| a. Sienna | ||
| b. Pisa | ||
| c. Florence | ||
| d. Padua |
| a. Byzantine | ||
| b. French Gothic | ||
| c. Romanesque | ||
| d. Roman |
| a. Padua | ||
| b. Florence | ||
| c. Rome | ||
| d. Sienna |
| a. The iconography | ||
| b. The fresco technique | ||
| c. The variation in perspectives of the figures | ||
| d. The use of color |
| a. It can be described as a polyptych. | ||
| b. It includes narrative elements. | ||
| c. It was created around in the early fourteenth century. | ||
| d. All of the above |
| a. They show the influence of Classical art. | ||
| b. They exaggerate stylistic elongation associated with the Gothic. | ||
| c. They reflect the maniera greca. | ||
| d. They were all created for sites in Florence. |
| a. Egg tempera is applied on dry walls. | ||
| b. Small portions of the design are completed daily. | ||
| c. Both A and B | ||
| d. None of the above |
| a. Studying the Old Testament | ||
| b. Studying Greek and Roman texts | ||
| c. Translating the New Testament from Hebrew to Latin | ||
| d. Interpreting the Gospels |
| a. Metal | ||
| b. Wood | ||
| c. Stone | ||
| d. Fabric |
| a. Proto-Renaissance | ||
| b. Medieval | ||
| c. International Gothic | ||
| d. Byzantine |
| a. Canvas | ||
| b. Triptych | ||
| c. Polyptych | ||
| d. Panel |
| a. 1230 | ||
| b. 1330 | ||
| c. 1430 | ||
| d. 1530 |
| a. Etching | ||
| b. Woodcut | ||
| c. Engraving | ||
| d. Lithograph |
| a. A church altarpiece | ||
| b. Private devotion | ||
| c. A diplomatic gift | ||
| d. A portrait |
| a. Multi-colored | ||
| b. Multi-paneled | ||
| c. Single-paneled | ||
| d. Screen |
| a. They were trained to specialize in one craft. | ||
| b. Art was often a family profession. | ||
| c. Most artists created works for sale without patrons. | ||
| d. All of the above |
| a. Oil dries quicker than tempera. | ||
| b. Rendition of light is more subtle in tempera. | ||
| c. Both A and B | ||
| d. None of the above |
| a. Italian peninsula | ||
| b. Kingdom of France | ||
| c. Flanders | ||
| d. Holy Roman Empire |
| a. The religious iconography | ||
| b. The emphasis on landscape | ||
| c. The Book of Hours type | ||
| d. The use of gold leaf |
| a. Religious narrative | ||
| b. Classical sculpture | ||
| c. Portraiture | ||
| d. Allegory |
| a. Water | ||
| b. Landscape features | ||
| c. Figures | ||
| d. Architecture |
| a. Painting | ||
| b. Music | ||
| c. Architecture | ||
| d. Sculpture |
| a. Florence | ||
| b. Padua | ||
| c. Mantua | ||
| d. Sienna |
| a. The use of cast bronze | ||
| b. The subject matter | ||
| c. The contrapposto stance | ||
| d. The dark patina of the bronze |
| a. Geometric | ||
| b. Volumetric | ||
| c. Curvilinear | ||
| d. Asymmetry |
| a. A multi-panel altarpiece design | ||
| b. A marginal design in illuminated manuscripts | ||
| c. A schematic element of linear perspective | ||
| 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 | ||
| b. The narrative scenes painted at the bottom of an altarpiece | ||
| c. The wings of an altarpiece with images of the patrons | ||
| d. The decorative framing of an altarpiece |
| a. Color | ||
| b. Anatomical detail | ||
| c. Foreshortening | ||
| d. Tenebroso |
| a. Life of Jesus | ||
| b. Life of Mary | ||
| c. Abraham and Isaac | ||
| d. The Crucifixion |
| a. Dark and shadowy | ||
| 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 |