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 |