|
a. Sienna |
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|
b. Pisa |
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|
c. Florence |
||
|
d. Padua |
|
a. Byzantine |
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|
b. French Gothic |
||
|
c. Romanesque |
||
|
d. Roman |
|
a. Padua |
||
|
b. Florence |
||
|
c. Rome |
||
|
d. Sienna |
|
a. The iconography |
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|
b. The fresco technique |
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|
c. The variation in perspectives of the figures |
||
|
d. The use of color |
|
a. It can be described as a polyptych. |
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|
b. It includes narrative elements. |
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|
c. It was created around in the early fourteenth century. |
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|
d. All of the above |
|
a. They show the influence of Classical art. |
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|
b. They exaggerate stylistic elongation associated with the Gothic. |
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|
c. They reflect the maniera greca. |
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|
d. They were all created for sites in Florence. |
|
a. Egg tempera is applied on dry walls. |
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|
b. Small portions of the design are completed daily. |
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|
c. Both A and B |
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|
d. None of the above |
|
a. Studying the Old Testament |
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|
b. Studying Greek and Roman texts |
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|
c. Translating the New Testament from Hebrew to Latin |
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|
d. Interpreting the Gospels |
|
a. Metal |
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|
b. Wood |
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|
c. Stone |
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|
d. Fabric |
|
a. Proto-Renaissance |
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|
b. Medieval |
||
|
c. International Gothic |
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|
d. Byzantine |
|
a. Canvas |
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|
b. Triptych |
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|
c. Polyptych |
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|
d. Panel |
|
a. 1230 |
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|
b. 1330 |
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|
c. 1430 |
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|
d. 1530 |
|
a. Etching |
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|
b. Woodcut |
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|
c. Engraving |
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|
d. Lithograph |
|
a. A church altarpiece |
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|
b. Private devotion |
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|
c. A diplomatic gift |
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|
d. A portrait |
|
a. Multi-colored |
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|
b. Multi-paneled |
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|
c. Single-paneled |
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|
d. Screen |
|
a. They were trained to specialize in one craft. |
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|
b. Art was often a family profession. |
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|
c. Most artists created works for sale without patrons. |
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|
d. All of the above |
|
a. Oil dries quicker than tempera. |
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|
b. Rendition of light is more subtle in tempera. |
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|
c. Both A and B |
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|
d. None of the above |
|
a. Italian peninsula |
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|
b. Kingdom of France |
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|
c. Flanders |
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|
d. Holy Roman Empire |
|
a. The religious iconography |
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|
b. The emphasis on landscape |
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|
c. The Book of Hours type |
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|
d. The use of gold leaf |
|
a. Religious narrative |
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|
b. Classical sculpture |
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|
c. Portraiture |
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|
d. Allegory |
|
a. Water |
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|
b. Landscape features |
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|
c. Figures |
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|
d. Architecture |
|
a. Painting |
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|
b. Music |
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|
c. Architecture |
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|
d. Sculpture |
|
a. Florence |
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|
b. Padua |
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|
c. Mantua |
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|
d. Sienna |
|
a. The use of cast bronze |
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|
b. The subject matter |
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|
c. The contrapposto stance |
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|
d. The dark patina of the bronze |
|
a. Geometric |
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|
b. Volumetric |
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|
c. Curvilinear |
||
|
d. Asymmetry |
|
a. A multi-panel altarpiece design |
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|
b. A marginal design in illuminated manuscripts |
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|
c. A schematic element of linear perspective |
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|
d. None of the above |
|
a. Painted room |
||
|
b. Marriage room |
||
|
c. Painted illusion |
||
|
d. None of the above |
|
a. The votive central panel of an altarpiece |
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|
b. The narrative scenes painted at the bottom of an altarpiece |
||
|
c. The wings of an altarpiece with images of the patrons |
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|
d. The decorative framing of an altarpiece |
|
a. Color |
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|
b. Anatomical detail |
||
|
c. Foreshortening |
||
|
d. Tenebroso |
|
a. Life of Jesus |
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|
b. Life of Mary |
||
|
c. Abraham and Isaac |
||
|
d. The Crucifixion |
|
a. Dark and shadowy |
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|
b. Still and geometric |
||
|
c. Flowing and dramatic |
||
|
d. Detailed and dark |
|
a. Fresco and carved ornament |
||
|
b. Oil paint and plaster relief |
||
|
c. Fresco |
||
|
d. Terracotta relief |
|
a. Wax |
||
|
b. Metal |
||
|
c. Clay |
||
|
d. All of the above |
|
a. Donatello’s “David” is known as the first free-standing nude since antiquity. |
||
|
b. Donatello’s “David” has been interpreted as a symbol of the Republic of Florence. |
||
|
c. Both A and B |
||
|
d. None of the above |
|
a. It is based on a geometric grid for placement of images. |
||
|
b. It is an intuitive mode perfected by few artists. |
||
|
c. It is employed to flatten the illusion of space on the picture plane. |
||
|
d. All of the above |
|
a. God, depicted as the Father, is seen standing. |
||
|
b. Lines of string were used to create an underlying layout. |
||
|
c. The medium is fresco. |
||
|
d. All of the above |
|
a. Brunelleschi |
||
|
b. Ghiberti |
||
|
c. Masaccio |
||
|
d. Donatello |
|
a. Florence |
||
|
b. Pisa |
||
|
c. Milan |
||
|
d. Mantua |
|
a. Counter Reformation |
||
|
b. Reformation |
||
|
c. Humanism |
||
|
d. Neo-Platonism |
|
a. Symmetrical composition |
||
|
b. Geometric form |
||
|
c. Elongation of anatomy |
||
|
d. Chiaroscuro |
|
a. Michelangelo |
||
|
b. Raphael |
||
|
c. Bramante |
||
|
d. All of the above |
|
a. Pope Julius II and Cosimo de Medici |
||
|
b. God the Father and Jesus |
||
|
c. Plato and Aristotle |
||
|
d. Leonardo and Michelangelo |
|
a. Genesis, from the Old Testament |
||
|
b. The Passion from the New Testament |
||
|
c. The Life of Christ |
||
|
d. Exodus, from the Old Testament |
|
a. Titian |
||
|
b. Veronese |
||
|
c. Bellini |
||
|
d. Bronzino |
|
a. Establishment of monastic orders |
||
|
b. New debates about the immortality of the Virgin |
||
|
c. A new pope from the Medici family |
||
|
d. The Counter-Reformation |
|
a. “Last Supper” reflects mathematical symbolism. |
||
|
b. Leonardo used symmetrical composition to create the work. |
||
|
c. Leonardo used linear perspective to create the work. |
||
|
d. All of the above |
|
a. The sculpture is signed. |
||
|
b. The work was done early in Michelangelo’s career. |
||
|
c. The scale of Mary is not realistic. |
||
|
d. All of the above |
|
a. “David” is larger than life size. |
||
|
b. The sculpture was intended to be placed on the exterior of the Duomo. |
||
|
c. Both A and B |
||
|
d. None of the above |
|
a. The original plan was based on a squared, symmetrical cross. |
||
|
b. Michelangelo worked on the design. |
||
|
c. Bramante worked on the design. |
||
|
d. All of the above |
|
a. It was finished before the Pope died. |
||
|
b. Raphael worked on the design. |
||
|
c. It included a sculpture of Moses. |
||
|
d. All of the above |
|
a. Bramante |
||
|
b. Palladio |
||
|
c. Brunelleschi |
||
|
d. Michelozzo |
|
a. The grotto setting |
||
|
b. The inclusion of John the Baptist |
||
|
c. The use of blue for the Virgin’s cloak |
||
|
d. Gestures of the figures |
|
a. Hospital |
||
|
b. Private patron |
||
|
c. Cathedral |
||
|
d. Franciscan monastery |
|
a. Woodcut is more labor-intensive than the engraving technique. |
||
|
b. Engraving enables more detail than the woodcut technique. |
||
|
c. Both A and B |
||
|
d. None of the above |
|
a. Christian love |
||
|
b. Self-knowledge |
||
|
c. Remembrance of death |
||
|
d. Scientific discovery |
|
a. Bright color |
||
|
b. Detail in representations of objects |
||
|
c. Elongation of figures |
||
|
d. Chiaroscuro |
|
a. Grünewald |
||
|
b. Dürer |
||
|
c. Bernini |
||
|
d. Rubens |
|
a. Grünewald |
||
|
b. Dürer |
||
|
c. Bosch |
||
|
d. Altdorfer |
|
a. It is a meditation on Protestantism. |
||
|
b. It is a classical myth on the arts. |
||
|
c. It is an allegory of the artistic temperament. |
||
|
d. It is a dream of the artist. |
|
a. A meeting of Humanist philosophers across Europe |
||
|
b. A meeting of clergy that ushered in the Counter-Reformation |
||
|
c. A meeting of religious dissenters that ushered in the Reformation |
||
|
d. A meeting of cardinals to elect a new pope |
|
a. Judith |
||
|
b. Susannah |
||
|
c. Eve |
||
|
d. Mary |
|
a. Diagonal thrust and close-up action |
||
|
b. Distance of figures and symmetry |
||
|
c. Idealization of figures and strong outlines |
||
|
d. Elongation of figures and attention to natural daylight |
|
a. Landscape |
||
|
b. Politics |
||
|
c. Interiors |
||
|
d. History painting |
|
a. Bernini’s is larger. |
||
|
b. Michelangelo’s has more dynamic movement. |
||
|
c. Both are the same medium. |
||
|
d. Both were commissioned for Roman patrons. |
|
a. Holland |
||
|
b. Flanders |
||
|
c. France |
||
|
d. England |
|
a. Holland |
||
|
b. Flanders |
||
|
c. France |
||
|
d. England |
|
a. Renovation of the Sistine Chapel |
||
|
b. The central dome |
||
|
c. The flanking domes |
||
|
d. The grand colonnades in the piazza |
|
a. Religious allegory |
||
|
b. Royal portraiture |
||
|
c. Mythological |
||
|
d. History painting |
|
a. Colorito |
||
|
b. Tenebroso |
||
|
c. Sfumato |
||
|
d. Designo |
|
a. Landscape |
||
|
b. Satire |
||
|
c. Still life |
||
|
d. History |
|
a. Portraiture |
||
|
b. Classical history |
||
|
c. Contemporary history |
||
|
d. Religion |
|
a. Brunelleschi |
||
|
b. Michelangelo |
||
|
c. Palladio |
||
|
d. Veronese |
|
a. Ornamental |
||
|
b. Carved marble |
||
|
c. Classical |
||
|
d. Severe |
|
a. European artists making a trip to the Americas |
||
|
b. European artists and patrons congregating in Italy |
||
|
c. European artists travelling for commissions to courts throughout Europe |
||
|
d. Patrons touring art studios throughout Europe |
|
a. The death of Louis XIV |
||
|
b. The first French Revolution |
||
|
c. The fall of Napoleon Bonaparte |
||
|
d. The Revolution of 1848 |
|
a. Spiritual love |
||
|
b. Sensual romance |
||
|
c. Portraiture |
||
|
d. Still life |
|
a. 1789 |
||
|
b. 1815 |
||
|
c. 1830 |
||
|
d. 1870 |
|
a. Oil painting |
||
|
b. Sculpture |
||
|
c. Lithographs |
||
|
d. Woodcuts |
|
a. Impressionist painting is more structural in form. |
||
|
b. Lighting is more prominent in Impressionist painting. |
||
|
c. Impressionist painting is more naturalistic. |
||
|
d. Impressionist painting is more symbolic. |
|
a. Wood |
||
|
b. Metal |
||
|
c. Plastic |
||
|
d. Stone |
|
a. 1799 |
||
|
b. 1839 |
||
|
c. 1869 |
||
|
d. 1900 |
|
a. Religion |
||
|
b. History |
||
|
c. Landscape |
||
|
d. Adventure |
|
a. A royal residence |
||
|
b. An international exposition |
||
|
c. A government building |
||
|
d. A theater |
|
a. 1845 |
||
|
b. 1863 |
||
|
c. 1874 |
||
|
d. 1884 |
|
a. Immediately after the event depicted, in 1808 |
||
|
b. Before Napoleon became Emperor of France |
||
|
c. During Napoleon’s official reign in Spain |
||
|
d. After Napoleon was forced out of Spain |
|
a. Jacques-Louis David |
||
|
b. Géricault |
||
|
c. Courbet |
||
|
d. Manet |
|
a. To create an imaginary reality in each work |
||
|
b. To experiment with color patterns throughout a canvas |
||
|
c. To add strong gesture to traditional painting methods |
||
|
d. To create the real experience of seeing in various atmospheric conditions |
|
a. A portrait of a real heroine of the scene depicted |
||
|
b. A representation of the goddess Athena |
||
|
c. A personification |
||
|
d. A Classical statue |
|
a. Renaissance |
||
|
b. Neoclassical |
||
|
c. Romantic |
||
|
d. Realistic |
|
a. Both include self-portraits. |
||
|
b. Both are set outdoors. |
||
|
c. Both A and B |
||
|
d. None of the above |
|
a. Baroque ceiling frescos |
||
|
b. Rococo fêtes galantes |
||
|
c. Renaissance illusionism |
||
|
d. Romantic history painting |
|
a. Degas |
||
|
b. Renoir |
||
|
c. Morisot |
||
|
d. Monet |
|
a. Seurat |
||
|
b. Van Gogh |
||
|
c. Gauguin |
||
|
d. Cezanne |
|
a. John Singleton Copley |
||
|
b. Henry Ossawa Tanner |
||
|
c. Winslow Homer |
||
|
d. John Singer Sargent |
|
a. Neoclassical |
||
|
b. Baroque |
||
|
c. Mannerist |
||
|
d. Romantic |
|
a. Cubism |
||
|
b. Abstraction |
||
|
c. Fauvism |
||
|
d. Realism |
|
a. Mass |
||
|
b. Still life detail |
||
|
c. Lighting |
||
|
d. Pictorial space |
|
a. Expressive color |
||
|
b. Elongation of anatomy |
||
|
c. Influence of African art |
||
|
d. Pure abstraction |
|
a. Peaceful |
||
|
b. Organic |
||
|
c. Aggressive |
||
|
d. Colorful |
|
a. Bauhaus |
||
|
b. Romantic |
||
|
c. Prairie style |
||
|
d. Classical |
|
a. France |
||
|
b. Italy |
||
|
c. Germany |
||
|
d. United States |
|
a. Painting |
||
|
b. Bronze sculpture |
||
|
c. Collages |
||
|
d. Readymades |
|
a. The unconscious |
||
|
b. Nature |
||
|
c. Reason |
||
|
d. Romantic love |
|
a. 1900-1910 |
||
|
b. WWI |
||
|
c. 1930s |
||
|
d. WWII |
|
a. Classical nude bathers |
||
|
b. Prostitution |
||
|
c. Marriage |
||
|
d. Dancers |
|
a. Fauvism |
||
|
b. Futurism |
||
|
c. Suprematism |
||
|
d. Abstract Expressionism |
|
a. Magritte |
||
|
b. Dali |
||
|
c. Giacometti |
||
|
d. Ernst |
|
a. Cubism |
||
|
b. Expressionism |
||
|
c. Realism |
||
|
d. Romanticism |
|
a. A painting academy |
||
|
b. An art school and broad design style |
||
|
c. An architectural firm |
||
|
d. The German seat of government before WWII |
|
a. Chance |
||
|
b. Careful drawing |
||
|
c. Historical references |
||
|
d. Chiaroscuro |
|
a. Lack of ornamentation |
||
|
b. Classical porch |
||
|
c. Marble exterior |
||
|
d. Palazzo style |
|
a. Malevich |
||
|
b. Braque |
||
|
c. Kandinsky |
||
|
d. Mondrian |
|
a. Steichen |
||
|
b. Stieglitz |
||
|
c. Muybridge |
||
|
d. Cameron |
|
a. Regionalism |
||
|
b. New Realism |
||
|
c. Abstract Expressionism |
||
|
d. Muralism |
|
a. Volume |
||
|
b. Color |
||
|
c. Anatomy |
||
|
d. Detail |
|
a. Figuration |
||
|
b. Geometric form |
||
|
c. Use of photographic transfer |
||
|
d. Use of flat color |
|
a. Geometric form |
||
|
b. Industrial materials |
||
|
c. Commercial production |
||
|
d. All of the above |
|
a. Masonry |
||
|
b. Steel frame |
||
|
c. Brick and mortar |
||
|
d. Reinforced concrete |
|
a. Duchamp |
||
|
b. Picasso |
||
|
c. Matisse |
||
|
d. Dali |
|
a. Morris |
||
|
b. Judd |
||
|
c. Flavin |
||
|
d. Serra |
|
a. Painting and sculpture |
||
|
b. Collage |
||
|
c. Mix media |
||
|
d. Cast metals |
|
a. Personal |
||
|
b. Political |
||
|
c. Narrative |
||
|
d. Academic |
|
a. Sex |
||
|
b. Consumer culture |
||
|
c. Urban landscape |
||
|
d. Self-expression |
|
a. Pollock |
||
|
b. Warhol |
||
|
c. Oldenburg |
||
|
d. Lichtenstein |
|
a. The idea of abstraction |
||
|
b. His palette (color) |
||
|
c. His painting method |
||
|
d. His interest in music |