Editing 2 Flashcards
Both interiors are examples of
Roman residential architecture
The most likely time period for both interiors is
first century C.E.
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?
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.
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?
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.
The work shown from Susa, Iran, includes patterns that can best be described as
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.
Art historians have theorized that the beaker with ibex motifs was most likely made for
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.
The work on the left is a rare icon that survived iconoclasm, which was
the banning or destruction of religious figurative images
Both works represent an art movement known as
Pop Art
Both works were created in the
1960s
In the work shown, the artist created the effect of spatial recession by using which of the following techniques?
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.
The image shown demonstrates that the building it refers to includes
an ambulatory
The ambulatory, the walkway around the apse of a church, is visible in the plan of a Gothic cathedral, shown.
The work was created during which art-historical period?
Baroque
The type of vaulting used in the nave is
barrel vaulting
The style of the painting is
Cubist
The work was made in
Egypt
Modern large-scale environmental works like this are best characterized as
earthworks
The huge carvings of human-headed, winged bulls that guarded the entrances of Assyrian palaces are called
lamassu
The work on the left is an oil painting, while the work on the right is in which of the following media?
Daguerreotype
The view of the nave shows
engaged columns
The artist of the painting on the left is primarily associated with
Impressionism
The decorated semicircular field above the doorway in the image shown is known as a
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.
While the degree of naturalism varies in the Ikenga shrine figures used by the Igbo peoples, one traditional characteristic all Ikenga share is
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.
The ikenga (shrine figure) shown is intended to
demonstrate the owner’s achievements and physical prowess
Ikenga figures, created by the Igbo peoples of Nigeria, are being interpreted as
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.
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
provided a theatrical space for the liturgy and processions
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.
Monuments like the Buddha at Bamiyan most directly influenced the form and scale of Buddhist statues created for
the Longmen caves in China
The influence of this movement is evident in later works such as
Maya Lin’s Vietnam Veterans Memorial
Many late nineteenth-century artists such as Cassatt and Van Gogh were strongly influenced by which of the following?
Japanese woodblock prints
The work, and others like it, influenced nineteenth-century European and American painting through all of the following EXCEPT the
fascination with urban settings
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.
Sculptors working within this genre were influenced directly by
Minimalism
The importance of the art from previous Mesoamerican civilizations to the Aztecs who built the Templo Mayor in Tenochtitlan is demonstrated by the
Olmec-style mask excavated from within the sacred precinct
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.
Which of the following buildings best demonstrates the manner in which secular Roman building types were adapted for early Christian liturgical practices?
Santa Sabina
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.
Indian stupa architecture served as a model for the development of
Borobudur Temple
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.
An artist whose work was a catalyst for this artist’s development was
Paul Cézanne
The illusionistic architecture depicted in the School of Athens is
an idealized recreation of a classical gymnasium inspired by Roman baths
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.
Which of the following art historical periods did NOT influence San Vitale?
Romanesque
Unlike the nude in the painting on the right, the nude on the left reflects contemporary concerns with
the exotic
In the painting on the left, the artist has emphasized
line
The artist of the painting on the left is
Jean-Auguste-Dominique Ingres
Although Jean-Auguste-Dominique Ingres’s La Grande Odalisque contains many Neoclassical elements, it also breaks classical conventions by
including orientalizing accessories
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
The nude in the painting on the left reveals the influence of
Parmigianino
The detail of a stone wall demonstrates Inka expertise with
ashlar masonry
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.
Historians believe that the Inka All-T’oqapu tunic symbolized rulership because
the materials and the skills used indicate the status of the ruler
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.
The stone Walls of Saqsa Waman at Cusco exemplify Inka architectural conventions in that they
consist of megalithic stone blocks joined without the use of mortar
The artistic movement with which this work is associated typically strives for all of the following EXCEPT
continued use of traditional sculpture materials
The column shown demonstrates the style of which of the following orders?
Ionic
The column shown demonstrates the style of the Ionic order. It has the two volutes that are characteristic of that style.
The detail shown can be attributed to a mosque that was decorated in
Safavid Persia, because of its use of curved multicolored ceramic tiles as surface decoration
The work shown can be attributed to Safavid Persia due to its use of colorful ceramic tiles to decorate the muqarnas.
Ornamentation on the surfaces of Islamic religious architecture often includes
calligraphic panels
In the work shown, the visual balance can be best described as
symmetrical
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.
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?
The use of brass inlaid with silver to embellish the surface of the work
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.
The artist achieves a unified composition through the use of
repeated forms
The work exemplifies the artist’s primary interest in
African American history and culture
The work was painted by
Jacob Lawrence
Based on the archaeological evidence gathered through the excavation of jade congs, many art historians believe that these works served as
grave goods that played an important role as part of funerary traditions
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.
In Neolithic China, artisans shaped jade congs by
rubbing them with abrasive sand
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.
Which of the following aspects of the Fan Shan jade cong from Liangzhu, China, most strongly suggest its use as an object of ritual?
The shape of the cong and iconography of its carving
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.
Jahangir Preferring a Sufi Shaikh to Kings demonstrates the
coupling of religious values with Western-influenced art forms and styles
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.
The work shown is
Jahangir Preferring a Sufi Shaikh to Kings
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.
The inclusion of the artist’s self-portrait alludes primarily to the artist’s interest in demonstrating his
status and skill
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.
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
depicting the central figure passing a book to a Sufi as a gift
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.
an van Eyck is known for his early use of
oil paint
Which of the following is a characteristic of Japanese woodcut prints that influenced nineteenth-century European art?
Flat, unmodeled color areas
The work, like others by the same artist, was created primarily for the purpose of
mass production for purchase by a wide audience
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.
Jaune Quick-to-See Smith made Trade (Gifts for Trading Land with White People) partly in reaction to which of the following events?
The 500-year anniversary of Christopher Columbus’s arrival in the Americas
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.
Based on its stylistic features, the building shown can be attributed to
Thomas Jefferson
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.
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?
Extreme contrasts of light and dark values
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.
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
the moment of his enlightenment
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.
The special religious significance of Jowo Rinpoche, enshrined in the Jokhang Temple in Lhasa, Tibet, is linked to which of the following ideas?
The statue is considered to be a portrait of the historical Buddha
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.
The work shown can be attributed to
Juan Rodríguez Juárez, because of the subject choice of a casta painting
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.
The painting is by
Julie Mehretu
The work shown, Stadia II , is an ink and acrylic painting created by Julie Mehretu in 2004.
Over the centuries, a wide courtyard was built around the Kaaba in order to
allow large crowds of pilgrims to perform the prescribed ritual of circumambulation
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.
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
the Great Stupa at Sanchi
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.
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
Impressionism
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.
Both works are best categorized as
nonrepresentational
The artist included abstracted references to apocalyptic events so that viewers would reflect on the
changes brought on by new developments in the arts
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.
The work on the left emphasizes
a spiritual response to the world
The work departs from earlier Western painting traditions because it was inspired in part by
musical composition
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.
The work shown was created by which of the following artists?
Vassily Kandinsky
The work was created by Vassily Kandinsky.
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
Julie Mehretu
Julie Mehretu’s dynamic abstract compositions were inspired by Kandinsky’s abstracted paintings, such as the one shown.
Although Improvisation 28 (second version) is largely an abstract image with musical references, Vassily Kandinsky also incorporated recognizable imagery to communicate meaning, such as
a horseman and a city, as an allusion to the Apocalypse
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.
Julie Mehretu’s Stadia II and Vassily Kandinsky’s Improvisation 28 (second version) share which of the following features?
Black lines that create movement
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.
In the work shown, the use of overlapping vertical and diagonal lines suggests
movement and rhythmic energy
Kandinsky used intersecting vertical and diagonal lines to create a sense of dynamism and rhythmic energy
The artist of the work on the left was associated with
Der Blaue Reiter
The artist of the work on the left is
Wassily Kandinsky
In Lying with Wolf, Kiki Smith decided to depict a woman with a wolf to challenge traditional
narratives of women as passive characters
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.
On the basis of subject matter, expressionistic style, and composition, the self-portrait shown can be attributed to
Ernst Ludwig Kirchner
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.
The round room in the foreground of the photograph is a
kiva
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.
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
gold to suggest a spiritual dimension
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.
Which of the following features of Gustav Klimt’s The Kiss is most strongly associated with Art Nouveau?
The incorporation of organic patterns and decoration
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.
Klimt used variations in ornamentation in The Kiss to differentiate symbolically between
male and female elements
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.
In creating this work, Klimt was influenced by his direct experience of
multicolored tesserae used in Byzantine mosaics at San Vitale
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.
The artist of the work on the right is
Gustav Klimt
The artist of the work on the right is associated with which of the following art-historical movements?
Vienna Secession
The opulent use of gold and jewel-like patterning in the work on the right reflects the artist’s interest in
Byzantine mosaics
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
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.
On the basis of subject, style, and composition, the work shown can be attributed to
Käthe Kollwitz
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.
The work shown can be attributed to which of the following ancient Mediterranean cultures?
Archaic Greece
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.
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?
Anavysos Kouros
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.
The funeral banner of Lady Dai and the David Vases are similar in that both
include stylized dragon motifs as symbols of power
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.
The work shown is an early example of the enduring Chinese artistic tradition of creating pictorial imagery by
painting with pigments on silk
The funeral banner of Lady Dai (Xin Zhui) is an early example of the Chinese artistic tradition of painting on silk.
The presentation of Lady Xoc in Lintel 25, Structure 23 demonstrates which of the following about royal women in ancient Maya society?
Royal women served as intermediaries between humans and the divine.
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.
The temples shown share all of the following features EXCEPT that neither
contains a subshrine that incorporates a processional bronze
The practice of circumambulating Hindu temples such as the Lakshmana Temple was intended to enable devotees to
meditate on Hindu principles as they approached the inner sanctuary
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.
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
creation of an Afro-Cuban identity against the cultural background of slavery
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.
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 ?
Figurative images that are broken into fragments
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.
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
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).
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
heighten the spiritual drama of the viewer’s ritualized encounter with the stela
The Lanzón Stela’s importance to the complex of Chavín de Huántar is made evident by its
concealment within a series of mazes
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.
The emotionalism and drama of the sculpture is most similar to that of which later artistic style?
Baroque
The sculpture is attributed to
Hagesandros, Polydoros, and Athanadoros of Rhodes
Stylistically, the sculpture is an example of which of the following art historical periods?
Hellenistic
Which of the following narratives is illustrated by the sculpture?
The death of a Trojan priest
The sculpture does all of the following EXCEPT
exhibit classical repose
The sculptor whose work was most influenced by the work shown was
Michelangelo
The process used to produce this sculpture is
subtractive
By recording the location of the sites where Lapita pottery fragments were found, scholars are able to draw conclusions about the
spread of the Lapita culture across different regions of Pacific islands
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.
In the creation of Lapita pottery, sand was mixed with clay most likely to
make the vessels more durable during the firing process
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.
The artist from the Neolithic Lapita culture who created these terra cotta fragments decorated the surface of the ceramic by
applying a red slip made of diluted clay with added mineral pigment before firing
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.
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
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.
Paintings such as this are commonly dated to approximately
15,000 B.C.E.
In the Great Hall of the Bulls at Lascaux, the placement of the paintings within caves has led scholars to suggest that the paintings
provide evidence of ritual activity
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.
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
ritual activity, perhaps to ensure successful hunting of the animals depicted on the cave walls
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.
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?
Both works were created with mineral pigments.
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.
Archaeological evidence indicates that the superimposed animal forms in the Great Hall of the Bulls at Lascaux represent
different artists’ depictions over time
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 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.
The painting shown was created by
Jacob Lawrence
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.
In this particular painting from the series, the artist intended to convey the
conditions of discrimination that African Americans found in the United States
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.
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
focus the attention of the viewer on a central line that represents societal divisions
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.
The painting is from the series The Migration, which was a response to which of the following historic events?
The mass movement of African Americans out of the rural southern United States
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.
The architect of the building on the right is Frank Lloyd Wright. The architect of the building on the left is
Le Corbusier
The building on the left was designed to be a
church
The appearance of the building on the left was strongly influenced by
organic forms
The building on the left typifies Le Corbusier’s idea that buildings should be
machines for living
The work is by
Leonardo da Vinci
The artist experimented with the work’s
materials
The work depicts the
Last Supper
The work is located in a
monastic refectory
The work is a
wall painting
The narrative moment is expressed through the
gestures
The work incorporates
linear perspective
The painting proved most directly influential for the creation of which of the following works?
Rude’s La Marseillaise
The painting is most closely associated with which of the following art historical periods?
Romanticism
The artist included figures wearing black top hats in the painting to indicate
social class
The painting is by
Delacroix
The artist included in the painting a recognizable landmark located in
Paris
The subject matter of the painting includes all of the following EXCEPT
a biblical parable
The work shown was created during which of the following art-historical periods?
Carolingian
The work functioned as
a book cover
Works such as this were created in
monastic workshops
The raised figures were created using which of the following metalworking methods?
Repoussé
The portrayal of Christ primarily emphasizes
his triumph over death
How did Gottfried Lindauer’s artistic decisions shape his portrait of Tamati Waka Nene?
He added traditional Maori clothing and regalia in order to emphasize his subject’s cultural heritage.
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.
Gottfried Lindauer included traditional Maori tattoos and clothing in his portrait of Tamati Waka Nene to
produce a painting that would appeal to a European buyer
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.
To create the portrait of Tamati Waka Nene, Gottfried Lindauer used the technique of
oil painting on canvas
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.
The work shown demonstrates the influence of earlier northern European artistic traditions through
the interlacing of stylized animal forms to create dense patterns
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.
The complex designs that make up this work reflect its function as a
divider intended to mark the transition between different sections of a book
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.
The influence of older northern European artistic traditions on the work shown demonstrates that
missionaries in the British Isles embraced the local artistic style in their efforts to spread Christianity to new converts
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.
The St. Matthew cross-carpet page of the Lindisfarne Gospels invites meditative reflection through the use of
complex and repetitive abstract designs created from interlacing linear forms
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.
On the basis of style and medium, the work shown can be attributed to which of the following cultures?
Hiberno Saxon Europe
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
The cross-carpet page of the Lindisfarne Gospels demonstrates the influence of migratory metalwork by
incorporating interlace designs
The cross-carpet page exemplifies the interlaced designs commonly found in art of the Migration period, especially metalwork, and Celtic art in general.
The fact Lady Xoc is the focus of Yaxchilán lintels, such as the one shown, underscores the
power and influence of the royal women of Yaxchilán in determining rulership
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.
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?
Translations of the glyphic inscriptions that accompany the image on Lintel 25
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.
The sculpted lintel from Yaxchilán reflects Maya tradition by
combining writing about and images of elites
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.
Fra Filippo Lippi’s Madonna and Child with Two Angels exemplifies stylistic aspects linked to the Italian Renaissance through its
naturalistic rendering of the holy subjects
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.
On the basis of subject and style, the work shown can be attributed to which of the following artists?
Fra Filippo Lippi
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.
The mosque shown is located in
Spain
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
act of meditation
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
reinforce the political power of imperial rule
Despite Buddhism’s pacifist tradition, both the Longmen caves and the temple at Todai-ji include guardian statues to
protect Buddhist values and beliefs
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.
The rock-cut Longmen cave sculptures are significant within the tradition of Chinese art because they
convey the support of the Chinese imperial court for the spread of Buddhism
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.
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
protected by guardian figures with menacing poses
The work shown fulfills which of the following functions?
It conveys a historical narrative.
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?
The lukasa had to be small enough for the person telling the history to hold comfortably.
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.
A lukasa from the Mbudye Society of the Luba people serves as a
conceptual map of royal history
The lukasa has a mnemonic function and is an aid for court historians, called mbudye, to recollect important people, places, beliefs, and events.
The first Inkan emperor, Pachacuti Inka Yupanqui, had Machu Picchu built to serve as a
site for conducting administrative affairs and ceremonies
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.
The stone masonry at Machu Picchu employed socketing, a structural technique that
protected against damage caused by earthquakes
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.
The artist of the Madonna and Child shown achieved an effect of elegance and grace primarily through the
elongated bodily proportions and the gesture of the Madonna’s head and neck
The miniature garden at the Inka temple of Qorikancha included sculptures of maize cobs made from
thin sheets of metal
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.
Malagan displays like the one shown, containing elaborately carved and painted figures, poles, and friezes, were usually intended to
be revealed at the height of commemorative ceremonies honoring the dead
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.
In the malagan 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
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.
The specific combination of motifs and style used in each Malagan object is partially determined by
customary laws that transferred the ownership of each object’s design to its individual patron
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.
The customary destruction of Malagan display objects after their use has been interpreted as
demonstrating that the objects have ceased to serve their spiritual function
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.
Malagan masks represent
spiritual beings associated with the protection of the community
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.
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
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.
The artist of the painting on the right directly influenced which of the following movements?
Impressionism
The painting on the right takes its theme from
the pastoral paradise from Giorgione to Watteau
The painting on the right shocked the public at the
Salon des Refusés, Paris
The painting on the right is by
Edouard Manet
With the creation of Olympia, Manet inspired
the development of a looser style that uses unblended brushstrokes
When creating Olympia, Édouard Manet was influenced primarily by the conventions of
Renaissance nudes
An innovation that Manet employed in the painting was
strong light and dark contrasts to create a flattening effect
This version of Diego Velázquez’s Las Meninas can be attributed to Pablo Picasso for which of the following reasons?
Because of the fractured figures
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?
Universal reverence for a heroic and idealized leader
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.
In the sculpture’s face shown, the surface treatment is best described as
incised symmetrical patterns that reflect Maori moko tattoo design
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.
Maria Martínez and other Pueblo potters changed their ceramics to appeal to tourists by
signing their individual names on vessels to attract collectors
In the work shown, Rubens included the mythological figures of Jupiter and Juno to
represent divine approval of the king and queen’s marriage
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.
The work on the left can best be described as
part of a series
By commissioning Rubens to execute a cycle of paintings for the Luxembourg Palace in Paris, Queen Marie de’ Medici sought to
rehabilitate her reputation after she had been exiled from court
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.
The artist includes the iconography of lotus blossoms in order to reference which of the following?
Buddhist beliefs about purity
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.
The imaginative reinterpretation of spiritual traditions presented in the work is most similar to
Bill Viola’s The Crossing
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.
Which of the following works is most similar to Pure Land in that it includes a photographic self-portrait?
Rebellious Silence, from the Women of Allah series
Rebellious Silence, from the Women of Allah series is similar to Pure Lands because both works include photographic self-portraits of the artist.
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
multiple references to mechanical forms of reproduction
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.
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
applying slip and polishing it with a smooth stone
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.
The sculptor of this relief communicates which person has the highest status primarily by means of the figures’
placement
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.
The lunette-shaped space above the doors is called a
tympanum
The decoration on portals of this period represents the widespread reemergence of European monumental stone sculpture not seen since
the Late Roman Empire
Religious objects such as this one were produced primarily for
private devotion
The work comes from which of the following periods or cultures?
Medieval
The painting reflects contemporary culture primarily through the mapping of
consumerism and national identities
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.
The painter intentionally underscores the art-making process by
layering drawing with painting
Julie Mehretu layers drawing with painting, using an acrylic coating to create layers that are augmented with tracings and marks
On the basis of style, the work shown can be attributed to
Julie Mehretu
Mesa Verde cliff dwellings were located on a sheltered ledge elevated above the valley floor for which of the following reasons?
The exposure to the sun’s heat in winter and the assurance of shade in summer
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.
Forms of painting found in ancient Mesoamerica include illustrated codices and
large narrative murals
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?
Reference to models from classical antiquity
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.
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
decision to depict the subject poised at the moment before decisive action
Michelangelo depicts the moment before the decisive action in his sculpture — a change from Donatello’s depiction of David after his victory over Goliat
The work on the left is located in
Florence
The work on the left became a symbol of
civic freedom
The sculptor of the work on the left was
Michelangelo
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
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.
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
hierarchical
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.
Scholars theorize the moai on platform (ahu) had a protective function based on their upward-tilted gaze and the
placement of the figures with their backs to the ocean
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.
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?
To emphasize the Moai’s role as guardians over the community living on the island
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.
In his Composition with Red, Blue and Yellow, Piet Mondrian attempted to create a pure, universal aesthetic by using
rimary colors
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.
The painting shown can be described as Impressionist because of its
capturing of a transitory moment
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.
Monet’s The Saint-Lazare Station exemplifies a central interest of Impressionist artists by
rendering an everyday moment to highlight the effects of light on surfaces
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.
In Mont Sainte-Victoire, Paul Cézanne sought to explore the
coexistence of multiple viewpoints in a single scene
Thomas Jefferson introduced Neoclassical elements in the facade of Monticello by adding
a Doric portico with triglyphs and metopes
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.
In Thomas Jefferson’s design of Monticello, the influence of the ancient Roman Pantheon is evident in the
combination of a domed central plan and a porticoed entrance
The domed central plan and the porticoed entrance are two easily recognizable features of both Monticello and the Pantheon.
In her work Pure Land, Mariko Mori breaks with art tradition and reflects the evolution of what is defined as art by
incorporating imagery from popular culture
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.
In her installation Pure Land, Mariko Mori created an immersive atmosphere by combining
scented air, photography, and a 3-D video shown in a small room
In Pure Lands, Mariko Mori combined scented air, photography, and a 3-D video to create an immersive, multisensory installation.
The qibla wall in the mosque indicates the direction of prayer toward
Mecca
The double-tiered columns allowed for all of the following EXCEPT
barrel-vaulted roofing
The mihrab of the structure is located
in the qibla wall
A principal feature of the interior shown is
a hypostyle hall
Incorporated into the building’s design are voussoirs, which are used to form the
horseshoe arches
All of the following are part of the structure’s decoration EXCEPT
bas relief narratives
An aspect of the Great Mosque of Djenné that is unique to Mali architecture and differs from other traditions of mosque construction is the
spires surmounted by ostrich eggs
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.
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
building on the site of Emperor Justinian’s tomb
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.
Which of the following was designed by the architect Sinan?
The Selimiye Mosque in Edirne
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?
Mughal India
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.
Both artists were considered part of
the avant-garde
Both artists show an interest in
psychological states
The painting shown can be attributed to which of the following artists?
Edvard Munch
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.
The artist of the work on the left is
Edvard Munch
The artist of the work on the left worked primarily in
Norway
The style of the work on the left is closest to that of
Symbolism
Eadweard Muybridge’s The Horse in Motion demonstrated significant change in artistic production by doing which of the following?
Mechanically recording images that the human eye cannot capture
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.
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
ability to break naturally into columnar forms ideal for construction
The basalt that was used in Nan Madol naturally breaks into columns, making it ideally suited for constructing a monumental complex like Nan Madol.
The complex of Nan Madol in Micronesia is most similar in its original function to the
Forbidden City
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.
The images show two views of Nan Madol. Nan Madol can best be described as a complex that is composed of
artificial islands that are protected from the ocean by seawalls
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.
The images show two views of Nan Madol. Nan Madol is believed to have primarily functioned as a
ceremonial and administrative center of a royal dynasty
Nan Madol was a royal religious and administrative center used by the ruling class of the Saudeleur Dynasty.
The structures that comprise the ancient site of Nan Madol were built by
stacking natural basalt columns in an intersecting pattern
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.
Archaeologists have theorized that Nan Madol was a significant ceremonial center based on its extensive network of basalt structures and
the remains of large amounts of adornments, food, and kava
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.
Basalt was used to construct complexes in Nan Madol because it
fractured into columnar shapes that were useful for construction
Because the work is sited to relate to the sun at the summer solstice, it recalls prehistoric works such as
Stonehenge
Works like the one shown from Micronesia utilized abstract geometric lines and shapes because they functioned to record
ocean currents and landforms
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.
The work shown functioned as a
memory aide to help prepare sailors for ocean voyages
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.
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 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.
In this Kuba sculpture of a king, the proportion of the head is exaggerated to show
the value place on intelligence in leaders
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.
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
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.
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?
A geometric motif pattern sculpted on the front of the base
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.
The work shown can be attributed to which of the following ancient Mediterranean cultures?
Neo-Assyrian
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.
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
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.
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
Xu’s work employs invented characters while Neshat’s work quotes from a poem
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.
The painter of the Niobides Krater used which of the following to create convincing figures in motion?
Precise contour lines
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.
The power figure (Nkisi n’kondi) is inserted with pegs, nails, and other sharp objects in order to
solidify an oath or resolution
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.
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
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.
The sculpture was created by a
carver and a specialist combining elements of form and substance
This type of sculpture is most often used in which of the following contexts?
Resolution of disputes and curing of physical ailments
The nails and other materials added to the sculpture are intended to
activate the spiritual power residing in the figure
The material and shape of object shown from Chavín de Huántar indicates its likely function as a
nose ornament belonging to a high-ranking individual
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.
The artist who created the female deity figure from Nukuoro achieved a smooth, glossy surface by
finishing the carved surface of the figure by polishing it with pumice rock
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.
David’s formal and thematic choices in The Oath of the Horatii demonstrate the principles of Neoclassicism, evident in the painting’s
compositional clarity and use of ancient texts to teach a moral lesson
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.
The work on the left was painted by
Jacques-Louis David
The painting shown above is associated with which of the following periods or movements?
Neoclassicism
The subject of the work on the left is derived from
Roman history
The artist of the work on the left was a leading representative of
Neoclassicism
Which of the following is true of the work on the left?
It was intended as a moral example.
The observatory at Machu Picchu is believed to have been used for
tracking astronomical events
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
