a. delicate. | ||
b. dramatic. | ||
c. idealized. | ||
d. pastoral. |
a. They are more emotional. | ||
b. They are less engaged with the viewer. | ||
c. They are suffused with a greater sense of otherworldliness. | ||
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. | ||
b. It is sculpted from wood and covered in plaster, unlike most of his sculptures. | ||
c. It involved the complete decoration and construction of a chapel, resembling modern-day installation art. | ||
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. | ||
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. |