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. ![]() |