In the 1980's, which art critic wrote a contemporary version of Hegel's "End of Art" hypothesis?

Choose one answer.

	A. Arthur Danto
	B. Clement Greenberg
	C. T.J. Clark
	D. Meyer Schapiro
	E. Rosalind Krauss

Question 2

What nineteenth-century philosopher's aesthetic theory is largely credited as the birth of modern art history?

Choose one answer.

	A. Georg Wilhelm Friedrich Hegel
	B. Arthur Danto
	C. Giorgio Vasari
	D. Heinrich Wölfflin
	E. Sigmund Freud

Question 3

Which of the following statements about Hegel's Theory of Aesthetics is false?

Choose one answer.

	A. Hegel divided art history into three main periods.
	B. Hegel did not believe that there was any progression related to art historical time periods.
	C. Hegel believed art expressed the spirit of a particular culture.
	D. Each of Hegel's art historical periods is defined by the relationship beween idea and form that is common within it.
	E. Acccording to Hegel, art comes to an end.

Question 4

Which of the following is NOT one of Hegel's art historical periods?

Choose one answer.

	A. Romantic
	B. Symbolic
	C. Classical
	D. Gothic

Question 5

Which of the following questions would be of the most interest to an art historian?

Choose one answer.

	A. What is the relative value of an artwork?
	B. How do ordinary works of art and masterpieces differ?
	C. What is the fundamental nature of art?
	D. What is the relationship between a work of art and the social and historical context in which it is made?
	E. All of the above

Question 6

Which of the following art historians are associated with Formalism?

Choose one answer.

	A. Heinrich Wölfflin
	B. Meyer Schapiro
	C. Linda Nochlin
	D. Giovanni Morelli
	E. All of the above

Question 7

Which of the following would inform a formal analysis of a piece of art?

Choose one answer.

	A. An analysis based only on how an artwork is made, how it looks, and what it is made from
	B. An analysis based on the elements of a composition from the vantage point of the male gaze
	C. An analysis based on how art is part of the economic superstructure
	D. An analysis based on the biography of the artist
	E. An analysis based on the historical context in which the artwork was made

Question 8

Who analyzed the development of different artistic styles through the biographies of artists?

Choose one answer.

	A. Giorgio Vasari
	B. T.J. Clark
	C. Bernard Berenson
	D. Heinrich Wölfflin
	E. Georg Wilhelm Friedrich Hegel

Question 9

Which of the following comparative pairs are found in Heinrich Wölfflin's Principles of Art History?

Choose one answer.

	A. Plane/recession
	B. Closed/open form
	C. Multiplicity/unity
	D. Clearness/unclearness
	E. All of the above

Question 10

Which of following ideas do NOT appear in the works of Heinrich Wölfflin?

Choose one answer.

	A. Differences between styles can be analyzed using comparative concepts.
	B. Styles rise and fall cyclically.
	C. Using an organic analogy, styles, "bud, bloom, and decay."
	D. All of the above

Question 11

Which art historian used the terms “linear” and “painterly” to describe the fundamental change in the way European art from the 15th and 16th centuries looks compared to that from the 17th century?

Choose one answer.

	A. Heinrich Wölfflin
	B. Giorgio Vasari
	C. Johann Joachim Winckelmann
	D. Georg Wilhelm Friedrich Hegel
	E. None of the above

Question 12

Which of the following is a kind of visual description whose goal is to make the reader envision the thing described as if it were physically present?

Choose one answer.

	A. Ekphrasis
	B. Formal analysis
	C. Axonometric projection
	D. "Realistic" description
	E. Linear perspective

Question 13

Which of the following, strictly speaking, is included when writing a formal analysis of an artwork?

Choose one answer.

	A. An explantion of the artwork's visual structure
	B. The subject matter of the artwork
	C. The historical context in which it was made
	D. The social context in which it was made
	E. The life of the artist

Question 14

Which of the following is NOT associated with post-WWII Formalism?

Choose one answer.

	A. Modernism
	B. The Parisian art world
	C. The early twentieth century European Formalist tradition
	D. The art market

Question 15

Which of the following statements is a criticism of Formalism?

Choose one answer.

	A. It realies too much on unverifiable theories.
	B. By not looking at content and social context, it obscures the substantive concerns that artists frequently often seek to express in their works.
	C. It can only be applied to a limited amount of artworks.
	D. It focuses too much on the subject matter of a painting without considering its historical context.
	E. It places too much emphasis on the biography of an artist and their artworks.

Question 16

Who identified the characteristic "hands" of painters through a close examination of the minor details included in compositions in order to authenticate whether paintings were the work of certain artists?

Choose one answer.

	A. Giorgio Vasari
	B. Giovanni Morelli
	C. Clement Greenberg
	D. Aby Warburg
	E. Heinrich Wölfflin

Question 17

Fill in the blank. Based on empirical evidence and perceptions of technique and form, ______________ attempts to attribute authorship and establish the authenticity of artworks.

Choose one answer.

	A. Connoisseurship
	B. Technical analysis
	C. Formal analysis
	D. Iconographic analysis
	E. Stylistic analysis

Question 18

Choose the best answer to fill in the blank. Connoisseurs collect and organize their findings into a(n) _______________ of the work of a single artist or school.

Choose one answer.

	A. Catalogue raisonné
	B. Ekphrasis
	C. Axonometric projection
	D. Stylistic repertoire
	E. None of the above

Question 19

Fill in the blank. __________________ was an influential art historian and consultant to major American museums and collectors in the early 20th century. His methodology was outlined in his book, Rudiments of Connoisseurship.

Choose one answer.

	A. Bernard Berenson
	B. Giovanni Morelli
	C. Roger Fry
	D. Aby Warburg
	E. T.J. Clark

Question 20

Which period saw a steady rise in the status of the painter, sculptor, and architect, as well as a growing interest in the visual arts?

Choose one answer.

	A. The Renaissance
	B. The Medieval period
	C. The Romantic period
	D. The Modern period
	E. None of the above

Question 21

Which of the following is associated with the idea of "art for art's sake?"

Choose one answer.

	A. Progressive Modernism
	B. The concept of grazia
	C. The traditional "liberal arts"
	D. Psychoanalysis
	E. None of the above

Question 22

Fill in the blank. The task of the _____________________ was the education of artists in the practice of an idealizing art in the classical tradition. The goal of the artist was to achieve perfection, "le beau idéal," which was learned over time by the study of the antique and of artists in that style.

Choose one answer.

	A. French Academy
	B. Mid-twentieh century formalists
	C. Neoplatonists
	D. Romantics
	E. European formalists

Question 23

Traditional connoisseurship differs from technical analysis in that it uses which of the following to analyze works of art?

Choose one answer.

	A. Pseudo-scientific methods
	B. True scientific methods
	C. Psychoanlysis
	D. Semiotics

Question 24

Technical analysis can be used to determine more about which of the following?

Choose one answer.

	A. Who made an artwork
	B. How it was made
	C. How it has been altered since it was first made
	D. Whether it was made during a particular time period
	E. All of the above

Question 25

Which of the following is sometimes employed in technical analysis?

Choose one answer.

	A. X-radiography
	B. Raman spectrography
	C. Stable isotope ratios
	D. Energy dispersive X-ray microanalysis
	E. All of the above

Question 26

An iconographic analysis of an artwork is concerned with which of the following?

Choose one answer.

	A. The meaning a work of art had at the time it was made
	B. How the elements from the artist's unconcious informed what they created
	C. How the production of the artwork relates to the economic superstructure
	D. How the subject matter of the artwork relates to the social context in which it was made
	E. How the elements of the visual structure of a composition are combined into a coherent whole

Question 27

Who was the foremost proponent of iconographic analysis in the twentieth century?

Choose one answer.

	A. Erwin Panofsky
	B. Edward Said
	C. Meyer Schapiro
	D. Griselda Pollock
	E. Linda Nochlin

Question 28

According to Erwin Panofsky, which of the following would be identified as the primary or natural subject matter of a painting of the Last Supper?

Choose one answer.

	A. Thirteen men sitting around a table
	B. Minor landscape elements such as trees, rocks, etc., but also man-made landscapes
	C. A description of the Biblical account of the Last Supper
	D. None of the above

Question 29

According to Erwin Panofsky, which of the following would relate to the secondary or conventional subject matter/meaning of a painting of the Last Supper?

Choose one answer.

	A. Thirteen men sitting around a table
	B. Thirteen men sitting around a table that represent the Biblical account of the Last Supper
	C. Outside historical, cultural, or other factors that mnay have affected the way in which the Last Supper is depicted in the painting
	D. None of the above

Question 30

According to Erwin Panofsky, which of the following would relate to the tertiary or intrinsic meaning/content of a painting of the Last Supper?

Choose one answer.

	A. Thirteen men sitting around a table
	B. Thirteen men sitting around a table that represent the Biblical account of the Last Supper
	C. Outside historical, cultural, or other factors that may have affected the way in which the Last Supper is depicted in the painting
	D. None of the above

Question 31

Erwin Panofsky's interpretation of which piece of art is an example of his work with "hidden" symbolism, which has recently been challenged, although his methodology has been highly influential in later studies of Northern Renaissance Art?

Choose one answer.

	A. The Arnolfini Portrait
	B. The Ghent Altarpiece
	C. The Garden of Earthly Delights
	D. All of the above

Question 32

Fill in the blank. __________________ is a hierarchically ordered collection of definitions of objects, people, events, and abstract ideas that serve as the subject of an image. Art historians, researchers, and curators use it to describe, classify, and examine the subject of images represented in various media, such as paintings, drawings, and photographs.

Choose one answer.

	A. Ekphrasis
	B. Iconclass
	C. La petit object a
	D. Catalogue raisonné

Question 33

Which of the following elements of Psychoanalytic theory expounded by Sigmund Freud have been used by art historians to analyze works of art?

Choose one answer.

	A. Unconscious/conscious
	B. Oedipus complex
	C. Castration complex
	D. All of the Above
	E. None of the above

Question 34

Which of the following would be of interest to a Psychoanalytic interpretation of an artwork?

Choose one answer.

	A. An analysis based only on how an artwork is made, how it looks, and what it is made from
	B. An analysis that considers how the depiction of the subject matter of an artwork has been conditioned by the historical context in which it was made
	C. An analysis based on how art is part of the economic superstructure
	D. An analysis based on the biography of the artist
	E. An analysis that considers how the elements in the artwork express the artists latent/unconcious desires.

Question 35

Choose the best answer to fill in the blank. Originating in a series of lectures by Jacques Lacan, ______________ initially made reference to the infant's witness in the mirror of an image of the ego-ideal.

Choose one answer.

	A. Ekphrasis
	B. Object petit a
	C. The gaze
	D. Linear perspective
	E. The unconcious

Question 36

Which of the following statements is a justifiable criticism of using Psychoanalysis to analyze works of art?

Choose one answer.

	A. It is based on pseudo-scientific theories and often uses circular logic.
	B. By not looking at content and social context, it obscures the substantive concerns that artists frequently often seek to express in their works.
	C. It can lead to an overinterpretation of a work of art in which everything that is included in its composition is seen as having a "hidden" symbolism.
	D. This type of analysis is faced with the problem of trying to explain the relationship betwen the economic "base" and the "ideological superstructure."

Question 37

Which type of art historians have often included elements of Psychoanalytic theory in their analysis of artworks?

Choose one answer.

	A. Feminist
	B. Formalist
	C. Iconographic
	D. Biographical
	E. Marxist

Question 38

Which of the following is NOT a psychoanalytic theory that has been used by art historians to analyze works of art?

Choose one answer.

	A. Object petit a
	B. The male gaze
	C. Object Relations Theory
	D. Orientalism
	E. Unconcious/concious

Question 39

Fill in the blank. Meyer Schapiro, one of most famous art historians of the twentieth century, adopted and adapted theories found in the writings of Georg Wilhelm Friedrich Hegel and __________________.

Choose one answer.

	A. Karl Marx
	B. Edward Said
	C. Sigmund Freud
	D. Aby Warburg
	E. Michel Foucault

Question 40

Fill in the blank. According to _______________, art is part of the superstructure and is determined by the mode of production or the economic system in which it is created.

Choose one answer.

	A. Karl Marx
	B. Sigmund Freud
	C. Roger Fry
	D. Edward Said
	E. Linda Nochlin

Question 41

Fill in the blank. In “Avant-Garde Art and Kitsch,” ________________ suggests artists are only rewarded by the Capitalist system for responding to societal demands that are ultimately conditioned by Ideology.

Choose one answer.

	A. Clement Greenberg
	B. T.J. Clark
	C. Roger Fry
	D. Aby Warburg
	E. Rosalind Krauss

Question 42

Which of the following statements about social art historians is false?

Choose one answer.

	A. All social art historians are Marxists.
	B. Social art historians reject the orthodox Marxist determinist account in which art is an element of the superstructure and therefore a reflection of its economic base.
	C. They are interested in the political and social factors that lie behind works of art.
	D. Some social art historians are Neo-Marxists.

Question 43

Who is a prominent social art historian who has argued against formalist, semiotic, and psychoanalytic interpretations of Modern art?

Choose one answer.

	A. T.J. Clark
	B. Michael Fried
	C. Clement Greenberg
	D. Aby Warburg
	E. Linda Nochlin

Question 44

Who wrote the seminal feminist art historical work, "Why Have There Been No Great Women Artists"?

Choose one answer.

	A. Linda Nochlin
	B. Griselda Pollock
	C. Rozsika Parker
	D. Ann Sutherland Harris
	E. Rosalind Krauss

Question 45

According to the article's author, "Why Have There Been No Great Women Artists?"

Choose one answer.

	A. Because women have repeatedly been denied access to art institutions
	B. Because although women artists exist, art historians have not placed them in the art historical canon
	C. Because women's work cannot be judged by male standards, therefore women's art cannot be judged according to the same values
	D. Because women do not possess the same artistic capabilites as men

Question 46

Which of the following statements best describes how T.J. Clark's understanding of Modernism differs from Clement Greenberg's?

Choose one answer.

	A. Clark does not believe in the existence of transcendental aesthetic values.
	B. Clark's reading is heavily based on psychoanalysis and semiotics.
	C. Clark views modern art as part of a teleological progression.
	D. All of the above

Question 47

What type of art historians have argued that women are frequently shown as passive or negative figures objectified by the male gaze?

Choose one answer.

	A. Feminist
	B. Semiotic
	C. Marxist
	D. Post-colonial
	E. Social

Question 48

The discussion of the male gaze in art historical discourse merges theory from which two methodologies?

Choose one answer.

	A. Feminism and Psychoanalysis
	B. Feminism and Marxism
	C. Psychoanlysis and Marxism
	D. Feminism and Post-colonialism
	E. Post-colonialism and Marxism

Question 49

Griselda Pollock's work draws primarily upon which of the following methodologies?

Choose one answer.

	A. Feminism and Post-colonialism
	B. Feminism and Marxism
	C. Psychoanlysis and Marxism
	D. Marxism and Post-colonialism
	E. Psychoanalysis and Post-colonialism

Question 50

What methodology does Linda Nochlin use in her article, "The Imaginary Orient?"

Choose one answer.

	A. She uses post-colonial theory to critique the sexist and racist depictions of non-European peoples by Western artists.
	B. She uses semiotics to critique paintings by artists like Eugène Delacroix.
	C. She uses semiotics to examine the works of Pablo Picasso.
	D. She uses iconography to analyze the hidden symbols found in depictions of non-European peoples by Western artists.

Question 51

Who wrote Orientalism, which laid the foundation for the development of Post-colonial studies?

Choose one answer.

	A. Edward Said
	B. Louis Althusser
	C. Linda Nochlin
	D. Sigmund Freud
	E. Ferdinand de Saussure

Question 52

An art historian following a post-colonial approach would be interested in which of the following?

Choose one answer.

	A. The interaction between imperial and indigenous cultures and its relaitonship to art production
	B. How elements from the artist's unconcious informed what they created
	C. How the production of the artwork relates to the economic superstructure
	D. How women have been objectified by the male gaze

Question 53

Paintings by which artist have been cited by post-colonial critics as demonstrating how imperialist, colonialist views see the East as a timeless world allegedly absent of Western influence?

Choose one answer.

	A. Jean-Léon Gérôme
	B. Pablo Picasso
	C. Jackson Pollock
	D. Camille Pissaro
	E. All of the above

Question 54

In "Abstract Expressionism and Third World Art: A Post-Colonial Approach to 'American' Art," David Craven argues against which of the following authors?

Choose one answer.

	A. Clement Greenberg
	B. T.J. Clark
	C. Linda Nochlin
	D. Edward Said
	E. Griselda Pollock

Question 55

In "Abstract Expressionism and Third World Art: A Post-Colonial Approach to 'American' Art," David Craven argues which of the following points?

Choose one answer.

	A. Abstract Expressionism was not the epitome of Modernism and the endpoint of the teleological development of Western art.
	B. Abstract Expressionism was not an expression of the ideology of the ruling class in the United States.
	C. Abstract Expressionism was not born from purely Western models.
	D. Abstract Expressionists did not identify themselves with mainstream U.S. culture.
	E. All of the above

Question 56

Which of the following originally developed in the field of linguistics and has been used by art historians to question the very system whereby meaning and interpretation is created?

Choose one answer.

	A. Semiotic theory
	B. Psychoanalysis
	C. Feminist theory
	D. Marxist theory
	E. Iconography

Question 57

Which theory allows for many different interpretations of an artwork arguing that meaning is created in the act of viewing?

Choose one answer.

	A. Semiotic theory
	B. Psychoanalysis
	C. Post-colonial theory
	D. Marxist theory
	E. Iconography

Question 58

The foundation of Semiotic theory is presented in whose works?

Choose one answer.

	A. Ferdinand de Saussure
	B. Sigmund Freud
	C. Karl Marx
	D. Erwin Panofsky
	E. Giovanni Morelli

Question 59

Which of the following art historians have used Semiotic theory?

Choose one answer.

	A. Rosalind Krauss
	B. Meyer Schapiro
	C. Mieke Bal
	D. Norman Bryson
	E. All of the above

Question 60

Which of the following developed out of traditional connoisseurship and is an interdisciplinary field using modern scientific analysis to study, preserve, and conserve artworks?

Choose one answer.

	A. Technical analysis
	B. Formal analysis
	C. Biographical analysis
	D. Psychoanalysis
	E. Iconography

Question 61

Which of the following focuses on the themes and ideas found in artworks in order to interpret them as symbolic expressions of the culture that created them?

Choose one answer.

	A. Iconography
	B. Psychoanalysis
	C. Semiotic theory
	D. Social art historians
	E. Formal analysis

Question 62

Fill in the blank. Based on Semiotic theory, analyzing a work of art depends upon the identification of what ________________ called denoted and connoted meaning.

Choose one answer.

	A. Roland Barthes
	B. Meyer Schapiro
	C. Ferdinand de Saussure
	D. Edward Said
	E. Jacques Lacan

Question 63

The idea of the icon, index, and symbol is central to the Semiotic theory of whose work?

Choose one answer.

	A. Ferdinand de Saussure
	B. Meyer Schapiro
	C. Roland Barthes
	D. Charles Sanders Peirce
	E. Rosalind Krauss

Question 64

In "In the Name of Picasso," Rosalind Krauss rejected the idea of the artist's monopoly on meaning. Based on this claim, which of the following methodologies do you think she used in this essay?

Choose one answer.

	A. Semiotics
	B. Post-colonialism
	C. Psychoanlysis
	D. Marxism
	E. Feminism

Question 65

The art historian Mieke Bal has argued that meaning does not exist until the image is seen by the viewer. Based on this claim what type of methodology do you think she uses?

Choose one answer.

	A. Psychoanalysis
	B. Semiotics
	C. Iconography
	D. Post-colonialism
	E. Marxism

Question 66

In "Avant-Garde and Kitsch" Clement Greenberg has argued that avant-garde and Modern art could be used to resist the leveling culture produced by capitalist propaganda. Based on this claim, what kind of methodology do you think Clement Greenberg used in this article?

Choose one answer.

	A. Psychoanalysis
	B. Marxism
	C. Post-colonialism
	D. Iconography
	E. Semiotics

Question 67

In his analysis of sculpture from the Middle Ages and early Renaissance, Meyer Schapiro saw evidence for how capitalism was emerging and feudalism was declining. Based on this claim, what type of methodology do you think he was using?

Choose one answer.

	A. Marxism
	B. Iconography
	C. Formalism
	D. Semiotics
	E. Psychoanalysis

Question 68

Who interpreted Jan van Eyck's "Arnolfini Portrait" as not only a depiction of a wedding ceremony but also as a visual contract testifying to the act of marriage?

Choose one answer.

	A. Erwin Panofsky
	B. Aby Warburg
	C. Meyer Schapiro
	D. Edwin Hall
	E. None of the above

Question 69

Which of following art historians contributed to the development of iconography as a methodology?

Choose one answer.

	A. Erwin Panofsky
	B. Aby Warburg
	C. Fritz Saxl
	D. All of the Above
	E. None of the above

Question 70

In Europe, during what period did a taste for art and for collecting art first develop when temples, or mouseions, were dedicated to the various muses of the arts and sciences?

Choose one answer.

	A. The Hellenistic period
	B. The Roman period
	C. The Middle Ages
	D. The Renaissance
	E. None of the above

Question 71

Fill in the blank. As society developed under the influence of trade and prosperity during the _________________, courts and the bourgeoisie started collecting art and works of art began to be appreciated for themselves rather than for their symbolic value.

Choose one answer.

	A. Hellenistic period
	B. Roman period
	C. Middle Ages
	D. Renaissance
	E. None of the above

Question 72

The second floor of the which building in Florence, constructed in 1561, was the first art museum/gallery in which the public could view art in Europe?

Choose one answer.

	A. Uffizi
	B. Louvre
	C. British National Gallery
	D. Ashmolean Museum
	E. Gemäldegalerie

Question 73

Which of the following contributed to the development of the modern art museum during the Enlightenment?

Choose one answer.

	A. Cabinets of Curiosities
	B. The spread of art dealers and auction houses beginning in the seventeenth and eighteenth centuries
	C. Private art collections
	D. The nationalization of the French royal collection of art and the establishment of the French Academy
	E. All of the above

Question 74

Which of the following is NOT one of the reasons for the boom in museum building in Europe and the United States in the nineteenth century?

Choose one answer.

	A. Nation-states wanted to emphasize their power and prestige by assembling important collections in impressive buildings.
	B. The working class had more leisure time and were interested in the fine arts.
	C. Social reformers wanted to improve the lot of the working classes and saw art as a civilizing influence.
	D. Monarchs wanted to appear more democratic by sharing their collections with the public.

Question 75

Fill in the blank. A driving force behind the art museum building boom of the _______________ was a wish to stimulate the creative economy as the manufacturing economy moves to low-wage countries.

Choose one answer.

	A. Late 20th century
	B. Late 19th century
	C. Early 20th century
	D. Enlightenment

Question 76

Choose the best answer to fill in the blank. Since the 1970's, the size and frequency of _______________ have grown with museums dedicating space specifically for them.

Choose one answer.

	A. Exhibitions
	B. Sculpture gardens
	C. Auditoriums
	D. Classrooms

Question 77

Which of the following is an argument against large blockbuster art exhibitions held by museums?

Choose one answer.

	A. They detract curatorial and other resources away from the museum’s own collection.
	B. They cause the public to find the museum's regular collection dull by comparison.
	C. The attendant exhibition store and special merchandise bring commercialism into the museum.
	D. All of the above
	E. None of the above

Question 78

Fill in the blank. Categories like "fine arts" and "decorative arts" were established during the ________________ and continue to inform how art is displayed in museums.

Choose one answer.

	A. Enlightenment
	B. Renaissance
	C. Middle Ages
	D. Twentieth Century

Question 79

Which of the following arguments does Matthew Martin make about modern art museums?

Choose one answer.

	A. Museums have become too commercialized.
	B. How art is displayed is based upon and reinforces hierarchically-ordered categoreies that decontextualize many of the objects we find in art museums.
	C. They have not tried to develop visitor-friendly display practices.
	D. All of the above
	E. None of the above

Question 80

According to Ferdinand de Saussure, which of the following is dyadic, arbitrary, relational, and differential?

Choose one answer.

	A. Ekphrasis
	B. The sign
	C. The gaze
	D. Orientalism
	E. Ideology

Question 81

Patricia Simons has examined fifteenth-century Florentine female profile portraits arguing that they were not so much images of human individuals as highly idealized "bearers of wealth," and displayed a fixed repertoire of fetishized body parts, dress, and ornament to the appraising male eye. Based upon this argument, Simons is using a feminist approach combined with which of the following?

Choose one answer.

	A. Psychoanalysis
	B. Postcolonialism
	C. Marxism
	D. Semiotics
	E. Iconography

Question 82

A reading of Caravaggio's "David" in terms of the Oedipus complex is an example of what kind of methodology?

Choose one answer.

	A. Psychoanalysis
	B. Marxism
	C. Postcolonialism
	D. Feminism
	E. All of the above

Question 83

Which of the following questions is NOT usually studied by art historians?

Choose one answer.

	A. What are the key features of a particular style?
	B. What is the relative value of an artwork?
	C. What is an artwork's meaning?
	D. How does the arwork function visually?
	E. How does an artwork relate to the social context in which it was made?

Question 84

Which of the following is a preexisting set of works of art that are taken to be "great" and included in art history survey courses and displayed in museums? (Note: Traditionally it contained the works of Western male artists.)

Choose one answer.

	A. Art Historical Canon
	B. Art Historical Assemblage
	C. Catalogue raisonné
	D. Art Historical Academy

Question 85

Fill in the blank. In contrast to _______________, Wölfflin was uninterested in the biographies of artists and proposed the creation of an "art history without names."

Choose one answer.

	A. Giorgio Vasari
	B. Erwin Panofsky
	C. Georg Wilhelm Friedrich Hegel
	D. Immanual Kant
	E. Johann Joachim Winckelmann

Question 86

Which of the following is described as the discussion and evaluation of art that is often based on aesthetic theory?

Choose one answer.

	A. Art History
	B. Art Criticism
	C. Semiotics
	D. Critical theory
	E. Iconography

Question 87

What is the branch of philosophy that studies the theory of beauty and the nature of art?

Choose one answer.

	A. Aesthetics
	B. Art Criticism
	C. Art History
	D. Formalism
	E. Iconology

Question 88

In Giorgio Vasari's Lives of Artists, he claimed that art created from the sixteenth century down to his own time achieved perfection because art at this time possessed which of the following?

Choose one answer.

	A. Grazia
	B. Chiaroscuro
	C. Sfumato
	D. Terribilita
	E. None of the above

Question 89

Who was interested in distinguishing the differences between personal, period, and national styles.

Choose one answer.

	A. Heinrich Wölfflin
	B. Johann Joachim Winckelmann
	C. Georg Wilhelm Friedrich Hegel
	D. Aby Warburg
	E. Erwin Panofsky

Question 90

Who was an important post-WWII Formalist art critic that promoted abstract expressionism and was among the first critics to praise the work of Jackson Pollock?

Choose one answer.

	A. Clement Greenberg
	B. Meyer Schapiro
	C. Erwin Panofsky
	D. Ernst Gombrich
	E. Rosalind Krauss

Question 91

Who was a British art critic who played an important role in developing the language we use in formal analysis today, first outlining his analytical approach in a published article which was later reprinted in his book, Vision and Design?

Choose one answer.

	A. Roger Fry
	B. Michael Fried
	C. T.J. Clark
	D. Michael Baxandall
	E. Linda Nochlin

Question 92

In art history, the most familiar and basic way of grouping art is by which of the following categories?

Choose one answer.

	A. Artist
	B. Period
	C. Genre
	D. Medium
	E. Style

Question 93

After carefully examining a work of art, if an art historian uses his own intuition and other examples as a basis for comparison in order to determine that an artwork was created by an artist, this art historian is using methodologies associated with which of the following?

Choose one answer.

	A. Connoisseurship
	B. Biographical analysis
	C. Stylistic analysis
	D. Iconography
	E. Semiotics

Question 94

Which of the following methodologies are concerned with determining who made an artwork?

Choose one answer.

	A. Connoisseurship and technical analysis
	B. Formal and technical analysis
	C. Formal and biographical analysis
	D. Biographical analysis and iconography
	E. Technical analysis and iconography

Question 95

X-radiography is a tool used in which type of analysis?

Choose one answer.

	A. Connoisseurship
	B. Technical analysis
	C. Stylistic analysis
	D. Formal analysis
	E. Semiotics

Question 96

Which of the following statements could be a justifiable criticism of iconographic analysis?

Choose one answer.

	A. It can lead to an overinterpretation of a work of art in which everything that is included in its composition is seen as having a "hidden" symbolism.
	B. This type of analysis is faced with the problem of trying to explain the relationship betwen the economic "base" and the "ideological superstructure."
	C. It is based on pseudo-scientific theories.
	D. By not looking at content and social context, it obscures the substantive concerns that artists frequently often seek to express in their works.

Question 97

Which of the following statements could be a justifiable criticism of using Marxist theory to analyze an artwork?

Choose one answer.

	A. This type of analysis is faced with the problem of trying to explain the relationship between the economic "base" and the "ideological superstructure."
	B. By not looking at content and social context, it obscures the substantive concerns that artists frequently often seek to express in their works.
	C. It can lead to an overinterpretation of a work of art in which everything that is included in its composition is seen as having a "hidden" symbolism.
	D. It is based on pseudo-scientific theories.

Question 98

Which of the following theorists are NOT associated with Psychoanalytic theory used by art historians?

Choose one answer.

	A. Sigmund Freud
	B. D.W. Winnicott
	C. Jacques Lacan
	D. Georg Wilhelm Friedrich Hegel
	E. All of the above

Question 99

In Orientalism, the author argued which of the following laying the foundation for later postcolonial studies?

Choose one answer.

	A. She/he argued that a long tradition of romanticized images of the Middle East and Asia in Europe and North America had served as an unspoken justification for European and the American colonization.
	B. She/he argued that multiple meanings can be found in the works of Western artists who depicted non-European peoples.
	C. She/he argued that the works of Abstract Expressionists were not based on mainstream American culture.
	D. She/he argued that Abstract Expressionism was not the end of a teleological history of Western art.

Question 100

Which of the following fields of study is closely related to, but separate from, art history?

Choose one answer.

	A. Aesthetics
	B. Linguistics
	C. Cultural studies
	D. Psychoanalysis
	E. All of the above