has a historical biblical theme in which the owners or patrons of the work are depicted, but who could not have been alive at the time of the event. e. The artist of Flanders are known for their supreme realism and this artist shows a meticulous rendering of details and in this work he has played attention to the precise replication of objects. A. a, b, and d. B. a, d, and e. C. a, b, d, and e. D. All of these.

C. a, b, d, and e

The motifs depicted on the Sutton Hoo Purse are typical of the ____________ prevalent in the art of northwestern Europe at the time. The images were often accompanied by interlace, patterns formed by intricately interwoven ribbons and bands. A. illumination style B. gothic style C. animal style D. carolingian style

C. animal style

Thomas Cole uses _______________________ a convention to give the illusion in depth in which he methodically changes the definition of the shapes in the distance so they are less sharply defined. He also modifies the color, value contrast, and texture so they are also less defined. A. relative size B. overlapping C. atmospheric perspective D. linear perspective

C. atmospheric perspective

The Last Supper by Leonardo da Vinci displays, the Renaissance ideals of Classicism, humanism, and technical perfection.Remembering our lessons from Chapter 4: Visual Elements of Art and Chapter 5: Principles of Deign, which of these would be examples of "technical perfection." a. Leonardo has chosen to depict the moment when Jesus says, "One of you will betray me." b. This work shows a masterful use of chiaroscuro, or the gradual shifting from light to dark through successive gradation of tones across the surface. c. Leonardo creates a focal point on Christ through isolation that results from the leaning away of the apostles. d. The triple windows that frame Christ symbolize the Holy Trinity. e. The composition is organized through the use of one-point linear perspective. f. A hairline balance is struck between emotion and restraint. g. The artist creates a focal point on Christ by the silhouette of Christ created by the light that pierces the otherwise dark background. A. c and g B. a, d, and f C. b, c, e, and g D. b, c, e, f, and g

C. b, c, e, g

Which of these is an example of primary colors? A. yellow, orange, red B. green, blue, periwinkle C. blue, yellow, red D. orange, green, maroon

C. blue, yellow, red

The following is true about Rembrandt EXCEPT __________________________________. A. he painted self-portraits throughout his career. B. he was a master of multiple types of painting, including portraits, landscapes, and religious scenes. C. he achieved and maintained financial success throughout his life. D. he was the son of a miller.

C. he achieved and maintained financial success throughout his life

In The Creation of Adam, Michelangelo uses the glances of the figures in the composition to direct the eyes of the viewer to the hands of God and Adam, and the action of God reaching out to spark spiritual life into Adam, the focal point. The direction the figures in a given composition are looking is one of the most powerful kinds of ___________________. A. visual element B. actual line C. implied line D. motion

C. implied line

Vasili Kandinsky became convinced that art should be free of representational subject matter when he ______________________________. A. had a near-death experience in which he "saw" music and "heard" color. B. was fasting and meditating in a monastery and had a vision of the future of painting. C. mistook an upside-down painting of his for an unfamiliar work of spectacular beauty. D. was no longer able to sell any of his traditional landscape paintings.

C. mistook an upside-down painting of his for an unfamiliar work of spectacular beauty

One of the effects of the Renaissance was to change the status of artists in Europe from ________________________. A. observers of nature to designers. B. shamans to documentarians. C. skilled crafts workers to intellectuals. D. monks to nobility.

C. skilled crafts workers to intellectuals

Which 15th-century invention led to the decrease in the practice of illumination by hand? A. The system of linear perspective B. The camera obscura C. The printing press D. The technology of oil painting.

C. the printing press

In Stairs, Tina Modott achieved _________________ by the use of the color repetition of the rectangles and triangles shapes. A. variety B. extreme unity C. unity D. conceptual unity

C. unity

Drawing a person in a naturalist way would call for the use of soft curvilinear lines and would create ______________, but to make a drawing of office buildings would require an artist to use _______________ that are regular, easy to measure, and easy to describe. A. geometric shapes; amorphous shapes B. organic shapes; actual shapes C. amorphous shapes; geometric shapes D. organic shapes; geometric shapes

D. organic shapes; geometric shapes

The Mandala of Jnanadakini shows what kind of balance? A. symmetrical B. asymmetrical C. bilateral D. radial balance

D. radial balance

__________________ is the art of carving, casting, modeling, or assembling materials into three- dimensional figures or forms. A. Painting B. Ceramics C. Drawing D. Sculpture

D. sculpture

We can follow this increasing ______________________ art as we move out of the 17th century into the 18th. A. realism in B. interest in C. piousness in D. secularization of

D. secularization of

The theme of the Sistine Chapel ceiling frescoes comes from _________________. A. scenes of everyday life. B. Plato's Republic. C. the Egyptian Book of the Dead. D. the book of Genesis.

D. the book of Genesis

The artworks of Christo and Jeanne-Claude are intended __________________. A. to bring together a community of people focused on a particular idea. B. as works that have as the subject matter the entire process of the project. C. to be temporary and transitory D. raised the money themselves E. All of these answers are correct.

E. All of these answers are correct.

A prime example of sculpture of the ______ and the characteristics that it entails would be the Kouros Figure. The figure is very stiff and ridge even though all the body parts are freed from the block of marble the shape of it adheres essentially to the block shape. The sculptor adheres to Egyptian stance, but renders the human body in a far more naturalist manner.

E. Kouros, from Attica, Greece

Cimabue's Madonna Enthroned and Rathnasambhava, the Transcendent Buddha of the South are similar in all these ways EXCEPT: A. They both include symbolic hand gestures B. They were made in the same century C. Their compositional structure is similar D. They shared a common theme of the sacred E. They share the same iconography

E. They share the same iconography

Henry Ossawa Tanner's The Banjo Lesson creates emphasis through: A. size and placement of the figures B. directional lines of sight leading tot the focal point C. elimination of detail and bright colors in the background D. contrasting values of dark skin against the pale background E. all of these answers are correct

E. all of these answers are correct

Judy Chicago

Feminist Art

Rooted in the biological, psychological, social, and historical experience of women

Feminist Art

The Dinner Party

Feminist Art

The Guerrilla Girls

Feminist Art

Developed a staining technique by pouring thinned paint onto canvas and controlling its flow in various ways.

Helen Frankenthaler

Developed a technique of dripping paint onto large canvases, called "action painting."

Jackson Pollock

A style that sought to escape exhibition spaces, such as galleries and museums

Land Art

Spiral Jetty

Land Art

The Lighting Field

Land Art

Was one of several New York based sculptors whose work was associated with Abstract Expressionism.

Louise Nevelson

Worked with color, extensively thinning his paints, creating meditative and tranquil paintings.

Mark Rother

Created a series of works on women in which this artist would start with magazine pictures and abstract the figures through subconscious expression.

William de Kooning