Editing 2

Question 1

Both interiors are examples of

Answer 1

Roman residential architecture

Question 2

The most likely time period for both interiors is

Answer 2

first century C.E.

Question 3

The images show a plan and an interior of the House of the Vettii. The artists who created the wall frescoes in the House of the Vettii included which of the following visual effects?

Answer 3

Illusionistic architectural features and vistas to create a sense of spatial depth

The artists who created the wall frescoes in the House of the Vettii included illusionistic architectural features and vistas to create a sense of spatial depth. The artists of the frescoes utilized painted representations of architecture as well as painted backgrounds to create the illusion that the frescoes extended back into space.

Question 4

The surface designs on the prehistoric beaker with ibex motifs from Susa reflect the artist’s interest in the natural world through which of the following characteristics?

Answer 4

The stylistic depiction of various animals composed of geometric elements

The artist who created the surface designs on the beaker with ibex motifs conveyed a sense of fascination with the natural world through the stylistic depiction of various animals using simple geometric elements. The beaker was created using painted terra cotta with a design emphasis on animal motifs such as birds, hunting dogs and, notably, a large centrally placed representation of an ibex, a kind of mountain goat.

Question 5

The work shown from Susa, Iran, includes patterns that can best be described as

Answer 5

geometric

The work shown from Susa, Iran, combines repeated lines and hard-edged shapes, such as circles and triangles, to create a bold, geometric surface-pattern design.

Question 6

Art historians have theorized that the beaker with ibex motifs was most likely made for

Answer 6

funerary rituals because it was discovered in a grave

Art historians have theorized that the beaker with ibex motifs was most likely made for funerary rituals because it was discovered in a grave. The beaker with ibex motifs was found by archeologists while excavating a necropolis (cemetery) in Susa, Iran.

Question 7

The work on the left is a rare icon that survived iconoclasm, which was

Answer 7

the banning or destruction of religious figurative images

Question 8

Both works represent an art movement known as

Answer 8

Pop Art

Question 9

Both works were created in the

Answer 9

1960s

Question 10

In the work shown, the artist created the effect of spatial recession by using which of the following techniques?

Answer 10

Linear perspective

In the work shown, the artist created the effect of spatial recession by using linear perspective. Linear perspective describes a technique where the artist converges all lines on a specific point to create the illusion of depth.

Question 11

The image shown demonstrates that the building it refers to includes

Answer 11

an ambulatory

The ambulatory, the walkway around the apse of a church, is visible in the plan of a Gothic cathedral, shown.

Question 12

The work was created during which art-historical period?

Answer 12

Baroque

Question 13

The type of vaulting used in the nave is

Answer 13

barrel vaulting

Question 14

The style of the painting is

Answer 14

Cubist

Question 15

The work was made in

Answer 15

Egypt

Question 16

Modern large-scale environmental works like this are best characterized as

Answer 16

earthworks

Question 17

The huge carvings of human-headed, winged bulls that guarded the entrances of Assyrian palaces are called

Answer 17

lamassu

Question 18

The work on the left is an oil painting, while the work on the right is in which of the following media?

Answer 18

Daguerreotype

Question 19

The view of the nave shows

Answer 19

engaged columns

Question 20

The artist of the painting on the left is primarily associated with

Answer 20

Impressionism

Question 21

The decorated semicircular field above the doorway in the image shown is known as a

Answer 21

tympanum

A tympanum is a triangular or semicircular wall area above a doorway that is usually filled with sculpture or sculptural reliefs. Tympana are usually found in religious architecture and are a common feature of Romanesque and Gothic churches.

Question 22

While the degree of naturalism varies in the Ikenga shrine figures used by the Igbo peoples, one traditional characteristic all Ikenga share is

Answer 22

horns rising above the head, intended to symbolize power

All Ikenga, whether they are naturalistic images in which the human form is fully rendered with recognizable detail or abstract ones merely suggesting a human figure with an elongated head on a vertical form, have horns rising above the head. For the Igbo culture, horns symbolize the male characteristics of power and aggression thought to be central to attaining success.

Question 23

The ikenga (shrine figure) shown is intended to

Answer 23

demonstrate the owner’s achievements and physical prowess

Question 24

Ikenga figures, created by the Igbo peoples of Nigeria, are being interpreted as

Answer 24

symbols of the patron’s past and future successes

Igbo men commission Ikenga figures to place on their personal altars. They make offerings to these figures in thanks for success they have achieved and in hopes of future success. The figures emphasize both the physical and metaphorical strength found in a man’s right hand, while the left hand might hold an object related to the occupation or personal achievements of the Igbo man who commissioned it. The horns remind the patron of the strength, determination, and assertiveness that are necessary to their personal success.

Question 25

Giacomo da Vignola’s use of a wide nave and shallow side chapels in his plan for the church of Il Gesù in Rome proved influential for the design of other Catholic churches because it

Answer 25

provided a theatrical space for the liturgy and processions ## Footnote The wide, open nave at Il Gesù indicates how the church sought to heighten the dramatic impact of worshippers’ religious experience by drawing attention to the high altar and the ritual events enacted in that space. This proved highly influential on other Baroque-era churches, especially those constructed in the Spanish Colonies.

Question 26

Monuments like the Buddha at Bamiyan most directly influenced the form and scale of Buddhist statues created for

Answer 26

the Longmen caves in China

Question 27

The influence of this movement is evident in later works such as

Answer 27

Maya Lin’s *Vietnam Veterans Memorial*

Question 28

Many late nineteenth-century artists such as Cassatt and Van Gogh were strongly influenced by which of the following?

Answer 28

Japanese woodblock prints

Question 29

The work, and others like it, influenced nineteenth-century European and American painting through all of the following EXCEPT the

Answer 29

fascination with urban settings ## Footnote This work, and others like it, did not influence 19th-century European and American painting through the fascination with urban settings. Hokusai did not typically depict urban settings; he was drawn to the natural world and representations of landscapes, as demonstrated by *Under the Wave off Kanagawa (Kanagawa oki nami ura)* , also known as the Great Wave, from the series Thirty-six Views of Mount Fuji.

Question 30

Sculptors working within this genre were influenced directly by

Answer 30

Minimalism

Question 31

The importance of the art from previous Mesoamerican civilizations to the Aztecs who built the Templo Mayor in Tenochtitlan is demonstrated by the

Answer 31

Olmec-style mask excavated from within the sacred precinct ## Footnote Since the mask was not Aztec or native to Central Mexico, it is presumed to have been brought to the city from another location. The older Olmec mask was found within the Aztec sacred precinct, indicating its importance to the Aztecs who built Templo Mayor.

Question 32

Which of the following buildings best demonstrates the manner in which secular Roman building types were adapted for early Christian liturgical practices?

Answer 32

Santa Sabina ## Footnote The church of Santa Sabina was modeled after a Roman basilica, or law court. Christians adapted it for worship because it provided them with ample room for congregation. A basilica’s associations with law and justice corresponded well with Christian belief in the Last Judgment.

Question 33

Indian stupa architecture served as a model for the development of

Answer 33

Borobudur Temple ## Footnote The Borobudur Temple shows the influence of Indian stupa architecture in its design, suggesting the presence of a mountain oriented to the cardinal points. Like the Great Stupa, its plan functions as a mandala/cosmic diagram.

Question 34

An artist whose work was a catalyst for this artist's development was

Answer 34

Paul Cézanne

Question 35

The illusionistic architecture depicted in the *School of Athens* is

Answer 35

an idealized recreation of a classical gymnasium inspired by Roman baths ## Footnote The setting of the *School of Athens* is a classical gymnasium (or lyceum) imagined by Raphael. Specific features such as the barrel vaulting, coffered ceilings, and broad expanses of space were likely inspired by the architecture of ancient Roman baths.

Question 36

Which of the following art historical periods did NOT influence San Vitale?

Answer 36

Romanesque

Question 37

Unlike the nude in the painting on the right, the nude on the left reflects contemporary concerns with

Answer 37

the exotic

Question 38

In the painting on the left, the artist has emphasized

Answer 38

line

Question 39

The artist of the painting on the left is

Answer 39

Jean-Auguste-Dominique Ingres

Question 40

Although Jean-Auguste-Dominique Ingres’s *La Grande Odalisque* contains many Neoclassical elements, it also breaks classical conventions by

Answer 40

including orientalizing accessories ## Footnote In Jean-Auguste-Dominique Ingres’s *La Grande Odalisque*, the subject is depicted in a Neoclassical style characterized by clean lines and sculptural treatment of the body but breaks classical conventions by including orientalizing accessories such as a peacock feather fan and an ornate turban. In alignment with classicism, the work depicts an idealized female nude, a subject with a long academic history of representation extending back to ancient Greece. In addition, the motif of a reclining woman in a sumptuous space was popularized during the Renaissance in work such as Titian’s Venus of Urbino

Question 41

The nude in the painting on the left reveals the influence of

Answer 41

Parmigianino

Question 42

The detail of a stone wall demonstrates Inka expertise with

Answer 42

ashlar masonry ## Footnote The detail of a stone wall demonstrates Inka expertise with ashlar masonry. In ashlar masonry, stones are fitted together without the use of mortar or any adhesive. The Inka were masters of this technique.

Question 43

Historians believe that the Inka All-T’oqapu tunic symbolized rulership because

Answer 43

the materials and the skills used indicate the status of the ruler ## Footnote The Inka All-T’oqapu tunic was constructed from expensive fabrics and dyes taken from all around the Inka empire. Using these materials various skilled craftspeople worked together to create the tunic. When finished, the tunic functioned as an expression of the power and influence of its wearer.

Question 44

The stone Walls of Saqsa Waman at Cusco exemplify Inka architectural conventions in that they

Answer 44

consist of megalithic stone blocks joined without the use of mortar

Question 45

The artistic movement with which this work is associated typically strives for all of the following EXCEPT

Answer 45

continued use of traditional sculpture materials

Question 46

The column shown demonstrates the style of which of the following orders?

Answer 46

Ionic ## Footnote The column shown demonstrates the style of the Ionic order. It has the two volutes that are characteristic of that style.

Question 47

The detail shown can be attributed to a mosque that was decorated in

Answer 47

Safavid Persia, because of its use of curved multicolored ceramic tiles as surface decoration ## Footnote The work shown can be attributed to Safavid Persia due to its use of colorful ceramic tiles to decorate the muqarnas.

Question 48

Ornamentation on the surfaces of Islamic religious architecture often includes

Answer 48

calligraphic panels

Question 49

In the work shown, the visual balance can be best described as

Answer 49

symmetrical ## Footnote In the work shown, the visual balance can be best described as symmetrical. The work contains floral patterns that repeat on either side of a vertical axis.

Question 50

The work shown can be identified as belonging to the same artistic tradition as the basin known as the *Baptistère de St. Louis* because of which of the following visual characteristics?

Answer 50

The use of brass inlaid with silver to embellish the surface of the work ## Footnote The work shown is an example of Islamic inlaid metalwork that belongs to the same Mamluk artistic tradition as the basin known as the *Baptistère de St. Louis*. Like the basin, the object shown is fabricated from brass inlaid with precious silver and gold. Both works were created by Mamluk artisans.

Question 51

The artist achieves a unified composition through the use of

Answer 51

repeated forms

Question 52

The work exemplifies the artist's primary interest in

Answer 52

African American history and culture

Question 53

The work was painted by

Answer 53

Jacob Lawrence

Question 54

Based on the archaeological evidence gathered through the excavation of jade congs, many art historians believe that these works served as

Answer 54

grave goods that played an important role as part of funerary traditions ## Footnote Neolithic congs are tube-like objects that were produced by the Liangzhu culture in the fourth and third millennium B.C.E. in what is now the Northwest of modern-day China. *Congs* are carved from jade, a very hard stone, in a shape that combines rectangular and round forms, with a surface that is ornamented with geometric motifs and stylized faces or masks. Though there is little evidence explaining the precise meaning of Neolithic congs, the fact that they were found buried alongside human remains suggests that these objects served an important role in connection with funerary traditions.

Question 55

In Neolithic China, artisans shaped jade *congs* by

Answer 55

rubbing them with abrasive sand ## Footnote In Neolithic China, artisans shaped jade *congs* by rubbing them with a hard, abrasive sand. Neolithic cultures did not have tools that were hard enough to work with jade, and since jade cannot be split, the jade *congs* required much time and labor to produce.

Question 56

Which of the following aspects of the Fan Shan jade *cong* from Liangzhu, China, most strongly suggest its use as an object of ritual?

Answer 56

The shape of the *cong* and iconography of its carving ## Footnote The shape and iconography of the Fan Shan jade cong, more than any other aspects of this cong, most strongly suggest its use as a ritual object. Scholars have suggested that the shape, a tube with a square cross-section and round hole in the center, symbolizes the Earth and Heaven, linking the natural and supernatural worlds. It is theorized that the masklike imagery on the cong represents shamanistic or mythological figures, perhaps spirits or deities, and relates to the taotie masks commonly associated with later ritual objects from China.

Question 57

*Jahangir Preferring a Sufi Shaikh to Kings* demonstrates the

Answer 57

coupling of religious values with Western-influenced art forms and styles ## Footnote The painting depicts the Mughal ruler associated with a Sufi Shaikh and incorporates European pictorial elements, such as the angels at the base of the hourglass.

Question 58

The work shown is

Answer 58

*Jahangir Preferring a Sufi Shaikh to Kings* ## Footnote The work can be accurately identified as *Jahangir Preferring a Sufi Shaikh to Kings*, based on its depiction of the Mughal emperor Jahangir with a Muslim mystic.

Question 59

The inclusion of the artist’s self-portrait alludes primarily to the artist’s interest in demonstrating his

Answer 59

status and skill ## Footnote Bichitir, the artist of the work includes a self-portrait to demonstrate his skill and status. Bichitir depicts himself holding a painting while standing alongside the other important figures in the work, to suggest his high social rank and his ability as an artist.

Question 60

An inscription states that “although to all appearances kings stand before him, he looks inwardly toward the dervishes,” a message that is communicated in the work by

Answer 60

depicting the central figure passing a book to a Sufi as a gift ## Footnote The inscription stating “although to all appearances kings stand before him, he looks inwardly toward the dervishes,” is demonstrated by the depiction of the central figure passing a book to a Sufi. The work shows Mughal Emperor Jahangir giving a gift to a Muslim mystic, who stands alongside important world leaders, to show that Emperor Jahangir favors the holy man over the other figures in attendance.

Question 61

an van Eyck is known for his early use of

Answer 61

oil paint

Question 62

Which of the following is a characteristic of Japanese woodcut prints that influenced nineteenth-century European art?

Answer 62

Flat, unmodeled color areas

Question 63

The work, like others by the same artist, was created primarily for the purpose of

Answer 63

mass production for purchase by a wide audience ## Footnote The print shown, like *Under the Wave off Kanagawa, (Kanagawa oki nami ura)*, also known as the Great Wave, from the series Thirty-six Views of Mount Fuji, was part of a series of prints that were mass-produced for purchase by a wide audience, often in book form. In the 17th century, picture books were produced for the rising Japanese middle-class culture who could not afford original works of art. Hokusai worked during the Edo period during which such ukiyo-e prints were created by the thousands.

Question 64

Jaune Quick-to-See Smith made Trade (*Gifts for Trading Land with White People*) partly in reaction to which of the following events?

Answer 64

The 500-year anniversary of Christopher Columbus's arrival in the Americas ## Footnote Smith’s 1992 work Trade (*Gifts for Trading Land with White People*) was created on the 500-year anniversary of Christopher Columbus’s arrival in the Americas. In her work she discussed how Europeans exploited Native Americans through trade, following the arrival of Christopher Columbus in 1492.

Question 65

Based on its stylistic features, the building shown can be attributed to

Answer 65

Thomas Jefferson ## Footnote Based on its style, the building can be attributed to Thomas Jefferson, who, besides also being an important political figure in United States history, played an important role in bringing the Neoclassical style of architecture to the United States, where it became the predominate style of the new American Republic. The building shown—the Rotunda of the University of Virginia—shares many similarities with Jefferson’s Monticello, such as a central dome, combined with a columned porch crowned by a pediment, which in both cases (but especially in the example shown) is inspired by the Roman Pantheon. Both buildings have similar materials and colors, such as that shown in the redbrick facade of Monticello, which is offset by the white color of the dome, porch, and window frames.

Question 66

In *An Experiment on a Bird in the Air Pump*, Joseph Wright of Derby heightened the dramatic effect within the informal arrangement of the figures by using which of the following?

Answer 66

Extreme contrasts of light and dark values ## Footnote In *An Experiment on a Bird in the Air Pump*, Joseph Wright of Derby heightened the dramatic effect by using extreme contrasts of light and dark values. The bright light source in the center of the composition exaggerates the contours of the figures and objects, giving the image a theatrical appearance.

Question 67

When displayed for daily purposes without his splendid robes, the figure of Jowo Rinpoche is seen sitting cross-legged and reaching down with his right hand, indicating

Answer 67

the moment of his enlightenment ## Footnote According the Buddhist tradition, Shakyamuni, the historical Buddha, was tempted by the demon Mara, to keep him from gaining the insights necessary for his spiritual awakening. Shakyamuni was able to defeat the demon by calling upon the earth as a witness that he had achieved enlightenment. This is considered to be a key moment in Buddhism, as it constitutes the instant when Shakyamuni became the Buddha, or Enlightened One. This is the way in which Jowo Rinpoche is depicted; reaching with his right hand to the earth for confirmation.

Question 68

The special religious significance of Jowo Rinpoche, enshrined in the Jokhang Temple in Lhasa, Tibet, is linked to which of the following ideas?

Answer 68

The statue is considered to be a portrait of the historical Buddha ## Footnote The special religious significance of Jowo Rinpoche, enshrined in the Jokhang Temple, is linked to the fact that the statue is considered to be a portrait of the historical Buddha. The statue is believed to depict the Buddha Shakyamuni, who obtained enlightenment under the bodhi tree and founded the Buddhist religion.

Question 69

The work shown can be attributed to

Answer 69

Juan Rodríguez Juárez, because of the subject choice of a casta painting ## Footnote The work shown, *Spaniard and Black Produce a Mulatto*, is a colonial casta painting by Juan Rodríguez Juárez and is similar in style and subject matter to the casta painting *Spaniard and Indian Produce a Mestizo*, attributed to the same artist. The work was created in New Spain (Spanish colonial Mexico) and depicts a Spanish father, indigenous mother, and their child and includes a textual inscription as is typical of casta paintings.

Question 70

The painting is by

Answer 70

Julie Mehretu ## Footnote The work shown, *Stadia II* , is an ink and acrylic painting created by Julie Mehretu in 2004.

Question 71

Over the centuries, a wide courtyard was built around the Kaaba in order to

Answer 71

allow large crowds of pilgrims to perform the prescribed ritual of circumambulation ## Footnote The Kaaba is considered to be the holiest of all Islamic sites. According to the five principles of Islamic faith, all Muslims are expected to undertake the hajj—the pilgrimage to Mecca to visit the Kaaba—at least once in their lifetime, if they are able. As part of the rituals connected to the hajj, pilgrims circumambulate (walk around) the Kaaba multiple times, following the original example of the Prophet Mohamed. Given the large size of the crowds who undertake the pilgrimage annually, it is important to provide enough space around the Kaaba for this important ritual to take place. After the Prophet Mohamed had introduced Islam to Mecca, a mosque (the Great Mosque of Mecca) was built around the Kaaba, and over the course of the centuries, it was enlarged several times. In its current layout, the architects have included a wide courtyard that surrounds the Kaaba, which is situated in its center, in order to accommodate the large crowds of pilgrims circumambulating the holy shrine.

Question 72

In its pilgrimage function and in the way that visitors are intended to interact with the site, the Kaaba in Mecca is most similar to

Answer 72

the Great Stupa at Sanchi ## Footnote Both the Kaaba and the Great Stupa at Sanchi are structures that are part of important religious sites that are designed to accommodate pilgrims, who interact with the religious structure by circumambulating its exterior.

Question 73

Emily Kame Kngwarreye’s *Earth’s Creation* reflects the artist’s roots in aboriginal ceremonial sand painting as well as demonstrating continuity with the style of the Western art movement known as

Answer 73

Impressionism ## Footnote Emily Kame Kngwarreye’s Earth’s Creation demonstrates continuity with aboriginal ceremonial sand painting as well as the Western art movement Impressionism. Emily Kame Kngwarreye’s, *Earth’s Creation* is a large-scale painting on canvas that is executed in a Western style that has been likened to that of Impressionist painter Claude Monet in his studies of atmosphere and seasonal change. Kngwarreye’s *Earth’s Creation*, like Monet’s works, references the environment and the changing of the seasons by using color and textural painting effects.

Question 74

Both works are best categorized as

Answer 74

nonrepresentational

Question 75

The artist included abstracted references to apocalyptic events so that viewers would reflect on the

Answer 75

changes brought on by new developments in the arts ## Footnote Kandinsky uses references to the biblical book of Revelation to express the changes and sense of renewal brought about by new developments in the arts of the early twentieth century.

Question 76

The work on the left emphasizes

Answer 76

a spiritual response to the world

Question 77

The work departs from earlier Western painting traditions because it was inspired in part by

Answer 77

musical composition ## Footnote The highly abstracted nature of Kandinsky’s painting, which departs from earlier European painting traditions, was inspired by the spontaneous qualities of jazz and other forms of modernist music.

Question 78

The work shown was created by which of the following artists?

Answer 78

Vassily Kandinsky ## Footnote The work was created by Vassily Kandinsky.

Question 79

The abstracted nature and dynamic qualities of the work shown, as well as other works by the same artist, had a significant impact on the work of later artists such as

Answer 79

Julie Mehretu ## Footnote Julie Mehretu’s dynamic abstract compositions were inspired by Kandinsky’s abstracted paintings, such as the one shown.

Question 80

Although *Improvisation 28 (second version)* is largely an abstract image with musical references, Vassily Kandinsky also incorporated recognizable imagery to communicate meaning, such as

Answer 80

a horseman and a city, as an allusion to the Apocalypse ## Footnote In *Improvisation 28 (second version)* Vassily Kandinsky incorporates recognizable imagery such as a horseman and a city to reference the Apocalypse. Kandinsky includes abstracted forms that evoke the bodies of horses, in addition to geometric forms that look like a city on top of a hill. Both the horses and the city are reference to the Apocalypse, as described in the book of Revelations.

Question 81

Julie Mehretu's Stadia II and Vassily Kandinsky's *Improvisation 28 (second version)* share which of the following features?

Answer 81

Black lines that create movement ## Footnote Both Mehretu's *Stadia II* and Kandinsky's *Improvisation 28 (second version)* include black lines that provide a sense of movement and energy in the compositions.

Question 82

In the work shown, the use of overlapping vertical and diagonal lines suggests

Answer 82

movement and rhythmic energy ## Footnote Kandinsky used intersecting vertical and diagonal lines to create a sense of dynamism and rhythmic energy

Question 83

The artist of the work on the left was associated with

Answer 83

Der Blaue Reiter

Question 84

The artist of the work on the left is

Answer 84

Wassily Kandinsky

Question 85

In *Lying with Wolf*, Kiki Smith decided to depict a woman with a wolf to challenge traditional

Answer 85

narratives of women as passive characters ## Footnote Kiki Smith’s work in the series is influenced by fables such as “Little Red Riding Hood” in which women are shown as victims consumed by animals. Her work shows a more egalitarian relationship between women and animals, conveying larger ideas about women and power.

Question 86

On the basis of subject matter, expressionistic style, and composition, the self-portrait shown can be attributed to

Answer 86

Ernst Ludwig Kirchner ## Footnote The self-portrait shown can be attributed to Ernst Ludwig Kirchner on the basis of subject, style, and composition. This painting’s rough, unidealized depiction of the painter in a scene from modern life is typical of Kirchner. This painting style and the work’s unnatural tilted composition, which pushes the subject into the viewer’s space, are typical of the German Expressionist group Die Brücke, the group that Kirchner and other artists cofounded. This composition and the figure’s outstretched hand create a sense of psychological drama or intense inner life, further associating this work with the Die Brücke group.

Question 87

The round room in the foreground of the photograph is a

Answer 87

kiva ## Footnote The round room in the foreground of the photograph is a kiva, shown without its roof. Such subterranean rooms were part of high-occupancy dwellings built by the Ancestral Puebloans in the American Southwest. They were used for ceremonial purposes by men who entered via a ladder that went through an opening in the flat roof that covered the space.

Question 88

Gustav Klimt’s painting *The Kiss* is similar to Byzantine mosaics such as the Justinian and Theodora panels from San Vitale in its use of

Answer 88

gold to suggest a spiritual dimension ## Footnote Klimt's *The Kiss* is similar to Byzantine mosaics such as the Justinian and Theodora panels in its use of gold to suggest a spiritual dimension. One way in which The Kiss and the Byzantine mosaics differ is that Klimt not only surrounded his figures with gold but also used a different tone of gold as the primary color within the outlines of the figures.

Question 89

Which of the following features of Gustav Klimt’s *The Kiss* is most strongly associated with Art Nouveau?

Answer 89

The incorporation of organic patterns and decoration ## Footnote The feature of Gustav Klimt’s *The Kiss* that is most strongly associated with Art Nouveau is the incorporation of organic patterns and decoration. Klimt made extensive use of ornate decorations and organic motifs in his painting *The Kiss*. These features are commonly associated with the Art Nouveau style.

Question 90

Klimt used variations in ornamentation in *The Kiss* to differentiate symbolically between

Answer 90

male and female elements ## Footnote Klimt uses patterns to differentiate between male and female elements. He uses rectilinear designs to decorate the man’s robe and circular designs to decorate the woman’s robe.

Question 91

In creating this work, Klimt was influenced by his direct experience of

Answer 91

multicolored tesserae used in Byzantine mosaics at San Vitale ## Footnote In creating this work, Klimt was influenced by his direct experience of multicolored tesserae used in Byzantine mosaics at San Vitale. Klimt’s use of gold leaf and the inclusion of complex geometric designs in The Kiss were inspired by the Byzantine mosaics he saw during his 1903 trip to San Vitale in Ravenna, Italy.

Question 92

The artist of the work on the right is

Answer 92

Gustav Klimt

Question 93

The artist of the work on the right is associated with which of the following art-historical movements?

Answer 93

Vienna Secession

Question 94

The opulent use of gold and jewel-like patterning in the work on the right reflects the artist’s interest in

Answer 94

Byzantine mosaics

Question 95

In her work *Earth's Creation*, Emily Kame Kngwarreye recontextualizes her Australian Aboriginal beliefs in order to create a more personal artistic vision by

Answer 95

fusing traditional cultural motifs with materials and techniques from Western artistic traditions ## Footnote In her work *Earth's Creation*, Emily Kame Kngwarreye recontextualizes her Australian Aboriginal beliefs in order to create a more personal artistic vision by fusing traditional cultural motifs with materials and techniques from Western artistic traditions. Kngmarreye’s work expresses Australian Aboriginal concepts of interconnectedness with the natural world and interest in depicting concepts related to the natural environment in a painting made with oil on canvas, a Western artistic technique.

Question 96

On the basis of subject, style, and composition, the work shown can be attributed to

Answer 96

Käthe Kollwitz ## Footnote The woodblock print shown can be attributed to Käthe Kollwitz on the basis of subject, style, and medium. Kollwitz often depicted everyday people in a rough-hewn style, aided by the woodblock printing technique, as a means of capturing the raw energy and plight of humanity. In this work, the figures’ embrace creates a graphic, central shape, showing the individuals’ interconnectedness. Kollwitz’s *Memorial Sheet for Karl Liebknecht* uses the woodblock print medium to a similar effect.

Question 97

The work shown can be attributed to which of the following ancient Mediterranean cultures?

Answer 97

Archaic Greece ## Footnote The work shown can clearly be attributed to Archaic Greece. The work is a free-standing archaic Greek kouros, a representation of ideal male youth. The visual style of the carved marble statue is clearly associated with the conventions of early versions of kouros production. The statue is rendered life-size, with broad shoulders and narrow waist, and rigidly faces front with fists clenched and left foot advancing.

Question 98

In the way it functions to commemorate individuals after their death, the Etruscan *Sarcophagus of the Spouses* is most similar to which of the following sculptures?

Answer 98

Anavysos Kouros ## Footnote The archaic Greek Anavysos Kouros was a grave marker in the form of an idealized young hero. This is similar to the *Etruscan Sarcophagus of the Spouses*, which also had a funerary function.

Question 99

The funeral banner of Lady Dai and the David Vases are similar in that both

Answer 99

include stylized dragon motifs as symbols of power ## Footnote Despite the differences in the media used to create them and the times at which they were created, both the funeral banner of Lady Dai and the David Vases incorporate stylized dragons as symbols of power.

Question 100

The work shown is an early example of the enduring Chinese artistic tradition of creating pictorial imagery by

Answer 100

painting with pigments on silk ## Footnote The funeral banner of Lady Dai (Xin Zhui) is an early example of the Chinese artistic tradition of painting on silk.

Question 101

The presentation of Lady Xoc in Lintel 25, Structure 23 demonstrates which of the following about royal women in ancient Maya society?

Answer 101

Royal women served as intermediaries between humans and the divine. ## Footnote Lintel 25 demonstrates that royal women in Maya society served as intermediaries between humans and the divine, because it depicts Lady Xoc communicating with the gods through a bloodletting ritual.

Question 102

The temples shown share all of the following features EXCEPT that neither

Answer 102

contains a subshrine that incorporates a processional bronze

Question 103

The practice of circumambulating Hindu temples such as the Lakshmana Temple was intended to enable devotees to

Answer 103

meditate on Hindu principles as they approached the inner sanctuary ## Footnote The walls of the Lakshmana Temple are covered with relief sculptures of various deities that devotees could meditate on. Circumambulating the temple (walking around in a clockwise direction) would take a person past a wide array of sculptures depicting various deities and activities, and, finally, into the inner space dedicated in this case to the god Vishnu.

Question 104

In *The Jungle*, Wifredo Lam’s depiction of enigmatic figures with mask-like faces in a surrealistic landscape has been interpreted as a reference to the

Answer 104

creation of an Afro-Cuban identity against the cultural background of slavery ## Footnote Wifredo Lam’s depiction of enigmatic figures with mask-like faces in a surrealistic landscape in his painting *The Jungle* has been interpreted as a reference to the creation of an Afro-Cuban identity against the cultural background of slavery. Lam’s figures are represented among representations of sugarcane, which references the history of slavery and the exploitation of Cubans by the United States and foreign corporations that depended on the unpaid labor of Cubans for harvest.

Question 105

Which of the following is a characteristic of Wifredo Lam’s *The Jungle* that suggests that Lam was influenced by works such as Georges Braque’s *The Portuguese* ?

Answer 105

Figurative images that are broken into fragments ## Footnote The influence of Cubist works such as Braque’s *The Portuguese* on Wifredo Lam’s painting *The Jungle* can be seen in Lam’s use of fragmented figurative forms.

Question 106

In the work shown, features of different animals were combined for the purpose of creating

Answer 106

an imposing mythical creature that was meant to safeguard the entrance to a royal complex ## Footnote In the work shown, features of different animals were combined for the purpose of creating an imposing mythical creature that was meant to safeguard the entrance to a royal complex. The image shows two representations of a lamassu, a composite creature that combines features of a human with those of different animals, such as a bull with wings, as in the example shown. These mythical creatures were often placed by the Assyrians as guardian figures at entrances to royal complexes. The particular lamassu shown were once part of a gateway to the citadel of King Sargon II in the ancient Akkadian capital of Dur Sharrukin (modern Khorsabad in Iraq).

Question 107

The location of the Lanzón Stela in the Old Temple of Chavín de Huántar suggests that the creators of the building most likely intended to

Answer 107

heighten the spiritual drama of the viewer’s ritualized encounter with the stela

Question 108

The Lanzón Stela’s importance to the complex of Chavín de Huántar is made evident by its

Answer 108

concealment within a series of mazes ## Footnote The Lanzón Stela was located deep within the temple complex of Chavín de Huántar and could only be reached by going through a series of mazes, into which no natural light was able to reach and where special acoustic effects might have created an otherworldly atmosphere. The stela’s placement within the center of such a complex in a location that would have been difficult to reach and might have been restricted to a select few serves to emphasize its importance to the religious site.

Question 109

The emotionalism and drama of the sculpture is most similar to that of which later artistic style?

Answer 109

Baroque

Question 110

The sculpture is attributed to

Answer 110

Hagesandros, Polydoros, and Athanadoros of Rhodes

Question 111

Stylistically, the sculpture is an example of which of the following art historical periods?

Answer 111

Hellenistic

Question 112

Which of the following narratives is illustrated by the sculpture?

Answer 112

The death of a Trojan priest

Question 113

The sculpture does all of the following EXCEPT

Answer 113

exhibit classical repose

Question 114

The sculptor whose work was most influenced by the work shown was

Answer 114

Michelangelo

Question 115

The process used to produce this sculpture is

Answer 115

subtractive

Question 116

By recording the location of the sites where Lapita pottery fragments were found, scholars are able to draw conclusions about the

Answer 116

spread of the Lapita culture across different regions of Pacific islands ## Footnote Scholars can draw conclusions about patterns of ocean migration of prehistoric people in the Pacific region by studying the distribution and specific archaeological context of the stylistically related Lapita pottery fragments, which are found across Micronesia, Melanesia, and Polynesia.

Question 117

In the creation of Lapita pottery, sand was mixed with clay most likely to

Answer 117

make the vessels more durable during the firing process ## Footnote In the creation of Lapita pottery, sand was mixed with clay most likely to make the vessels more durable during the firing process, since the sand would have acted as a temper to reduce shrinkage and prevent cracking.

Question 118

The artist from the Neolithic Lapita culture who created these terra cotta fragments decorated the surface of the ceramic by

Answer 118

applying a red slip made of diluted clay with added mineral pigment before firing ## Footnote The decoration of ceramic of the Lapita culture frequently involved creating a red, smooth surface by applying a liquid clay slip to the unfired clay. The slip was made by mixing clay and minerals such as iron oxide with water. The potter would apply the red slip to the surface of a still unfired pot, then add incised or stamped patterns.

Question 119

Two commonly accepted interpretations of the paintings in the Great Hall of the Bulls at Lascaux are that they depict images related to hunting and that they depict

Answer 119

the connection between the mortal and the spiritual realms ## Footnote Two commonly accepted interpretations of the paintings in the Great Hall of the Bulls at Lascaux are that they depict images related to hunting and that they depict the connection between the mortal and the spiritual realms. Scholars have theorized that the act of painting may have facilitated this connection for the creators of the cave paintings at Lascaux, allowing them to travel outside their bodies to mediate between the physical and spiritual worlds.

Question 120

Paintings such as this are commonly dated to approximately

Answer 120

15,000 B.C.E.

Question 121

In the Great Hall of the Bulls at Lascaux, the placement of the paintings within caves has led scholars to suggest that the paintings

Answer 121

provide evidence of ritual activity ## Footnote In the Great Hall of the Bulls at Lascaux, the placement of the paintings has led scholars to suggest that the paintings provide evidence of ritual activity. Scholars believe that the location of the paintings at Lascaux, in secluded chambers far from the main entrance, suggest that the caves were used for rituals.

Question 122

Although many theories exist to explain the overlapping forms of the animals in the Great Hall of the Bulls at Lascaux, some scholars have interpreted the repeated images as evidence of

Answer 122

ritual activity, perhaps to ensure successful hunting of the animals depicted on the cave walls ## Footnote One of the oldest interpretations of the overlapping forms in the Great Hall of the Bulls at Lascaux is that they represent a kind of hunting magic, with forms repeated most often in the areas of the cave deemed to be most effective in determining a successful hunt.

Question 123

Great Hall of the Bulls in Lascaux, France, is similar to the rock painting of the running horned woman in Tassili n'Ajjer, Algeria, for which of the following reasons?

Answer 123

Both works were created with mineral pigments. ## Footnote Great Hall of the Bulls in Lascaux, France, is similar to the rock painting of the running horned woman in Tassili n'Ajjer, Algeria due to the pigments used. Both the Great Hall of the Bulls in Lascaux and the running horned woman in Tassili n'Ajjer were created using natural pigments made of minerals.

Question 124

Archaeological evidence indicates that the superimposed animal forms in the Great Hall of the Bulls at Lascaux represent

Answer 124

different artists’ depictions over time

Question 125

In the last judgment of Hu-Nefer, from his tomb (page from the *Book of the Dead*), the presence of the ibis-headed god Thoth demonstrates that the ancient Egyptians

Answer 125

placed great importance in written records and observations ## Footnote In the last judgment of Hu-Nefer, from his tomb (page from the *Book of the Dead*), the presence of the ibis-headed god Thoth demonstrates that the ancient Egyptians placed great importance in written records and observations. In ancient Egyptian belief, Thoth was the patron god of scribes such as Hu-Nefer. The ancient Egyptians credited Thoth with creating the written word. In the narrative scene presented in the work, Thoth stands holding a pen and a palette as he observes the scales that weigh the heart of the deceased against the feather of truth and records the outcome.

Question 126

The painting shown was created by

Answer 126

Jacob Lawrence ## Footnote This work is by Jacob Lawrence from the series *The Migration*. Lawrence’s work often addressed the experience of African Americans in the United States. He described his style as dynamic cubism, using bright colors and flat shapes.

Question 127

In this particular painting from the series, the artist intended to convey the

Answer 127

conditions of discrimination that African Americans found in the United States ## Footnote In this painting, the artist shows a segregated public dining area, thereby conveying the conditions of discrimination that African Americans found in the United States. The specific title of this panel, “*They also found discrimination in the North although it was much different from that which they had known in the South*,” clearly indicates Lawrence’s intent to create the work to convey specific conditions of discrimination.

Question 128

Although Jacob Lawrence’s *The Migration of the Negro, Panel no. 49* and Doris Salcedo’s *Shibboleth* use very different media, they are similar in that both

Answer 128

focus the attention of the viewer on a central line that represents societal divisions ## Footnote Jacob Lawrence’s *The Migration of the Negro, Panel no. 49* and Doris Salcedo’s *Shibboleth* both use the principle of emphasis to focus the attention of the viewer on a central line that represents societal divisions. Jacob Lawrence’s painting focuses the attention of the viewer on a yellow rope barrier, which vertically cuts the image in half and divides the restaurant depicted into two sides that are each occupied by patrons of different skin color. Doris Salcedo’s installation in the museum lobby of the Tate Modern featured a crack that ran across the floor of the lobby, dividing it similarly in half. While Lawrence’s work specifically addresses issues of racial discrimination, Salcedo more generally addresses societal divisions that lead to exclusion and discrimination.

Question 129

The painting is from the series *The Migration*, which was a response to which of the following historic events?

Answer 129

The mass movement of African Americans out of the rural southern United States ## Footnote Jacob Lawrence, profoundly affected by the Harlem Renaissance, created this tempera painting with angular forms and strong contrasts of light and dark as part of the series The Migration. The series conveys the experiences of African Americans leaving the rural Southern United States for the North to find better jobs, homes, and freedom from oppression and discrimination.

Question 130

The architect of the building on the right is Frank Lloyd Wright. The architect of the building on the left is

Answer 130

Le Corbusier

Question 131

The building on the left was designed to be a

Answer 131

church

Question 132

The appearance of the building on the left was strongly influenced by

Answer 132

organic forms

Question 133

The building on the left typifies Le Corbusier’s idea that buildings should be

Answer 133

machines for living

Question 134

The work is by

Answer 134

Leonardo da Vinci

Question 135

The artist experimented with the work's

Answer 135

materials

Question 136

The work depicts the

Answer 136

Last Supper

Question 137

The work is located in a

Answer 137

monastic refectory

Question 138

The work is a

Answer 138

wall painting

Question 139

The narrative moment is expressed through the

Answer 139

gestures

Question 140

The work incorporates

Answer 140

linear perspective

Question 141

The painting proved most directly influential for the creation of which of the following works?

Answer 141

Rude’s *La Marseillaise*

Question 142

The painting is most closely associated with which of the following art historical periods?

Answer 142

Romanticism

Question 143

The artist included figures wearing black top hats in the painting to indicate

Answer 143

social class

Question 144

The painting is by

Answer 144

Delacroix

Question 145

The artist included in the painting a recognizable landmark located in

Answer 145

Paris

Question 146

The subject matter of the painting includes all of the following EXCEPT

Answer 146

a biblical parable

Question 147

The work shown was created during which of the following art-historical periods?

Answer 147

Carolingian

Question 148

The work functioned as

Answer 148

a book cover

Question 149

Works such as this were created in

Answer 149

monastic workshops

Question 150

The raised figures were created using which of the following metalworking methods?

Answer 150

Repoussé

Question 151

The portrayal of Christ primarily emphasizes

Answer 151

his triumph over death

Question 152

How did Gottfried Lindauer’s artistic decisions shape his portrait of *Tamati Waka Nene*?

Answer 152

He added traditional Maori clothing and regalia in order to emphasize his subject’s cultural heritage. ## Footnote In the portrait, Gottfried Lindauer chose to highlight Tamati Waka Nene’s tattoos and to depict the chief in traditional Maori dress in order to emphasize the chief’s cultural heritage. Lindauer created his paintings of Maori leaders for two types of audiences: The first group were Europeans who wanted paintings of what they considered to be “exotic” subjects, and which depicted the Western ideal of “traditional” Maori dress. The other group, the Maori chiefs themselves, sought portraits in which they were painted wearing Western-style clothing. This portrait of Tamati Waka Nene was likely produced for a European patron and therefore depicts the chief in a traditional Maori feather cloak and holding a tewhatewha, a type of staff or club; both were objects that signified status and authority.

Question 153

Gottfried Lindauer included traditional Maori tattoos and clothing in his portrait of Tamati Waka Nene to

Answer 153

produce a painting that would appeal to a European buyer ## Footnote Lindauer had two types of buyers for his paintings of Maori leaders: Europeans who wanted paintings of what they considered to be “exotic” subjects and that depicted the Western ideal of “traditional” Maori dress. The other group, the Maori chiefs themselves, sought portraits in which they were painted wearing western clothing—typically Western-style suits. This portrait of Tamati Waka Nene was likely produced for a European patron or audience.

Question 154

To create the portrait of Tamati Waka Nene, Gottfried Lindauer used the technique of

Answer 154

oil painting on canvas ## Footnote Gottfried Lindauer, who was an artist trained in the Western artistic technique, used oil on canvas for his portrait of Tamati Waka Nene, as was typical for traditional Western-style portraits.

Question 155

The work shown demonstrates the influence of earlier northern European artistic traditions through

Answer 155

the interlacing of stylized animal forms to create dense patterns ## Footnote The work shown—the cross-carpet pages from the Lindisfarne Gospels—demonstrates the influence of earlier northern European artistic traditions through the interlacing of stylized animal forms to create dense patterns. The use of highly stylized, interlaced animal forms to create ornamental designs is typical for the early medieval art of northern and western Europe.

Question 156

The complex designs that make up this work reflect its function as a

Answer 156

divider intended to mark the transition between different sections of a book ## Footnote The work shown—the cross-carpet page from the Hiberno Saxon Lindisfarne Gospels—is one of several carpet pages of an early medieval codex from circa 700 C.E. (a codex is a bound, handwritten manuscript or book). Each carpet page marks the beginning of one of the four Gospel texts contained within this book.

Question 157

The influence of older northern European artistic traditions on the work shown demonstrates that

Answer 157

missionaries in the British Isles embraced the local artistic style in their efforts to spread Christianity to new converts ## Footnote The influence of older northern European artistic traditions on the work shown—the cross-carpet page from the Lindisfarne Gospels, created in England in circa 700 C.E.—demonstrates that missionaries in the British Isles embraced the local artistic style in their efforts to spread Christianity to new converts. The unique style of the illumination in Hiberno Saxon codices such as the Lindisfarne Gospels, with its complex and carefully organized patterns of interlaced animal forms, reflects artistic traditions that are typical for migration era and early medieval art of western and northern Europe. The British Isles were quite far away from the center of the early medieval Christian church in Rome, and the missionaries who converted the local people to Christianity in this area developed their own unique artistic style by adapting designs from local metalworking and woodworking traditions to use in illuminated manuscripts.

Question 158

The St. Matthew cross-carpet page of the *Lindisfarne Gospels* invites meditative reflection through the use of

Answer 158

complex and repetitive abstract designs created from interlacing linear forms ## Footnote The St. Matthew cross-carpet page of the Lindisfarne Gospels is entirely composed of highly disciplined, symmetrically arranged, abstract designs that are composed of complex interlacing linear forms. The intricate, yet repetitive and organized nature of the design creates a sense of meditative reflection in the work, which is well suited for a manuscript with religious content.

Question 159

On the basis of style and medium, the work shown can be attributed to which of the following cultures?

Answer 159

Hiberno Saxon Europe ## Footnote he page shown, a portrait of Saint John the Evangelist from the *Lindisfarne Gospels*, can be identified as Hiberno Saxon on the basis of medium and style. Paintings similar to this were produced in the British Isles between 500 and 900 C.E. and, like the work shown, were typically created with ink and pigment on pages of parchment or vellum. Stylistically, the work shares typical features such as an interlace frame surrounding the figure, rich color, and flat modeling with the other three Evangelist portraits in the *Lindisfarne Gospels*, exemplified by the full-page portrait of Saint Luke

Question 160

The cross-carpet page of the *Lindisfarne Gospels* demonstrates the influence of migratory metalwork by

Answer 160

incorporating interlace designs ## Footnote The cross-carpet page exemplifies the interlaced designs commonly found in art of the Migration period, especially metalwork, and Celtic art in general.

Question 161

The fact Lady Xoc is the focus of Yaxchilán lintels, such as the one shown, underscores the

Answer 161

power and influence of the royal women of Yaxchilán in determining rulership ## Footnote The repeated depiction of Lady Xoc, the principal wife of the Mayan ruler Shield Jaguar II, in such a prominent place as on the lintels at Yaxchilán, underscores her power and influence at court and highlights her role demonstrating the legitimacy of Shield Jaguar II and the continuation of his lineage, since they imply that Shield Jaguar II’s right to rule was connected to his wife’s royal blood line.

Question 162

Which of the following sources has been used by scholars of Yaxchilán to support the theory that the lintel carvings of Structure 23 were intended to reinforce Shield Jaguar II’s rule?

Answer 162

Translations of the glyphic inscriptions that accompany the image on Lintel 25 ## Footnote Scholars of Yaxchilán have used translations of the glyphic inscriptions that accompany the image on Lintel 25 to support the theory that the lintel carvings of Structure 23 were intended to reinforce Shield Jaguar II’s rule. Maya glyphs are used to establish the names of the individuals in carvings as well as other information. On this work, glyphs reveal the date of Shield Jaguar’s accession, supporting the idea that the carvings helped shore up his right to rule.

Question 163

The sculpted lintel from Yaxchilán reflects Maya tradition by

Answer 163

combining writing about and images of elites ## Footnote Elite rulers were often depicted on carved stelae with extensive hieroglyphs legitimizing their ancestry and recording their dates of birth, marriage, accession to power, and conquests. Although the inscription is written in reverse on this lintel, the text follows the Maya tradition of identifying figures of high status and validating their connections to the gods.

Question 164

Fra Filippo Lippi’s *Madonna and Child with Two Angels* exemplifies stylistic aspects linked to the Italian Renaissance through its

Answer 164

naturalistic rendering of the holy subjects ## Footnote In *Madonna and Child with Two Angels* Lippi depicts the holy subjects naturalistically, incorporating hairstyles and clothing choices inspired by contemporary fifteenth century fashion. The composition places the figures in an intimate space that conveys earthly reality. Mary is portrayed as young and beautiful with a barely visible halo. She looks like a woman one might find in the temporal world of the Renaissance. The naturalistic style the artist employs aligns with principles of Renaissance humanism and, by emphasizing a sense of playful humanity between the members of the figural group, invites the viewer to relate to the Madonna and Child as one would to a human mother and child.

Question 165

On the basis of subject and style, the work shown can be attributed to which of the following artists?

Answer 165

Fra Filippo Lippi ## Footnote On the basis of subject and style, the work shown can be attributed to Fra Filippo Lippi. The work depicts the Madonna and Child and is notable for the youthful, naturalistic representation of the Virgin Mary and Christ Child. A similar treatment is evident in the work *Madonna and Child with Two Angels* by the same artist. Both works depict the figure of the Virgin with similar facial features, translucent halo, and sheer a veil draped around the head and neck. The two works also share a similar treatment of the Christ Child’s hair. Both works depict images of the Virgins clothed in bulky garments and seated in a chair featuring pronounced spiral-shaped forms. The two paintings also share similar compositions, with the substantial forms of the Madonna and Child in the foreground and a dramatic recession into depth behind, though the work shown is set in an interior and the other work’s background is a landscape.

Question 166

The mosque shown is located in

Answer 166

Spain

Question 167

The image shows a Buddha from the Longmen caves. In the detail shown from the Longmen caves, the statue of the Buddha is depicted in a seated position with crossed legs to indicate the

Answer 167

act of meditation

Question 168

The image shows a Buddha from the Longmen caves. Based on its monumental scale, art historians have theorized that the Buddha shown was created to popularize Buddhist teachings throughout Asia as well as to

Answer 168

reinforce the political power of imperial rule

Question 169

Despite Buddhism’s pacifist tradition, both the Longmen caves and the temple at Todai-ji include guardian statues to

Answer 169

protect Buddhist values and beliefs ## Footnote Both the Longmen caves and the temple at Todai-ji included statues of guardian figures to protect Buddhist values and beliefs from the influence of evil spirits.

Question 170

The rock-cut Longmen cave sculptures are significant within the tradition of Chinese art because they

Answer 170

convey the support of the Chinese imperial court for the spread of Buddhism ## Footnote The Longmen caves Buddha and other associated carvings are significant because they conveyed the imperial court’s support for the spread of Buddhism in China, as it was the imperial court that sponsored their creation. For example, the choice of a monumental sculpture of the celestial (or Vairocana) Buddha as the central Buddha figure likely was intended to embody the idea of supreme power for the imperial patrons. The bodhisattva who flank the monumental statue of the Buddha also underscore the courtly connection through their elaborate, luxurious dress.

Question 171

The image shows a Buddha from the Longmen caves. The statue of the Buddha shown is similar to the statues of the Great Buddha at Todai-ji, in that both are currently situated in complexes where spaces designated as sacred are

Answer 171

protected by guardian figures with menacing poses

Question 172

The work shown fulfills which of the following functions?

Answer 172

It conveys a historical narrative.

Question 173

Which of the following is a feature of the *lukasa* of the Luba peoples that is derived from the Luba tradition of oral, rather than written, history?

Answer 173

The *lukasa* had to be small enough for the person telling the history to hold comfortably. ## Footnote Because the *lukasa* was part of an oral tradition, it had to be small enough for the person telling the history to hold comfortably. The *lukasa* was held in the left hand and read tactilely with the right forefinger.

Question 174

A *lukasa* from the Mbudye Society of the Luba people serves as a

Answer 174

conceptual map of royal history ## Footnote The *lukasa* has a mnemonic function and is an aid for court historians, called mbudye, to recollect important people, places, beliefs, and events.

Question 175

The first Inkan emperor, Pachacuti Inka Yupanqui, had Machu Picchu built to serve as a

Answer 175

site for conducting administrative affairs and ceremonies ## Footnote The first Inkan emperor, Pachacuti Inka Yupanqui, had Machu Picchu built to serve as a site for conducting administrative affairs and ceremonies. Although many people lived in Machu Picchu year-round, the emperor and his inner circle used it primarily during the winter because its climate was milder than that of Cusco.

Question 176

The stone masonry at Machu Picchu employed socketing, a structural technique that

Answer 176

protected against damage caused by earthquakes ## Footnote The stone masonry at Machu Picchu employed socketing, a structural technique that protected against damage caused by earthquakes. Socketing (resting slightly concave and convex stones against each other) was particularly well suited for this area that was prone to earthquakes. While sockets held blocks in place, they permitted walls to withstand earthquake tremors because they allowed for some movement.

Question 177

The artist of the Madonna and Child shown achieved an effect of elegance and grace primarily through the

Answer 177

elongated bodily proportions and the gesture of the Madonna’s head and neck

Question 178

The miniature garden at the Inka temple of Qorikancha included sculptures of maize cobs made from

Answer 178

thin sheets of metal ## Footnote The miniature garden at the Inka temple of Qorikancha included sculptures of maize cobs made from thin sheets of metal. These sculptures were created using a method called repoussé, whereby the artist used a hammer to make fine indentations on the back of the metal. This method gave artists greater control over the material, resulting in highly detailed and naturalistic work.

Question 179

Malagan displays like the one shown, containing elaborately carved and painted figures, poles, and friezes, were usually intended to

Answer 179

be revealed at the height of commemorative ceremonies honoring the dead ## Footnote Malagan displays like the one shown in the image on the right were used by the people of New Ireland in Papua New Guinea as part of complex ceremonies that primarily served to honor the dead, while also serving a variety of other social functions. Malagan ceremonies were expensive, long, and complicated events that might require years of preparation. Malagan displays, consisting of a combination of elaborately carved and painted sculptures, poles, friezes, and masks, were commissioned and created long before the Malagan ceremonies. They were kept out of sight until the height of the ceremony, when they were revealed on a large stage. The display accompanied feasts, performances, and ceremonies that honored the dead. At the end of the Malagan ceremony, the stage and the sculptures were usually destroyed, as they were no longer active.

Question 180

In the malagan mask shown, the artist organized the composition to convey a sense of formal balance by

Answer 180

carving similar elements on either side of a centrally placed vertical axis ## Footnote In the mask shown, the artist organized the composition to convey a sense of formal balance by carving similar elements on either side of a centrally placed vertical axis. Formal balance is characterized by an underlying symmetrical structure. In the mask design, the line that runs vertically through the center acts as a kind of fulcrum or axis that guides an underlying symmetry. Visually similar carved elements are repeated on either side of the central axis. The central line also splits both the face and figure bilaterally, creating another level of symmetry. The form’s design incorporates formal, symmetrical balance that conveys a feeling of formality and elegance.

Question 181

The specific combination of motifs and style used in each Malagan object is partially determined by

Answer 181

customary laws that transferred the ownership of each object’s design to its individual patron ## Footnote Each Malagan sculpture was unique in its motifs and styles. Ownership of a Malagan mask or sculpture essentially functioned as owning the copyright for the specific visual qualities of that object. The ability to own the style of a Malagan mask or sculpture encouraged the development of greater variety in design, which had an impact on the quantity and quality of mask and sculpture production required for the Malagan ceremonies. Even though the Malagan objects themselves were often destroyed after the ceremony, the copyright for the motifs and styles was still viable. This allowed owners to purchase or bequeath the rights to a Malagan design or style.

Question 182

The customary destruction of Malagan display objects after their use has been interpreted as

Answer 182

demonstrating that the objects have ceased to serve their spiritual function ## Footnote Malagan display sculptures were created for use in a specific Malagan ceremony and were destroyed, or later sold to outsiders, after the ceremonies’ conclusion. This has been interpreted as demonstrating that the objects have ceased to serve the spiritual function connected to the specific Malagan ritual.

Question 183

Malagan masks represent

Answer 183

spiritual beings associated with the protection of the community ## Footnote Malagan masks represent ancestors, mythological animals, or spiritual entities that are associated with the protection the local community. Each mask is unique in its imagery and is directly determined by the spirits associated with the clan that commissioned them.

Question 184

In *Olympia*, Manet challenges the standards of academic art through his use of

Answer 184

details that identify the nude figure as a real person existing in a contemporary setting ## Footnote In *Olympia*, Manet challenges the standards of academic art through his use of details that identify the nude figure as a real person existing in a contemporary setting rather than an ideal nude female figure. Monet included the choker, rose, and servant of African descent to place the figure in a specific, contemporary time, which shocked viewers when the painting was first exhibited.

Question 185

The artist of the painting on the right directly influenced which of the following movements?

Answer 185

Impressionism

Question 186

The painting on the right takes its theme from

Answer 186

the pastoral paradise from Giorgione to Watteau

Question 187

The painting on the right shocked the public at the

Answer 187

Salon des Refusés, Paris

Question 188

The painting on the right is by

Answer 188

Edouard Manet

Question 189

With the creation of *Olympia*, Manet inspired

Answer 189

the development of a looser style that uses unblended brushstrokes

Question 190

When creating Olympia, Édouard Manet was influenced primarily by the conventions of

Answer 190

Renaissance nudes

Question 191

An innovation that Manet employed in the painting was

Answer 191

strong light and dark contrasts to create a flattening effect

Question 192

This version of Diego Velázquez’s *Las Meninas* can be attributed to Pablo Picasso for which of the following reasons?

Answer 192

Because of the fractured figures

Question 193

During the Cultural Revolution in China, Liu Chunhua’s oil painting *Chairman Mao en Route to Anyuan* was reproduced in mass quantities primarily to elicit which of the following responses from viewers?

Answer 193

Universal reverence for a heroic and idealized leader ## Footnote During the Cultural Revolution in China, Liu Chunhua’s oil painting *Chairman Mao en Route to Anyuan* was reproduced to elicit a sense of reverence in the viewers. The painting depicts Mao in a highly idealized and heroic manner. He is shown towering over the landscape, with a clenched fist and with a determined look on his face.

Question 194

In the sculpture’s face shown, the surface treatment is best described as

Answer 194

incised symmetrical patterns that reflect Maori moko tattoo design ## Footnote The work shown is the wood-carved portrait figure of Raharuhi Rukupo, a detail from the Te Hau-Ki-Turanga meetinghouse that he designed. Rahuruhi Rukupo was a Maori master carver and chief of the Rongowhakaata tribe. His portrait is a likeness and features incised carving that features spiral and curved lines representing an elaborate Maori tattoo. Working in long-established woodcarving traditions but using metal tools in place of stone tools, Rukupo represents the intricate lines and symmetrical balance of his Maori facial tattoo, called moko.

Question 195

Maria Martínez and other Pueblo potters changed their ceramics to appeal to tourists by

Answer 195

signing their individual names on vessels to attract collectors

Question 196

In the work shown, Rubens included the mythological figures of Jupiter and Juno to

Answer 196

represent divine approval of the king and queen’s marriage ## Footnote The work shows King Henry IV admiring a painting of his future wife Marie de’ Medici with great tenderness. In the upper half of the painting, Jupiter (the chief deity of the Roman pantheon) and Juno (Jupiter’s wife and goddess of marriage) look adoringly upon the couple, as if to offer their approval of the royal union.

Question 197

The work on the left can best be described as

Answer 197

part of a series

Question 198

By commissioning Rubens to execute a cycle of paintings for the Luxembourg Palace in Paris, Queen Marie de’ Medici sought to

Answer 198

rehabilitate her reputation after she had been exiled from court ## Footnote Marie de’ Medici sought to rehabilitate her reputation in this cycle of paintings commissioned after she had been exiled from court. De’ Medici and her son, Louis XIII, reconciled in 1619 with the Treaty of Angoulême. The paintings decorated her new home, the Luxembourg Palace — a statement of her return to power. The commission was intended to vindicate her reign as queen.

Question 199

The artist includes the iconography of lotus blossoms in order to reference which of the following?

Answer 199

Buddhist beliefs about purity ## Footnote he artist includes the iconography of lotus blossoms in order to reference Buddhist beliefs about purity. In Buddhism, the lotus represents the pure and enlightened mind that frees itself from worldly suffering and desire like a lotus flower growing from murky water.

Question 200

The imaginative reinterpretation of spiritual traditions presented in the work is most similar to

Answer 200

Bill Viola’s *The Crossing* ## Footnote The imaginative reinterpretation of spiritual traditions presented in the work is most similar to Bill Viola’s *The Crossing*. Both the work shown and Viola’s *The Crossing* incorporate references to powerful spiritual experiences and important religious traditions in a creative and unexpected manner.

Question 201

Which of the following works is most similar to Pure Land in that it includes a photographic self-portrait?

Answer 201

*Rebellious Silence*, from the Women of Allah series ## Footnote *Rebellious Silence*, from the Women of Allah series is similar to *Pure Lands* because both works include photographic self-portraits of the artist.

Question 202

One interpretation of Andy Warhol’s *Marilyn Diptych* asserts that the artist intended to elevate the status of his subject to that of a religious icon by the use of a diptych format; another interpretation argues that the artist no longer viewed painting as a fine art distinct from popular culture because of the work’s

Answer 202

multiple references to mechanical forms of reproduction ## Footnote The multiple references to mechanical forms of reproduction, such as the use of silkscreen, the celebrity photo of Marilyn, and the variations in the application of ink from image to image in the *Marilyn Diptych*, all suggest that Warhol no longer saw a distinction between fine art and popular culture images.

Question 203

Maria and Julian Martínez developed a black-on-black pottery technique that included the creation of a smooth, high-gloss surface finish, which was achieved by

Answer 203

applying slip and polishing it with a smooth stone ## Footnote After liquid clay slip was applied, the pots would have been burnished with a smooth stone to create the desired glossy effect prior to firing. Matte designs would then have been painted by Julian Martínez, using an iron-rich solution. Then the work would have been fired in the below-ground kiln.

Question 204

The sculptor of this relief communicates which person has the highest status primarily by means of the figures’

Answer 204

placement ## Footnote The sculptor of this relief communicates which person has the highest status primarily by means of the figures’ placement. The highest-status figure, whose identity is revealed in the glyphs in the upper center, is indicated mainly by his placement at the uppermost part of the picture space. This enables him to look down toward the official who is presenting captive prisoners of war, underscoring his authority over the others.

Question 205

The lunette-shaped space above the doors is called a

Answer 205

tympanum

Question 206

The decoration on portals of this period represents the widespread reemergence of European monumental stone sculpture not seen since

Answer 206

the Late Roman Empire

Question 207

Religious objects such as this one were produced primarily for

Answer 207

private devotion

Question 208

The work comes from which of the following periods or cultures?

Answer 208

Medieval

Question 209

The painting reflects contemporary culture primarily through the mapping of

Answer 209

consumerism and national identities ## Footnote The painting reflects the mapping of consumerism, propaganda, and national identities through the inclusion of design elements from international flags, religious symbols, and corporate logos.

Question 210

The painter intentionally underscores the art-making process by

Answer 210

layering drawing with painting ## Footnote Julie Mehretu layers drawing with painting, using an acrylic coating to create layers that are augmented with tracings and marks

Question 211

On the basis of style, the work shown can be attributed to

Answer 211

Julie Mehretu

Question 212

Mesa Verde cliff dwellings were located on a sheltered ledge elevated above the valley floor for which of the following reasons?

Answer 212

The exposure to the sun’s heat in winter and the assurance of shade in summer ## Footnote Mesa Verde cliff dwellings were located on a sheltered ledge elevated above the valley floor to allow the sun’s rays to penetrate during the winter and provide shade in the summer. In the winter, when the sun was low in the sky, light would shine into the dwelling, warming the stone. In the summer, when the sun was high in the sky, the cliff provided shade from the sun, cooling the dwelling.

Question 213

Forms of painting found in ancient Mesoamerica include illustrated codices and

Answer 213

large narrative murals

Question 214

Both works depict the same subject. The work on the right is by Michelangelo. Michelangelo’s work can be attributed to its stylistic period because of which of the following characteristics?

Answer 214

Reference to models from classical antiquity ## Footnote Michelangelo’s work can be attributed to the Renaissance because of his referencing of models from classical antiquity in *David*, similar to Donatello. Specifically, Michelangelo was inspired by ancient works like the *Doryphoros (Spear Bearer)* and Augustus of Prima Porta.

Question 215

Both works depict the same subject. The work on the right is by Michelangelo. Michelangelo can be interpreted as responding to the work on the left through his

Answer 215

decision to depict the subject poised at the moment before decisive action ## Footnote Michelangelo depicts the moment before the decisive action in his sculpture — a change from Donatello’s depiction of David after his victory over Goliat

Question 216

The work on the left is located in

Answer 216

Florence

Question 217

The work on the left became a symbol of

Answer 217

civic freedom

Question 218

The sculptor of the work on the left was

Answer 218

Michelangelo

Question 219

The Temple of Minerva differs from traditional Greek temples such as the Parthenon in that the Temple of Minerva most likely

Answer 219

was made of wood, mud brick, and clay instead of stone and marble ## Footnote The Temple of Minerva differs from traditional Greek temples such as the Parthenon in that the Temple of Minerva most likely was made of wood, mud brick, and clay instead of stone and marble. Like most Etruscan temples, the Temple of Minerva had a stone foundation but was otherwise made of ephemeral materials, which is why only the foundation of the temple has survived.

Question 220

The monumental size and figural content of the moai on platform (*ahu*) from Rapa Nui strongly suggest to scholars that the culture that created them can best be described as

Answer 220

hierarchical ## Footnote While the social structure of ancient Easter Island is largely unknown, the monumental scale and figural content of the moai on Rapa Nui strongly suggest that the sculptures represent important or high-ranking individuals; likely ancestors or rulers. The large scale and labor-intensive process of creating and moving these statues strongly suggest that they were commissioned by individuals with high status who were able to command extensive resources.

Question 221

Scholars theorize the moai on platform (ahu) had a protective function based on their upward-tilted gaze and the

Answer 221

placement of the figures with their backs to the ocean ## Footnote The moai were placed on platforms located near the coastline and faced toward the center of the island with their backs turned to the ocean. This direction suggests that they were facing communities on the island to protect them.

Question 222

Most scholars theorize that the Moai on platform (*ahu*) of Rapa Nui (Easter Island) were traditionally oriented to face inland, away from the ocean, for which of the following reasons?

Answer 222

To emphasize the Moai’s role as guardians over the community living on the island ## Footnote Most scholars theorize that the Moai on platform (*ahu*) of Rapa Nui functioned as guardians over the community living on the island. Due to their large size and position facing toward the interior of the island, scholars believe that the Moai were created to watch over the inhabitants of Rapa Nui.

Question 223

In his *Composition with Red, Blue and Yellow*, Piet Mondrian attempted to create a pure, universal aesthetic by using

Answer 223

rimary colors ## Footnote In his *Composition with Red, Blue and Yellow*, Piet Mondrian attempted to create a pure, universal aesthetic by using primary colors. Mondrian and other artists involved with the De Stijl movement sought to refine painting to its bare essentials by using geometric forms and pure primary colors.

Question 224

The painting shown can be described as Impressionist because of its

Answer 224

capturing of a transitory moment ## Footnote The painting shown can be described as Impressionist because of its capturing of a transitory moment. The billows of smoke coming from the trains and almost overwhelming the canvas prove that this is a scene that is moving. To further emphasize this point, Monet shows one train entering the station and another leaving.

Question 225

Monet’s *The Saint-Lazare Station* exemplifies a central interest of Impressionist artists by

Answer 225

rendering an everyday moment to highlight the effects of light on surfaces ## Footnote Monet’s aim was to capture the immediacy of both light and atmosphere of an everyday moment in his work. Monet achieved this goal by using loose brushstrokes in his view of the train station, and by focusing on the play of light and shadow as well as the appearance of the smoke being emitted from the locomotive.

Question 226

In *Mont Sainte-Victoire*, Paul Cézanne sought to explore the

Answer 226

coexistence of multiple viewpoints in a single scene

Question 227

Thomas Jefferson introduced Neoclassical elements in the facade of Monticello by adding

Answer 227

a Doric portico with triglyphs and metopes ## Footnote Neoclassical architecture is characterized by borrowing architectural elements from ancient Greek and Roman architecture. In the case of Monticello, which is an early example of Neoclassical architecture in the United States, Thomas Jefferson added a Doric portico, which includes the characteristic triglyphs and metopes of the ancient Greek Doric order, to the building’s design after being inspired by a visit to Europe where he had the chance to study ancient Roman and Neoclassical architecture.

Question 228

In Thomas Jefferson’s design of Monticello, the influence of the ancient Roman Pantheon is evident in the

Answer 228

combination of a domed central plan and a porticoed entrance ## Footnote The domed central plan and the porticoed entrance are two easily recognizable features of both Monticello and the Pantheon.

Question 229

In her work Pure Land, Mariko Mori breaks with art tradition and reflects the evolution of what is defined as art by

Answer 229

incorporating imagery from popular culture ## Footnote Mori’s Pure Land demonstrates a break from art tradition and reflects the evolution of what is defined as art by incorporating imagery from popular culture, particularly the floating musicians that look like cartoon extra-terrestrials. As with the introduction of photography—originally excluded from consideration as fine art—cartoons and similar images were not initially seen as art. Mori takes these figures and incorporates them seamlessly into her playful, but nonetheless serious, work. Contemporary art embraces imagery of all kinds, rather than maintaining narrower approved conventions.

Question 230

In her installation *Pure Land*, Mariko Mori created an immersive atmosphere by combining

Answer 230

scented air, photography, and a 3-D video shown in a small room ## Footnote In *Pure Lands*, Mariko Mori combined scented air, photography, and a 3-D video to create an immersive, multisensory installation.

Question 231

The qibla wall in the mosque indicates the direction of prayer toward

Answer 231

Mecca

Question 232

The double-tiered columns allowed for all of the following EXCEPT

Answer 232

barrel-vaulted roofing

Question 233

The mihrab of the structure is located

Answer 233

in the qibla wall

Question 234

A principal feature of the interior shown is

Answer 234

a hypostyle hall

Question 235

Incorporated into the building’s design are voussoirs, which are used to form the

Answer 235

horseshoe arches

Question 236

All of the following are part of the structure’s decoration EXCEPT

Answer 236

bas relief narratives

Question 237

An aspect of the Great Mosque of Djenné that is unique to Mali architecture and differs from other traditions of mosque construction is the

Answer 237

spires surmounted by ostrich eggs ## Footnote An aspect of the Great Mosque of Djenné that is unique to Mali architecture and differs from other traditions of mosque construction is the placement of ostrich eggs at the top of the structure’s conical spires. Ostrich eggs are symbols that are unique to the Malian region in West Africa and related to fertility and purity.

Question 238

In the Mosque of Selim II, the architect Sinan proclaimed the Ottoman sultan’s supremacy over the emperors of Byzantium through all of the following means EXCEPT by

Answer 238

building on the site of Emperor Justinian’s tomb ## Footnote The architect Sinan did not build the Mosque of Selim II on the site of Emperor Justinian’s tomb in Constantinople; it is located in Edirne, Turkey.

Question 239

Which of the following was designed by the architect Sinan?

Answer 239

The Selimiye Mosque in Edirne

Question 240

In the folio shown, the elaborate border of flowers and birds, rich furniture, and figural composition allows it to be attributed to which of the following cultures?

Answer 240

Mughal India ## Footnote Like Bichitr’s *Jahangir Preferring a Sufi Shaikh to Kings*, the folio shown depicts a seated royal person, who is shown in profile, seated on expensive furnishings and surrounded by a flowered border.

Question 241

Both artists were considered part of

Answer 241

the avant-garde

Question 242

Both artists show an interest in

Answer 242

psychological states

Question 243

The painting shown can be attributed to which of the following artists?

Answer 243

Edvard Munch ## Footnote On the basis of subject matter, style, and composition, the painting shown can be attributed to Edvard Munch, the Norwegian Expressionist best known for his work *The Scream*. The background landscape in and work shown and the activated sky composed of swirling lines are very similar to those seen in *The Scream*. The pale, ghostly faces and skull-shaped heads are also characteristic of Munch, who rejected naturalistic detail in favor of an expressive style in order to depict an inner psychological state and to heighten the emotional impact of his works.

Question 244

The artist of the work on the left is

Answer 244

Edvard Munch

Question 245

The artist of the work on the left worked primarily in

Answer 245

Norway

Question 246

The style of the work on the left is closest to that of

Answer 246

Symbolism

Question 247

Eadweard Muybridge’s *The Horse in Motion* demonstrated significant change in artistic production by doing which of the following?

Answer 247

Mechanically recording images that the human eye cannot capture ## Footnote Eadweard Muybridge’s *The Horse in Motion* demonstrated significant change in artistic production by mechanically recording images that the human eye cannot capture. Muybridge used photography to capture a horse’s movements as it galloped. In doing, so he captured movements impossible to see with the naked eye.

Question 248

The images show two views of Nan Madol. The most likely reason basalt was used as the primary building material at Nan Madol was due to its

Answer 248

ability to break naturally into columnar forms ideal for construction ## Footnote The basalt that was used in Nan Madol naturally breaks into columns, making it ideally suited for constructing a monumental complex like Nan Madol.

Question 249

The complex of Nan Madol in Micronesia is most similar in its original function to the

Answer 249

Forbidden City ## Footnote Both Nan Madol and the Forbidden City in China are architectural complexes that were built as expressions of power by a ruling elite and served as the residence for a ruler as well as a central palace with important ceremonial and administrative functions.

Question 250

The images show two views of Nan Madol. Nan Madol can best be described as a complex that is composed of

Answer 250

artificial islands that are protected from the ocean by seawalls ## Footnote The architectural complex of Nan Madol in Micronesia was built on top of a submerged coral reef close to the shoreline of the island of Pohnpei and consists of several artificial islands surrounded by seawalls.

Question 251

The images show two views of Nan Madol. Nan Madol is believed to have primarily functioned as a

Answer 251

ceremonial and administrative center of a royal dynasty ## Footnote Nan Madol was a royal religious and administrative center used by the ruling class of the Saudeleur Dynasty.

Question 252

The structures that comprise the ancient site of Nan Madol were built by

Answer 252

stacking natural basalt columns in an intersecting pattern ## Footnote The creators of Nan Madol built walls and platforms atop submerged coral reefs by transporting many thousands of natural basalt columns from a quarry on a nearby island and stacking them without the use of mortar in an alternating arrangement of layers, with the columns pointing in different directions.

Question 253

Archaeologists have theorized that Nan Madol was a significant ceremonial center based on its extensive network of basalt structures and

Answer 253

the remains of large amounts of adornments, food, and kava ## Footnote In addition to the magnificent basalt buildings, archaeologists have unearthed large amounts of necklaces, arm rings, beads, and crystals, as well as the remains of abundant amounts of food generated by the lush environment and evidence for the processing of Kava—a plant used to create a beverage that produces relaxation and euphoria.

Question 254

Basalt was used to construct complexes in Nan Madol because it

Answer 254

fractured into columnar shapes that were useful for construction

Question 255

Because the work is sited to relate to the sun at the summer solstice, it recalls prehistoric works such as

Answer 255

Stonehenge

Question 256

Works like the one shown from Micronesia utilized abstract geometric lines and shapes because they functioned to record

Answer 256

ocean currents and landforms ## Footnote The work shown is a navigation chart from the Marshall Islands. Navigation charts enabled experienced navigators to record ocean routes used to travel between the various islands of Micronesia. The artist who created this work therefore arranged diagonal and curved sticks in a specific design that is intended to represent patterns of oceanic currents and swells important for navigation.

Question 257

The work shown functioned as a

Answer 257

memory aide to help prepare sailors for ocean voyages ## Footnote The work shown is a navigation chart from the Marshall Islands, and as such was intended as a memory aid or training device for navigators to prepare them for journeys between the many islands of Micronesia. Navigation charts are composed of patterns of sticks, shells, and other materials that represent islands and relevant ocean swell patterns. Unlike regular maps, which are standardized and fixed in the representation of geography, each navigation chart is unique. The form and composition of a navigation chart represents the knowledge and memory of its creator.

Question 258

The stick charts of the Marshall Islands are distinct from other forms of cartography in that they are used to

Answer 258

record the knowledge of an individual navigator ## Footnote The stick charts of the Marshall Islands are distinct from other forms of cartography in that they are used to record the knowledge of an individual navigator. The navigation charts (stick charts) from the Marshal Islands were created by a single person, and they mapped out patterns of swells and islands on the ocean.

Question 259

In this Kuba sculpture of a king, the proportion of the head is exaggerated to show

Answer 259

the value place on intelligence in leaders ## Footnote The Kuba peoples, like those in many West and central African cultures, exaggerate the proportions of the head to show the intelligence of the king, which is highly valued.

Question 260

The *Ndop* portrait of King Mishe miShyaang maMbul demonstrates continuity within Kuba traditional sculpting conventions through its

Answer 260

rounded contours, facial expression, body position, and regalia ## Footnote The *Ndop* portrait of King Mishe miShyaang maMbul demonstrates continuity within Kuba traditional sculpting conventions through its rounded contours, facial expression, body position, and regalia, all visual features typically seen in Ndop portrait figures.

Question 261

Which of the following visual features is intentionally included by artists to help the viewer to link a *Ndop* (portrait figure) with a specific named individual?

Answer 261

A geometric motif pattern sculpted on the front of the base ## Footnote A visual feature that Kuba artists intentionally include in each *ndop* portrait figure in order to link the figure with a specific named individual is a unique geometric pattern carved in deep relief on the front of the figure’s base.

Question 262

The work shown can be attributed to which of the following ancient Mediterranean cultures?

Answer 262

Neo-Assyrian ## Footnote The work shown can be attributed to the neo-Assyrian culture of the ancient Mediterranean. It is a frieze from the Palace of Sargon II in Dur Sharrukin (modern Khorsabad, Iraq). The content depicted, an armed Assyrian warrior, and the style of the sculpted alabaster relief are associated with the Neo-Assyrian culture. At Persepolis, the Audience Hall (*apadana*) of Darius and Xerxes includes sculptural friezes executed in a similar style. These friezes show stately figures in both profile and composite poses. The men are bearded and some carry weapons, like the figure of the warrior in the work shown.

Question 263

The female subjects in Shirin Neshat’s *Rebellious Silence* from the Women of Allah series and Édouard Manet’s *Olympia* are both depicted with

Answer 263

confrontational gazes ## Footnote The female subjects in Shirin Neshat’s Rebellious Silence from the Women of Allah series and Édouard Manet’s *Olympia* are both depicted with confrontational gazes. Both works break with traditional Western representations of women by featuring women subjects that shock the audience by gazing intently back at the viewer.

Question 264

The most significant difference in the way writing is used to convey meaning in Xu Bing’s *A Book from the Sky* and Shirin Neshat’s *Rebellious Silence* from the Women of Allah series is that

Answer 264

Xu’s work employs invented characters while Neshat’s work quotes from a poem ## Footnote The most significant difference in the way writing is used in Xu Bing’s *A Book from the Sky* and Shirin Neshat’s *Rebellious Silence* is that Xu’s work employs invented Chinese characters; Neshat’s quotes from a poem. Xu Bing chose to use characters that do not convey meaning by themselves; Neshat included a poem whose content contribute to the paradoxical nature of the work as a whole.

Question 265

The painter of the Niobides Krater used which of the following to create convincing figures in motion?

Answer 265

Precise contour lines ## Footnote The painter of the Niobides Krater used precise contour lines. Contour lines differ from simple outlines in providing information about how the parts of a figure shift as the figure moves. The precise, skillful contours here make the relatively flat figures expressive and active.

Question 266

The power figure (*Nkisi n’kondi*) is inserted with pegs, nails, and other sharp objects in order to

Answer 266

solidify an oath or resolution ## Footnote The power figure (*Nkisi n’kondi*) is inserted with pegs, nails, and other sharp objects in order to solidify an oath or resolution. The material used may suggest the type or severity of the issue. If an agreement is broken or wrongdoing occurs, the object’s special powers of avenging or protection, granted through an nganga or spiritual specialist, become activated.

Question 267

In designing the power figure (*Nkisi n’kondi*), the artist drew on the Kongo traditions of carving a hollow cavity in the area of the figure’s belly in order to

Answer 267

serve as the figure’s spiritual center, where medicinal material is placed ## Footnote In designing the power figure (*Nkisi n’kondi*), the artist drew on the Kongo traditions of carving a hollow cavity in the area of the figure’s belly in order to serve as the figure’s spiritual center, where medicinal material is placed. The *nganga*, or spiritual specialist, places the sacred medicinal material in a hollowed-out abdominal cavity. The spirit of the *Nkisi* is activated when the *nganga* begins to nail pointed objects into the figure to wake it up.

Question 268

The sculpture was created by a

Answer 268

carver and a specialist combining elements of form and substance

Question 269

This type of sculpture is most often used in which of the following contexts?

Answer 269

Resolution of disputes and curing of physical ailments

Question 270

The nails and other materials added to the sculpture are intended to

Answer 270

activate the spiritual power residing in the figure

Question 271

The material and shape of object shown from Chavín de Huántar indicates its likely function as a

Answer 271

nose ornament belonging to a high-ranking individual ## Footnote The object shown is a nose ornament made from hammered gold alloy from the same culture as the ancient Peruvian temple complex of Chavín de Huántar. The function of this object can be seen in its curved shape with a small gap on the top where it would have been fastened to the nasal septum, the part of the nose that separates the nostrils. Nose ornaments such as the one shown, made from precious materials, would have been worn by high-ranking members of society as a sign of social status, power, and devotion to the Chavín de Huántar religion, as the serpentine motif is also found in the designs on the Lanzón Stela and likely carries religious symbolism.

Question 272

The artist who created the female deity figure from Nukuoro achieved a smooth, glossy surface by

Answer 272

finishing the carved surface of the figure by polishing it with pumice rock ## Footnote By working the surface with a pumice stone, the artist was able to give the carved surface of the wooden figure a smooth and polished appearance.

Question 273

David’s formal and thematic choices in *The Oath of the Horatii* demonstrate the principles of Neoclassicism, evident in the painting's

Answer 273

compositional clarity and use of ancient texts to teach a moral lesson ## Footnote Like other works of Neoclassical painting, David’s’ *Oath of the Horatii* functions as a teaching tool, as it uses the Roman legend of the Horatii to express the importance of duty and honor. Furthermore, the work possesses strong compositional unity, which is common among works of Neoclassical painting. For instance, the tiles on the floor, as well as the arches in the background, organize the figures into three distinct groups: the brothers with their arms raised in a roman salute, the father in the center, and the sobbing women and children in the corner.

Question 274

The work on the left was painted by

Answer 274

Jacques-Louis David

Question 275

The painting shown above is associated with which of the following periods or movements?

Answer 275

Neoclassicism

Question 276

The subject of the work on the left is derived from

Answer 276

Roman history

Question 277

The artist of the work on the left was a leading representative of

Answer 277

Neoclassicism

Question 278

Which of the following is true of the work on the left?

Answer 278

It was intended as a moral example.

Question 279

The observatory at Machu Picchu is believed to have been used for

Answer 279

tracking astronomical events ## Footnote The Observatory at Machu Picchu is believed to have been used for tracking astronomical events, such as the June solstice and the rise of important constellations

Question 280

The Roman emperor who sponsored the construction of the church illustrated was

Answer 280

Constantine the Great

Question 281

The plan and drawing reconstruct the appearance of Old Saint Peter's in Rome. The design of the church illustrated was most influenced by

Answer 281

basilicas

Question 282

The semicircular space behind the altar is

Answer 282

an apse

Question 283

Construction of the building was begun in the

Answer 283

fourth century C.E.

Question 284

Light entered the nave through a

Answer 284

clerestory

Question 285

For social and political reasons, the church was located on the site

Answer 285

where many believed Saint Peter was buried

Question 286

The building had

Answer 286

an atrium

Question 287

In creating the work shown, Claes Oldenburg intended to encourage thoughtful reflection by

Answer 287

combining contrasting references to objects traditionally connected with gender stereotypes ## Footnote Oldenburg's work *Lipstick (Ascending) on Caterpillar Tracks* creates layered meanings by taking an object so common we scarcely notice it and forcing viewers to consider it from multiple different angles. While it resembles a lipstick, something that was commonly considered to be a feminine item, it also has a phallic form and resembles the atomic missiles that were nagging worries for most people during the Cold War. This juxtaposition is a powerful device for capturing viewers’ attention and causing them to think in new ways.

Question 288

The work shown was intended to elicit a humorous response from viewers by

Answer 288

placing a common object in an unexpected context ## Footnote Claes Oldenburg took the image of a lipstick, a common and recognizable object that we associate with small, everyday items, and transformed the scale from the three-inch form we are familiar with into one that is twenty-four feet tall. This extreme and unexpected shift in scale catches the viewer by surprise and evokes a humorous response.

Question 289

Claes Oldenburg's choice of imagery in this work reflects which contemporary concern of the 1960s?

Answer 289

Protests against the Vietnam War on college campuses ## Footnote Claes Oldenburg made this work in collaboration with architecture students at Yale University, a hotbed for the student protests taking place both locally and on campuses across the country against American involvement in the war in Vietnam. The vertical lipstick cylinder is combined with the tracks of a bulldozer to resemble a missile launcher, alluding to military equipment used in the Vietnam War.

Question 290

Claes Oldenburg’s references to popular culture to comment on contemporary American society is most similar to that found in works by

Answer 290

Andy Warhol ## Footnote As pop artists, both Andy Warhol and Claes Oldenburg blur the lines between “high” art and images found in popular culture, like those seen on drugstore or supermarket shelves, on movie posters, or in newspapers and magazines. In doing so, they comment on contemporary society’s materialistic values and consumerist practices. Warhol’s *Marilyn Diptych* comments on the negative effects of turning a young woman into a commodity for generating profit, as Oldenburg’s *Lipstick (Ascending) on Caterpillar Tracks* critiques the shallowness of marketing toward women as well as the profits made by both cosmetic and military production.

Question 291

Pepon Osorio created *En la Barberia no se Llora (No Crying Allowed in the Barbershop)* as

Answer 291

an interactive installation that resembles a functioning barbershop ## Footnote Pepon Osorio created En la Barberia no se Llora (*No Crying Allowed in the Barbershop*) as an interactive installation resembling a functioning barbershop. Osorio originally placed his installation inside an empty storefront that included several barber chairs and was decorated with various items and images connected to Puerto Rican cultural ideas of masculinity.

Question 292

In the work shown, which of the following fabrication methods contributes to the content and resulting function of the piece?

Answer 292

Placing curved sticks to represent ocean wave swells on a navigational training chart ## Footnote The fabrication of the work, a navigation chart (rebbelib) of the Marshall Islands, involved placing curved sticks to represent ocean wave swells. The work, a kind of map, abstractly visualizes the location of a number of the Marshall Islands and surrounding Pacific Ocean waters. The configuration, a typical stick-and-shell design, was created by lashing together horizontal and vertical wood, such as sticks, with strands of plant fiber to produce a sturdy, open framework base. Cowrie shells were placed on to the base to mark the position of islands. Diagonally placed and added curved sticks designate wave crests and ocean swells. The stick chart was not something used for real-time navigation. It is an instructional tool used to teach and study navigational information before the Marshallese embarked on an ocean voyage by canoe.

Question 293

Although *The Oxbow (View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm)* can be interpreted as a depiction of a local landscape, Thomas Cole also intended the work to be understood as a

Answer 293

moral commentary on American civilization ## Footnote Thomas Cole intended *The Oxbow* to be understood as a moral commentary on American civilization. The work is divided in half, with wild, unkempt nature on one side and orderly and serene farmland on the other. Cole intended the work to be an allegory for western expansion and a moral argument for the benefits of American civilization.

Question 294

Paik’s artistic innovation in works such as *Electronic Superhighway* proved influential on which of the following artists?

Answer 294

Bill Viola ## Footnote As a pioneer in the field of video art, Nam June Paik was a major influence on video artist Bill Viola.

Question 295

With its references to mapping, Paik’s work most closely resembles the pictorial strategies seen in the work of

Answer 295

Julie Mehretu ## Footnote Nam June Paik and Julie Mehretu both incorporate elements from mapping and cartography into their work.

Question 296

In *Electronic Superhighway*, Nam June Paik combines closed-circuit television and video screens with a neon-outlined map of the United States to address the country’s

Answer 296

entry into the Information Age ## Footnote By using video, closed-circuit television, neon, and the map of the United States in *Electronic Superhighway*, Nam June Paik was able to address the country’s entry into the Information Age. The materials and composition of *Electronic Superhighway* directly reference boundaries and communication, as influenced by modern electronic life. Paik was interested in depicting a broadband communication network with this work, which became an iconic representation of the World Wide Web.

Question 297

Hide paintings such as those produced by Cotsiogo (Cadzi Cody) in the late 1800s were important to Shoshone artists in part because of the response the hide paintings got from

Answer 297

Euro-American tourists, who were eager to buy them ## Footnote Hide paintings such as those produced by Cotsiogo (Cadzi Cody) in the late 1800s were important to Shoshone artists in part because of the response the hide paintings got from Euro-American tourists. This gave the artists financial support and an avenue through which they could document the traditions of their culture.

Question 298

The iconography of the painted elk hide, attributed to Cotsiogo (Cadzi Cody), refers to his ancestor's reliance on

Answer 298

hunting on the Great Plains ## Footnote Cotsiogo, also known as Cadzi Cody, was a member of the Eastern Shoshone, a Great Plains tribe that had been confined by the United States government to the Wind River Reservation. Traditionally, his people had relied on hunting bison for food. The combination of the near eradication of the bison and being confined to the reservation created great economic suffering among the Eastern Shoshone, so some tribal members turned to creating painted hides that could be sold to tourists. This hide was one of those. Cotsiogo specifically chose the subject matter of a bison hunt and a tribal dance because that was what appealed most to buyers.

Question 299

In the painted elk hide attributed to Cotsiogo (Cadzi Cody), freehand painting and stenciling were likely used to create

Answer 299

an energized surface with repeated colors and motifs ## Footnote In the painted elk hide attributed to Cotsiogo (Cadzi Cody), freehand painting and stenciling were likely used to create an energized surface with repeated colors and motifs. The compositions of Cotsiogo’s hide paintings are vibrant and exhibit dynamic movement. He used a limited, bright palette and repeated symbolic shapes and motifs from Eastern Shoshone life and history. This particular hide depicts the sun dance, a sacred ceremony that honors the creator deity, among other events and activities of daily life.

Question 300

On the basis of style and medium, the work shown can be attributed to which of the following?

Answer 300

The Eastern Shoshone

Question 301

The architectural elements on the facade of the Palazzo Rucellai include

Answer 301

pilasters and entablatures ## Footnote The architectural elements on the facade of the Palazzo Rucellai include pilasters and entablatures. The exterior of the Palazzo Rucellai is decorated with rectangular columns attached to the wall, known as pilasters, which are capped by ornamental horizontal molding, known as an entablature.

Question 302

The Palazzo Rucellai demonstrates Leon Battista Alberti’s knowledge of antiquity, which he gained through reading the writings of

Answer 302

Vitruvius ## Footnote The Palazzo Rucellai demonstrates Leon Battista Alberti’s knowledge of antiquity, which he gained through reading the writings of Vitruvius. The proportion and design of Palazzo Rucellai was modeled on On Architecture, written by the ancient Roman architect Vitruvius.

Question 303

The design of the facade of the Palazzo Rucellai was most closely influenced by which of the following ancient monuments?

Answer 303

The Colosseum ## Footnote The design of the facade of the Palazzo Rucellai was most closely influenced by the Colosseum. Similar to the Colosseum, the facade of the Palazzo Rucellai is broken up by architectural orders, with Tuscan at the bottom, followed by Ionic in the middle, and then Corinthian at the top.

Question 304

The progressive arrangement of the three ancient architectural orders on the exterior of the Colosseum proved influential for the design of

Answer 304

the Palazzo Rucellai ## Footnote The pilasters of the three stories of Palazzo Rucellai embody a progressive arrangement of three ancient architectural orders. Alberti modeled this aspect of the palazzo’s design on the Colosseum (Flavian Amphitheater).

Question 305

In the Paleolithic cave painting shown from Lascaux, the artist likely used which of the following to color the large reddish area within the horse’s body?

Answer 305

A spray-painting technique, in which diluted pigments were blown onto the rock surface ## Footnote The artists who created Paleolithic cave paintings in Europe used a spray-painting technique to cover larger surface areas, in which natural pigments such as minerals or charcoal were ground, diluted with water or possibly saliva, and sprayed onto the rock surface by mouth or through a pipe. This enabled the artists to cover larger areas in pigment than would have been possible using other techniques such as the application of pigment using brushes or crayons. Unless the artist used a stencil to completely block off surrounding areas, this spray-painting technique created characteristically fuzzy edges, as can be seen in the example, especially on the belly of the horse in the area of the legs.

Question 306

The Standard of Ur and the Palette of King Narmer are similar in that both works

Answer 306

employ hierarchical scale to distinguish between figures of varying degrees of importance ## Footnote Both the pharaoh in the Palette of King Narmer and the king in the Standard of Ur are depicted in hierarchical proportion to distinguish them from other human figures and imbue them with a sense of authority and power

Question 307

Which features of the Palladian style, seen here in Andrea Palladio’s Villa Rotonda, influenced Thomas Jefferson in his design for Monticello?

Answer 307

Pedimented porticoes that serve as entrances to domestic spaces ## Footnote Both the Villa Rotonda and Monticello have pedimented porticoes that serve as large entranceways into the interior space of the building.

Question 308

The architect of the Pantheon in Rome sought to impress viewers by

Answer 308

incorporating an unexpectedly large interior space ## Footnote After passing through a portico, a visitor to the Pantheon enters a large, circular space. Its diameter of 143 feet equals its height from the center floor to the summit of the domed ceiling.

Question 309

The Pantheon exemplifies Roman innovations in the use of concrete in the creation of its

Answer 309

massive coffered dome ## Footnote Innovations in the use of concrete in ancient Roman architecture provided the ideal combination of strength and versatility to efficiently create architectural elements of various shapes, including the massive coffered dome of the Pantheon.

Question 310

The form of the Pantheon was influential on later architectural development in part because the

Answer 310

high-domed rotunda could accommodate a large number of congregational worshipers ## Footnote The form of the Pantheon was influential on later architectural development in part because the high-domed rotunda could accommodate a large number of congregational worshipers. This same high dome to create a large space for congregational worship can be seen in the church of Hagia Sophia in Constantinople (Istanbul) and in the mosque of Selim II in Edirne, Turkey, among other architectural examples.

Question 311

In the interest of reviving classical Greco-Roman style, Renaissance architect Filippo Brunelleschi’s plan for the Pazzi Chapel notably drew on features from other existing buildings, such as the

Answer 311

central plan, large dome, and oculus of the Pantheon ## Footnote In the interest of reviving classical Greco-Roman style, Renaissance architect Filippo Brunelleschi’s plan for the Pazzi Chapel notably drew on features from the central plan, large dome, and oculus of the Pantheon. Filippo Brunelleschi built the Pazzi Chapel informed by the knowledge he gained during a stay in Rome spent measuring ancient buildings to study their harmonious proportions, particularly those of the Pantheon. Consequently, the chapel reflects the influence of the Pantheon in features such as a near central plan, a large hemispheric dome and a central oculus.

Question 312

The images show two views of the same building. The building was originally used as a

Answer 312

temple

Question 313

The building is located in

Answer 313

Rome

Question 314

The original patron of the building was

Answer 314

an emperor

Question 315

The coffers in the dome were intended to

Answer 315

lessen its overall weight

Question 316

The building was converted into a

Answer 316

church

Question 317

The term for the central opening in the dome is

Answer 317

an oculus

Question 318

The dome of the building is primarily constructed of

Answer 318

concrete

Question 319

The architectural order shown on the left is

Answer 319

Doric

Question 320

The temple was dedicated to

Answer 320

Athena

Question 321

Which of the following designed the building on the left?

Answer 321

Iktinos and Kallikrates

Question 322

The plan and image are of an ancient temple as it appears today. The architects were

Answer 322

Iktinos and Kallikrates

Question 323

The interior of the temple contains

Answer 323

a cella

Question 324

The outer frieze of the temple is

Answer 324

Doric

Question 325

The temple shown is the

Answer 325

Parthenon in Athens

Question 326

The colonnade around the perimeter of the temple is best described as

Answer 326

a peristyle

Question 327

The images show two views of the same building. The interior view of the chapel provides evidence that Brunelleschi emphasized the geometric order of the design by

Answer 327

outlining component forms with gray stone ## Footnote Brunelleschi emphasized the geometric order of the interior of the chapel by outlining the forms of the round arches, doorways, dome, and so one with gray pietra serena stone.

Question 328

The addition of the Pazzi Chapel to the Basilica di Santa Croce exemplifies which of the following?

Answer 328

A private family’s financial support for a monastic church through a building commission ## Footnote The Pazzi Chapel was commissioned by Andrea Pazzi, the head of a wealthy family in Florence, Italy. When completed, the chapel stood as a symbol of the family’s power and religious devotion.

Question 329

The image shows a detail from a larger sculptural frieze found on the

Answer 329

Great Altar of Zeus and Athena at Pergamon ## Footnote The detail shown depicts the Greek goddess Athena and is part of the sculptural frieze from the Great Altar of Zeus and Athena at Pergamon. The frieze shows the gigantomachy: the struggle between the Olympian gods and the giants, with Athena triumphant.

Question 330

The work shown can be attributed to the Safavid Dynasty because of its use of

Answer 330

a centralized medallion motif ## Footnote The carpet can be attributed to the Safavid Dynasty because of its use of a centralized medallion motif, typical of Safavid carpets.

Question 331

The work on the right was painted by

Answer 331

Perugino

Question 332

The work on the right was painted to support the authority of

Answer 332

the popes

Question 333

The architecture most specifically referred to in the painting on the right is that of

Answer 333

Rome

Question 334

The work on the right is among the first works to

Answer 334

mark Rome as an artistic center during the Renaissance

Question 335

The Treasury of Petra in Jordan reflects the influence of other artistic traditions, which resulted from the importance of trade for Nabataean society through the inclusion of

Answer 335

Corinthian columns within the facade ## Footnote The cross-cultural fertilization that resulted from Nabataean trade can be seen in the facade of the Treasury (Al-Khazneh), which shows Hellenistic influences by combining several different traditional elements of Greek architecture, such as Corinthian columns, which can be identified by their acanthus leaf capitals.

Question 336

The fusion of diverse architectural styles at Petra reflects the

Answer 336

location of the city at intersecting trade routes

Question 337

In *Les Demoiselles d’Avignon*, Pablo Picasso used jagged planes and contorted poses in order to

Answer 337

heighten perceived tensions between viewers and the subjects of the painting ## Footnote In *Les Demoiselles d’Avignon*, Pablo Picasso used jagged planes and contorted poses in order to heighten perceived tensions between viewers and the subjects of the painting. Picasso intended the painting to be confrontational. The shapes and poses that he used ran counter to traditional concepts of beauty as well as propriety, since the figures he depicted were exploited women.

Question 338

The artist who created the painting is

Answer 338

Pablo Picasso

Question 339

Which of the following artists also worked in the style exemplified by the painting?

Answer 339

Georges Braque

Question 340

The building complex was built by the

Answer 340

Assyrians

Question 341

The building complex was located in what is now

Answer 341

Iraq

Question 342

The building complex was constructed during the

Answer 342

eighth century B.C.E.

Question 343

The building complex was

Answer 343

a fortified palace

Question 344

This and other similar building complexes from this culture contain sculptures of guardian figures called

Answer 344

lamassu

Question 345

The entire building complex was organized around

Answer 345

courtyards

Question 346

Much of the decoration on the interior of the building complex showed narrative scenes of

Answer 346

warfare and ritual hunts

Question 347

In terms of its use of architecture and landscape design for the display of political power, the Palace at Versailles is most similar to

Answer 347

Great Zimbabwe

Question 348

Refer to the slide that you see. The slide will be shown for four minutes only. The iconography relates to

Answer 348

the New Testament

Question 349

The painting style is characterized by

Answer 349

exaggeration of space and color

Question 350

The style of the painting is

Answer 350

Mannerist

Question 351

The artist is

Answer 351

Pontormo

Question 352

The painting was commissioned for a

Answer 352

chapel in a church

Question 353

The painting was created in

Answer 353

Italy

Question 354

In creating the work on the left, the artist has appropriated imagery from

Answer 354

comic books

Question 355

The work on the right is concerned with the visual language of

Answer 355

popular culture

Question 356

The work shown can be identified as

Answer 356

an *Nkisi n’kondi* power figure created by the Kongo peoples ## Footnote The work shown can be identified as an *Nkisi n’kondi* power figure created by the Kongo peoples. The Kongo peoples created figures like these to serve as powerful forces for maintaining the social order, enforcing terms of agreements and contracts, defending against enemies, and hunting down and punishing wrongdoers. As such, they were large figures posed in intimidating stances, with the chin jutting forward and the mouth open. The placement of the hands on the hips causes the figures’ muscular arms to extend outward on each side, emphasizing physical strength and moral certainty, and causing the figures to take up more space. Power figures are also recognizable due to the blades, nails, and other sharp objects that are hammered into the figure each time people appear before it. They have abdominal cavities, covered by a cowry shell or a piece of mirror, that contain substances believed to have magical properties.

Question 357

The images show the *sika dwa kofi* (Golden Stool) and the *Nkisi n’kondi*. In its intended setting, the Power figure (*Nkisi n’kondi*) likely instilled a sense of confidence in members of the community because it

Answer 357

ensured punishment for those who broke oaths or committed crimes ## Footnote Pegs and nails were driven into the Power figure (*Nkisi n’kondi*) to settle conflicts and ensure the punishment of wrongdoers.

Question 358

The images show the *sika dwa kofi* (Golden Stool) and the *Nkisi n’kondi*. Both works were created with materials selected because they are

Answer 358

instilled with unique properties that channel authority ## Footnote Both the *sika dwa kofi* (Golden Stool) and the Power figure (*Nkisi n’kondi*) were created with materials thought to be able to channel authority. The Golden stool was constructed from gold, a material associated with royalty. The Power figure contained shells, glass, and other substances that were considered to possess spiritual power.

Question 359

The images show the *sika dwa kofi* (Golden Stool) and the *Nkisi n’kondi*. Both works are imbued with power from

Answer 359

spiritual sources ## Footnote Both the *sika dwa kofi* (Golden Stool) and the Power figure (*Nkisi n’kondi*) are thought to be imbued with spiritual power. Power figures of the Kongo peoples are thought to embody powerful spirits capable of providing healing as well as inflicting harm. The Golden Stool of the Ashanti peoples is thought to have both a divine origin, as well as to embody the collective spirit of the Ashanti nation.

Question 360

In the photograph shown, the presentation of mats commemorates

Answer 360

a ceremonial encounter with a reigning monarch ## Footnote The photograph commemorates the visit of Queen Elizabeth II to the island of Fiji as part of her tour of the English commonwealth nations in the Pacific Islands. The image depicts a ceremonial procession of women who are carrying rolls of woven mats which in Fijian culture traditionally serve as items of ritual exchange and tribute.

Question 361

Maria and Julian Martínez referenced the ancient Puebloan past by

Answer 361

exploring complex ceramic coloration techniques ## Footnote The iron-rich clay that Maria and Julian Martínez used allowed for variation in coloration depending on how it was fired. A professor of archeology encouraged the two artists to recreate this style of Neolithic Puebloan ware that he had uncovered in the deserts of New Mexico. The complex process of creating this blackware involves six different stages.

Question 362

The Chokwe *Pwo* mask is similar to the Mende *Bundu* mask in that both

Answer 362

celebrate the powers of womanhood ## Footnote The *Pwo* mask depicts a respected and honored woman who has successfully given birth. The *Bundu* mask represents a young woman who is being initiated into adulthood and who will soon be of the age to marry.

Question 363

The female face in this *Pwo* mask from the Chokwe people is shown with closed eyes to represent the

Answer 363

empowerment of women through childbirth ## Footnote The Chokwe consider a woman who has given birth to be so empowered that she no longer needs to look out, but possesses an inward-facing source of wisdom and sight. The closed eyes are meant to represent the empowerment of women through childbirth.

Question 364

The image shows which of the following features of ancient Egyptian architecture?

Answer 364

A pylon gate ## Footnote The image shows a pylon gate. “Pylon” is the Greek term for an Egyptian monumental gateway and specifically references the massive, rectangular, tower-like stone structures that typically flank an Egyptian temple door. The image shows the Temple of Horus in Edfu, Egypt, and includes a view of its main entryway that features gigantic pylons decorated with a sunken-relief sculpture of King Ptolemy VIII defeating his enemies in battle. The Temple of Amun-Re at Karnak likewise includes a pylon gate.

Question 365

The work shown is an example of

Answer 365

a carved pyxis, which once held containers of fragrant perfume ## Footnote The object pictured above is the Pyxis of al-Mughira, which was given to the eighteen-year-old son of a caliph, al-Mughira, who would have used it as a container for perfumes that would have emitted their scents through the carved openings in the box.

Question 366

The work, which was created in medieval Islamic Spain, demonstrates the influence of

Answer 366

ivory carving traditions that existed throughout the Mediterranean ## Footnote The Pyxis of al-Mughira is one of several ivory carved items from Islamic Spain that demonstrates the presence of ivory carving as an important tradition of portable arts practiced through the Mediterranean since the time of the Roman Empire.

Question 367

The carved decoration on the work has been interpreted as symbolic of the political power and legitimacy of the ruler based on

Answer 367

representations of falcon eggs, which were symbolic of the Umayyad Caliphate ## Footnote The carved imagery that references the power and legitimacy of the Umayyad Caliphate includes a medallion that features two men collecting eggs from falcon nests. The Umayyads were sometimes referred to as “the falcons of the Quraysh,” and the seat of their capital, Cordoba, was at times compared to an egg.

Question 368

The decoration of the Pyxis of al-Mughira draws on Islamic artistic traditions in that it

Answer 368

incorporates calligraphic inscriptions

Question 369

The use of deep relief carving in the Pyxis of al-Mughira affects the composition in which of the following ways?

Answer 369

It emphasizes the volume of the figures, decorative motifs, and text. ## Footnote The deep relief carving in the ivory Pyxis of al-Mughira raises the imagery from the surface, enabling the carved design elements to cast dark shadows onto the surrounding background areas. These dramatic cast shadows create high contrast with the pale-colored, lustrous ivory base material, emphasizing the form and volume of the decorative motifs, calligraphic text, and figures decorating the surface of the small, round container.

Question 370

In the convent of Santo Domingo in Cusco, the combination of Spanish Baroque architecture with Inka ashlar masonry walls represented

Answer 370

a transition from worship of the Inka Sun god to worship of the Christian God ## Footnote Qorikancha was the Inka main temple dedicated to the worship of the Sun god Inti, and the central point of the Inka Empire. After the temple had been mostly destroyed during the Spanish conquest of the Inka Empire in the sixteenth century C.E., the Spanish colonizers stripped the gold from the walls of the temple and erected a Christian convent on top of the old temple walls. The incorporation of the old temple structure into a sacred Christian space was both intended to demonstrate the superiority of Christianity over the traditional Inka religion, as well as to encourage the adoption of the Christian religion in the former Inka Empire.

Question 371

The remains of the Qorikancha in Cusco demonstrate which of the following in building techniques?

Answer 371

Ashlar masonry ## Footnote The remains of the Qorikancha in Cusco still demonstrate the Inkan architectural convention of using ashlar masonry in building construction. Skilled masons cut stone blocks precisely to fit together without the use of mortar. The more important the building, the more smoothly and precisely the stones were cut.

Question 372

Which phrase best applies to the sculpture shown and to others of the period?

Answer 372

Stylized naturalism

Question 373

On the Qur’an page shown, the additional red, green, and gold marks that were placed close to the brown calligraphic script are a significant departure from other examples of Arabic calligraphy and were included to

Answer 373

visually assist with the readability and oral recitation of such an important text ## Footnote The red, green, and gold marks added to the Kufic script of the Qur’an page shown were placed to visually assist with the readability and oral recitation of such an important sacred text. For pages from the Qur’an that would most likely be orally recited to groups, additional visual information was included to ensure accuracy of the important text being conveyed. For example, Arabic script did not usually contain soft vowels, and the diacritical marks (red dots) denote the inclusion of short vowel sounds.

Question 374

In the folio page shown, the deliberate geometric layout of the stylized calligraphic text conveys

Answer 374

the importance of the spiritual message being communicated ## Footnote In the Qur’an folio page shown, the deliberate geometric layout of the stylized calligraphic text conveys the importance of the spiritual message being communicated. Muslim scribes were held in high esteem because of their ability to reproduce sacred words of the Qur’an in a beautiful script that was worthy of its message. The practice of calligraphy itself was considered a holy task. The layout of Qur'an pages was very carefully composed to convey meaning. In this example, the larger-than-usual page contains only nine lines of highly stylized calligraphy, conveying the importance of the sacred text and indicating that the patron of the folio was most likely of the wealthy elite.

Question 375

Through the eight and the ninth century C.E., the Kufic calligraphic script that was used in this folio from an early Qur'an was also

Answer 375

inscribed on ceramics, metalwork, and architectural features ## Footnote In addition to its use for the earliest copies of the Qur’an, Kufic script was inscribed on various objects and architecture due to its pleasing abstract quality. Kufic is the oldest calligraphic form of the various Arabic scripts and was used for decorative inscriptions on ceramics, metalwork, and architectural features.

Question 376

The work shown can be attributed to which of the following art-historical movements?

Answer 376

Romanticism ## Footnote This painting, *The Raft of the Medusa* by Théodore Géricault, presents a theatrical dramatization of the common man’s struggle against forces of nature, focuses on individual experiences, and emphasizes emotion — themes explored by Romantic artists. The work shown can be attributed to the art historical movement of Romanticism.

Question 377

Scholars have interpreted the object shown as representing

Answer 377

a deity embodying procreative power ## Footnote There is no written documentation or surviving oral histories that confirm the meaning of the figural imagery carved on the staff god from Rarotonga. The interpretation of the large head and small images found on the staff god shown is based on iconographic analysis of known examples of different staff god sculptures from the Cook Islands. Staff god sculptures are typically long wooden sculptures bookended by carvings of a large, stylized head and male genitalia. As in the example shown, the carvings on the core or body of the staff god are generally composed of male and female figures, depicted in ways that suggest a connection with human procreation and childbirth. Based on the consistency of the imagery across different staff god sculptures, scholars therefore theorize that imagery on the staff god represents the procreative power associated with a primary deity.

Question 378

Both wall paintings are from

Answer 378

Pompeii

Question 379

The work is

Answer 379

part of an illuminated manuscript

Question 380

Ogata Korin’s pair of screens titled *White and Red Plum Blossoms* exemplifies the style of the Japanese Rinpa school because it

Answer 380

was created as a luxurious object, intended to appeal to the tastes of a wealthy patron ## Footnote Korin’s *White and Red Plum Blossoms* exemplifies the elegant and sumptuous style of the Japanese Rinpa school, because it was created as a luxurious object that was intended to appeal to the tastes of wealthy aristocrats or merchants. The Rinpa school emerged during the Edo period in Japan, and was characterized by elegant compositions that used rich colors and often times made use of large amounts of gold leaf, featuring vegetal motifs and landscape scenes frequently inspired by popular literary themes and poetry. This can be seen in Korin’s screens, which are large and have much of their surface covered in gold, and which show an elegant composition featuring depictions of blossoming trees alongside a meandering river. The visual characteristics of the work reflect the ties of the Rinpa school to Japanese courtly culture and aesthetics, which were intended to appeal to the tastes of wealthy aristocrats and merchants.

Question 381

In *White and Red Plum Blossoms*, the artist Ogata Korin used abstracted organic forms, monumental scale, and lavish gold surfaces in order to

Answer 381

appeal to the luxurious tastes of aristocrats ## Footnote Ogata Korin was deeply influenced by the earlier Chinese painter Sotatsu and the calligrapher Koetsu, whose works aimed to please wealthy merchants and aristocrats. Korin studied these works, revived their styles, and established his own reputation.

Question 382

Elements of *White and Red Plum Blossoms* such as the ambiguous setting, the flat planes and patterning, and the combination of abstraction and naturalism had a profound influence on early-twentieth-century painters such as

Answer 382

Gustav Klimt ## Footnote Gustav Klimt’s work often exhibited a similar preference for an ambiguous setting, flat planes and patterning, and a combination of abstraction and naturalism. His work *The Kiss* is an excellent example of the influence Ogata Korin had on early-twentieth-century painters.

Question 383

The object was originally located in a

Answer 383

pilgrimage church

Question 384

The object functioned as

Answer 384

a reliquary

Question 385

The figure is most commonly associated with which of the following periods?

Answer 385

Medieval

Question 386

The object represents

Answer 386

Sainte Foy

Question 387

Rembrandt’s use of etching in his *Self-Portrait with Saskia* allowed him to

Answer 387

achieve a wide range of different tones ## Footnote The etching process allowed for Rembrandt to achieve a wide range of tonal contrast in his work. Using crosshatching alongside simple line drawing, Rembrandt was able to create contrasting spaces of light and dark.

Question 388

Both sculptures were created in

Answer 388

Florence

Question 389

The sculpture on the right was commissioned by a

Answer 389

guild

Question 390

The subject of both works centers on the

Answer 390

Annunciation

Question 391

The work on the right is a

Answer 391

triptych

Question 392

The artist of the work on the left is

Answer 392

Fra Angelico

Question 393

The medium of the work on the right is

Answer 393

oil

Question 394

The work on the left is a

Answer 394

fresco

Question 395

The work on the left was made for a

Answer 395

religious institution

Question 396

Both works come from which art-historical period?

Answer 396

Renaissance

Question 397

The sculpture is made principally of

Answer 397

hollow-cast bronze

Question 398

The sculpture is a product of which of the following cultures?

Answer 398

Classical Greece

Question 399

The chair was designed to

Answer 399

reflect the formal concerns of its maker

Question 400

The chair's design evokes

Answer 400

elegant austerity

Question 401

The chair's designer was associated with

Answer 401

De Stijl

Question 402

The designer of the chair was

Answer 402

Dutch

Question 403

The chair is made of

Answer 403

plywood

Question 404

The work shown can be attributed to Faith Ringgold for which of the following reasons?

Answer 404

Because of the combination of paint and quilting ## Footnote The work shown can be attributed to Faith Ringgold because of the combination of paint and quilting. Similar to other works made by Ringgold, like *Dancing at the Louvre*, the work shown includes a painted scene on a patched quilt.

Question 405

Faith Ringgold references traditional folk art forms in *Dancing at the Louvre* by incorporating the technique of

Answer 405

quilting ## Footnote By incorporating elements of quilting into her work *Dancing at the Louvre*, Faith Ringgold references the nineteenth-century African American folk art tradition of quilt making in order to unify traditional concepts of “high” and “low” art.

Question 406

In addition to quilting, Faith Ringgold’s *Dancing at the Louvre* demonstrates a continuity with which other textile tradition?

Answer 406

Tie-dyeing ## Footnote In addition to demonstrating a continuity with quilting, Faith Ringgold’s *Dancing at the Louvre* demonstrates a continuity with tie-dyeing, a technique used by Ringgold in the work that has roots in African and Asian textile traditions. The central panel is acrylic on canvas, while the border is tie-dyed and pieced fabric.

Question 407

In the mural *Dream of a Sunday Afternoon in the Alameda Park*, Diego Rivera included figures that spanned four centuries most probably to convey the idea that

Answer 407

all Mexicans are a part of the country’s rich, ongoing history ## Footnote Rivera included figures that spanned four hundred years most probably to convey the idea that all Mexicans are part of the country's rich, ongoing history. He created an encyclopedic view of Mexico, focusing not only on luminaries but also on common people in a wide range of scenes, including some in which Mexicans were oppressed in various ways. He coupled these scenes with others depicting revolution followed by democracy and many other subjects.

Question 408

Many of Rodin's works were originally part of a large project entitled

Answer 408

*The Gates of Hell*

Question 409

Which of the following statements best characterizes the relationship of women artists and art academies during the eighteenth century?

Answer 409

Women were the exception at most art academies.

Question 410

Which of the following techniques or materials allowed Roman architects to enclose large unobstructed interior spaces?

Answer 410

Concrete poured in molds

Question 411

The approximate date of the work on the left is

Answer 411

first century C.E.

Question 412

The work on the left was most likely influenced by

Answer 412

Hellenistic Greek painting

Question 413

The work on the left can best be characterized as

Answer 413

a fresco

Question 414

When did the wall painting on the left come to public attention?

Answer 414

During eighteenth-century archaeological excavations

Question 415

The objects held by the figures in the slide on the right refer to

Answer 415

literacy

Question 416

The two figures in the slide on the right are

Answer 416

a married couple

Question 417

The wall painting on the right was located in a

Answer 417

home

Question 418

Roman Republican portraiture is characterized primarily by its

Answer 418

unidealized realism

Question 419

The wall painting on the left is probably related to

Answer 419

a mystery cult

Question 420

In the fresco shown, overlapping forms and architectural elements are used to create the effect of

Answer 420

illusionistic spatial depth beyond the wall ## Footnote In the fresco shown, overlapping forms and architectural elements are used to create the effect of illusionistic spatial depth beyond the wall. The techniques used in the work were intended to create the effect of an illusionistic space, which is characteristic of Imperial Roman wall painting.

Question 421

The work on the left was found in

Answer 421

an ancient Roman home

Question 422

Which of the following architectural features of Romanesque churches developed in connection with their use as pilgrimage centers?

Answer 422

Ambulatory

Question 423

The architectural style of this portal is

Answer 423

Romanesque

Question 424

The *Röttgen Pietà* was intended to elicit which of the following emotional responses from viewers?

Answer 424

Empathy, through the contorted and twisted body of Christ ## Footnote The *Röttgen Pietà* evokes empathy through the contorted and twisted body of Christ. It is a humanization of sacred personages. The work is intended to elicit a strong emotional response to the suffering of Mary and Jesus.

Question 425

The *Röttgen Pietà* likely affected its original viewers by

Answer 425

encouraging them to identify with the human suffering of Mary and Christ ## Footnote The *Röttgen Pietà* likely affected its original viewers by encouraging them to identify with the human suffering of the Virgin Mary and Christ. The emotional facial expressions and body language of the figures in the *Röttgen Pietà* were intended to help viewers empathize with Mary and Christ.

Question 426

The sculpture on the right depicts a

Answer 426

Pietà

Question 427

Both sculptures reveal the influence of

Answer 427

Marian devotion

Question 428

The medium of the sculpture on the right is

Answer 428

polychromed wood

Question 429

The distortions and the anguish seen in the sculpture on the right are intended to inspire

Answer 429

personal piety

Question 430

Diego Velázquez' *Las Meninas*, though influenced by Rubens' royal portraits, differs from them in which of the following ways?

Answer 430

Velazquez showed the royal family in candid aspects of daily life. ## Footnote In *Las Meninas*, Velázquez chose to depict the Spanish royal family in his studio in the palace of King Philip IV. The painting appears as a snapshot into the lives of these figures as they casually talk and interact with one another in an informal setting.

Question 431

Both Gaulli’s *Triumph of the Name of Jesus* and Rubens’ *Henri IV Receives the Portrait of Marie de’ Medici* express emotional drama by

Answer 431

using asymmetrical compositions focused on diagonals and contrast between light and dark ## Footnote Both Gaulli’s *Triumph of the Name of Jesus* and Rubens’ *Henri IV Receives the Portrait of Marie de’ Medici* express emotional drama by using asymmetrical compositions focused on diagonals and contrast between light and dark. Both works use asymmetry and strong diagonals to create dynamic compositions that evoke a sense of movement and drama in the viewer. Strongly modeled forms are produced from light and dark contrasting values, creating a dramatic effect.

Question 432

Allegorical content in the work on the left alludes to the patron's

Answer 432

political ambitions

Question 433

The patron for the work on the left was

Answer 433

Marie de' Medici

Question 434

Marie de’ Medici, commissioned this work, as well as the larger cycle it belongs to, in order to

Answer 434

celebrate her virtues and advocate her political position ## Footnote In the Marie de’ Medici cycle, Rubens uses allegory as well as mythological themes and characters to celebrate Marie de’ Medici’s personal and political life.

Question 435

Which of the following is an aspect of the work shown that is characteristic of the Baroque style of Peter Paul Rubens?

Answer 435

The use of a diagonal composition ## Footnote In the work, the bodily contours and gazes of the figures create implied directional lines that create diagonal paths for the viewer’s eye to follow (for example, between Juno and Jupiter in the upper left and Henry IV in the lower right part of the painting). This technique is known as diagonal composition and is a common stylistic attribute among works by Rubens and Baroque art in general. By locating elements of a composition along diagonal lines, the artist creates relationships and dynamic movement within a work of art.

Question 436

The artist of the work on the left is

Answer 436

Rubens

Question 437

This kind of painted panel depicting a religious subject is called

Answer 437

an icon

Question 438

The work on the right reflects an interest in

Answer 438

aligning the Old Testament and the New Testament through typology

Question 439

In the painting of the running horned woman from Tassili n’Ajjer, Algeria, the impression of movement is conveyed primarily through the use of

Answer 439

diagonal lines ## Footnote Diagonal lines in a visual composition generally suggest movement and add an element of dynamism. Additionally, the diagonal limbs of the figure make her appear as if she is moving across the picture plane.

Question 440

The running horned woman from Tassili n’Ajjer, Algeria, is presented using which of the following visual characteristics?

Answer 440

The figure is represented in composite pose. ## Footnote The running horned woman from Tassili n’Ajjer, Algeria, is presented in composite pose in which multiple views of the figure are presented in a single representation. In this case, the torso and legs are shown in profile, while the shoulders, arms, and horns are presented more from the front. This is also called twisted perspective.

Question 441

Scholars have interpreted the lines extending from the arms and torso of the running horned woman from Tassili n’Ajjer as

Answer 441

parts of a ceremonial dress ## Footnote Scholars have theorized that the lines that extend from the upper arms and waist of the running horned woman in the prehistoric rock painting from Tassili n’Ajjer likely represent parts of a ceremonial dress made from strands of raffia (a fiber produced from a palm tree). This theory implies that the woman depicted is likely engaged in some type of masquerade, possibly related to ritual activity.

Question 442

Like other Baroque era still-life paintings, Rachel Ruysch’s *Fruit and Insects* is composed of

Answer 442

fine brushstrokes that create a smooth, detailed surface ## Footnote Rachel Ruysch’s *Fruit and Insects* demonstrates continuity with other still-life paintings from the same period in the use of fine, smoothly blended brushstrokes that created a smooth surface with a high degree of detail.

Question 443

The dry garden at Ryoan-ji through its hundreds of years of existence demonstrates continuity with the Zen Buddhist practice of

Answer 443

meditating to reach enlightenment ## Footnote The dry garden at Ryoan-ji, which was originally constructed in the fifteenth century, demonstrates continuity with the Zen Buddhist process of meditating to reach enlightenment. In Zen Buddhist thought, worldly knowledge and mundane thought patterns are considered barriers to enlightenment that are resolved through meditation. The garden provides an environment for one to seek clarity through contemplation.

Question 444

The arrangement of stones and raked white sand in the dry garden of Ryoan-ji is intended to

Answer 444

promote study and meditation ## Footnote The dry garden of Ryoan-ji, with its arrangement of stones and raked gravel, is intended to provide an environment for study and meditation. Zen Buddhist monks at the temple both tend the garden and contemplate it.

Question 445

Both buildings are closely associated with a

Answer 445

Roman emperor

Question 446

The plan of San Vitale is most similar to which of the following?

Answer 446

Hagia Sophia

Question 447

The two images shown an exterior and interior view of the same building. The building shown is similar to Chartres Cathedral, in that both structures feature

Answer 447

a cruciform plan comprised of a nave and transept ## Footnote Both structures use a cruciform plan, with north and south transepts that extend from the nave creating the arms of a cross when seen from above. The addition of transepts also made the structure an efficient layout for visits from streams of pilgrims and added additional space for those attending mass.

Question 448

The architects of the building shown likely intended to elicit a sense of wonder from twelfth-century visitors through which of the following features?

Answer 448

The imposing height of the nave, which is completely vaulted in stone ## Footnote The use of transverse arches, massive compound piers, and thick exterior walls with solid buttresses enabled the Romanesque builders at Conques to erect a stone barrel vault that is almost seven stories high. This would have elicited a sense of wonder from twelfth-century visitors, since most other buildings existing during this time were much smaller. The use of high stone vaulting is an innovation of Romanesque architecture; earlier churches with a longitudinal plan (such as the early Christian church of Santa Sabina in Rome) used flat ceilings and were not able to reach the heights of later medieval European churches like the Church of Sainte-Foy. This effect would be even more intense later with the even greater height of Gothic churches.

Question 449

The artisans who made the Reliquary of Sainte-Foy fashioned the sculpture in gold and gemstones to elicit which of the following responses from pilgrims?

Answer 449

Reverence for the saint whose relics the sculpture contained ## Footnote The artisans who made the Reliquary of Sainte-Foy fashioned the sculpture in gold and gemstones to elicit a sense of reverence from the visiting pilgrims. The Reliquary of Sainte-Foy was made using precious materials to order honor the martyr Saint Faith, whose remains are contained inside.

Question 450

Which of the following architectural elements were used by the architects of the building shown to give additional support to the ceiling?

Answer 450

Round transverse arches ## Footnote As is a typical feature of Romanesque architecture, the architects of the Church of Sainte-Foy used round transverse arches that rise from massive stone piers to support the stone barrel vaulting and add visual structure.

Question 451

The importance of the Church of Sainte-Foy as a pilgrimage site is reflected in the building's design through inclusion of which of the following features?

Answer 451

An ambulatory and radiating chapels ## Footnote The Church of Sainte-Foy was specifically designed to accommodate the flood of pilgrims coming to be in the presence of its holy relics, especially those of Saint Foy. The church includes radiating chapels, where pilgrims could be in the presence of reliquaries (containers for the relics), and an ambulatory that leads pilgrims from the south transept portal to the radiating chapels in the apse behind the altar and out through the north transept. This configuration enabled pilgrims to enter the church and worship in the presence of holy relics without interrupting the mass held in the area in front of the altar.

Question 452

The building shown was built in which art historical style?

Answer 452

Romanesque ## Footnote The Church of Sainte-Foy in Conques, France, was built circa 1050–1130 C.E. in the Romanesque style, which can be recognized by the massive appearance of its west facade with large stone towers and the use of thick walls, massive piers, stone barrel vaults, and round arches.

Question 453

Which of the following structures is similar to the Reliquary of Sainte-Foy in functioning as a container that holds sacred relics?

Answer 453

The Great Stupa at Sanchi ## Footnote The Great Stupa at Sanchi contains relics of the historical Buddha that were placed there during the reign of King Ashoka.

Question 454

In *Shibboleth*, Doris Salcedo created an experience of alienation by

Answer 454

opening a concrete fissure in the floor to interrupt the walking space of viewers ## Footnote In *Shibboleth*, Doris Salcedo created a sense of separation and detachment by placing a large crack, or fissure, through the center of the exhibition hall, which visually and physically split the room in two.

Question 455

San Vitale is located in

Answer 455

Ravenna

Question 456

The inclusion of radiating semicircular niches (exedrae) in the plan of San Vitale allowed its architect to

Answer 456

integrate the central domed space with the surrounding ambulatory and gallery ## Footnote As can be seen in the plan shown, the church of San Vitale consists of an octagonal central space, which is surrounded on most sides by an ambulatory. The walls that separate the central space from the ambulatory and the gallery above it contain seven semicircular niches, called exedrae, which radiate from the central space and extend into the ambulatory and gallery. The exedrae have the effect of visually integrating the central space with the surrounding space of the ambulatory.

Question 457

The Great Stupa at Sanchi and Borobudur Temple are similar in that each

Answer 457

represents a mandala, a cosmic diagram of the universe ## Footnote Both the Great Stupa at Sanchi and the Borobudur Temple were constructed in the form of mandalas, sacred diagrams of the universe. Each includes at the center of the top level an axis mundi, symbolically connecting the human and divine realms.

Question 458

*Night Attack on the Sanjô Palace* uses continuous narrative, an artistic device that allows the artist to do which of the following?

Answer 458

Present the main characters multiple times in a single visual field ## Footnote *Night Attack on the Sanjô Palace* uses continuous narrative, an artistic device that allows the artist to include multiple scenes of a narrative in the same frame. As a result, important figures repeat throughout the image.

Question 459

The interior of the building is

Answer 459

ornamented with marble

Question 460

The plain brick exterior wall of this church resembles the walls of

Answer 460

the Aula Palatina in Trier

Question 461

Works such as the one shown were typically placed in

Answer 461

a necropolis

Question 462

The pose of the figures suggests that they are

Answer 462

banqueting

Question 463

Which of the following cultures produced this sarcophogus?

Answer 463

Etruscan

Question 464

The work depicts a

Answer 464

husband and wife

Question 465

On the basis of subject, style and composition, the large full-scale drawing shown can be attributed as a preparatory study for

Answer 465

Raphael’s *School of Athens* ## Footnote On the basis of subject, style, and composition, the large full-scale drawing shown can be attributed as a preparatory study for Raphael’s *Philosophy* fresco, commonly called *School of Athens*. The drawing closely resembles the lower half of the finished fresco. Both the drawing and the fresco depict famous Greek thinkers from different ages gathered together in philosophical discourse. Considered a masterpiece of the High Renaissance, *School of Athens* is notable for its innovative composition that would most likely have required the use of large drawings known as cartoons, a kind of full-scale drawing used for planning and executing wall frescoes and tapestries. Raphael’s finished fresco shows a complex arrangement of modeled figures and, through a linear perspective system, succeeds in situating these figures in a vast architectural space. By developing a full-scale cartoon on paper first, the artist was able to fully and carefully plan the work, then transfer guiding outlines to the wall before painting the fresco.

Question 466

Raphael’s School of Athens was likely interpreted by his contemporaries as both an homage to classicism and a reflection of

Answer 466

Rome’s rise as a center of learning under Julius II ## Footnote Raphael’s *School of Athens* was likely interpreted by his contemporaries as both an homage to classicism and a reflection of Rome’s rise as a center of learning under Julius II. The School of Athens demonstrated the rediscovery of classical philosophy and art in Rome under Pope Julius II, who was the patron of the painting.

Question 467

The statue of the seated scribe indicates that sculptors in Old Kingdom Egypt were willing to deviate from the traditional canon of representation, as exemplified by the statue of King Menkaura and queen, when they were

Answer 467

portraying figures of relatively lesser social status ## Footnote The statue of the seated scribe indicates that sculptors in Old Kingdom Egypt were willing to deviate from the traditional canon of representation, as exemplified by the statue of King Menkaura and queen, when portraying figures of relatively lesser social status. Although the scribe would have occupied a position of honor, he was of far less social importance than a pharaoh and could therefore be depicted with greater naturalism.

Question 468

The differences in style between the two pairs of figures confirm the fact that

Answer 468

several workshops were involved

Question 469

They are part of the decoration of a

Answer 469

cathedral

Question 470

These sculptures are from which of the following art historical periods?

Answer 470

Gothic

Question 471

The design of the Seagram Building by Ludwig Mies van der Rohe and Philip Johnson reflects a similar underlying philosophy to Louis Sullivan’s Carson, Pirie, Scott and Company Building in that both

Answer 471

use a tripartite division to structure the building along visual and functional lines ## Footnote The design of the Seagram Building by Ludwig Mies van der Rohe and Philip Johnson reflects a similar underlying philosophy to Louis Sullivan’s Carson, Pirie, Scott and Company Building in that both use a tripartite division to structure the building along visual and functional lines into an open ground floor that serves either as retail space or lobby, followed by a series of uniform stories containing office space, and a visually distinct upper story that closes off the top of the building.

Question 472

In contrast to the work on the left, the work on the right presents

Answer 472

a specific moment

Question 473

The work on the right was created during which of the following periods?

Answer 473

Hellenistic

Question 474

The work on the right presents

Answer 474

a boxer

Question 475

The Great Serpent Mound was created in eastern Ohio during the Mississippian period by people who

Answer 475

piled up soil to create the form of a serpentine creature ## Footnote The Great Serpent Mound was created by people who piled up soil to create the form of a serpentine creature, about a quarter mile long and with a height that varies from one to three feet.

Question 476

Some scholars have theorized that the design of the Great Serpent Mound is linked to astronomical phenomena because of the

Answer 476

orientation of its head, which is aligned with the summer solstice ## Footnote Scholars have observed that the head of the serpent that is depicted in the shape of the Great Serpent Mound aligns with the location of the sunset on summer solstice, leading to the theory that this effigy mound might have had astronomical significance for the culture that created it. In addition, scholars have also suggested that the coils of the serpent's tail may have been purposefully positioned to align with other solar events or the position of the moon.

Question 477

The painting on the right is based on the color theories of

Answer 477

Chevreul

Question 478

The painting on the right is by

Answer 478

Seurat

Question 479

The content of the Coyolxauhqui Stone and the Calendar Stone both reference

Answer 479

concepts associated with the cosmic order ## Footnote Both the Coyolxauhqui Stone and the Calendar Stone refer to myths in which the cosmic order was established. The Calendar Stone references Aztec creation myths and depicts the different ages of the Earth, whereas the Coyolxauhqui Stone commemorates the Aztec’s patron deity, Huitzilopochtli, and his assumption of power.

Question 480

According to Cindy Sherman, she only sourced printed images from books to create her work Untitled (#228) from the History Portraits series because she

Answer 480

wanted to use imagery available to anyone in the world ## Footnote According to Cindy Sherman, she chose to only work with printed reproductions of old master paintings as source material when working on her History Portraits series, even though, living in Rome, she would have had easy access to the original works. Sherman defended this choice, as printed imagery is available to anyone in the world; her choice can therefore be interpreted as addressing accessibility in art and the consumerist print culture.

Question 481

The installation challenges institutional authority by means of its creation within

Answer 481

an art museum

Question 482

Among other reasons, the artist created a crack in the floor to allude to the

Answer 482

plight of unwanted immigrants

Question 483

The title of this work addresses social exclusion through its reference to

Answer 483

ethnic classification

Question 484

The traditional abhaya mudra displayed by Shiva in the Chola bronze Shiva as Lord of Dance (Nataraja) is used to

Answer 484

provide comfort so that the viewer will not be afraid while in the presence of the god ## Footnote Mudras are symbolic hand gestures seen in Hindu, Buddhist and Jain art. Shiva’s lower right hand faces the viewer, lifted in the gesture known as the abhaya mudra. It says to the worshipper, “Be not afraid, for those who follow the path of righteousness will have my blessing.”

Question 485

The work shown can be attributed to the

Answer 485

Indian Chola Dynasty ## Footnote The bronze statue of Shiva shown can be attributed to the Indian Chola Dynasty due to its Hindu subject matter as well as the artist’s expert use of metal work.

Question 486

The work shown can attributed to the artistic tradition of

Answer 486

India ## Footnote On the basis of its iconography and style, this bronze figure can be identified as an Indian sculpture of the Hindu deity Shiva. Iconographic details that aid in the identification include Shiva’s four arms, the fire leaping from his upper right hand, and his dynamic dancing pose with his standing leg on the dwarf of ignorance as he destroys the universe at the end of a cosmic cycle while simultaneously recreating it.

Question 487

In *The Swing (after Fragonard)*, Yinka Shonibare uses cloth as a

Answer 487

reference to colonialism and cultural hybridity ## Footnote Shonibare uses Dutch wax fabrics, which are a culturally hybrid textile based on Indonesian designs but manufactured in England and Holland. Dutch wax fabrics have become identified with the West African colonies controlled by Europe, where they became integrated into local cultures.

Question 488

When creating *The Swing (after Fragonard)*, Yinka Shonibare included cultural references by doing which of the following?

Answer 488

Using a modern textile in the style of nineteenth-century Dutch wax fabric ## Footnote Shonibare uses modern textiles produced in the style of 19th-century Dutch wax fabric. Although the motifs were originally African, the Dutch appropriated them by using an Indonesian batik process. English manufacturers then copied the designs and had Asian factory workers produce them.

Question 489

The structure on the right most closely reflects the French Gothic style in the design of its

Answer 489

west façade

Question 490

The portals on the structure on the right include triangular

Answer 490

gables

Question 491

The Kaaba proved influential on later Islamic architecture because it

Answer 491

serves as the orientation for the qibla wall in all mosques ## Footnote Muslims pray in the direction of Mecca; this direction is called the Qibla and is indicated by the Qibla wall.

Question 492

Scholars believe that the design of the Silla gold and jade crown suggests the form of a

Answer 492

sacred tree in the royal precinct ## Footnote Scholars have interpreted the vertical elements with branchlike extensions that extend upwards from the Korean Silla gold and jade crown as representing a tree, with the small jade pendants that are fastened to the “branches” representing leaves. The crown might be intended to symbolize a sacred tree that was conceived of as a world tree, or an axis mundi, which connected Heaven and Earth, and which would have been an important symbol for the Shamanistic religion practiced in ancient Korea.

Question 493

The building on the right most closely resembles the earlier work of

Answer 493

Louis Sullivan

Question 494

Giovanni Battista Gaulli’s *Triumph of the Name of Jesus* can be linked to Michelangelo’s Sistine Chapel ceiling frescoes through the two works'

Answer 494

blurred distinction between painting and architecture ## Footnote Gaulli’s *Triumph of the Name of Jesus* is linked to Michelangelo’s Sistine Chapel ceiling frescoes through the two works' blurring of architecture and painting. The Sistine Chapel ceiling frescoes, painted between 1508 and 1512, include illusionistic renderings of architectural elements that frame the individual paintings. In Gaulli’s work, created between 1672 and 1685, similar illusions have been carried to a dazzling degree, with painted and sculpted figures appearing to pour out of an illusionistic heaven, over the surrounding architecture, and into the interior of the church.

Question 495

Although Kiki Smith’s *Lying with the Wolf* and Jeff Koons’s *Pink Panther* both depict women holding animals, which of the following statements accurately summarizes the difference in the meaning each conveys?

Answer 495

Smith’s work focuses on mythologies about women, while Koons’s work focuses on kitsch in popular culture ## Footnote Smith’s work references mythologies about women, while Koons’s work speaks directly to Postmodernism and kitsch. Kiki Smith’s career-long investigation into the feminine narrative specifically focuses on women’s spiritual identity, sexuality, and shared stories. Jeff Koons is directly addressing popular culture through appropriation (a postmodern approach) and the banality of popular mass-produced art imagery (kitsch).

Question 496

When Robert Smithson created *Spiral Jetty* in 1970, he demonstrated the postwar challenge to traditional art making by

Answer 496

constructing a work of art to display outside of a museum or gallery context ## Footnote Smithson demonstrated the postwar challenge to traditional art making by constructing a work of art in the Great Salt Lake, outside of the museum and gallery context.

Question 497

Which of the following best describes the two paintings?

Answer 497

A combination of genre and portrait painting

Question 498

The specific iconography used by Miguel Cabrera in his portrayal of Sor Juana Inés de la Cruz suggests the artist’s intention to

Answer 498

emphasize her passion for religion and love of literature ## Footnote Miguel Cabrera’s portrait emphasizes Sor Juana Inés de la Cruz’s passion for religion and love of literature and learning. He portrayed Sor Juana seated in her library wearing her habit and rosary as well as with writing instruments that allude to her written works.

Question 499

Robert Smithson chose the motif of the spiral for his earthwork *Spiral Jetty* because its shape

Answer 499

symbolized to him the natural cycle of creation and decay ## Footnote Robert Smithson chose the motif of the spiral for his earthwork Spiral Jetty because its shape symbolized to him the natural cycle of creation and decay. Smithson intended for his work to be a reflection on the relationship between the constructive and destructive forces of nature. Spiral Jetty itself was planned as an ephemeral structure which would gradually be changed by the environment of the lake where it was built. Smithson chose the spiral because it is a shape that is found throughout nature and symbolizes a cyclical movement in time.

Question 500

The tympanum relief sculpture at the Church of Sainte-Foy uses contrasting iconography within a symmetrical composition to distinguish between

Answer 500

the consequences of good and evil ## Footnote The tympanum relief sculpture at the Church of Sainte-Foy uses contrasting iconography within a symmetrical composition to distinguish between the consequences of good and evil. The composition of the Last Judgment tympanum sculpture at the Church of Sainte-Foy is bisected by the centered image of Christ as judge, and the two sides of the tympanum include iconography that portrays the peace of salvation and the tortures of hell, respectively.

Question 501

In the lower left side of the tympanum, the church’s namesake, Saint Foy, is depicted kneeling before the outstretched hand of God in order to

Answer 501

inspire visiting pilgrims to similarly adopt humble reverence before the hand of God ## Footnote The church’s namesake, Saint Foy, is depicted on the tympanum kneeling before the outstretched hand of God in order to inspire pilgrims visiting her relics to similarly humble themselves in reverence before God’s hand. On the lower left side of the tympanum, the martyr is shown kneeling, almost prostrating herself, in prayer while being touched by the hand of God. This depiction of Saint Foy was meant to elicit from viewers a similar sense of humbleness and piety.

Question 502

The style of the relief sculpture on the tympanum is best demonstrated as Romanesque through the

Answer 502

heavily stylized figures that are depicted either frontally or in composite poses ## Footnote The Romanesque style of the relief sculpture on the tympanum is best demonstrated through the heavily stylized figural forms that are depicted either frontally or in composite poses. The tympanum displays stylized figures with substantial, blocky bodies that are generally portrayed in stiff, unmoving frontal positions.

Question 503

The scenes represented on the tympanum affected pilgrims entering the church by eliciting responses of

Answer 503

dread at the scenes of punishment and torment ## Footnote The scenes represented on the tympanum, from the Last Judgment of Christ, likely affected pilgrims entering the church by eliciting responses of fear, trepidation, and dread at the scenes of punishment and torment. The visual narrative places Christ in the center, judging the dead by pointing his right hand upward to the saved and gesturing his left hand down to those damned to hell. The contrast between these depictions of salvation and damnation would have served as a warning of the demons and tortures that awaited the unsaved in the afterlife. It inspired people to be devout and faithful to avoid this tortured fate.

Question 504

Once inside, religious pilgrims would move through the church into an ambulatory and radiating chapels, which were special features adopted by churches of this period to

Answer 504

accommodate the large number of people who traveled to see the Reliquary of Sainte-Foy ## Footnote Ambulatories and radiating chapels would allow large numbers of pilgrim travelers to enter the church and visit the relics housed there without disturbing the activities in the nave of the church.

Question 505

In *Stadia II*, the process used by artist Julie Mehretu that overlays projections of maps and diagrams with figures, notations, and photographs creates an effect that some critics have said is like

Answer 505

layered formations with characters that have been buried as if they were fossils ## Footnote In *Stadia II*, artist Julie Mehretu overlays projections of maps and diagrams with figures, notations, and photographs, a process that creates an effect that has been likened to layered geologic formations with characters buried as if they were fossils. This interpretation has been confirmed by the artist.

Question 506

In *Stadia II*, art historians suggest that Julie Mehretu employs pictorial elements such as movement lines and brightly colored geometric shapes to intentionally draw analogies between these elements and the

Answer 506

flag-waving pageantry of propagandistic nationalism ## Footnote The pictorial elements featured in *Stadia II*, particularly the brightly colored circles, blocks, and parallelograms, closely resemble the designs of the national flags of most countries. The abstract forms combined with swirling, energetic lines convey energy and motion. When the artist chooses to place these elements into a setting that resembles an amphitheater, the effect is suggestive of the en masse waving of national flags. Through this abstract imagery, the artist is able to explore the legacy of nationalism and revolution.

Question 507

The structural composition of the painting is grounded in the tradition of

Answer 507

architectural drawing ## Footnote The painting is grounded in the tradition of architectural drawing. In this work of art, Julie Mehretu references architectural plans, maps of the urban environment, diagrams, and symbols.

Question 508

Scholars interpret the small figures carved on the staff god from Rarotonga as

Answer 508

male and female figures representing ideas of regeneration and fertility ## Footnote The small figures male and female figures carved on the staff god from Rarotonga have been interpreted by scholars as representing ideas of regeneration and fertility. While there is no written documentation or surviving oral histories that confirm the meaning of the figural imagery carved on the staff god from Rarotonga, works of this type are consistent in their iconography, and all contain imagery that seems to be strongly connected to ideas of reproduction and fertility. The small figures on the staff god from Rarotonga appear to depict stylized representations of men with emphasized genitalia, as well as other depictions that have been interpreted as possibly representing women in childbirth.

Question 509

Which of the following is a feature of the Standard of Ur that provides evidence of a vast trade network with foreign lands?

Answer 509

The use of luxury materials acquired from other cultures ## Footnote The Standard of Ur provides evidence of a vast trade network with foreign lands through the use of luxury materials acquired from other cultures. The use of lapis lazuli and other luxury materials inlaid within the design suggests trade with present-day Afghanistan and India because the materials were not available locally.

Question 510

Which of the following statements is true of both the Standard of Ur from the Royal Tombs at Ur and the Palette of King Narmer?

Answer 510

They celebrate military victory.

Question 511

The use of steel made it possible for the Carson, Pirie, Scott and Company Building to have which of the following architectural innovations?

Answer 511

An open floor plan and large expanses of glass

Question 512

*The Steerage* was created by which of the following artists?

Answer 512

Alfred Stieglitz ## Footnote *The Steerage* was created by the American photographer Alfred Stieglitz.

Question 513

Many critics have interpreted *The Steerage* as a social commentary on conditions facing working-class Europeans crossing the Atlantic, while others have argued that the artist's primary purpose was to

Answer 513

achieve a formal aesthetic in photography similar to that of Modernist abstract painting ## Footnote While some critics have interpreted *The Steerage* as a work of social commentary, others have argued that the artist's primary purpose was to achieve a formal aesthetic in photography similar to that of Modernist abstract painting. The photograph includes strong dark and light contrast as well as clear diagonal lines that divide the composition, similar to works of abstract painting from the time.

Question 514

Which of the following printing techniques was used to create *The Steerage*?

Answer 514

Photogravure ## Footnote *The Steerage* was created using the photogravure printing technique.

Question 515

The art-historical movement of the work shown is ## Footnote The painting was surprising to its original audience mainly because

Answer 515

Realism ## Footnote Gustave Courbet considered himself a Realist. In The Stone Breakers, he used a limited and somber palette to represent an unsentimental, true-to-life depiction of common people performing grueling labor.

Question 516

The painting was surprising to its original audience mainly because

Answer 516

it depicted laborers on a grand scale ## Footnote *The Stone Breakers* was surprising to audiences in its depiction of laborers using the grand scale typically reserved for history painting. Moreover, Gustave Courbet surprised his audience by representing a subject traditionally deemed unsuitable for academic painting: unidealized experiences of the working poor.

Question 517

The theme of the painting is most strongly related to the

Answer 517

writings of Karl Marx ## Footnote *The Stone Breakers*, painted a year after Marx and Engels published The Communist Manifesto, is most strongly related to the writings of Karl Marx, given Courbet’s focus on class and labor.

Question 518

The application of paint is most similar to that of

Answer 518

Édouard Manet’s *Olympia* ## Footnote The slightly older artist Gustave Courbet influenced Édouard Manet in his choice of technique through their mutual love of the Spanish school. In *The Stone Breakers*, the application of paint is similar to Manet’s Olympia in the use of painterly brushstrokes and unblended pigments.

Question 519

Which of the following was used to build Stonehenge?

Answer 519

Mortise-and-tenon construction ## Footnote The builders of Stonehenge used a mortise-and-tenon system in which the upright posts and horizontal lintels were locked together using joints.

Question 520

Although the function of Stonehenge has been debated by scholars, newer archaeological evidence suggests that it may have acted as

Answer 520

a center for pilgrimage and healing of the sick ## Footnote Based on new archaeological evidence, some scholars have theorized that one function of Stonehenge may have been to act as a center for pilgrimage where the sick and injured came to be healed, since several of the human remains buried at or near the site show signs of sickness or physical trauma. In addition, scientific analysis of animal bones unearthed at the site show that the animals were brought long distances to Stonehenge before they were eaten, making it likely that some people traveled long distances to visit the site.

Question 521

Stonehenge was initially created by a Neolithic culture that can best be described as

Answer 521

a society of early farmers who lived in nearby agricultural settlements ## Footnote Stonehenge was initially created by a Neolithic culture that can best be described as a society of early farmers who lived in nearby agricultural settlements. The main building phases of Stonehenge were completed by around 2500 B.C.E during the late Neolithic period by early farmers who lived in small agricultural settlements.

Question 522

The precise arrangement and orientation of the megaliths of Stonehenge suggest that the site was used for the

Answer 522

marking of the summer solstice ## Footnote A “heel stone” marked the point of sunrise at the summer solstice for a person looking out from the center of the Stonehenge complex.

Question 523

Scholars conclude from archaeological evidence that the ditch that surrounds the site of Stonehenge was created as

Answer 523

one of the first features of the site, which later underwent multiple additional building phases ## Footnote Archaeological research has revealed that Stonehenge was constructed in multiple different phases over the course of several hundreds of years, during which the appearance of the site repeatedly changed. The circular ditch that surrounds and demarcates the site appears to have been created during the first phase of construction.

Question 524

Which of the following techniques and materials were used to create this work?

Answer 524

Carved wood ## Footnote As is typical of Ashanti stools, the work shown was carved from a single block of wood and designed to have a crescent-shaped seat. Once carved, each Ashanti stool serves to reflect the soul of its owner and to act as an intermediary between the worlds of the living and the dead. As such, it carries with it the power of an ancestral lineage and is the most important possession of the Ashanti people.

Question 525

The stool shown can be attributed to Ashanti culture based on

Answer 525

its flat base, curved seat, and bilateral balance ## Footnote A flat, rectangular base is a consistent element of Ashanti stools, as are the curved seat and the symmetrical layout.

Question 526

The structural elements of French Gothic architecture can best be illustrated by the relationship between

Answer 526

flying buttresses and ribbed vaulting

Question 527

The use of the steel-frame construction method in his Carson, Pirie, Scott and Company Building enabled Louis Sullivan to

Answer 527

reduce the number of load-bearing walls and significantly increase the size of the windows ## Footnote In his Carson, Pirie, Scott and Company Building, Louis Sullivan used a steel-frame construction method that allowed him to rely less on walls for structural support and, therefore, to dramatically enlarge the windows in his building. This meant that he was able to maximize the amount of natural light in the building’s interior. The steel-frame construction method was introduced in the late nineteenth century and was an important innovation that fostered the development of American skyscraper architecture. Buildings constructed with this method contain an interior steel skeleton frame to which the building’s walls are attached. This largely relieves the walls of their traditional load-bearing function and allows for higher buildings with larger wall openings.

Question 528

The work shown can be identified as an ancient Sumerian sculpture because of which of the following visual characteristics?

Answer 528

Rigid frontality with clasped hands ## Footnote The work shown can be identified as an ancient Sumerian sculpture because of its rigid frontality with clasped hands. The same visual characteristics are represented in the Sumerian statues of votive figures from the Square Temple at Eshnunna to assist in their prayers to a god.

Question 529

Which of the following art movements was characterized by a self-conscious desire to borrow from the theory and practice of psychoanalysis?

Answer 529

Surrealism

Question 530

The function of the work is most similar to that of the

Answer 530

grave stele of Hegeso ## Footnote Both the grave stele of Hegeso and the Taj Mahal are funerary monuments, constructed to illustrate the wealth and power of their patrons.

Question 531

The work shown is the

Answer 531

Taj Mahal ## Footnote This image shows the Taj Mahal in India.

Question 532

The carved floral imagery on the exterior of the structure has been linked to which of the following religious concepts?

Answer 532

The beauty and luxury of paradise ## Footnote The Taj Mahal was constructed as a mausoleum for Shah Jahan’s favorite wife. The floral designs, along with other decorative and structural elements within the complex, refer to the beauty and luxury of paradise.

Question 533

The minarets of the Taj Mahal are used in a somewhat different manner than was traditional for minarets because their function was to

Answer 533

provide a visual balance to the design of the main structure ## Footnote The minarets of the Taj Mahal are unusual because of the way the architect used their verticality as part of the overall design to achieve a delicate balance between horizontal and vertical elements of the complex as a whole.

Question 534

The four towers in the corners of the structure are called

Answer 534

minarets

Question 535

The structure's exterior is constructed primarily of

Answer 535

marble

Question 536

The structure's exterior is decorated with a combination of

Answer 536

inlaid stone and verses from the Quran

Question 537

The structure functions as a

Answer 537

mausoleum

Question 538

The structure's central arched indentation and the smaller arched indentations that flank it are called

Answer 538

iwans

Question 539

One theory about the siting of the Taj Mahal at the center of the overall layout of the complex is that it was meant to

Answer 539

emphasize the structure as the throne of God ## Footnote The organization of the Taj Mahal along a central axis has led scholars to believe that the complex functioned as the throne of God.

Question 540

The structure is located in

Answer 540

India

Question 541

The pools and gardens surrounding the structure were designed to symbolize

Answer 541

an Islamic vision of paradise

Question 542

In the portrait *Tamati Waka Nene*, the subject’s mana, or power, is displayed through the inclusion of which of the following?

Answer 542

A cloak covered with kiwi feathers ## Footnote The portrait of Tamati Waka Nene by Gottfried Lindauer depicts the Maori chief wearing a cloak covered in kiwi feathers and greenstone jewelry. Lindauer depicts Tamati Waka Nene in the feathered cloak worn by Maori leaders before European contact and not in the more common Western clothing of the time. Kiwi feathers were valued by the Maori for their mana. Wearing a feather cloak would have transferred their mana, or power, to the wearer.

Question 543

The content of the painted design in the work shown can best be described as

Answer 543

abstract geometric patterns and stylized representations of plants ## Footnote The content of the painted design on the work shown—a hiapo (tapa) cloth from Niue—is best described as abstract geometric patterns and stylized representations of plants. During the 1880s, Niuean bark cloth producers started to create more complex designs that included these elements.

Question 544

Tapa cloth is traditionally made by women in Polynesia because

Answer 544

women’s arts are associated with soft and ephemeral materials ## Footnote Traditional Polynesian art-making practices are highly gendered. Men traditionally work with hard materials, such as wood and bone, whereas women work with softer materials like cloth.

Question 545

In the work shown, which of the following was used to draw attention to the surface texture of the material?

Answer 545

Outlined forms and large areas of negative space ## Footnote The use of outlined forms allows the surface texture of the material to be seen throughout the composition, except in the forms filled with black paint. The design of the composition creates large areas of negative space both within and between shapes. The negative space is unpainted, which emphasizes the surface texture of the material.

Question 546

Staff gods from the Cook Islands, like the Rarotonga staff god shown, were wrapped in tapa, or bark cloth, because tapa was

Answer 546

considered to possess spiritual significance and was therefore appropriate for a sacred object ## Footnote Tapa cloth is a material made from the inner bark of trees and shrubs, such as the mulberry plant, and is very labor-intensive to manufacture. While tapa cloth had a wide variety of uses, it was considered to possess a spiritual aspect and a connection to the sacred and was therefore often used in important ritual and ceremonial contexts, such as the wrapping of staff gods. While tapa used for everybody objects was usually unadorned, tapa cloth used in more-elevated contexts, such as the example shown, was often elaborately decorated with painted or stenciled designs.

Question 547

Which of the following best describes the traditional function of hiapo (tapa)?

Answer 547

It is given as a gift to demonstrate social relationships ## Footnote The traditional function of hiapo (tapa) was to demonstrate social relationships. Tapa cloths were exchanged and displayed to mark special occasions and to affirm the social hierarchy.

Question 548

The medium of the work on the right is tempera, which is pigment mixed with

Answer 548

egg yolk

Question 549

The progression of distinct spaces along the axial plan of the temple of Amun-Re at Karnak reflects the

Answer 549

increasing restriction of access as one moved toward the inner sanctum ## Footnote The progression of distinct spaces along the axis of the temple of Amun-Re at Karnak, from left to right in the plan shown, led from the entrance toward the inner sanctuary. Access along this route became increasingly restricted and only the pharaohs and priests were allowed in the innermost shrine.

Question 550

A pharaoh progressing through the temple complex was intended to encounter

Answer 550

spaces that were increasingly dark and mysterious, leading to the inner sanctum housing the cult statue

Question 551

The form of the columns in the hypostyle hall was intended to recall the

Answer 551

dense clusters of papyrus reeds on the Nile

Question 552

Which of the following aspects of ancient Egyptian beliefs is reflected in the program of relief carvings and hieroglyphics that cover the interior and exterior surfaces of the temple complex?

Answer 552

The pharaoh possessed divinely granted power to maintain order on earth.

Question 553

The architectural order shown on the right is

Answer 553

Ionic

Question 554

The building on the right is the

Answer 554

Temple of Athena Nike

Question 555

The facade of the Temple of Minerva includes which of the following architectural features?

Answer 555

A pediment supported by Tuscan columns ## Footnote The facade of the Temple of Minerva includes a pediment supported by Tuscan columns, which were typical architectural features for Etruscan temples at this time. The Tuscan columns on this facade were unfluted and widely spaced beneath the triangular pediment.

Question 556

The design of the Templo Mayor as a double pyramid signifies the

Answer 556

dedication of the temple to two different deities important to the Aztecs ## Footnote The Templo Mayor was constructed as a double pyramid with a wide platform that supported two different shrines, with two separate staircases leading up to each. The temple on the right was dedicated to Huitzilopochtli, the patron deity of the Aztecs, or Mexica, and god of war and fire, and the one on the left was dedicated to Tlaloc, an ancient god of rain and fertility.

Question 557

The destruction of images for political or religious reasons is known as

Answer 557

iconoclasm

Question 558

The piece is called

Answer 558

a triptych

Question 559

The type of work is called a

Answer 559

stele

Question 560

The thousands of armed, individualized terra cotta warriors that were commissioned by the first Qin emperor were intended to reflect his

Answer 560

vision of an army comparable to his earthly army that would accompany him to the afterlife ## Footnote Qin Shi Huangdi succeeded in ending the Warring States period by uniting a vast area, often by means of brutality and massacre. As his conquered areas expanded, he incorporated more soldiers into his army, representing all the parts of his empire. The mausoleum workshop was charged with creating a representative army to accompany the first emperor in the afterlife. The assembly-line process they used enabled workers to create the immense number of terra cotta warriors at the same time that they individualized each, mixing and matching facial features, ears, facial hair, and hairstyles, along with characteristics of rank and type of soldier, in order to represent the reality of the army of soldiers from across Qin Shuhuang’s realm.

Question 561

The Qin Dynasty Terra cotta warriors differ from the warriors shown on the Standard of Ur in that only the Qin warriors

Answer 561

have individual features ## Footnote While the Qin warriors are individualized, the Sumerian soldiers on the Standard of Ur are stylized and repeated.

Question 562

The building on the right, designed by Renzo Piano and Richard Rogers, is

Answer 562

a cultural center

Question 563

The *Merode Altarpiece* by the Master of Flémalle (Robert Campin?) includes symbols that

Answer 563

appear in the guise of everyday objects

Question 564

The painting on the left was painted by

Answer 564

Thomas Cole

Question 565

The photographer of the work shown is

Answer 565

Alfred Stieglitz

Question 566

In *The Swing (after Fragonard)*, Yinka Shonibare utilizes specific fabrics as a

Answer 566

reference to colonialism and cultural hybridity ## Footnote In *The Swing (after Fragonard)*, British-Nigerian artist Yinka Shonibare recreates a Rococo painting in three-dimensional form. The installation consists of a female figure dressed in an eighteenth-century ruffled gown tailored from Dutch wax, a textile produced in Holland which was popular with African consumers. Shonibare combines these elements to reference colonialism and its impact on cultural identity.

Question 567

The work shown can be attributed to

Answer 567

Katsushika Hokusai ## Footnote The work shown can be attributed to Katsushika Hokusai. Like *Under the Wave off Kanagawa (Kanagawa oki nami ura)* , also known as the Great Wave, from the series Thirty-six Views of Mount Fuji, the print shown uses a limited palette of saturated colors and crisp lines in its presentation of the relationship between humans and the natural world.

Question 568

The artist of the painting on the left is associated with an art-historical movement known as the

Answer 568

Hudson River School

Question 569

Which of the following terms best describes the content of the painting?

Answer 569

*Sacra conversazione*

Question 570

The artist of the work dominated painting in which of the following cities?

Answer 570

Venice

Question 571

The composition of the painting can best be described as which of the following?

Answer 571

Diagonal

Question 572

The illusion of depth is achieved primarily through the use of

Answer 572

architectural structures

Question 573

The artist of the work shown is

Answer 573

Titian

Question 574

The kneeling figures at the lower left and the lower right of the painting represent

Answer 574

donors

Question 575

The medium used in the work is

Answer 575

oil

Question 576

The stylistic period of the work is

Answer 576

Renaissance

Question 577

Figurines such as the one shown can be considered most similar in content to the

Answer 577

jade *cong*

Question 578

The ceramic figurine shown from Tlatilco, Central Mexico, is characterized by

Answer 578

a lack of attention to the hands and feet ## Footnote The ceramic figurine shown from Tlatilco is characterized by a lack of attention to the hands and feet, which is typical of the figurines made by this culture.

Question 579

The Anavysos Kouros is similar to the Tlatilco figurine in that both

Answer 579

were found in burial contexts ## Footnote The Anavysos Kouros and the Tlatilco figurine were both found in burial contexts. The name of the marble Anavysos Kouros derives from the village cemetery in Greece where the statue was discovered. The slightly larger than life-sized figure was set up as a grave marker by an aristocratic family to honor their son who had died in battle. The small hand-modeled ceramic Tlatilco figurine was found interred along with other burial goods. Generally, this type of ceramic figurine functioned as an effigy buried as a grave offering alongside the dead.

Question 580

The work shown was created by the

Answer 580

Tlatilco culture between 1200 and 900 B.C.E. ## Footnote The work shown is the Tlatilco female figurine, created by the Tlatilco culture in central Mexico between 1200 and 900 B.C.E.

Question 581

The work was created using

Answer 581

hand-shaped clay and a sharp instrument to incise details ## Footnote The Tlatilco female figurine displays the marks of hand-formed and pinched clay. It also includes details that appear to be cut into the surface of the clay with the use of a sharp, pointed instrument, particularly for the hair and face.

Question 582

Scholars believe that the work was used for which of the following purposes?

Answer 582

As an offering made to accompany the deceased in burial ## Footnote Scholars believe that the Tlatilco female figurine was likely used as an offering to accompany the deceased in burial because the figurine was excavated from a grave, where it had been buried with a large quantity of other objects.

Question 583

In the Tlatilco figurine shown, the artist created an effect of stylization through which of the following visual characteristics?

Answer 583

Exaggerated proportions that place an emphasis on truncated arms and expansive hips ## Footnote In the Tlatilco figurine shown, the artist created an effect of stylization through the use of exaggerated proportions that place an emphasis on truncated arms and wide, expansive hips. This lack of naturalism emphasizes various parts of the body and is a departure from an accurate representation of a human figure.

Question 584

In order to give viewers the impression that the spirit of the Buddha inhabited the sculpture in the main hall, a monk performed a ceremony in which he

Answer 584

painted eyes onto the statue ## Footnote Following a common Buddhist practice, the Great Buddha statute was symbolically given life during an "eye opening" ceremony, which was performed shortly after the statue was created, during which a monk painted eyes onto the statue.

Question 585

The Great Buddha statue located in the main hall at Todai-ji was constructed of

Answer 585

cast bronze ## Footnote The Great Buddha was created out of cast bronze.

Question 586

The Todai-ji temple complex demonstrates continuity with other works of imperial Buddhist architecture from Asia because it was

Answer 586

constructed on a monumental scale to express royal authority ## Footnote Like other works of imperial Buddhist architecture from Asia, such as the Longmen caves in China, the Japanese complex of Todai-ji, which was commissioned by Emperor Shomu in the eighth century C.E., was constructed on a monumental scale in order to express the power and wealth of the state.

Question 587

Like the Fengxian Temple that is part of the Longmen caves, Todai-ji includes

Answer 587

fierce guardian figures created to protect the complex’s sacred space ## Footnote The Fengxian Temple contains a guardian figure known as a Vajrapāṇi, while Todai-ji contains two Nio guardian figures, whose fierce appearance emphasizes their roles as protectors of the sacred complex.

Question 588

The work shown is

Answer 588

the Tomb of the Triclinium ## Footnote The image shows the Tomb of the Triclinium from the Monterozzi necropolis in Tarquinia, Italy.

Question 589

The depiction of dancers and musicians references the

Answer 589

elaborate feasting that accompanied funerals ## Footnote Etruscan funerals were not somber; instead, they consisted of lively feasts accompanied by music and dancing. The fresco within the Tomb of the Triclinium presents one of such celebrations in its entirety, complete with musicians and dancers.

Question 590

The work has been interpreted both as honoring a deceased individual and as

Answer 590

emphasizing the high social status of the deceased’s family ## Footnote The lavish feast scene depicted in the wall fresco was intended both to honor the deceased and to emphasize the wealth and social status of their family.

Question 591

In creating the figures, the artist used which of the following conventions of representation typical of the culture?

Answer 591

Color differentiation to convey gender ## Footnote As is traditional in Etruscan painting, the male figures are depicted with darker skin than female figures.

Question 592

In terms of its content, the work is most similar to the

Answer 592

*Sarcophagus of the Spouses* ## Footnote The *Sarcophagus of the Spouses* is similar to the Tomb of the Triclinium in terms of its content and function, as both works depict banquet scenes associated with Etruscan funerary rites.

Question 593

The depiction of war on the Column of Trajan differs from earlier depictions, such as the one seen in the Alexander Mosaic, in that the narrative frieze on the Column of Trajan

Answer 593

emphasizes the methodical power of imperial leadership ## Footnote The depiction of war on the Column of Trajan differs from earlier depictions, such as the one seen in the *Alexander Mosaic*, in that the narrative frieze on the Column of Trajan emphasizes the methodical power of imperial leadership. While the column does show many dynamic battle scenes, it also depicts the Roman army building fortifications. It shows Trajan addressing his troops and Trajan making sacrifices to the gods to ensure successful battle. The Romans are shown preparing for war in a careful and meticulous manner to show the greater organizational capacity of the Roman army over the Dacians.

Question 594

The *Bayeux Tapestry* can be linked to the influence of Roman Imperial works such as the Column of Trajan in its

Answer 594

detailed retelling of a historical narrative depicted in a scroll-like format ## Footnote The *Bayeux Tapestry* can be linked to the influence of Roman Imperial works such as the Column of Trajan in its detailed retelling of a historical narrative depicted in a scroll-like format. The *Bayeux Tapestry* is a long, scroll-like piece of embroidered cloth that depicts a series of events related to the conquest of England by the dukes of Normandy in the eleventh century, including details such as preparations for war, the building of ships, and preparation of meals. The Romanesque work in many aspects recalls the Column of Trajan, which also depicts a series of events related to successful military campaigns that are depicted in a similar scroll-like format wrapped around a column and which records also many smaller details, such as the construction of forts and transport of troops.

Question 595

When a Kwakwaka’wakw transformation mask was used in a ceremony, the audience would most likely have felt that the wearer was

Answer 595

filled with energy from ancestors or spirit forces ## Footnote When a Kwakwaka’wakw transformation mask was used in a ceremony, the audience would most likely have believed that the wearer was filled with energy from ancestors or spirit forces.

Question 596

The specific imagery on Kwakwaka’wakw transformation masks is primarily influenced by

Answer 596

the clan association of the person qualified to dance the mask ## Footnote Imagery on Kwakwaka’wakw transformation masks is influenced by the status and clan association of the person qualified to dance the mask. A person's clan identity determines which animal should be featured on the transformation mask. An individual’s status determines whether that person can commission and dance the mask.

Question 597

The combination of zoological and anthropomorphic forms in the work shown functions as

Answer 597

an external display of the transformation of the wearer ## Footnote The combination of zoological and anthropomorphic forms in the work shown functions as an external display of the transformation of the wearer. When worn during important ritual celebrations, the Transformation mask, with its animal and human forms, was intended to symbolize the wearer’s transformation into an animal or mythical being.

Question 598

Because of the way Kwakwaka'wakw transformation masks function, artists who create them have to

Answer 598

plan for and design two completely different images ## Footnote Because of the way Kwakwaka'wakw transformation masks function, artists who create them have to plan for and design two completely different images. The shape of the mask closed is completely different than its shape when opened. The artist would have to create separate designs for the two states.

Question 599

The artist intended the Kwakwaka’wakw transformation mask to be experienced in all of the following ways EXCEPT as

Answer 599

musically clanking and rattling while the wearer moved ## Footnote Although the transformation mask made some sound while opening and closing during performances, the mask was not intended to be experienced as musical in function.

Question 600

In *Travelers among Mountains and Streams*, Fan Kuan makes the few human and animal figures very small in comparison to the massive mountains in order to remind viewers that

Answer 600

people are insignificant in relation to nature ## Footnote Fan Kuan was searching for the absolute truth in nature. He viewed the beauty of nature with awe and considered people insignificant in comparison to the vastness and grandeur of nature.

Question 601

The exterior decoration of the Treasury at Petra attests to the manner in which Nabataean architects were influenced by the

Answer 601

rich ornamentation of Hellenistic architecture

Question 602

The work illustrates

Answer 602

members of the court on an outing

Question 603

The work was painted by

Answer 603

the Limbourg brothers

Question 604

Works like this are related to themes found in the paintings of which of the following artists?

Answer 604

Pieter Bruegel

Question 605

This work is an example of which of the following period styles?

Answer 605

International Gothic

Question 606

The work is a

Answer 606

manuscript illumination

Question 607

This example is taken from which of the following cycles?

Answer 607

A representation of the labors of the months

Question 608

The painting on the left tells a story by

Answer 608

The painting on the left tells a story by

Question 609

In creating the work shown, Michel Tuffery used

Answer 609

flattened metal cans that were joined together with rivets ## Footnote In creating the sculpture shown, *Pisupo Lua Afe (Corned Beef 2000)*, Michel Tuffery used recycled corned beef cans, which he flattened and joined together with rivets.

Question 610

In order to heighten the impact of his work, Tuffery

Answer 610

featured versions of the sculpture in interactive public street performances ## Footnote In order to heighten the impact of his work, Tuffery brought his work directly to local communities, where he featured versions of the sculpture in public street-performance installations, which included having the bull move and issue smoke, accompanied by drummers and performers. Tuffery, who connects his work to a pedagogical mission, hopes to inspire a wider audience and spread awareness about health, the environment, and cultural heritage.

Question 611

Michel Tuffery chose the image of a bull for his work in order to

Answer 611

draw attention to the environmental impact of cattle farming in the Pacific Islands ## Footnote New Zealand artist Michel Tuffery chose a bull for his sculpture *Pisupo Lua Afe (Corned Beef 2000)* to draw attention to the environmental impact of cattle farming in the Pacific Islands. Michel Tuffery created this work to address the harmful impact of this foreign-introduced, mass-produced canned food on the health, environment, food sovereignty, and cultural heritage of Pacific Islanders. The bull is both a reference to the corned beef that gives the work its name and a symbol of the environmental distraction caused by cattle farming and the introduction of nontraditional food sources in New Zealand.

Question 612

Which work demonstrates the continued importance of the Andean textile tradition?

Answer 612

All-T’oqapu tunic ## Footnote The All-T’oqapu tunic is an Inka work that demonstrates the culmination of a long tradition of textile manufacture and use in the Andean region. The All-T’oqapu tunic was constructed according to traditional methods, as the weaver used a blackstrap loom to create the patters on the tunic. Also, the tunic included a variety of geometric motifs, known as t’oqapu. These t’oqapu had cultural significance to the Andean people, symbolizing the power and royalty of the wearer.

Question 613

Joseph Mallord William Turner's *Slave Ship (Slavers Throwing Overboard the Dead and Dying, Typhoon Coming On)* exemplifies the Romantic era through its

Answer 613

emphasis on color as a means of eliciting intense emotion ## Footnote Turner's *Slave Ship* exemplifies the Romantic era through its emphasis on color as a means of eliciting intense emotion. While the Romantic artists varied in their approaches, the idea of freedom through imagination and emotion unites most of them.

Question 614

The work shown, by Joseph Mallord William Turner, can be understood in the context of the artist’s

Answer 614

sympathies for the abolitionist movement ## Footnote The work shown, *Slave Ship (Slavers Throwing Overboard the Dead and Dying, Typhoon Coming On)*, painted in 1840 C.E. by Joseph Mallord William Turner can be understood in the context of the artist’s sympathies for the abolitionist movement and his rejection of the institution of slavery. In the painting, Turner depicts an event reported in the news connected to the trans-Atlantic slave trade, in which the captain of a slave ship decided in the face of a storm to throw sick slaves overboard out of financial considerations. Turner uses various techniques in his painting to impress on the viewer the despicable nature of this inhumane act, and, in extension, the condemnable nature of the institution of slavery itself.

Question 615

Joseph Mallord William Turner’s *Slave Ship (Slavers Throwing Overboard the Dead and Dying, Typhoon Coming On)* and Kara Walker’s *Darkytown Rebellion* are similar in that both works

Answer 615

address the atrocities human beings committed against others in the context of slavery ## Footnote *Darkytown Rebellion* by Kara Walker and *The Slave Ship* by Joseph Mallord William Turner are similar in that they both confront acts of physical violence under slavery. *Darkytown Rebellion* by Kara Walker depicts a slave rebellion, and *The Slave Ship* by Joseph Mallord William Turner depicts slavers throwing the dead and sick slaves overboard in anticipation of a storm.

Question 616

The subject matter of Turner’s *Slave Ship* reflects

Answer 616

Romantic interest in social injustice

Question 617

The influence that Japanese works such as Hokusai’s *Under the Wave off Kanagawa (Kanagawa oki nami ura)* had on Mary Cassatt’s work including *The Coiffure* can be seen in Cassatt’s use of

Answer 617

flattened forms, planes of solid color, and rhythmic patterns ## Footnote Cassatt’s fascination with Japanese prints, which began at a Paris exhibition in 1890, is reflected in *The Coiffure’s* flat forms and planes of unmodulated color, as seen in the skin of the woman and the frame of the mirror. Cassatt avoids any hint of shading or shadows, just as Hokusai eliminates any shadow of the wave on the boats beneath it. The rhythmic repetitions of the curving fingers of Hokusai’s cresting wave, the falling spray, the details of the boats, and the heads of the fishermen are echoed in Cassatt’s decorative use of patterns, found in the floral motif in the wallpaper and carpet and in the stripes on the chair.

Question 618

The relief carving shown can be attributed to the Amarna style because it depicts the

Answer 618

veneration of the sun god Aten by the pharaoh and his family ## Footnote Art created during the reign of King Akhenaten in the Amarna style is characterized by stylistic and iconographic breaks with earlier traditions of Egyptian art. Akhenaten founded a new monotheistic religion centered around the veneration of the sun god Aten, of whom he considered himself to be the earthly representative. In the relief shown, the pharaoh and his family are depicted worshipping Aten, who is represented by a sun disk with rays ending in hands, which symbolize the life-giving power of the deity. These iconographic conventions are also seen in other royal images of the Amarna period, such as in the relief of Akhenaten, Nefertiti, and three daughters.

Question 619

Both of these works were created by

Answer 619

Bernini

Question 620

The facade shown contains which of the following architectural elements?

Answer 620

Engaged columns and decorative pediments ## Footnote The Baroque facade shown contains engaged columns—that is, columns that are not freestanding but are partially embedded into a wall, as well as multiple decorative semicircular and triangular pediments above the doors, wall niches, and at roof level.

Question 621

The artist of the painting shown used which of the following techniques in the scene depicted?

Answer 621

Atmospheric perspective through the inclusion of cool colors in the background ## Footnote In this work, Pieter Bruegel the Elder creates a sense of depth in a landscape by using variations in light and shade as well as cooler colors, such as blues, for distant landscape features, in order to differentiate the background from the foreground. This technique is known as atmospheric perspective, and is commonly used in Renaissance landscape painting, as well as in landscape paintings of other artistic periods.

Question 622

Because of its complex figural reliefs, corbeled mountainlike roofs, and covered pavilions, the structure shown can be attributed to the same architectural style as that of

Answer 622

the Lakshmana Temple ## Footnote The work shown, the Hindu temple of Kandariya Mahadeva in India, is stylistically most similar to the Lakshmana Temple due to the corbeled mountainlike roofs, pillared mandapas (halls or pavilions), and the complex figural reliefs covering the facade.

Question 623

Due to the style of calligraphic script and gold detailing used in the folio shown, the work can be identified as

Answer 623

a Kufic folio from the Qur’an ## Footnote The work shown features Kufic script—a highly stylized angular calligraphic script found in many early religious Islamic manuscripts, as well as the ornamental gold detailing often found in manuscripts of the Qur’an, which was used to indicate the end or beginning of a verse.

Question 624

The work is characterized by

Answer 624

stylized forms

Question 625

The work shown by Henri Matisse demonstrates an interest in the

Answer 625

flattening of pictorial space with unblended brushstrokes of vibrant colors ## Footnote n the painting shown, Matisse purposefully flattened the pictorial plane by limiting space within the room and by using thick brushstrokes of vibrant color with limited tonal variation. As a result, the interior lacks depth and the objects lack volume.

Question 626

The artist who painted the Greek vase shown created a sense of naturalism by using

Answer 626

fine lines to depict the muscles and contours of the figure’s body ## Footnote The artist who painted the vase shown used fine lines to outline the contours of the figure’s body and to construct a naturalistic depiction of the figure’s musculature.

Question 627

In the Renaissance interior shown, the architect included

Answer 627

contrasting stone for pilasters and molding to outline the building’s geometry ## Footnote Michelangelo, who designed the Renaissance interior shown, the tomb of Giuliano de' Medici in San Lorenzo, Florence, used a dark green stone for molding and pilasters, which contrasts with the otherwise white walls, in order to outline the room’s geometry, similar to Filippo Brunelleschi’s Pazzi Chapel.

Question 628

The style and iconographic details of the eighteenth-century work shown suggest that its content is most likely

Answer 628

a representation of love in the context of aristocratic culture ## Footnote The style and iconographic details of the work shown, Jean-Honoré Fragonard’s *The Progress of Love: The Pursuit*, represents a narrative of love in the context of eighteenth-century French aristocratic culture. In *The Pursuit*, the artist incorporates charming symbols of love and courtship such as a fountain, a rose, and sculptured cherubs into a pastoral landscape scene. The work was originally part of a series of paintings that represented a delightful portrayal of the stages of sensual love and relationships, which were displayed in a private setting, and was intended to be viewed by a privileged audience.

Question 629

The structure shown, the octagonal court of Emperor Nero's Domus Aurea, exemplifies the ancient Roman architectural innovation of

Answer 629

the oculus ## Footnote The structure shown, the octagonal court of Emperor Nero's Domus Aurea, exemplifies the ancient Roman architectural innovation of the oculus. The round opening at center of the dome, known as an oculus, was an important architectural innovation associated with the Romans.

Question 630

This work can be attributed to the prehistoric culture that produced the

Answer 630

Tlatilco female figurine from Central Mexico ## Footnote The work shown can be attributed to the Tlatilco culture of Central Mexico because of its stylized representation of the human body, which includes emphasis placed on certain body parts, such as the face and wide hips that are connected to a slim waist, as well as truncated arms and legs, and little attention being paid to hands and feet.

Question 631

The work shown can be attributed to which of the following artists?

Answer 631

Vincent van Gogh ## Footnote The work can be correctly attributed to Vincent van Gogh because of the use of brightly colored paint, thick impasto, and swirling brushstrokes.

Question 632

The painting shown can be attributed to the workshop of Robert Campin because of which of the following characteristics?

Answer 632

The presentation of holy figures within a contemporary interior ## Footnote The painting shown, *The Virgin and Child in an Interior*, can be attributed to the workshop of Robert Campin because of the presentation of holy figures within a contemporary interior. This is a hallmark characteristic of other works attributed to the workshop of Robert Campin such as the Annunciation Triptych (Merode Altarpiece).

Question 633

The sculpture shown can be attributed to the same culture that produced the

Answer 633

votive figures from the Sumerian Square Temple at Eshnunna ## Footnote The sculpture shown bears the hallmarks of the ancient Sumerian votive figure tradition, including the posture of the body, the pelt-like kilt, exposed chest, and enlarged eyes, similar to the votive figures from the Square Temple at Eshnunna.

Question 634

The work shown can be attributed to which of the following artists?

Answer 634

Andy Warhol ## Footnote The work shown, *Self-Portrait* (1966), can be attributed to Andy Warhol, an artist who used themes of popular culture. His work helped usher in the Pop Art movement. Self-Portrait consists of nine brightly colored silkscreen images of the artist arranged in a grid. The work is produced with flat, nonpainterly colors, reminiscent of mid-century printed advertisements. Warhol created other similar works using multiple images in a grid format, such as his 1962 work *Marilyn Diptych*.

Question 635

In Édouard Manet’s *Olympia*, the influence of Titian’s *Venus of Urbino* on the work is most evident in the

Answer 635

reclining pose of the nude female figure ## Footnote Manet references Titian's *Venus of Urbino* and other works in the tradition of the reclining nude by having his Olympia assume a very similar reclining pose.

Question 636

Which of the following best characterizes Synthetic Cubism?

Answer 636

It is associated with collage.

Question 637

Which of the following employed concrete as a building material?

Answer 637

The Pantheon in Rome

Question 638

The nudity of the sculpture on the left is a reference to

Answer 638

Classical antiquity

Question 639

The painting suggests spatial recession by

Answer 639

the overlapping of forms

Question 640

In Egypt and Mesopotamia, relief figures were often carved in

Answer 640

registers

Question 641

According to the plan, the church's ambulatory allowed access to its

Answer 641

chapels

Question 642

In the work shown, *The Valley of Mexico from the Hillside of Santa Isabel (El Valle de México desde el Cerro de Santa Isabel)*, José María Velasco uses landscape painting to

Answer 642

reflect themes of Mexican patriotism and national identity important to his audience ## Footnote In the work shown, *The Valley of Mexico from the Hillside of Santa Isabel (El Valle de México desde el Cerro de Santa Isabel)*, painted in 1882, Velasco used the genre of landscape painting to reflect themes of Mexican patriotism and national identity that were important to his Mexican audience in the decades after Mexico had gained independence from Spain. The choice of subject matter— a view of the Valley of Mexico, which includes the capital, Mexico City (which was also the capital of the pre-colonial Aztec empire, Tenochtitlan), and other highly recognizable geographic features of cultural importance, such as the peaks of Popocatepetl and Iztacchihuatl —connects the painting to Mexico's history and culture. In addition, Velasco also features native plants, and a family dressed in indigenous attire in the foreground.

Question 643

In *The Valley of Mexico from the Hillside of Santa Isabel*, Jose María Velasco’s panoramic composition includes tiny human figures dwarfed by the landscape’s monumental scale, conveying an approach toward nature that reflects the influence of European

Answer 643

Romanticism ## Footnote Velasco’s approach to landscape painting was influenced by the principles of European Romanticism, an early-nineteenth-century artistic movement. An example of a work in the Romantic style of landscape painting is Thomas Cole’s *The Oxbow*. Each work depicts a landscape viewed from a high vantage point. Each composition includes tiny human figures that emphasize the monumentality of the scenic vista and provide the viewer with a sublime vision of nature, a key principle of Romanticism.

Question 644

Some art historians have theorized that Velasquez included a mirror in the background of *Las Meninas* in order to

Answer 644

suggest that the viewer is seeing the painting from the perspective of the king and queen, whose presence it implies ## Footnote While several theories exist about why Velasquez included a mirror in the background of *Las Meninas*, some scholars theorize that its presence suggests that the viewer is seeing the painting from the perspective of the Spanish king and queen, whose presence is implied by the image of a couple in the mirror. The painting was commissioned by King Philip IV of Spain and shows his daughter, the Infanta Margarita, and her entourage. Therefore, the artist might have included the mirror to express that the painting was created for the king’s gaze.

Question 645

With his design for the House in New Castle County, Robert Venturi departed from the traditions of modernist architecture because he believed that architecture

Answer 645

could not meet human needs by being designed around pure functionality ## Footnote Like other Postmodernist architects, Venturi believed that modernist architecture ignored human needs by being overly focused on functionality and rejecting decorative and nonfunctional elements, thereby creating architectural spaces that were impersonal and sterile. In response, Venturi included an eclectic mix of decorative elements in his buildings that referenced different artistic traditions. He insisted that the functional aspects of a building should not dictate its external design. This can be seen in the facade of the House in New Castle County, which features a triangular gable framing a flat round arch and which sits above decorative supports that resemble Doric columns but are completely flat, while the interior features painted flat arches reminiscent of Neo-Gothic architecture.

Question 646

In the veranda post of enthroned king and senior wife (Opo Ogoga), Olowe of Ise depicts the senior wife as a tall free-standing figure in order to

Answer 646

emphasize her strength and authority ## Footnote The senior wife occupies a central position in the sculpture, as her elongated yet solid body towers over that of the seated king. In doing so, Olowe of Ise aimed to emphasize the senior wife’s dominate role in supporting the reign of the king.

Question 647

In the veranda post of enthroned king and senior wife (Opo Ogoga) and the wall plaque, from Oba’s palace, figural representation is incorporated that serves to

Answer 647

reinforce authority by depicting hierarchy ## Footnote Each work of art uses hierarchical proportion to identify the strength of leadership. Each one is unique to its culture, as the veranda post of enthroned king and senior wife (Opo Ogoga) narrates a dependence of the ruler on others, while the wall plaque from Oba's palace uses hierarchical scale to emphasize the superior importance of the ruler.

Question 648

Olowe of Ise included a bird atop the King’s crown in his veranda post of enthroned king and senior wife (Opo Ogoga) in reference to the

Answer 648

protection of female ancestors ## Footnote Olowe of Ise included a bird sitting atop the crown of the enthroned king in his veranda post of enthroned king and senior wife (Opo Ogoga) to allude to the protection of female ancestors. Not only does the bird, with its long, curved beak, represent powerful women known to Yoruba as “our mothers,” the bird also suggests the watchfulness of the king himself.

Question 649

Vermeer’s genre painting of *Woman Holding a Balance* and Rachel Ruysch’s still life painting *Fruit and Insects* convey meaning in a similar way by

Answer 649

using depictions of everyday objects to communicate a moral message ## Footnote While scholars are uncertain about the precise meaning of the symbolism in Vermeer’s genre painting of *Woman Holding a Balance* and Rachel Ruysch’s still life painting *Fruit and Insects*, they generally agree that both paintings imbue specific everyday objects with symbolic meaning in order to convey a moral message. For example, the scales and the painting of the Last Judgment in *Woman Holding a Balance* seem to be a warning against becoming too absorbed in worldly riches, while the grain and grapes in *Fruit and Insects* can be interpreted as a reference to the Eucharist. In Dutch painting, there is a long tradition of depicting objects, like flowers, animals, and everyday items, that contemporaries would have understood to have a hidden double meaning, oftentimes related to Christian teachings. Under the influence of Calvinism, which forbade images of religious subjects, northern Dutch artists of the seventeenth and early eighteenth century turned to secular subject matter, such as still lifes, genre paintings, and portraits, but they often built in symbolic references to satisfy their patrons’ desire for images that combined secular scenes with pious, moral messages.

Question 650

The architects of Versailles were

Answer 650

Louis Le Vau and Jules Hardouin-Mansart

Question 651

The work on the right is from

Answer 651

Classical Greece

Question 652

The work on the right is from the

Answer 652

Temple of Athena Nike on the Acropolis

Question 653

The drapery in both works does which of the following?

Answer 653

Emphasizes the body

Question 654

The folio Rebecca and Eliezer at the Well from the *Vienna Genesis* belongs to an illuminated manuscript tradition that favors

Answer 654

including multiple narrative episodes in one scene ## Footnote The folio Rebecca and Eliezer at the Well from the *Vienna Genesis* belongs to an illuminated manuscript tradition that favors including multiple narrative episodes in one scene. Similar to other illuminated manuscripts, the folio shown repeats the same figure in the image to illustrate different moments in a story.

Question 655

One reason for Lin’s choice of black granite for the design of the Vietnam Veterans Memorial was to elicit

Answer 655

a personal connection because the memorial’s polished surface reflects the viewer ## Footnote Lin’s use of black granite was intended to elicit among visitors a personal connection to the memorial and the soldiers it commemorates. This is accomplished through the highly reflective quality of the polished granite, which enables the visitors to see their own reflections in the wall as they walk alongside it and read the names of the deceased.

Question 656

Which of the following is a feature of Maya Lin’s Vietnam Veterans Memorial that constitutes its primary departure from traditional war memorials?

Answer 656

The nonfigurative composition made up of engraved names ## Footnote Maya Lin’s Vietnam Veterans Memorial departs from traditional war memorials primarily through its abstract form and its omission of figural sculpture. Instead of embracing the tradition of figural monument, the Vietnam Veterans Memorial consists of two walls, joined at a wide angle and inscribed with the names of the fallen soldiers.

Question 657

In the design of the Vietnam Veterans Memorial, Maya Lin drew connections between the Vietnam War and other events in United States history by

Answer 657

orienting the walls so that they point to the Washington Monument and the Lincoln Memorial ## Footnote The Vietnam Veterans Memorial is situated between the Washington Monument and the Lincoln Memorial. The choice of the site suggests that despite the memorial’s abstract design, its function, in part, is to place remembrance of the service members who died in the war within the context of United States history.

Question 658

Through both its form and its symbolism, the Vietnam Veterans Memorial is most similar to which of the following works?

Answer 658

*Shibboleth* by Doris Salcedo ## Footnote Through both its form and its symbolism, the Vietnam Veterans Memorial is most similar to Doris Salcedo’s *Shibboleth*, which also uses a simplified abstract form (a deep crack carved into the floor of the Tate Modern’s Turbine Hall) in order to symbolize and memorialize a painful history.

Question 659

Both images show the Vietnam Veterans Memorial in Washington, D.C. Which of the following statements correctly describes an audience response to the Vietnam Veterans Memorial?

Answer 659

Critics initially claimed that the black granite suggested shame and degradation.

Question 660

oth images show the Vietnam Veterans Memorial in Washington, D.C. Lin’s design called for polished black granite because

Answer 660

its reflective quality contributes to the monument’s meaning

Question 661

Both images show the Vietnam Veterans Memorial in Washington, D.C. Maya Lin’s design for the Vietnam Veterans Memorial draws primarily on the influence of which of the following artistic movements?

Answer 661

Minimalism

Question 662

Both images show the Vietnam Veterans Memorial in Washington, D.C. Both images demonstrate Lin’s intent for the monument to

Answer 662

encourage interaction

Question 663

Elisabeth Louise Vigée Le Brun’s *Self-Portrait* differs from earlier European portraiture traditions because Vigée Le Brun

Answer 663

was among the first women to depict herself as an artist ## Footnote Vigée Le Brun’s *Self-Portrait* differs from earlier European portrait traditions because she was among the first women to depict herself as an artist, painting herself in an informal posture, working at an easel.

Question 664

The building on the left, designed by Le Corbusier, is an example of which architectural style?

Answer 664

International

Question 665

*The Crossing*, a video installation by Bill Viola, expands the viewer’s temporal, psychological, and spiritual experience through his signature use of

Answer 665

high-speed film, capturing extreme detail beyond the normal range of human perception ## Footnote Bill Viola’s installation *The Crossing,* like many of Viola’s works, was shot using high-speed film capable of registering 300 frames per second, thus expanding the viewer’s experience by capturing the film content in a much greater level of detail than would be perceived by the naked eye. He further enhances this effect in postproduction, by reducing the playback speed to extreme slow motion, allowing the viewer to study the detailed moving images carefully as they are projected onto panels in a darkened room. The effect is intended to reconstruct a personal religious experience that is extreme in detail. The context and materials are used to create a contemplative and spiritual experience reminiscent of the meditation practices of Zen Buddhism.

Question 666

The work on the left was painted during the

Answer 666

sixth or seventh century C.E.

Question 667

The elegant style of the sculpture on the left is most often associated with

Answer 667

public commissions

Question 668

The sculpture on the left was most likely made by a

Answer 668

silversmith

Question 669

hich of the following is an innovative feature of these four figures?

Answer 669

They are nearly freestanding.

Question 670

The two figures on the right reflect the influence of which of the following earlier styles?

Answer 670

Roman

Question 671

The image shows all of the following characteristics EXCEPT

Answer 671

atmospheric perspective

Question 672

The illusion of depth in both paintings is created by all of the following EXCEPT

Answer 672

marbleized panels

Question 673

The temple on the left is the Lakshmana Temple in India. The temple on the right is

Answer 673

Angkor Wat in Cambodia

Question 674

In *Darkytown Rebellion*, Kara Walker uses silhouettes of nineteenth-century racist images to

Answer 674

provoke dialogue about how stereotypes still affect contemporary society ## Footnote In the installation *Darkytown Rebellion*, Kara Walker uses silhouettes of nineteenth-century racist images to shock the viewer and provoke dialogue about how historical racial stereotypes still affect contemporary American society. One of Walker’s central themes throughout her work is how stereotypes like the Aunt Jemima character were created to justify slavery. Her work reflects on images of race within popular culture and asserts that those images still resonate with contemporary society in the ways that African Americans are perceived by others and the ways that they perceive themselves.

Question 675

Kara Walker’s installation *Darkytown Rebellion* has been interpreted as challenging the historical erasure of African Americans because of its

Answer 675

silhouettes that were drawn from historical visuals ## Footnote Kara Walker’s installation *Darkytown Rebellion* has been interpreted as challenging the historical erasure of African Americans as a result of its use of silhouettes that are drawn from historical visuals. In the making of this work, Walker collaged historical visuals of African Americans, many of which depict stereotypes, using the silhouette form. Walker used this form specifically to engage with racist stereotypes surrounding personal characteristics, thus adding complexity to the history of racial identification.

Question 676

The wall plaque from Oba’s palace shows continuity with other works created in the kingdom of Benin through its use of

Answer 676

lost-wax casting techniques using recycled brass ## Footnote Art from the kingdom of Benin is notable for its artisans’ masterful use of lost-wax casting techniques using recycled brass obtained from brass armbands that were acquired through trade with the Portuguese

Question 677

The sculptor of the wall plaque from Oba’s palace unifies the composition by utilizing

Answer 677

similar facial features and incised textural patterns ## Footnote The sculptor of the wall plaque from Oba’s palace unifies the composition by utilizing similar facial features and incised textural patterns. The sculptor employs consistent, stylized facial features for all the figures, with large, almond-shaped eyes within prominent upper and lower lids, broad noses, and full lips that are the same width as the noses. Incised lines in the straps across the attendants’ chests, in other diagonals in their clothing, and in the decorative head garments or hair also contribute to visual unity across the composition.

Question 678

Both the representation of the king’s coral beads and the use of brass in the wall plaque from Oba’s palace serve to communicate which of the following?

Answer 678

The wealth coming to the Benin Kingdom through trade with the Portuguese ## Footnote Both the representation of the king’s coral beads and the use of brass in the wall plaque from Oba’s palace serve to communicate the wealth coming to the Benin Kingdom through trade with the Portuguese. While the Benin Kingdom was wealthy and powerful before trading began with the Portuguese in the late fifteenth century, its prosperity increased dramatically with that trade. The Benin Kingdom provided the Portuguese with ivory, cloth, leopard skins, stone beads, pepper, and, ultimately, slaves, while goods brought by the Portuguese included, among other things, brass armbands and coral. Both brass and coral were considered exceptionally valuable, and the Oba—the Benin king—owned these materials and dictated how they could be used. The use of brass as the medium for the plaque, as well as the prominent display of his stacked necklaces and crown made of coral beads, communicate the wealth deriving from the mutually beneficial trade with the Portuguese, as well as the power and authority of the Oba.

Question 679

The artist of the work on the right is

Answer 679

Andy Warhol

Question 680

The primary medium of the work on the right is

Answer 680

photo silk-screening

Question 681

The panels of the work on the right form a

Answer 681

diptych

Question 682

The painting *Spaniard and Indian Produce a Mestizo* fuses elements of traditional European painting and its colonial context through its

Answer 682

combination of symbolic gestures and indigenous textiles ## Footnote Gestures suggesting familial relationships, derived from European paintings, are combined with depictions of indigenous textiles. The woman in this painting wears a huipil, a traditional indigenous garment.

Question 683

The images show two views of the Palace of Westminster (Houses of Parliament). Which of the following is the reason that the English government agreed to the use of the style shown for the Palace of Westminster (Houses of Parliament) ?

Answer 683

The style evoked nationalist feelings through association with earlier buildings. ## Footnote The British government agreed to the use of a Gothic Revival style for the Houses of Parliament because the British considered the Gothic style of architecture to be closely connected to their national identity, and because of the ways that the architectural details would recall iconic examples of historical British structures like the Chapel of Henry VII and Westminster Abbey.

Question 684

The images show two views of the Palace of Westminster (Houses of Parliament). The architect Augustus W. N. Pugin advocated the use of Gothic elements in the Palace of Westminster (Houses of Parliament) because he believed the Gothic elements would

Answer 684

promote Christian values associated with the style ## Footnote Pugin advocated for the Gothic style, which he believed to be a true and moral style of architecture that was associated with the deep spirituality of the Medieval period.

Question 685

The images show two views of the Palace of Westminster (Houses of Parliament). As shown in the image of the Central Lobby, the architects visually structured the windows of the Palace of Westminster (Houses of Parliament) through the use of traditional Gothic

Answer 685

tracery ## Footnote The architects of the Palace of Westminster (Houses of Parliament) used traditional Gothic tracery to structure the windows, as can be seen in the window shown in the image of the Central Lobby. In architecture, tracery is a technique of structuring windows through the use of a complex ornamental grid-work of stone; it is a hallmark particularly of the more mature Gothic style.

Question 686

The images show two views of the Palace of Westminster (Houses of Parliament). The merging of Gothic with Classical elements in the building’s design reflects

Answer 686

the contributions of two different artists who were each interested in different revivalist styles ## Footnote The design of the Palace of Westminster (Houses of Parliament) combines elements of Gothic architecture, such as pointed arches and tracery with a balanced and symmetrically ordered plan. This merging of Gothic with Classical elements is a reflection of the contributions of Pugin, who was interested in the Neo-Gothic style, and Barry’s interest in Neo-Classicism.

Question 687

Which of the following is the primary reason that the public found Manet’s Olympia objectionable?

Answer 687

The direct gaze of the nude woman was perceived as provocative

Question 688

Botticelli, the artist of the work on the left, also painted which of the following?

Answer 688

Primavera

Question 689

*Winged Victory of Samothrace* exemplifies the art of the Hellenistic period through its

Answer 689

dramatic movement and fluid drapery ## Footnote *Winged Victory of Samothrace* exemplifies the art of the Hellenistic period through its dramatic movement and fluid drapery. Hellenistic sculpture is known for its dynamic poses and detailed folded drapery.

Question 690

Both works personify

Answer 690

victory

Question 691

The work on the left is from

Answer 691

Hellenistic Greece

Question 692

The work on the left represents a figure

Answer 692

alighting on the prow of a boat

Question 693

At Frank Lloyd Wright’s Fallingwater, the construction materials stone and glass were chosen for their

Answer 693

ability to harmonize with the surrounding natural environment ## Footnote In designing Fallingwater, the architect Frank Lloyd Wright succeeded in furthering one of his core beliefs: architecture should unite people with nature. Fallingwater was commissioned to be built within the forest landscape of a stream known as Bear Run, which cascades in a series of waterfalls over sandstone ledges. Wright chose the most dramatic of these waterfalls to site the private residence and chose materials that served to harmonize Fallingwater with the surrounding natural environment by blurring the boundary between outside and inside. Locally quarried sandstone was used in floors and to build fireplaces, echoing the color and form of the surrounding sandstone ledges. Large expanses of plate glass were incorporated into the structure in order to provide breathtaking views of the natural setting from within the interior of the home.

Question 694

The elements projecting from the roof of the building on the right are known as

Answer 694

cantilevers

Question 695

A key element in the work is the

Answer 695

relationship of the structure to the site

Question 696

In his installation *A Book from the Sky*, Xu Bing referenced which of the following traditional Chinese art forms in order to comment on the political and cultural context of twentieth-century Chinese society?

Answer 696

Hand-bound books and scrolls printed with woodblock ## Footnote In his installation *A Book from the Sky*, Xu Bing references Chinese tradition by including hand-bound books made with traditional Chinese techniques and ceiling and wall scrolls, which are all hand-printed in the traditional Chinese wood letterpress printing technique. Xu Bing reinterprets those references by using unreadable characters and by arranging the books and scrolls within the space to resemble a billowing sky and rippling sea. Xu Bing uses those references to traditional Chinese book printing and scrolls to comment on the political and cultural context of twentieth-century Chinese society and to explore the power of the printed word.

Question 697

Lintel 25 from Yaxchilán, depicting Lady Xoc, is recognizable as a Mayan work because of its

Answer 697

hieroglyphics, decorative patterns, and richly dressed figures in the midst of rituals ## Footnote Mayan hieroglyphs appear across the top and upper left side of Lintel 25, providing specific information about the date and the circumstances under which Lady Xoc was letting blood. This is typical of Mayan art, as are the decorative patterns seen in the serpent’s scales and heads and the headdresses and jade ornaments of the figures. Also characteristic of Mayan art is the figure of Lady Xoc, richly dressed in a floral-patterned robe, performing a bloodletting ritual in honor of the ascension to the throne of her husband, King Shield Jaguar II.

Question 698

The figures shown communicate the Yoruba belief that

Answer 698

royal wives support and sustain the health of a community and the power of the king ## Footnote The figures shown communicate the Yoruba belief that royal wives support and sustain the health of a community and the power of the king. The work depicts the royal wife as larger than the king, to visually symbolize her role supporting the king and the community.