|
a. delicate. |
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|
b. dramatic. |
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|
c. idealized. |
||
|
d. pastoral. |
|
a. They are more emotional. |
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|
b. They are less engaged with the viewer. |
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|
c. They are suffused with a greater sense of otherworldliness. |
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|
d. They are more down to earth and real—to the point of being unidealized. |
|
a. It depicts a sexual story, drawing on the personal writings of Saint Theresa. |
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|
b. It is sculpted from wood and covered in plaster, unlike most of his sculptures. |
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|
c. It involved the complete decoration and construction of a chapel, resembling modern-day installation art. |
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|
d. all of the above |
|
a. classical literature with biblical stories. |
||
|
b. techniques used by French and German artists. |
||
|
c. biblical stories with puns on the name of the patron. |
||
|
d. lowly, naturalistic details with highly spiritual stories. |
|
a. human ignorance. |
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|
b. a spiritual presence. |
||
|
c. the pursuit of justice. |
||
|
d. scientific enlightenment. |
|
a. Nudity was frowned upon. |
||
|
b. Catholic values and traditions were flaunted. |
||
|
c. Religious stories were made more emotional. |
||
|
d. all of the above |
|
a. emphasize motion. |
||
|
b. engage the space around it. |
||
|
c. remain intellectual and wholly of the mind. |
||
|
d. evoke moments in time directly before and after the moment depicted. |
|
a. classicizing. |
||
|
b. emotionless. |
||
|
c. idealizing. |
||
|
d. realistic. |
|
a. the drama and tension of Baroque art. |
||
|
b. the coarse reality of some Baroque paintings. |
||
|
c. the use of extreme lights and darks in Baroque painting. |
||
|
d. the system of rod construction used in Baroque churches. |
|
a. abstract. |
||
|
b. illegible. |
||
|
c. illusionistic. |
||
|
d. none of the above. |
|
a. Baroque art. |
||
|
b. Neoclassical art. |
||
|
c. art of the Enlightenment. |
||
|
d. all of the above |
|
a. her trip to England |
||
|
b. the death of her father |
||
|
c. her rape by her teacher |
||
|
d. the birth of her first child |
|
a. Spanish sculpture was inferior to Italian sculpture. |
||
|
b. Spanish sculpture never depicted religious subject matters. |
||
|
c. Spanish sculpture was often made of wood and then painted. |
||
|
d. Spanish sculpture eschewed realism in favor of idealized, ephemeral beauty. |
|
a. Bernini |
||
|
b. Caravaggio |
||
|
c. Hals |
||
|
d. Rubens |
|
a. Caravaggio |
||
|
b. Cotán |
||
|
c. Velázquez |
||
|
d. Vermeer |
|
a. Caravaggio |
||
|
b. Carracci |
||
|
c. Gentileschi |
||
|
d. Rubens |
|
a. genre paintings |
||
|
b. still-life paintings |
||
|
c. landscape paintings |
||
|
d. all of the above |
|
a. Las Meninas by Velázquez |
||
|
b. The Nightwatch by Rembrandt |
||
|
c. The Oath of the Horatii by David |
||
|
d. The Conversion of Paul by Caravaggio |
|
a. Il Gesu |
||
|
b. Saint Peter’s Square |
||
|
c. Sant’Andrea al Quirinale |
||
|
d. San Carlo alle Quattro Fontane |
|
a. the Reformation |
||
|
b. political revolution |
||
|
c. scientific discoveries |
||
|
d. religious pilgrimages |
|
a. The Catholic Church submitted to Protestantism. |
||
|
b. The cultural significance of the Catholic Church gradually declined. |
||
|
c. The Catholic Church always dictated political and monarchical systems. |
||
|
d. The Catholic Church became an even more important cultural force in the face of new challenges. |
|
a. that is boring. |
||
|
b. that depicts an everyday scene. |
||
|
c. that commemorates a historical event. |
||
|
d. that commemorates the birth of a child. |
|
a. genre painting. |
||
|
b. portrait painting. |
||
|
c. still-life painting. |
||
|
d. landscape painting. |
|
a. violence. |
||
|
b. material wealth. |
||
|
c. the power of the male body. |
||
|
d. spiritual and psychological power. |
|
a. He used more muted colors. |
||
|
b. He used sharper, crisper lines. |
||
|
c. He used a looser, more “painterly” style. |
||
|
d. His compositions became more complicated and detailed. |
|
a. Neoclassical |
||
|
b. Dutch Baroque |
||
|
c. Italian Baroque |
||
|
d. Spanish Baroque |
|
a. drypoints |
||
|
b. etchings |
||
|
c. fresco |
||
|
d. oils |
|
a. a moralizing and spiritual image. |
||
|
b. a commemoration of a historical event. |
||
|
c. an expression of Dutch Baroque anti-Semitism. |
||
|
d. all of the above |
|
a. Protestant art from the Baroque period. |
||
|
b. Rembrandt’s intimate view of spiritualism. |
||
|
c. the use of light to convey a spiritual message. |
||
|
d. all of the above |
|
a. still-life paintings. |
||
|
b. landscape paintings. |
||
|
c. paintings of domestic interiors. |
||
|
d. all of the above |
|
a. It is less expensive. |
||
|
b. It is easier to execute. |
||
|
c. It creates softer, more “painterly” lines. |
||
|
d. all of the above |
|
a. Women were best suited to motherhood and nurturing roles. |
||
|
b. Women are powerful matriarchs in charge of their domestic realm. |
||
|
c. Women are evil temptresses to be feared by self-respecting gentlemen. |
||
|
d. Women of a certain elevated social status were virtuous and objects of desire. |
|
a. Dutch Baroque paintings needed to be easily transportable. |
||
|
b. Art patrons in the Netherlands could not afford larger paintings. |
||
|
c. Paintings were illegal and therefore needed to be small enough to be easily hidden. |
||
|
d. Smaller paintings were better suited to the private homes for which they were commissioned. |
|
a. It was Protestant. |
||
|
b. It broke away from Spain. |
||
|
c. It had a powerful middle class. |
||
|
d. all of the above |
|
a. Hals |
||
|
b. Rembrandt |
||
|
c. Rubens |
||
|
d. van Dyck |
|
a. Jefferson |
||
|
b. Rembrandt |
||
|
c. Wren. |
||
|
d. none of the above |
|
a. Caravaggio |
||
|
b. Michelangelo |
||
|
c. Renaissance artists from Flanders |
||
|
d. all of the above |
|
a. Bernini |
||
|
b. David |
||
|
c. Gentileschi |
||
|
d. Rembrandt |
|
a. Hals |
||
|
b. Rubens |
||
|
c. Steen |
||
|
d. Vermeer |
|
a. de La Tour |
||
|
b. Gentileschi |
||
|
c. Terbrugghen |
||
|
d. Watteau |
|
a. Velázquez’s Las Meninas |
||
|
b. Vermeer’s Allegory of Painting |
||
|
c. Rembrandt’s self-portrait from 1658 (at the Frick) |
||
|
d. all of the above |
|
a. political paintings |
||
|
b. violent and dramatic images |
||
|
c. images of the Virgin and Child |
||
|
d. all of the above |
|
a. Cotán |
||
|
b. Heda |
||
|
c. Peeters |
||
|
d. Ruysch |
|
a. Dutch Baroque |
||
|
b. Italian Baroque |
||
|
c. French Baroque |
||
|
d. Flemish Baroque |
|
a. religious ceremony. |
||
|
b. illustrated pamphlets. |
||
|
c. ceremony of courtly ritual. |
||
|
d. A and C |
|
a. an idealized view of the countryside. |
||
|
b. politically charged symbolic landscapes. |
||
|
c. religiously charged symbolic landscapes. |
||
|
d. ominous and threatening views of nature. |
|
a. They are full of violence. |
||
|
b. They use stark contrasts of light and dark. |
||
|
c. They depict extremely unidealized figures. |
||
|
d. all of the above |
|
a. looked back to Medieval art. |
||
|
b. appealed more to a growing middle class. |
||
|
c. embraced Caravaggesque ideals more and more. |
||
|
d. turned away from Caravaggism towards a more classical style. |
|
a. classicizing. |
||
|
b. realist. |
||
|
c. romantic. |
||
|
d. palladian. |
|
a. proclaim the glory of France. |
||
|
b. serve as a political meeting place. |
||
|
c. house the main leaders of the French church. |
||
|
d. glorify the magnificence and authority of the king. |
|
a. Caravaggesque |
||
|
b. classicizing |
||
|
c. Protestant. |
||
|
d. all of the above |
|
a. the Louvre |
||
|
b. Buckingham Palace |
||
|
c. St. Paul’s Cathedral |
||
|
d. the Houses of Parliament |
|
a. Borromini |
||
|
b. Hardouin-Mansart |
||
|
c. Jones |
||
|
d. Wren |
|
a. Gentileschi |
||
|
b. Poussin |
||
|
c. Rembrandt |
||
|
d. Rubens |
|
a. Boston |
||
|
b. London |
||
|
c. Rome |
||
|
d. Seville |
|
a. the interest in theater |
||
|
b. the interest in fantasy and frivolity |
||
|
c. the fascination with the feminine world |
||
|
d. the emphasis and value placed on nature |
|
a. theatrical subjects. |
||
|
b. religious processions. |
||
|
c. subjects relating to music. |
||
|
d. scenes involving love and courtship. |
|
a. sharp lines and right angles. |
||
|
b. soft curves and diagonal lines. |
||
|
c. bold colors and a sense of motion. |
||
|
d. dark colors and thick paint application. |
|
a. Portraits are included in Rococo pastorals. |
||
|
b. For the first time, love and sexuality are hinted at. |
||
|
c. The Rococo pastoral evoked a real world rather than a remote arcadia. |
||
|
d. The details of the landscape were paid closer attention to in Rococo pastorals. |
|
a. It is a scene derived directly from theater. |
||
|
b. It is a copy of an earlier painting by Boucher. |
||
|
c. The figures in the painting are peasants dressed up as members of the aristocracy. |
||
|
d. The figures involved “play” at innocence while deliberately breaking with decorum. |
|
a. a softer, more organic style. |
||
|
b. a disordered abstraction style. |
||
|
c. an even more intellectual style. |
||
|
d. a more intimately religious style. |
|
a. Chambord |
||
|
b. Hogarth |
||
|
c. Le Brun |
||
|
d. Watteau |
|
a. romantic pleasure |
||
|
b. childlike innocence |
||
|
c. the role of the artist |
||
|
d. scientific enlightenment |
|
a. the traditional pastoral |
||
|
b. naturalistic representations of the world |
||
|
c. the traditional interpretation of classical mythology |
||
|
d. all of the above |
|
a. Boucher |
||
|
b. de La Tour |
||
|
c. Vouet |
||
|
d. Watteau |
|
a. academy. |
||
|
b. aristocracy. |
||
|
c. bourgeoisie. |
||
|
d. monarchy. |
|
a. portraits |
||
|
b. engravings |
||
|
c. vedute paintings |
||
|
d. still-life paintings |
|
a. It produced a new artistic voice: the art critic. |
||
|
b. It enabled the middle class to become more involved in the art world. |
||
|
c. It allowed artists to create art for a general public rather than an elite patron. |
||
|
d. all of the above |
|
a. He painted large-scale public images. |
||
|
b. His images were on view at public exhibitions. |
||
|
c. He created engravings that were widely circulated by subscription. |
||
|
d. A studio copied miniature paintings of his originals, which could be bought for a minimal fee. |
|
a. still lifes. |
||
|
b. English buildings. |
||
|
c. famous Englishmen. |
||
|
d. science and industry. |
|
a. still lifes |
||
|
b. history painting |
||
|
c. sculptured paintings |
||
|
d. portraits of other women |
|
a. Chardin. |
||
|
b. Gainsborough. |
||
|
c. Hogarth. |
||
|
d. West. |
|
a. history painting |
||
|
b. still-life painting |
||
|
c. landscape painting |
||
|
d. all of the above |
|
a. The narrative details of the story are misleading. |
||
|
b. A Native American occupies a central position in the image. |
||
|
c. It is a history painting, but the figures are wear contemporary dress. |
||
|
d. all of the above |
|
a. portraiture |
||
|
b. landscapes |
||
|
c. biblical stories |
||
|
d. history painting |
|
a. Hogarth |
||
|
b. Jones |
||
|
c. Reynolds |
||
|
d. Wren |
|
a. the Grand Tour |
||
|
b. the rule of Napoleon |
||
|
c. the death of Louis XIV |
||
|
d. all of the above |
|
a. still lifes |
||
|
b. portraiture |
||
|
c. landscapes |
||
|
d. history painting |
|
a. Boucher |
||
|
b. Carracci |
||
|
c. Reynolds |
||
|
d. Rubens |
|
a. still lifes |
||
|
b. history painting |
||
|
c. domestic scenes |
||
|
d. portrait painting |
|
a. de La Tour |
||
|
b. Fragonard |
||
|
c. Greuze |
||
|
d. Jones |
|
a. Women were encouraged to enter the workforce. |
||
|
b. Nannies were brought into the home to assist with child rearing. |
||
|
c. Boys were encouraged to leave the home early for apprenticeships. |
||
|
d. A more direct involvement in the upbringing of one’s child was encouraged. |
|
a. the Jacobins |
||
|
b. the Royalists |
||
|
c. the Moderates |
||
|
d. the American colonists |
|
a. murders. |
||
|
b. suicides. |
||
|
c. extreme violence. |
||
|
d. secular martyrdom. |
|
a. It was more politically charged. |
||
|
b. It promoted pagan religious beliefs. |
||
|
c. It focused more on classical literature and philosophy. |
||
|
d. all of the above |
|
a. Love conquers all. |
||
|
b. Seeking justice is futile. |
||
|
c. One must consider family before all else. |
||
|
d. It is necessary to sacrifice for a greater good. |
|
a. He eschewed the architecture of Italy. |
||
|
b. He revered the architecture of Palladio. |
||
|
c. He failed to achieve his architectural vision. |
||
|
d. He revered the French Baroque architecture of Louis XIV. |
|
a. vedute. |
||
|
b. architecture. |
||
|
c. classical friezes. |
||
|
d. landscape vistas. |
|
a. geometric shapes. |
||
|
b. undulating, organic aesthetics. |
||
|
c. a combination of Gothic and Greek architectural forms. |
||
|
d. a combination of Gothic and Roman architectural forms. |
|
a. the Rococo. |
||
|
b. the Baroque. |
||
|
c. English painting. |
||
|
d. the Enlightenment. |
|
a. Rococo |
||
|
b. Neoclassical |
||
|
c. Spanish Baroque |
||
|
d. Flemish Baroque |
|
a. They were inexpensive. |
||
|
b. The profile portrait evoked the classical past. |
||
|
c. They utilized technology that allowed for a high degree of accuracy. |
||
|
d. all of the above |
|
a. as a tyrant. |
||
|
b. in the guise of Aristotle. |
||
|
c. as an allegory of justice. |
||
|
d. with as much accuracy as possible. |
|
a. Copley |
||
|
b. Reynolds |
||
|
c. Stuart |
||
|
d. West |
|
a. Bernini |
||
|
b. Chardin |
||
|
c. Poussin |
||
|
d. Vélazquez |
|
a. Hogarth |
||
|
b. Jefferson |
||
|
c. Rosseau |
||
|
d. Winckelmann |
|
a. shallow space |
||
|
b. clear, linear brushwork |
||
|
c. sentimental subject matter |
||
|
d. horizontal and vertical emphases |
|
a. She was successful as an artist among a small circle of elite woman patrons. |
||
|
b. She was a very successful in her day, even gaining membership at the Royal Academy. |
||
|
c. She was successful in her day but was never able to gain membership at the Royal Academy. |
||
|
d. She became famous only after her death and was unable to succeed as an artist during her lifetime. |
|
a. He immigrated to London but was not a Tory. |
||
|
b. He immigrated to London and became a Tory. |
||
|
c. He fought with the English in the war against America. |
||
|
d. He was a passionate defender of the American Revolution. |
|
a. to spark revolution. |
||
|
b. to capture the realities of human experience. |
||
|
c. to express a transcendent idealism in classical form. |
||
|
d. to imitate known works of art from antiquity and the Renaissance. |