Editing Flashcards
109
Both paintings address
the Sublime.
Both paintings are primarily concerned with themes of
109
nature
What is true about both paintings?
109
They reflect a transcendental vision of nature.
From an art historical perspective, Magdalena Abakanowicz’ Androgyne III can best be interpreted as
228
expressing human suffering.
From an art historical perspective, Magdalena Abakanowicz’ Androgyne III can be interpreted as expressing human suffering, in keeping with the artist’s interest in the effects of war and totalitarianism. The hollow, genderless figure speaks broadly to human experience. By focusing on this figure’s cracked skin, hunched back, and need for wooden supports to prop it up, the artist further emphasizes brutal suffering.
035
The type of complex shown can be defined as an acropolis because it
was converted from a fortress to a site for religious ritual.
The building can be identified as part of an acropolis due to its location within a fortified complex as well as its function as a center for religious rituals.
The freestanding female figures associated with the Parthenon, including the now-lost chryselephantine statue of Athena and the surviving Peplos Kore, have what in common?
035
They both functioned as religious images and offerings made to a deity.
The freestanding female figures associated with the Parthenon, including the chryselephantine statue of Athena and the Peplos Kore, functioned as religious images and offerings made to a deity. Both statues were gifts created for the Goddess Athena, who was the patroness of the Athenian people.
These buildings date to what century?
035
fifth-century B.C.E.
Both buildings are part of a complex built to celebrate
035
Athens’ domination of the eastern Mediterranean.
The development of the Athenian agora as a public space differed substantially from the Forum of Trajan in that the agora
045
evolved gradually over centuries in response to political change.
The development of the Athenian agora as a public space differed substantially from the Forum of Trajan in that the agora of Athens, having been in use since Neolithic times, was gradually transformed over time in response to political change. In contrast, the Forum of Trajan was commissioned by Emperor Trajan and constructed as part of a major building project by an architectural engineer, Apollodorus of Damascus.
The citizens of ancient Athens likely responded to the Athenian agora with a sense of
026
civic pride, because it represented a place of communal governance and cultural identity.
The citizens of ancient Athens most likely regarded the agora of their city with a sense civic pride because it represented a place of communal governance and cultural identity. As a central place surrounded by buildings, the Athenian agora constituted the focal point of public life, where citizens met to conduct business, discuss issues of communal governance, and exchange ideas. Since Athenians practiced an early form of direct democracy during the classical period, Athenians were directly involved in the communal government. As a place where political and philosophical discourse was practiced, the agora is believed to have fostered the development of Athenian democracy.
The patterns on the cape are traditionally
215
associated with a particular lineage.
Traditionally, feather-cape creators recited the genealogy of the wearer during the construction of the cape, weaving the story of the family and the individual into the patterns of the garment.
The cape was intended to accomplish what three functions?
215
frighten the viewer
protect the wearer
contain the owning family’s mana
The capes were not created for purely aesthetic reasons or to specifically demonstrate wealth. The brightly colored, intricately crafted garments woven with sacred feathers and individualized geometric design elements were intended to convey power and social standing in Hawaiian culture and to connect the wearer with the gods.
The Hawaiian feather cape was created to be a
215
sacred garment worn by chiefs.
The Hawaiian feather cape was created as a sacred object. Both feathers and the color red were associated with gods. The cape symbolized the king’s religious responsibilities and conveyed his divinity.
The choice of sunflower seeds as the subject matter of the work shown was influenced by their association with
250
Chairman Mao and China’s Cultural Revolution.
Ai Weiwei uses layered references in Kua Hua Zi (Sunflower Seeds) to offer a critical reflection on modern Chinese society, as well as on modern society in general, by examining issues such as the role of individualism and cultural conformity. Among others, the subject matter of the sunflower seeds in Ai Weiwei’s work references Chairman Mao, who was often associated with the Sun and sunflowers in Cultural Revolution–era propaganda, in which sunflowers often symbolized the Chinese people who would turn towards Chairman Mao as if he were the Sun. By evoking this reference, Ai Weiwei reflects on the relationship between the individual and society, and on issues of cultural and political conformity.
In the work shown, one reason that Ai Weiwei included over a million handmade sunflower seeds spread across a large area was to
250
allude to the volume of Chinese goods in contemporary global markets.
The 100 million sunflower seeds in Ai Weiwei’s work were handmade by Chinese laborers in order to reference the large volume of Chinese goods on the international market.
Ai Weiwei chose to use porcelain to create sunflower seeds because the material
250
connects the work to China’s long tradition of porcelain production.
Ai Weiwei uses porcelain in his work to reference China’s long history of producing and exporting porcelain.
The medium Ai Weiwei used in Kui Hua Zi (Sunflower Seeds) comments on an artistic tradition exemplified by which work of art?
250
David Vases
The David Vases are made of porcelain and exemplify the processes of the Chinese tradition of porcelain making that Ai Weiwei intended to reference in this work.
The relief shown can be attributed to the Amarna period in Egypt based on what typical characteristic?
022
The depiction of the deified Aten as a sun disk with diagonal rays
The relief shown can be attributed to the Amarna period in Egypt due to the depiction of Aten. The work depicts Aten as a disk surrounded by diagonal rays. This was a common subject for the Amarna period, during which the pharaoh Akhenaton established a monotheistic religion centered around the worship of the sun god Aten.
Originally located in a private house in Pompeii, the Alexander Mosaic was likely interpreted by viewers in what way?
040
It conveyed the elevated and learned status of the owner of the house.
Art played a serious role in the intellectual and cultural life of the Roman elite who used their homes to showcase their taste and erudition.
The foreshortening of figures in the Alexander Mosaic likely affected viewers in what way?
040
It conveyed the climactic moment of a narrative.
The horses and figures are foreshortened, dramatizing the retreat of Darius and his Persian army as Alexander the Great charges into the scene.
The use of over one million small tiles to make the Alexander Mosaic allowed its creator to
040
model the anatomy of the figures naturalistically.
The numerous tiles allowed the artist to contrast lights and darks, creating modeled figures and cast shadows, along with a number of other illusionistic details.
The artist of the Alexander Mosaic likely intended to celebrate ancient Greek art by
040
emulating an earlier painting described in ancient texts.
Evidence indicates that the Alexander Mosaic is a copy of a Greek painting by Philoxenes of Eretria. A description of the original painting by Pliny the Elder has led to this attribution.
The work depicts a battle in which
040
Alexander the Great overthrew King Darius III.
The work is a
040
mosaic.
The variety of t’oqapu designs covering the All-T’oqapu tunic indicates to scholars that
the garment was a royal tunic that symbolized the power of the Sapa Inka.
The decoration of the tunic is where its name derives from. T’oqapu are the square geometric motifs that make up the entirety of this tunic. These designs were only allowed to be worn by those of high rank in Inka society. Individual t’oqapu designs appear to have been related to various peoples, places, and social roles within the Inka Empire. Covering a single tunic with a large variety of t’oqapu, as seen in this example, likely makes it a royal tunic and symbolizes the power of the Inka ruler (the Sapa Inka). The collection of many patterns shows that the Sapa Inka (which means “unique Inka” in Quechua) was a special individual who held claim to all t’oqapu and therefore all the peoples and places of his empire. It is a statement of absolute dominion over the land, its people, and its resources, manifested in an item that is typically Andean in its material and manufacture.
In the work shown from the Amarna period, the use of sunken-relief carving creates strong contours that accentuate the figure’s
022
curvilinear form and elongated features.
In the work shown from the Amarna period, the use of sunken-relief carving creates strong contours that accentuate the figure’s curvilinear form and elongated features. The work uses the sunken-relief technique to create strong shadows along carved, linear contours. The strong outlines produced draw attention to the stylized, curvilinear form and elongated features of the figure.
The physical properties of the Ambum Stone have led scholars to propose which of the following theories about the work?
009
It must have held special value for its owners, because creating it would have been extremely time consuming.
The Ambum Stone stands out through its extraordinary sculptural quality, which includes well defined and carefully crafted details. Given the Neolithic technology available to the society of ancient Papua New Guinea who created this work, and the extremely hard and difficult to shape nature of the stone it was made from, the sculpture must have been extremely time consuming to make using the type of stone tools that would have been available to the artist. Scholars have therefore theorized that the stone likely held special value with its owners beyond that of an ordinary, every-day object.
The creator of the work shown, which is from Neolithic Papua New Guinea, carved the top into an elongated, rounded shape most likely to suggest the
009
head and upper body of an animal, conforming to the shape of a handle.
The work shown belongs to a group of objects from Neolithic Papua New Guinea that are thought to have functioned as mortars and pestles, used to grind substances such as food. As with other pestles of this type, such as the Ambum Stone, the top of the work has been shaped by the artist into the form of an animal, including what appears to be an elongated head ending in a long snout, a curved neck, and a pair of limbs. The curved head and neck conform to a shape that a person using this object as a tool would find easy to hold.
The artist used all of the following features in the work EXCEPT
a clear relationship between figure and ground
In Androgyne III, Magdalena Abakanowicz used a headless, shell-like, hollow figure to communicate which of the following to viewers?
The brutality of war and political trauma
In Androgyne III, Magdalena Abakanowicz sought to communicate the brutality of war and political trauma. Using a rough burlap material to create an abstracted and dismembered human form, Abakanowicz intended to express a sense of alienation and dehumanization resulting from war and political turmoil.
Magdalena Abakanowicz’ Androgyne III demonstrates continuity with other figural works from the late twentieth century in the artist’s use of
provocative imagery to address issues of humanity
Magdalena Abakanowicz’ Androgyne III demonstrates continuity with other figural works from the late twentieth century in the use of provocative imagery to address issues of humanity, specifically concerns over brutality and dehumanization in contemporary political society.
The painting shown can be attributed to the Master of Calamarca (La Paz School) because of its representation of
an angel in the dress of an Andean nobleman
The clothing worn by the angel, including the balloon-sleeved coat and wide-brimmed hat with feathers, imitates that of indigenous Andean noblemen, as in other versions of the same subject by the Master of Calamarca, such as Archangel with Arquebus, Asiel Timor Dei.
The temple at Angkor Wat was originally designed as a
manifestation of the connection between the king and divine power
The temple at Angkor Wat is dedicated to Vishnu and was begun by the Khmer king Suryavarman II as a way of legitimizing his claim to political office and demonstrating his ability to harness the power and energy of Vishnu. This follows a Khmer tradition, according to which each Khmer king constructed his own temple mountain and dedicated it to a Hindu god with whom he was considered to have a close connection. Such temples were built on a grand scale to express the power of the king and to legitimize their rule.
The temple on the left is the Lakshmana Temple in India. The creation of the temple on the right demonstrates the
importation of Hinduism from India by royal patrons for political purposes
The two figures on the left reflect the impact of
the French court style
What is the subject of the two figures on the left?
Annunciation
The work shown can be identified as the
anthropomorphic stele from the Arabian Peninsula, created in the fourth millennium B.C.E.
he work shown is the anthropomorphic stele from the Arabian Peninsula, created in the fourth millennium B.C.E.
The work shown can be identified as
the Apollo 11 stones from Namibia, created c. 25,500–25,300 B.C.E.
The work shown can be identified as the Apollo 11 stones from Namibia, created c. 25,500–25,300 B.C.E.
The work was found in which of the following contexts?
Located in a rock shelter in the mountains
The Apollo 11 stones were excavated from a rock shelter in the Huns Mountains in Namibia.
The form of the animal is represented using which of the following techniques?
Profile so that distinctive aspects of the animal are clearly recognizable
The form of the animal is represented in profile so that distinctive aspects, such as the head, legs, and horns, are clearly recognizable.’’
The culture that created the work can be characterized as
composed of groups of mobile hunters and gatherers
Archaeological evidence suggests that the culture that painted the Apollo 11 stones was most likely composed of groups of mobile hunters and gatherers, for whom portable art such as these stones would have been appropriate.
Archaeological evidence from the site where the work was found has led scholars to suggest that the original audience lived in which of the following locations?
In an ongoing settlement that included places with ritual significance
Archaeological evidence suggests that the original audience for the Apollo 11 stones lived in an ongoing settlement that included places with ritual significance. In addition to the rock shelter where the Apollo 11 stones were found, the site also includes cave paintings and engravings of animal forms along the banks of the riverbed made by different individuals over many thousands of years. This evidence has led scholars to suggest that the site had ritual significance over a long period of time.
Archaeological evidence suggests that the Apollo 11 stones in Namibia
are among the earliest known rock paintings in Africa
The Apollo 11 stone plaques, which feature animal imagery, are among the earliest known rock paintings in Africa.
Scholars believe that the sculpture of Apollo from the Temple of Minerva at Veii served as a
part of group of figures depicting a mythological narrative
The sculpture of Apollo from the Temple of Minerva at Veii was originally part of a larger sculptural program consisting of several terra cotta statues, which together most likely depicted the story of one of the twelve labors of Hercules, and which were displayed on the rooftop of the temple.
The Umayyad architects of the Great Mosque of Córdoba borrowed from the city’s Roman architectural heritage by
incorporating columns from older structures
The Great Mosque of Córdoba was built on the site of a previous church and included recycled ancient columns and other elements from Roman and Visigoth structures.
The compositional focus of the work on the right is a
saint
The relief is the product of which of the following cultures?
Imperial Roman
The relief depicts a
celebration of conquest
When sculptural figures take the place of columns in similar architectural structures, they are called
caryatids
The horizontal band above the columns in both works is known as the
frieze
In the building on the left, the triangular area that had been formed by the roof and the cornice is the
pediment
The builders organized the nave of the church in three-dimensional modules called
bays
The nave of the church is covered by
a barrel vault
The mathematical unit that organizes the plan is derived from the
crossing square
The architectural feature perpendicular to the nave is known as a
transept
The interior shows a two-story elevation consisting of a nave arcade and a
gallery
Which of the following help to articulate the three-dimensional modules of the nave?
Compound piers and transverse arches
When designing the Ardabil Carpet, in consideration of the fact that it would be displayed in a sacred space, the artist decided to include a
large central medallion that supports two lamps shown hanging from each end
In consideration of the fact that the Ardabil Carpet would be displayed in a sacred space, the shrine of the Sufi saint Shaykh Safi al-Din Ardabili, the artist decided to include a medallion that supports two lamps of the type that were typically found hanging in mosques. Additionally, the medallion features sixteen pendants that create a form that some suggest represents the inside of a heavenly dome.
The Ardabil Carpet’s status as a luxury item is indicated by the artist’s
use of a high knot count to create detailed patterns
The Ardabil Carpet’s status as a luxury item is indicated by the use of a high knot count to create detailed patterns. The complex floral and geometric patterns in the Ardabil Carpet are made possible by its high knot count per square inch.
The Ardabil Carpet demonstrates continuity with Persian artistic traditions by featuring
complex patterns created through intricate hand knotting
The Ardabil Carpet, created during the sixteenth century C.E. in a workshop of the Safavid Dynasty, features complex patterns that were created by knotting differently colored pieces of yarn onto the underlying vertically positioned warp threads, a technique that is characteristic of Persian carpet-making tradition of that time.
The Ardabil Carpet’s rich, decorative patterning reflects the influence of Islam on Persian artistic tradition by
excluding figural representations of animals or humans
The decoration of the Ardabil Carpet, would be appropriate for a carpet designed for the shrine of the Sufi saint, Safi al-Din Ardabili. It is comprised of nonfigural designs which exclude images of animal or human figures, as indicated by the traditions of Muslim aniconism. The rug design includes scrolling vines and floral motifs as well as imagery that alludes to real objects, such as the centrally placed sunburst medallion that visually references the interior of a heavenly dome. The medallion is surrounded by pendant shapes and depictions of two mosque lamps. These are all visual elements that relate to the Islamic context for which the carpet was created.
The work was painted by
Van Eyck
The work was painted in which century?
Fifteenth
Although Jan van Eyck’s Arnolfini Portrait has traditionally been interpreted as representing a wedding, the painting has more recently been interpreted as representing a
betrothal ceremony between a wealthy merchant and his future bride
Instead of depicting the sacrament of marriage, some scholars argue the painting is a scene commemorating an alliance between two wealthy Italian mercantile families — a ceremonial betrothal reflecting social and legal conventions of the time.
The artist who created the painting worked primarily in
Bruges
The artist includes himself in the painting in the form of
written text
The work has been interpreted as a visual document of all of the following EXCEPT
coronation
The painting incorporates
religious symbolism
The subject of the work is
Judith and Holofernes
The artist of this work was trained
by a relative
The sculpture shown appears life-like and natural as a result of the
sense of balance provided by the contrapposto stance
The contrapposto stance, in which weight is placed on one leg while the other naturally bends, was an innovation of fifth century Classical Greek sculpture adopted in many later Greek and Roman sculptures, such as the statue shown of Augustus of Prima Porta. Figures in the contrapposto stance seem more life-like than Archaic Greek sculptures, such as the Anavysos Kouros, whose straight-legged stance appears far more rigid.
The formal qualities of the sculpture shown suggest a strong influence by which of the following earlier works?
Doryphoros (Spear Bearer)
Art historians have noted the close resemblance between of the statue of Augustus of Prima Porta and the Classical Greek sculpture of the Doryphoros (Spear Bearer) by Polykleitos, which follows an idealized canon of proportions and a contrapposto stance very similar to the portrayal of the Roman emperor.
The sculptor of the work shown chose to show the figure’s arm extended to
highlight his speaking skills as a gifted orator
As Roman Emperor, Augustus was a gifted orator (public speaker), who was skillful in giving political speeches, as well as addressing his troops prior to military confrontations. The pose of the statue, in which one arm is outstretched, is commonly used in ancient Roman art to represent the act of public speaking and is used in the work to emphasize one of Augustus’ skills that enabled him to be a successful leader.
The choice of iconography of the work shown was strongly influenced by the
establishment of the Roman Empire under Augustus
The work shown, Augustus of Prima Porta, was created during a time of political transition of the Roman state from a Republic to an Empire. Emperor Augustus, who had himself depicted in this work, was the first ruler of the Roman Empire from 27 B.C.E. until his death in 14 C.E. The iconography of the statue was intended to lend legitimacy to Augustus’ authority as emperor by emphasizing his contributions to the Roman people.
Which of the following characteristics do the Augustus of Prima Porta and Ndop (portrait figure) of King Mishe miShyaang maMbul share?
Both celebrated rulers’ attributes that contributed to their successful reigns
The Augustus of Prima Porta and Ndop both celebrated rulers’ attributes that contributed to their successful reign. The Ndop is depicted with a large head to represent intelligence, whereas the pose and imagery included in the Augustus of Prima Porta represent the emperor’s skill as an orator and a general.
The choice of imagery on the breastplate of the individual depicted was most likely intended to elicit which of the following responses from viewers?
Appreciation of his services as protector of peace and prosperity
The iconography of the breastplate worn by Augustus includes references to military and diplomatic accomplishments of Emperor Augustus in ensuring peace and stability for the Roman empire. The inclusion of these references in the work shown were intended to serve a propagandist function of legitimizing Augustus’ authority as emperor, by highlighting his services to the Roman people and state
The work shown was created using which of the following techniques commonly used in Aztec art?
Carving with stone tools to create a deep relief on the top and sides
The sculpture shown, the Stone of Tizoc, from the Templo Mayor complex at the Aztec capital of Tenochtitlan, was carved with stone tools, similar to the Calendar Stone and the Coyolxauhqui Stone from the same complex. All stone working in ancient Mesoamerica was accomplished with stone chisels, hammers, grinders, and saws. After the sculptures were finished, they were frequently polished with stones and fine sand. Metal tools were never used to work stone.
This fan demonstrates the Aztec tradition of
featherwork
his work is an example of Aztec featherwork, a technique used to create the feather headdress in the image set.
In Great Il-Khanid Shahnama folios such as Bahram Gur Fights the Karg, techniques and motifs borrowed from traditional Chinese sources were incorporated to create a
new style of manuscript illumination that combines elements from various artistic traditions
In Great Il-Khanid Shahnama folios such as Bahram Gur Fights the Karg, motifs and techniques borrowed from Chinese sources were incorporated to create a new visual style of manuscript illumination that combined elements from various artistic traditions. Wealthy patrons encouraged Mongol painters to move beyond the traditions of Persian painting and create a unique and innovative style of book illustration. Artists creating the lavish book illustrations for the Shahnama, a classic epic poem, combined Persian traditional style with elements borrowed from other cultural traditions, such as elements from Chinese landscape painting tradition. In the folio Bahram Gur Fights the Karg, the style of the rock outcroppings and trees included in the scene reflect artistic influences from China.
In the work shown, Bahram Gur Fights the Karg, the depiction of the subject matter visually contributes to the story by
identifying the hero through his luxurious, kingly garb
The depiction of the subject matter in Bahram Gur Fights the Karg visually contributes to the story by identifying the hero through his luxurious, kingly garb. The work is an illuminated page in the Shahnama, the eleventh-century epic poem by Firdawsi that is an account of Persian history from creation up until the defeat of the Persians by Islamic conquerors in the seventh century C.E. The Shahnama recounts the stories of great Persian rulers and heroes, both mythical and historical, and it is the most celebrated work in Persian literature. By illustrating the story of a heroic king defeating “a monstrous horned wolf” that was terrorizing the population, the illumination page symbolizes the victory of good over evil and order over chaos. The noble hero, Bahram Gur, is aptly depicted on horseback, like a Mongol warrior, wearing a golden crown, earrings of gold and pearl, and a luxurious garment.
Some scholars have indicated that leopard designs were included on the beaded Aka elephant mask from Cameroon for which of the following reasons?
To further advance the divine power of the Fon (king)
Both the leopard and the elephant were associated with divine rule. The leopard was believed to possess the ability to turn into a human, while a Fon (king) could transform into an elephant.
The combination of repeated patterns, vertical lines, and contrasting colors enabled the artist of the work shown to convey a sense of
dynamism and energy
In the work shown, the combination of repeated patterns comprised of undulating curves (curves that rise and fall), simplified geometric forms, vertical lines, and contrasting colors create a sense of energy and dynamism. This reflects the original context in which the Aka elephant masks were used by the Bamileke culture. The masks were only one part of a spectacular costume worn by members of a high-ranking society who danced at royal functions. In addition to the mask, the costume included a dramatic towering red and black headdress, a colorful beaded garment in bold geometric patterns, and a leopard skin worn on the back.
Which of the following is a characteristic of the Bamiyan Buddhas that reflects the influence of other artistic traditions fostered by Bamiyan’s location on the Silk Road?
Realistically draping folds of the robes, influenced by Hellenistic Greek style
The cultural connections fostered by Bamiyan’s location on the Silk Road are reflected in the realistically draping folds of the robes, influenced by Hellenistic Greek style. The drapery found on the works closely resembles that of the Victory adjusting her sandal from the Acropolis, the Winged Victory of Samothrace, or reliefs from the Great Altar of Zeus.
Which characteristic of the Lenape bandolier bags reflects an influence from an outside culture?
The shape of the bags was inspired by those carried by European soldiers to store ammunition.
The shape of Lenape bandolier bags was inspired by bags carried by European soldiers to store ammunition. The shoulder straps and rectangular pouch were modeled after functional ammunition bags. The format of these bags demonstrates the influence of Europeans on Lenape art.
The use of imported materials such as tiny colored glass beads and silk ribbons on Bandolier bags were intended to show the
The use of imported materials such as tiny colored glass beads and silk ribbons on Bandolier bags were intended to show the
The use of imported materials such as tiny colored glass beads and silk ribbons on Bandolier bags were intended to indicate the social status of the bag’s wearer. Though Bandolier bags are based on leather ammunition pouches used by European soldiers in present-day northeastern United States and Canada, they have not traditionally been used by the Lenape, or Delaware tribe, for that purpose. Instead, they are part of male ceremonial dress, similar to tuxedos, and indicate social status and cultural identity. While the bags were initially decorated with porcupine quills, they were later decorated with bright, tiny glass “seed beads” made in Venice and Prague after these beads had become available through trade; the beads enhanced the value of the bag in communicating the wearer’s social status, as did the attachment of imported silk ribbons.
The combination of vegetal and figural forms in the Basin (Baptistère de St. Louis) reflects the distinction drawn in medieval Islamic culture between
eligious and secular law
The combination of vegetal and figural forms in the Basin reflects the distinction in medieval Islamic culture between religious and secular law, and the influence this distinction had on artistic production. While medieval Islamic art works created for religious contexts are generally characterized by non-figural imagery and ornamentation, this is not necessarily the case for artworks created for secular, non-religious, contexts. In fact, there are many examples of representative imagery in Islamic art in the ornamentation of palaces and in illustrated manuscripts, such as in Persian Shahnama manuscripts. This distinction is also illustrated in the Basin (Baptistère de St. Louis), which was probably commissioned by a wealthy Mamluk patron for secular private use, and includes depictions of royal figures, battle scenes, and animals, a choice of imagery that may indicate the preference of its patron.
The Basin (Baptistère de St. Louis) exemplifies Islamic metalworking tradition as evidenced by its
interconnected figural designs
The visual characteristics of the secular medieval Islamic metalworking tradition includes interconnected figural and animal representations. The Basin is distinguished by its multiple bands of organic figural, animal, and vegetal designs.
Both works were painted in which period?
Baroque
The church is located in
Toulouse, France
One indication that this object originally functioned in a secular, as opposed to sacred, context is its
friezes of animals and fantastic creatures
The surfaces of this vessel are decorated with friezes of figures, such as Mamluk officials and dignitaries, as well as animals, fantastic creatures, and coats of arms. Such designs indicate that the work was intended for a courtly, secular audience.
Originally used as a wash basin by a Mamluk patron, the object shown was later used by French royalty for which of the following functions?
As a baptismal font
This option is correct. The Basin (Baptistère de St. Louis) was likely commissioned by a wealthy Mamluk patron, and it is thought to have been used for ceremonial hand washing or as a banquet piece. The abundant, detailed imagery likely appealed to its original audience as a representation of specific figures and possibly events (Mamluk emirs and battle scenes, for example), as well as symbolic content. The basin was sought out as a luxury object by European monarchy. It was used as a baptismal font for children born to the French royal family. The baptistère in this context demonstrates the prestige and value of the craftsmanship of Islamic art beyond the Islamic world.
The scenes of courtly life and hunting depicted on this object are most reminiscent of scenes depicted on which of the following earlier works?
The Umayyad Pyxis of al-Mughira
The Umayyad Pyxis of al-Mughira is a royal vessel decorated with princely iconography such as hunting, horseback riding, and date picking. Griffons, peacocks, lions, and other animals, along with an Arabic inscription of blessing, also appear. The richly detailed imagery of courtly life, flora and fauna, and mythological creatures is reminiscent of the scenes shown on the Basin (Baptistère de St. Louis).
interest in the role of improvisation and its relationship to jazz
Jean-Michel Basquiat’s experimentation with form and content in Horn Players has been interpreted as demonstrating his interest in the role of improvisation and its relationship to jazz. The painting’s free use of paint, repeated words, words stricken out, expressive drawing, and other characteristics can all be viewed as linking the work to Basquiat’s interest in improvisation and jazz.
On the basis of style, the work shown can be attributed to
Jean-Michel Basquiat
The work can be attributed to Jean-Michel Basquiat. The style of this painting, Slave Auction, is similar to Basquiat’s Horn Players. Basquiat first gained attention as a graffiti artist in the 1970s. His work fuses words, symbols, and stick figures in an expressionistic, painterly manner.
The building housed
a school of design and architecture
The building is notable for its
lack of architectural ornamentation
Which of the following best applies to the building?
International Style
The building is located in
Germany
Because of the context in which it was found, the beaker with ibex motifs from prehistoric Susa is believed to have functioned in a way that was most similar to which of the following works?
The funeral banner of Lady Dai (Xin Zhui)
Both the beaker with ibex motifs from ancient Susa and the funeral banner of Lady Dai (Xin Zhui) are objects that functioned in a funerary context and were found in connection with burials.
Which of the following is a characteristic of the work shown that allows it to be attributed to the Edo peoples of Benin?
The beaded coral neck rings and crown, which were associated with the oba
The beaded coral neck rings and crown depicted in the work allow it to be attributed to the Edo peoples of Benin because they were associated with royalty and were part of the traditional regalia of the oba, or Benin king.
This sculpture from the Kingdom of Benin is made from
brass using the lost-wax technique
The work shown is a brass sculpture from the Kingdom of Benin and was created by using the lost-wax technique. Lost-wax casting is a traditional Benin art form that can be identified by the fine detail in the work as well as its hollow form.
The artist who created the Benin bronze wall plaque from Oba’s palace used which of the following techniques to show the importance of the Oba?
Hierarchical scale
The artist who created the Benin bronze wall plaque from Oba’s palace uses the technique of hierarchical scale to show the importance of the Oba (or king) in comparison with the other smaller figures in the work. Hierarchy of scale is utilized when the most important person is portrayed relatively larger than other people in the same picture. In this case, the king is noticeably larger than the attendants accompanying him, denoting the Oba’s high level of importance.
The two works shown are similar in that they both present
idealized representations of a king
The central figure of the first work is the Benin Oba of the Edo peoples, while the figure depicted on the second work is that of King Mishe miShyaang maMbul of the Kuba peoples. Both images are idealized. For example, both figures possess an enlarged head to suggest their intellect and wisdom.
Which of the following statements explains why the plaque demonstrates continuity with Benin tradition?
It is part of a series that document the history of the obas.
The plaque demonstrates continuity with Benin tradition because it was one of many plaques that were displayed in the palace of the oba. As a group, they illustrated the chronology of the obas, back to the first Oba of Benin.
The work shown can be attributed to which historic African kingdom?
Benin
The work shown can be attributed to the kingdom of Benin. It would have been created using the same bronze lost-wax casting method used in wall plaque, from Oba’s palace. This head is similar in shape to the Oba’s, or ruler’s, conical crown, which helps to identify it as a work from this kingdom. More specifically, this work can be identified as a Queen Mother because of her “chicken’s beak” crown. The Queen Mother’s heavily outlined eyes and stylized nose share the same visual characteristics with those found on Wall plaque, from Oba’s palace. Like in the wall plaques, textured bronze rings around the neck and crown depict multiple strands of small coral beads that emphasize the ruling family’s link to trade, wealth, and the god of the sea, Olokun. An example of the coral regalia can be seen in Contextual Photograph: Oba of Benin.
The work shown was displayed
alongside a number of related works depicting similar figures
The work shown is a sixteenth-century wall plaque from Oba’s palace from Benin and was intended to be hung on pillars within a courtyard of the royal palace, alongside other plaques. The plaque is one of about 900 that survive today as a reminder of how the Oba’s palace was once decorated, as well as a source of knowledge about royal history and international trade. Although the plaques’ original hanging order is unknown, their sequence would have traced the long history of Oba lineage in Benin.
Access to the copper and tin needed to fabricate the brass wall plaque of the Oba’s palace was made possible among the Edo peoples of Benin due to their
trade with Portuguese voyagers
The brass needed to fabricate Benin brass plaques was usually acquired in the form of large bracelets called “manillas,” provided by the Portuguese in exchange for slaves and items such as ivory, pepper, and animal skins.
Both works represent a
biblical hero
The material of both works is
marble
The work of this artist dates to which of the following periods?
Baroque
The diagonal composition of the work on the right is indicative of which style?
Baroque
The sculptor of the work on the right was
Bernini
The Cornaro Chapel exemplifies Italian Baroque art with its
combination of sculptural and architectural elements to create drama
The Cornaro Chapel exemplifies Italian Baroque art through its combination of architectural and sculptural forms used to create a sense of drama. The interior appears highly theatrical with lively sculptures extending from the various architectural features. This is a common characteristic of Italian Baroque art.
Gian Lorenzo Bernini’s inclusion of sculptures of the Cornaro family members in the side balconies of the chapel was intended to elicit which of the following audience responses?
Identification with their role as witnesses of Saint Teresa’s experience
Bernini includes sculptures of the Cornaro family members in the side balconies of the chapel to help the audience identify as witnesses to Saint Teresa’s experience. Like the audience the family members depicted in the sculptures are also viewing Saint Teresa. By including these figures, Bernini heightens the theatricality of the scene and helps the viewer connect with the work.
Which of the following artists did Bernini acknowledge as being the most influential on his depiction of the human form?
Michelangelo
Bernini acknowledged Michelangelo as being the artist who most influenced his depiction of the human form. Bernini studied the work of Michelangelo, and the impact of his work is clear in the poses and facial expressions used by Bernini.
Saint Teresa’s writings most likely influenced which of the following aspects of Bernini’s sculpture?
The figure’s pose and expression
Saint Teresa’s writings most likely influenced the pose and expression of Bernini’s statue. In her writings Saint Teresa emphasized the emotional intensity of her visions, which Bernini attempted to capture with the swooning posture and enraptured expression of his figure.
Both works show an interest in
Hellenistic Greek sculpture
Both works allude to the artist’s interest in
theatrical illusion
The sculptor of the work was
Bernini
The subject of the work is
a mystical experience of Saint Teresa
The work promoted ideas associated with the
Counter-Reformation
Which of the following are depicted in carved balconies on each side of the work?
Patron family members
The work is located in
Rome
The patron of the work was
Federico Cornaro
Gian Lorenzo Bernini’s sculpture Ecstasy of Saint Theresa was designed to be seen by the viewer
within a chapel, as though seen on a stage
Bernini designed his Ecstasy of Saint Theresa to appear as if the sculptural group rests on the proscenium of a stage. He carried this design throughout the chapel space to convey the illusion of a theater.
The artist’s principal patrons were
members of the church hierarchy
The work reveals the sculptor’s interest in
theatrical stage design
Both works are examples of
bronze casting
Both works functioned as
doors
The painting on the right focuses on the
idea of Manifest Destiny
Frank Gehry selected titanium instead of more traditional materials when designing the Guggenheim Museum Bilbao for which of the following reasons?
To create a reflective effect that utilized surface and sunlight
Gehry chose titanium primarily for its reflective qualities. Because titanium reflects light, it provided the building’s facade with a variety of surface effects throughout the day and in varying weather conditions.
The designs used for San Ildefonso black-on-black pottery reflects the influence of which of the following traditions?
Prehistoric pottery sherds found in the Southwest during the early twentieth century
The designs used for San Ildefonso black-on-black pottery are inspired by prehistoric pottery sherds found nearby during the early twentieth century. Maria Martínez and her husband Julian were inspired by ancient pottery sherds found in the area.
San Ildefonso Pueblo artist Maria Martínez achieved the decorative black-on-black effect of the ceramic vessel shown by
firing it outdoors using an oxygen-reduction technique
Traditional Puebloan ceramics of the Southwestern United States are fired outdoors in a pile, with wood or cow chips as fuel. Potters cover their vessels with broken ceramics or other materials to keep the fire from touching their piece. In the early twentieth century, Maria Martínez discovered that limiting the oxygen that reaches the ceramics during firing yields a black-on-black effect, a technique called oxygen reduction. Black-on-black ceramics were popular and were soon made by many others at San Ildefonso Pueblo, this type of ceramic continues to be the signature style of the Pueblo.
The pot shown and its decoration both suggest that its creators had a desire to
harmonize the ornamentation with the form of the vessel
The pot shown and its decoration both suggest that its creators, Maria and Julian Martinez, had a desire to harmonize the ornamentation with the form of the vessel. Two sets of three parallel lines emerge from the center of the pot, wrapping around the two necks and mirroring the shape of the lower part of the pot, while the three matte triangles pointing downward complement both the shape of the spouts and the three visual elements in the upper part of the work.
The artist of the work on the right was a principal member of which of the following art movements?
Futurism
The artist of the work on the right is
Umberto Boccioni
The work shown is painted on
papyrus
The last judgment of Hu-Nefer, from his tomb (page from the Book of the Dead), is part of an Egyptian New Kingdom scroll painted on papyrus.
In its original context, the work would have been placed
in a tomb to guide a deceased person in the afterlife
In its original context, the work would have been placed in a tomb to guide a deceased person in the afterlife. The work is part of a New Kingdom scroll called the Book of the Dead, which functioned as an aid to ensure the safe passage of the deceased into the afterlife, and as such would have been placed inside a tomb.
The visual organization of the work is meant to suggest a
sequence of successive events in an important narrative
The visual organization of the work is meant to suggest a sequence of successive events in an important narrative. In the last judgment of Hu-Nefer from his tomb (page from the Book of the Dead), the figures are organized to show the character of Hu-Nefer as he undergoes the process of judgment before the god Osiris. Several characters, including Hu-Nefer himself, repeat to indicate the sequence of the narrative: for example, at the far left, Hu-Nefer is shown being led by the jackal-headed Anubis into the judgment area. Just left of center, Anubis is shown supervising the judgment scales, then right of center, the falcon-headed Horus presents Hu-Nefer to Osiris after Hu-Nefer has passed the test.
The scenes depicted in the work are intended to convey the ancient Egyptian concept of
justice and morality, by depicting the divine judgment of a mortal person’s life
The scenes depicted in the work most closely relate to the ancient Egyptian concept of justice and morality by depicting the divine judgment of a mortal person’s life. The narrative depicts Hu-Nefer’s heart, believed to be the repository of his intellect and his character, being placed on the scales of judgment to determine whether he had lived a righteous life. A mythological beast waits to devour Hu-Nefer if he is deemed unworthy, if his heart should weigh more than the feather, the symbol of Maat and of what is right. Having passed the test, Hu-Nefer is presented to Osiris.
In its original function, the work is most similar to the
Great Pyramids (Menkaura, Khafre, Khufu) and Great Sphinx
In its original function as a funerary object, the work is most similar to the Great Pyramids (Menkaura, Khafre, Khufu) and Great Sphinx. Both the Book of the Dead and the Great Pyramids were meant to assist in a safe transition from the world of the living to the world of the dead. The Book of the Dead served as a guide, while the pyramid served primarily as a tomb.
Borobudur was designed in the form of a giant mandala in order to
mirror the sacred cosmic order
Borobudur was designed in the form of a giant mandala in order to mirror the sacred cosmic order. The iconography and many levels of meaning at Borobudur are believed to reflect Buddhist ideas of the cosmic order so that pilgrims are able to harness this spiritual energy as they circumambulate each terrace.
The form of Borobudur Temple creates an opportunity for the faithful to
walk on an upward path toward enlightenment
The form of Borobudur Temple creates an opportunity for the faithful to experience the circuitous ascent of the temple that symbolizes the path to enlightenment.
The design of the architectural work shown can be attributed to Francesco Borromini because of its
curved, undulating forms and broken entablatures
The design can be attributed to Francesco Borromini because the inwardly curving architectural facade shown is characteristic of his innovative style based on a balance between convex and concave forms. The design includes oversized orders that squeeze tiny columns holding broken entablatures. These features are all arrayed across a concave surface fronted by a projecting, convex window opening, typical of Borromini’s work, such as at San Carlo alle Quattro Fontane.
The facade of Borromini’s San Carlo alle Quattro Fontane exemplifies Baroque architecture because it includes which of the following characteristic elements?
Curving elements that create a dynamic design
The facade of Borromini’s San Carlo alle Quattro Fontane exemplifies Baroque architecture because it includes curving elements that create a dynamic design. In contrast to the straight lines of classical and Renaissance building facades, Borromini’s facade is notable for curves that make it swell and recede.
The painting is noteworthy for its
graceful linearity
The family name of the patrons of this work was
Medici
The pose of the figure in the center is derived from
a Classical statue
Works like this were denounced by
Fra Girolamo Savonarola
The work shown was painted by
Botticelli
The work dates from the end of the
fifteenth century
The figure in the center of the illustration represents
Venus
One leading interpretation of the painting is that it reflects the ideas of
Neoplatonism
The central figure was innovative in its time because of its
nudity
Sandro Botticelli’s painting Birth of Venus and Albrecht Dürer’s engraving Adam and Eve are similar in that both artists
relied on classical models to represent the concept of ideal beauty
The two works are similar in that both relied on classical models to represent the concept of ideal beauty. Botticelli’s figure of Venus is derived from the Classical Greek statue of Aphrodite of Knidos. Dürer traveled to Italy where he became familiar with classical figurative models.
Constantin Brancusi’s The Kiss reflects artistic trends in early-twentieth-century Modern sculpture by
focusing on abstraction as a way to explore the inner nature of things
Constantin Brancusi’s The Kiss reflects artistic trends in early-twentieth-century Modern sculpture by focusing on abstraction as a way to explore the inner nature of things. Like painting, sculpture in the early twentieth century moved increasingly away from depicting forms that directly resembled nature and toward creating increasingly more abstract forms. According to his writings, Brancusi considered the process of abstraction as a means to explore the essence of things. For example, to create The Kiss Brancusi retained the rectangular form of the block of stone from which the sculpture is made, and he used carved lines to merely suggest essential features of the human body. By retaining a monolithic quality in his work, Brancusi emphasized the union of the two lovers depicted in The Kiss.
Constantin Brancusi recommended that The Kiss be displayed without a base because a pedestal would have
detracted from the essential nature of the limestone
In The Kiss Brancusi explores the material qualities of limestone. Brancusi made subtle alterations to the stone, leaving much of it raw and unworked. In doing so, he preserved its blocky shape and natural texture. Brancusi argued that the work should be displayed on the ground because a pedestal would detract from the stone’s essential nature.
In Hunters in the Snow, Bruegel unifies the composition through
the repetition of a limited color palette
In Hunters in the Snow, Flemish painter Pieter Bruegel the Elder unifies the composition through the use of a limited color palette repeated throughout the work. Bruegel predominantly uses white, dark brown, and the same hue, value, and saturation of the color blue-green to connect and unify the spatial planes of the painting. The use of the same limited colors throughout pulls and pushes the viewer’s eyes between the foreground, middle ground, and background of the work.
Despite their origins in two different religious traditions, the statue of the Buddha at Todai-ji and the Shiva as Lord of Dance (Nataraja) both convey meaning through the use of
hand gestures that invite viewers to come forward without fear
Despite their origins in two different religious traditions, the statue of the Buddha at Todai-ji and Shiva as Lord of Dance (Nataraja) both convey meaning through the use of hand gestures that invite viewers to come forward without fear.
The work shown can be attributed to the peoples of the Torres Strait for which of the following reasons?
The inclusion of human and animal features to reference a mythical hero and his totemic species
The work shown can be attributed to the peoples of the Torres Strait because of the inclusion of human and animal features to reference a mythical hero and his totemic species. The Buk mask created by the people of the Torres Strait included both a human face and animal features to reference an important hero from mythology and his totemic species.
In the way it combines human and animal features, the Buk (mask) from the Torres Strait is most similar to the
transformation mask of the Kwakwaka’wakw
Both the Buk (mask) from the Torres Strait and the transformation mask of the Kwakwaka’wakw combine the features of a human face with those of a bird. The transformation mask represents the head of an eagle or crow in its closed stage and can be opened to reveal a human face, while the Buk (mask) represents a human head with a frigate bird mounted on top.
In the work shown, textural accents such as coconut fiber, feathers, and seashells are attached to the mask’s base in such a way as to
facilitate the movement of the accent materials
Buk masks from the Torres Strait, such as the work shown, are part of an elaborate costume donned for performances and include elements that are designed to respond to a dancer’s movement. The mask shown incorporates an assortment of accent materials, including coconut fiber, feathers, and strung up shells, which are strategically attached to the mask in a way that causes them to move in response to a dancer’s spins, leaps, and dips.
The work shown can be attributed to the Sande Society’s Bundu mask tradition because of the
glossy black surface representing a woman’s inner beauty
The work shown can be attributed to the Sande Society’s Bundu mask tradition because of the glossy black surface representing a woman’s inner beauty. The mask’s style is indicative of male carvers within the Mende peoples. Bundu masks are carved out of wood, smoothed, and then rubbed with an oily stain that produces a Bundu mask with a distinctive black, shiny surface. The surface treatment is meant to symbolically represent the inner quality and inner morality young girls should strive for when initiated into the Sande Society and womanhood.
This work can be attributed to
the Mende from West Africa
Bundu masks, danced by members of the female Sande Society as part of initiation of girls in the Mende culture, are recognizable in the ways that they communicate both the outer beauty and inner characteristics considered ideal for a Mende woman. The elaborate hairstyle suggests the care a woman takes to maintain an orderly household, and the high forehead symbolizes intelligence, wisdom, and confidence. The small, downcast eyes reflect the ideal that a woman should be thoughtful and reserved, and the small closed mouth suggests that she should think before speaking and never gossip. The glossy black finish refers to female spirits who have just surfaced from their homes in the water. Since the mask is danced in initiation training and ceremonies, raffia fiber is attached around the base to cover the body and obscure the identity of the dancer.
The audience witnessing Sande Society masquerades would have recognized the glossy black patina of the Bundu mask’s surface as representing
the idealized beauty of smooth and glistening dark skin
The audience witnessing Sande Society masquerades would have recognized the glossy, black patina of the Bundu mask’s surface as representing an ideal form of beauty. The deep, black color and shimmering, smooth texture of the Bundu mask’s surface represent a youthful and healthy ideal for young girls who undergo the Sande initiation.
In Mende culture, the Bundu mask, as a part of a masquerade ritual related to gender roles, is worn by the
female elders, who serve as teachers and mentors during the girls’ initiation
In Mende culture, the Bundu mask, as part of a public masquerade ritual related to gender roles, is worn in dance performance by the female elders, who serve as teachers and mentors during the girls’ initiation into the all-women Sande Society. The Bundu mask is worn by women leaders and performed as part of an initiation ceremony for young girls. The creators of the masks are men, but the wearing of the mask during the ritual is reserved for the elder women who are guiding young women through the ceremony.
Art historians interpret the neck rings on the Bundu mask shown as symbolizing
healthy body fat and the chrysalis of a moth
Art historians interpret the neck rings on the Bundu mask shown as symbolizing healthy body fat and the chrysalis of a moth. The neck rings have been interpreted in many ways; healthy body fat, the chrysalis of a moth, and ripples of water have all been confirmed by women from the Sande Society as valid interpretations of the symbolism of the mask’s neck rings.
What do the features on a Bundu mask embody?
Ideals of feminine beauty, morality, and conduct
Bundu masks are used during female initiation rites. As a result, the masks’ physical qualities are made to embody ideal feminine traits. The soft rolls of fat around the neck, triangular head, slit eyes, and the wood’s dark reflective surface all symbolize female beauty and virtue.
Rodin’s representation of the figures was influential on later artists mainly because of the
emotional impact and lack of idealization
Rodin’s break from the idealized academic tradition in favor of greater realism and emotional impact influenced later sculptors in Europe and abroad.
In the commission for The Burghers of Calais, Auguste Rodin was asked to depict
city elders who offered themselves as hostages in the Hundred Years’ War
During the Hundred Years’ War, when the English king Edward III agreed to save the city of Calais if its leaders surrendered, six burghers, expecting to be executed, emerged carrying the keys to the city and the castle and offering themselves as hostages. Rodin was commissioned by the city of Calais to depict these heroic men and their act of self-sacrifice.
In contrast to how Rodin composed the sculpture, his patrons had which of the following expectations?
The burghers would be represented in a glorified manner.
Instead of representing the burghers in a glorified manner, as his patrons, the city leaders of Calais, expected, Rodin’s sculptural composition presented the men as thin and weak, dressed in plain garments, vulnerable, and conflicted.
The patrons responded to Rodin’s mode of representation by
elevating the sculpture on a raised platform
The sculpture was unveiled in 1895 C.E. on a pedestal over 5 feet high and surrounded by an ornate iron grille. It was located in the Parc Richelieu.
The work shown most strongly emphasizes a connection to ancestors through the depiction of
a projecting navel
The work shown most strongly emphasizes a connection to ancestors through the projecting navel. The work shown is a Fang reliquary figure, which is used to guard a box containing ancestral remains. The projecting navel represents new life and is intended to symbolize the Fang belief that deceased ancestors are eventually reborn.
Fang byeri figures such as the work shown were intended to function as
talismans
The work shown, a reliquary figure (byeri), guarded containers holding the relics of the Fang peoples’ ancestors (a reliquary) and functioned as a talisman, a kind of object with supernatural properties that protects from evil or brings good luck.
The Fang peoples of southern Cameroon sculpted byeri figures to guard containers holding their ancestors’ relics, in part because the Fang
were historically a nomadic people and did not practice earthen burials
As a nomadic people, the Fang did not practice earthen burials. Instead they commemorated their dead through the worship of ancestral relics, which they kept in portable reliquaries. These portable reliquaries were then guarded by byeri figures.
The art historical period of both works is
Byzantine
The architectural forms and decoration of the structure identify it as
Byzantine
Two structures associated with Emperor Justinian are
Hagia Sophia and San Vitale
In order to achieve great height and plentiful light, Byzantine churches often used a dome raised from a larger hemisphere by triangular sections called
pendentives
The central figure in the work on the left is set within a
mandorla
The golden background of the work on the left conveys a sense of
mystical vision
The Byzantine mosaics of Emperor Justinian and Empress Theodora from the Church of San Vitale in Ravenna differ from classical Roman mosaics in that they
favor stylized figures against a gold-leaf background, reflecting the emphasis of early Christian art on spirituality
The Byzantine mosaics of Emperor Justinian and Empress Theodora from the church of San Vitale in Ravenna differ from classical Roman mosaics in that they favor stylized figures against a gold-leaf background, reflecting the emphasis of early Christian art on spirituality. Byzantine art, while building on the Classical tradition, starts moving away from the focus of Roman art on realistic depictions of the human form and spatial relationships. Byzantine art is mostly Christian art, and its primary interest is more in depicting spiritual ideas than in accurately portraying the real world. This can be seen when comparing the mosaic panels of Justinian and Theodora with the ancient Roman Alexander Mosaic from Pompeii. The Alexander Mosaic depicts a historical battle, and its artist employs methods such as foreshortening and the depiction of light and shadow to accurately portray the three-dimensional forms of the men and horses and their placement in space. In the Justinian and Theodora panels, on the other hand, the forms of the figures and objects are more flat and stylized, and the spatial relationships appear to be deliberately ambiguous. In addition, as is common for Byzantine mosaics, both panels contain a shimmering golden background made from little glass cubes backed with gold-leaf, which gives the impression that the scenes are set in an otherworldly environment. This also contrasts with the Alexander Mosaic, which depicts a scene set firmly set a worldly space.
Both works represent the
Transfiguration
Both works were created using
mosaic
Both works are found in which part of a church?
Apse
The formal qualities of the work shown identify it as an example of an
Early Byzantine icon because of the heavily contoured figures in a shallow space
The materials and art-making process used to create the work demonstrate the influence of
Late Antique Egyptian funerary portraiture
The steady gazes and frontal poses of the foreground figures likely affected the original audience by
encouraging a personal connection with holy figures
While some Christian worshipers at the time of the work’s creation saw such works as necessary to their devotions, others objected because they believed that the works
tempted the faithful to worship them as idols
Both works can be considered part of
Modernist sculpture
In these works, both sculptors were preoccupied primarily with which of the following challenges?
New ways to deal with the concept of motion
The artist of the work on the left is
Alexander Calder
The work on the left is a
mobile
The painting depicts a subject recorded in the
New Testament
Stylistic aspects of the painting identify it as being from the
Italian Baroque
The drama in the painting is reinforced by the use of
tenebrism
The outstretched hand of the figure on the far right is a visual homage to a famous painting by
Michelangelo
The painting was created as part of a larger decorative program for a
chapel
The painting is by
Caravaggio
The use of light symbolizes a moment of
conversion
