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 ![]() |