| 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. |