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
The Roman emperor who sponsored the construction of the church illustrated was
Constantine the Great
The plan and drawing reconstruct the appearance of Old Saint Peter’s in Rome. The design of the church illustrated was most influenced by
basilicas
The semicircular space behind the altar is
an apse
Construction of the building was begun in the
fourth century C.E.
Light entered the nave through a
clerestory
For social and political reasons, the church was located on the site
where many believed Saint Peter was buried
The building had
an atrium
In creating the work shown, Claes Oldenburg intended to encourage thoughtful reflection by
combining contrasting references to objects traditionally connected with gender stereotypes
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.
The work shown was intended to elicit a humorous response from viewers by
placing a common object in an unexpected context
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.
Claes Oldenburg’s choice of imagery in this work reflects which contemporary concern of the 1960s?
Protests against the Vietnam War on college campuses
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.
Claes Oldenburg’s references to popular culture to comment on contemporary American society is most similar to that found in works by
Andy Warhol
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.
Pepon Osorio created En la Barberia no se Llora (No Crying Allowed in the Barbershop) as
an interactive installation that resembles a functioning barbershop
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.
In the work shown, which of the following fabrication methods contributes to the content and resulting function of the piece?
Placing curved sticks to represent ocean wave swells on a navigational training chart
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.
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
moral commentary on American civilization
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.
Paik’s artistic innovation in works such as Electronic Superhighway proved influential on which of the following artists?
Bill Viola
As a pioneer in the field of video art, Nam June Paik was a major influence on video artist Bill Viola.
With its references to mapping, Paik’s work most closely resembles the pictorial strategies seen in the work of
Julie Mehretu
Nam June Paik and Julie Mehretu both incorporate elements from mapping and cartography into their work.
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
entry into the Information Age
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.
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, who were eager to buy them
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.
The iconography of the painted elk hide, attributed to Cotsiogo (Cadzi Cody), refers to his ancestor’s reliance on
hunting on the Great Plains
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.
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
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.
On the basis of style and medium, the work shown can be attributed to which of the following?
The Eastern Shoshone
The architectural elements on the facade of the Palazzo Rucellai include
pilasters and entablatures
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.
The Palazzo Rucellai demonstrates Leon Battista Alberti’s knowledge of antiquity, which he gained through reading the writings of
Vitruvius
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.
The design of the facade of the Palazzo Rucellai was most closely influenced by which of the following ancient monuments?
The Colosseum
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.
The progressive arrangement of the three ancient architectural orders on the exterior of the Colosseum proved influential for the design of
the Palazzo Rucellai
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).
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?
A spray-painting technique, in which diluted pigments were blown onto the rock surface
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.
The Standard of Ur and the Palette of King Narmer are similar in that both works
employ hierarchical scale to distinguish between figures of varying degrees of importance
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
Which features of the Palladian style, seen here in Andrea Palladio’s Villa Rotonda, influenced Thomas Jefferson in his design for Monticello?
Pedimented porticoes that serve as entrances to domestic spaces
Both the Villa Rotonda and Monticello have pedimented porticoes that serve as large entranceways into the interior space of the building.
The architect of the Pantheon in Rome sought to impress viewers by
incorporating an unexpectedly large interior space
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.
The Pantheon exemplifies Roman innovations in the use of concrete in the creation of its
massive coffered dome
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.
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
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.
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
central plan, large dome, and oculus of the Pantheon
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.
The images show two views of the same building. The building was originally used as a
temple
The building is located in
Rome
The original patron of the building was
an emperor
The coffers in the dome were intended to
lessen its overall weight
The building was converted into a
church
The term for the central opening in the dome is
an oculus
The dome of the building is primarily constructed of
concrete
The architectural order shown on the left is
Doric
The temple was dedicated to
Athena
Which of the following designed the building on the left?
Iktinos and Kallikrates
The plan and image are of an ancient temple as it appears today. The architects were
Iktinos and Kallikrates
The interior of the temple contains
a cella
The outer frieze of the temple is
Doric
The temple shown is the
Parthenon in Athens
The colonnade around the perimeter of the temple is best described as
a peristyle
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
outlining component forms with gray stone
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.
The addition of the Pazzi Chapel to the Basilica di Santa Croce exemplifies which of the following?
A private family’s financial support for a monastic church through a building commission
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.
The image shows a detail from a larger sculptural frieze found on the
Great Altar of Zeus and Athena at Pergamon
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.
The work shown can be attributed to the Safavid Dynasty because of its use of
a centralized medallion motif
The carpet can be attributed to the Safavid Dynasty because of its use of a centralized medallion motif, typical of Safavid carpets.
The work on the right was painted by
Perugino
The work on the right was painted to support the authority of
the popes
The architecture most specifically referred to in the painting on the right is that of
Rome
The work on the right is among the first works to
mark Rome as an artistic center during the Renaissance
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
Corinthian columns within the facade
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.
The fusion of diverse architectural styles at Petra reflects the
location of the city at intersecting trade routes
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
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.
The artist who created the painting is
Pablo Picasso
Which of the following artists also worked in the style exemplified by the painting?
Georges Braque
The building complex was built by the
Assyrians
The building complex was located in what is now
Iraq
The building complex was constructed during the
eighth century B.C.E.
The building complex was
a fortified palace
This and other similar building complexes from this culture contain sculptures of guardian figures called
lamassu
The entire building complex was organized around
courtyards
Much of the decoration on the interior of the building complex showed narrative scenes of
warfare and ritual hunts
In terms of its use of architecture and landscape design for the display of political power, the Palace at Versailles is most similar to
Great Zimbabwe
Refer to the slide that you see. The slide will be shown for four minutes only. The iconography relates to
the New Testament
The painting style is characterized by
exaggeration of space and color
The style of the painting is
Mannerist
The artist is
Pontormo
The painting was commissioned for a
chapel in a church
The painting was created in
Italy
In creating the work on the left, the artist has appropriated imagery from
comic books
The work on the right is concerned with the visual language of
popular culture
The work shown can be identified as
an Nkisi n’kondi power figure created by the Kongo peoples
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.
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
ensured punishment for those who broke oaths or committed crimes
Pegs and nails were driven into the Power figure (Nkisi n’kondi) to settle conflicts and ensure the punishment of wrongdoers.
The images show the sika dwa kofi (Golden Stool) and the Nkisi n’kondi. Both works were created with materials selected because they are
instilled with unique properties that channel authority
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.
The images show the sika dwa kofi (Golden Stool) and the Nkisi n’kondi. Both works are imbued with power from
spiritual sources
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.
In the photograph shown, the presentation of mats commemorates
a ceremonial encounter with a reigning monarch
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.
Maria and Julian Martínez referenced the ancient Puebloan past by
exploring complex ceramic coloration techniques
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.
The Chokwe Pwo mask is similar to the Mende Bundu mask in that both
celebrate the powers of womanhood
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.
The female face in this Pwo mask from the Chokwe people is shown with closed eyes to represent the
empowerment of women through childbirth
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.
The image shows which of the following features of ancient Egyptian architecture?
A pylon gate
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.
The work shown is an example of
a carved pyxis, which once held containers of fragrant perfume
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.
The work, which was created in medieval Islamic Spain, demonstrates the influence of
ivory carving traditions that existed throughout the Mediterranean
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.
The carved decoration on the work has been interpreted as symbolic of the political power and legitimacy of the ruler based on
representations of falcon eggs, which were symbolic of the Umayyad Caliphate
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.
The decoration of the Pyxis of al-Mughira draws on Islamic artistic traditions in that it
incorporates calligraphic inscriptions
The use of deep relief carving in the Pyxis of al-Mughira affects the composition in which of the following ways?
It emphasizes the volume of the figures, decorative motifs, and text.
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.
In the convent of Santo Domingo in Cusco, the combination of Spanish Baroque architecture with Inka ashlar masonry walls represented
a transition from worship of the Inka Sun god to worship of the Christian God
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.
The remains of the Qorikancha in Cusco demonstrate which of the following in building techniques?
Ashlar masonry
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.
Which phrase best applies to the sculpture shown and to others of the period?
Stylized naturalism
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
visually assist with the readability and oral recitation of such an important text
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.
In the folio page shown, the deliberate geometric layout of the stylized calligraphic text conveys
the importance of the spiritual message being communicated
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.
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
inscribed on ceramics, metalwork, and architectural features
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.
The work shown can be attributed to which of the following art-historical movements?
Romanticism
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.
Scholars have interpreted the object shown as representing
a deity embodying procreative power
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.
Both wall paintings are from
Pompeii
The work is
part of an illuminated manuscript
Ogata Korin’s pair of screens titled White and Red Plum Blossoms exemplifies the style of the Japanese Rinpa school because it
was created as a luxurious object, intended to appeal to the tastes of a wealthy patron
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.
In White and Red Plum Blossoms, the artist Ogata Korin used abstracted organic forms, monumental scale, and lavish gold surfaces in order to
appeal to the luxurious tastes of aristocrats
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.
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
Gustav Klimt
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.
The object was originally located in a
pilgrimage church
The object functioned as
a reliquary
The figure is most commonly associated with which of the following periods?
Medieval
The object represents
Sainte Foy
Rembrandt’s use of etching in his Self-Portrait with Saskia allowed him to
achieve a wide range of different tones
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.
Both sculptures were created in
Florence
The sculpture on the right was commissioned by a
guild
The subject of both works centers on the
Annunciation
The work on the right is a
triptych
The artist of the work on the left is
Fra Angelico
The medium of the work on the right is
oil
The work on the left is a
fresco
The work on the left was made for a
religious institution
Both works come from which art-historical period?
Renaissance
The sculpture is made principally of
hollow-cast bronze
The sculpture is a product of which of the following cultures?
Classical Greece
The chair was designed to
reflect the formal concerns of its maker
The chair’s design evokes
elegant austerity
The chair’s designer was associated with
De Stijl
The designer of the chair was
Dutch
The chair is made of
plywood
The work shown can be attributed to Faith Ringgold for which of the following reasons?
Because of the combination of paint and quilting
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.
Faith Ringgold references traditional folk art forms in Dancing at the Louvre by incorporating the technique of
quilting
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.
In addition to quilting, Faith Ringgold’s Dancing at the Louvre demonstrates a continuity with which other textile tradition?
Tie-dyeing
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.
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
all Mexicans are a part of the country’s rich, ongoing history
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.
Many of Rodin’s works were originally part of a large project entitled
The Gates of Hell
Which of the following statements best characterizes the relationship of women artists and art academies during the eighteenth century?
Women were the exception at most art academies.
Which of the following techniques or materials allowed Roman architects to enclose large unobstructed interior spaces?
Concrete poured in molds
The approximate date of the work on the left is
first century C.E.
The work on the left was most likely influenced by
Hellenistic Greek painting
The work on the left can best be characterized as
a fresco
When did the wall painting on the left come to public attention?
During eighteenth-century archaeological excavations
The objects held by the figures in the slide on the right refer to
literacy
The two figures in the slide on the right are
a married couple
The wall painting on the right was located in a
home
Roman Republican portraiture is characterized primarily by its
unidealized realism
The wall painting on the left is probably related to
a mystery cult
In the fresco shown, overlapping forms and architectural elements are used to create the effect of
illusionistic spatial depth beyond the wall
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.
The work on the left was found in
an ancient Roman home
Which of the following architectural features of Romanesque churches developed in connection with their use as pilgrimage centers?
Ambulatory
The architectural style of this portal is
Romanesque
The Röttgen Pietà was intended to elicit which of the following emotional responses from viewers?
Empathy, through the contorted and twisted body of Christ
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.
The Röttgen Pietà likely affected its original viewers by
encouraging them to identify with the human suffering of Mary and Christ
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.
The sculpture on the right depicts a
Pietà
Both sculptures reveal the influence of
Marian devotion
The medium of the sculpture on the right is
polychromed wood
The distortions and the anguish seen in the sculpture on the right are intended to inspire
personal piety
Diego Velázquez’ Las Meninas, though influenced by Rubens’ royal portraits, differs from them in which of the following ways?
Velazquez showed the royal family in candid aspects of daily life.
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.
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 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.
Allegorical content in the work on the left alludes to the patron’s
political ambitions
The patron for the work on the left was
Marie de’ Medici
Marie de’ Medici, commissioned this work, as well as the larger cycle it belongs to, in order to
celebrate her virtues and advocate her political position
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.
Which of the following is an aspect of the work shown that is characteristic of the Baroque style of Peter Paul Rubens?
The use of a diagonal composition
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.
The artist of the work on the left is
Rubens
This kind of painted panel depicting a religious subject is called
an icon
The work on the right reflects an interest in
aligning the Old Testament and the New Testament through typology
In the painting of the running horned woman from Tassili n’Ajjer, Algeria, the impression of movement is conveyed primarily through the use of
diagonal lines
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.
The running horned woman from Tassili n’Ajjer, Algeria, is presented using which of the following visual characteristics?
The figure is represented in composite pose.
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.
Scholars have interpreted the lines extending from the arms and torso of the running horned woman from Tassili n’Ajjer as
parts of a ceremonial dress
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.
Like other Baroque era still-life paintings, Rachel Ruysch’s Fruit and Insects is composed of
fine brushstrokes that create a smooth, detailed surface
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.
The dry garden at Ryoan-ji through its hundreds of years of existence demonstrates continuity with the Zen Buddhist practice of
meditating to reach enlightenment
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.
The arrangement of stones and raked white sand in the dry garden of Ryoan-ji is intended to
promote study and meditation
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.
Both buildings are closely associated with a
Roman emperor
The plan of San Vitale is most similar to which of the following?
Hagia Sophia
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
a cruciform plan comprised of a nave and transept
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.
The architects of the building shown likely intended to elicit a sense of wonder from twelfth-century visitors through which of the following features?
The imposing height of the nave, which is completely vaulted in stone
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.
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?
Reverence for the saint whose relics the sculpture contained
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.
Which of the following architectural elements were used by the architects of the building shown to give additional support to the ceiling?
Round transverse arches
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.
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?
An ambulatory and radiating chapels
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.
The building shown was built in which art historical style?
Romanesque
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.
Which of the following structures is similar to the Reliquary of Sainte-Foy in functioning as a container that holds sacred relics?
The Great Stupa at Sanchi
The Great Stupa at Sanchi contains relics of the historical Buddha that were placed there during the reign of King Ashoka.
In Shibboleth, Doris Salcedo created an experience of alienation by
opening a concrete fissure in the floor to interrupt the walking space of viewers
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.
San Vitale is located in
Ravenna
The inclusion of radiating semicircular niches (exedrae) in the plan of San Vitale allowed its architect to
integrate the central domed space with the surrounding ambulatory and gallery
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.
The Great Stupa at Sanchi and Borobudur Temple are similar in that each
represents a mandala, a cosmic diagram of the universe
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.
Night Attack on the Sanjô Palace uses continuous narrative, an artistic device that allows the artist to do which of the following?
Present the main characters multiple times in a single visual field
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.
The interior of the building is
ornamented with marble
The plain brick exterior wall of this church resembles the walls of
the Aula Palatina in Trier
Works such as the one shown were typically placed in
a necropolis
The pose of the figures suggests that they are
banqueting
Which of the following cultures produced this sarcophogus?
Etruscan
The work depicts a
husband and wife
On the basis of subject, style and composition, the large full-scale drawing shown can be attributed as a preparatory study for
Raphael’s School of Athens
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.
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
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.
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
portraying figures of relatively lesser social status
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.
The differences in style between the two pairs of figures confirm the fact that
several workshops were involved
They are part of the decoration of a
cathedral
These sculptures are from which of the following art historical periods?
Gothic
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
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.
In contrast to the work on the left, the work on the right presents
a specific moment
The work on the right was created during which of the following periods?
Hellenistic
The work on the right presents
a boxer
The Great Serpent Mound was created in eastern Ohio during the Mississippian period by people who
piled up soil to create the form of a serpentine creature
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.
Some scholars have theorized that the design of the Great Serpent Mound is linked to astronomical phenomena because of the
orientation of its head, which is aligned with the summer solstice
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.
The painting on the right is based on the color theories of
Chevreul
The painting on the right is by
Seurat
The content of the Coyolxauhqui Stone and the Calendar Stone both reference
concepts associated with the cosmic order
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.
According to Cindy Sherman, she only sourced printed images from books to create her work Untitled (#228) from the History Portraits series because she
wanted to use imagery available to anyone in the world
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.
The installation challenges institutional authority by means of its creation within
an art museum
Among other reasons, the artist created a crack in the floor to allude to the
plight of unwanted immigrants
The title of this work addresses social exclusion through its reference to
ethnic classification
The traditional abhaya mudra displayed by Shiva in the Chola bronze Shiva as Lord of Dance (Nataraja) is used to
provide comfort so that the viewer will not be afraid while in the presence of the god
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.”
The work shown can be attributed to the
Indian Chola Dynasty
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.
The work shown can attributed to the artistic tradition of
India
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.
In The Swing (after Fragonard), Yinka Shonibare uses cloth as a
reference to colonialism and cultural hybridity
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.
When creating The Swing (after Fragonard), Yinka Shonibare included cultural references by doing which of the following?
Using a modern textile in the style of nineteenth-century Dutch wax fabric
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.
The structure on the right most closely reflects the French Gothic style in the design of its
west façade
The portals on the structure on the right include triangular
gables
The Kaaba proved influential on later Islamic architecture because it
serves as the orientation for the qibla wall in all mosques
Muslims pray in the direction of Mecca; this direction is called the Qibla and is indicated by the Qibla wall.
Scholars believe that the design of the Silla gold and jade crown suggests the form of a
sacred tree in the royal precinct
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.
The building on the right most closely resembles the earlier work of
Louis Sullivan
Giovanni Battista Gaulli’s Triumph of the Name of Jesus can be linked to Michelangelo’s Sistine Chapel ceiling frescoes through the two works’
blurred distinction between painting and architecture
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.
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?
Smith’s work focuses on mythologies about women, while Koons’s work focuses on kitsch in popular culture
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).
When Robert Smithson created Spiral Jetty in 1970, he demonstrated the postwar challenge to traditional art making by
constructing a work of art to display outside of a museum or gallery context
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.
Which of the following best describes the two paintings?
A combination of genre and portrait painting
The specific iconography used by Miguel Cabrera in his portrayal of Sor Juana Inés de la Cruz suggests the artist’s intention to
emphasize her passion for religion and love of literature
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.
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
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.
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 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.
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
inspire visiting pilgrims to similarly adopt humble reverence before the hand of God
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.
The style of the relief sculpture on the tympanum is best demonstrated as Romanesque through the
heavily stylized figures that are depicted either frontally or in composite poses
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.
The scenes represented on the tympanum affected pilgrims entering the church by eliciting responses of
dread at the scenes of punishment and torment
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.
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
accommodate the large number of people who traveled to see the Reliquary of Sainte-Foy
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.
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
layered formations with characters that have been buried as if they were fossils
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.
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
flag-waving pageantry of propagandistic nationalism
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.
The structural composition of the painting is grounded in the tradition of
architectural drawing
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.
Scholars interpret the small figures carved on the staff god from Rarotonga as
male and female figures representing ideas of regeneration and fertility
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.
Which of the following is a feature of the Standard of Ur that provides evidence of a vast trade network with foreign lands?
The use of luxury materials acquired from other cultures
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.
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?
They celebrate military victory.
The use of steel made it possible for the Carson, Pirie, Scott and Company Building to have which of the following architectural innovations?
An open floor plan and large expanses of glass
The Steerage was created by which of the following artists?
Alfred Stieglitz
The Steerage was created by the American photographer Alfred Stieglitz.
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
achieve a formal aesthetic in photography similar to that of Modernist abstract painting
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.
Which of the following printing techniques was used to create The Steerage?
Photogravure
The Steerage was created using the photogravure printing technique.
The art-historical movement of the work shown is
The painting was surprising to its original audience mainly because
Realism
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.
The painting was surprising to its original audience mainly because
it depicted laborers on a grand scale
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.
The theme of the painting is most strongly related to the
writings of Karl Marx
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.
The application of paint is most similar to that of
Édouard Manet’s Olympia
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.
Which of the following was used to build Stonehenge?
Mortise-and-tenon construction
The builders of Stonehenge used a mortise-and-tenon system in which the upright posts and horizontal lintels were locked together using joints.
Although the function of Stonehenge has been debated by scholars, newer archaeological evidence suggests that it may have acted as
a center for pilgrimage and healing of the sick
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.
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
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.
The precise arrangement and orientation of the megaliths of Stonehenge suggest that the site was used for the
marking of the summer solstice
A “heel stone” marked the point of sunrise at the summer solstice for a person looking out from the center of the Stonehenge complex.
Scholars conclude from archaeological evidence that the ditch that surrounds the site of Stonehenge was created as
one of the first features of the site, which later underwent multiple additional building phases
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.
Which of the following techniques and materials were used to create this work?
Carved wood
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.
The stool shown can be attributed to Ashanti culture based on
its flat base, curved seat, and bilateral balance
A flat, rectangular base is a consistent element of Ashanti stools, as are the curved seat and the symmetrical layout.
The structural elements of French Gothic architecture can best be illustrated by the relationship between
flying buttresses and ribbed vaulting
The use of the steel-frame construction method in his Carson, Pirie, Scott and Company Building enabled Louis Sullivan to
reduce the number of load-bearing walls and significantly increase the size of the windows
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.
The work shown can be identified as an ancient Sumerian sculpture because of which of the following visual characteristics?
Rigid frontality with clasped hands
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.
Which of the following art movements was characterized by a self-conscious desire to borrow from the theory and practice of psychoanalysis?
Surrealism
The function of the work is most similar to that of the
grave stele of Hegeso
Both the grave stele of Hegeso and the Taj Mahal are funerary monuments, constructed to illustrate the wealth and power of their patrons.
The work shown is the
Taj Mahal
This image shows the Taj Mahal in India.
The carved floral imagery on the exterior of the structure has been linked to which of the following religious concepts?
The beauty and luxury of paradise
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.
The minarets of the Taj Mahal are used in a somewhat different manner than was traditional for minarets because their function was to
provide a visual balance to the design of the main structure
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.
The four towers in the corners of the structure are called
minarets
The structure’s exterior is constructed primarily of
marble
The structure’s exterior is decorated with a combination of
inlaid stone and verses from the Quran
The structure functions as a
mausoleum
The structure’s central arched indentation and the smaller arched indentations that flank it are called
iwans
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
emphasize the structure as the throne of God
The organization of the Taj Mahal along a central axis has led scholars to believe that the complex functioned as the throne of God.
The structure is located in
India
The pools and gardens surrounding the structure were designed to symbolize
an Islamic vision of paradise
In the portrait Tamati Waka Nene, the subject’s mana, or power, is displayed through the inclusion of which of the following?
A cloak covered with kiwi feathers
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.
The content of the painted design in the work shown can best be described as
abstract geometric patterns and stylized representations of plants
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.
Tapa cloth is traditionally made by women in Polynesia because
women’s arts are associated with soft and ephemeral materials
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.
In the work shown, which of the following was used to draw attention to the surface texture of the material?
Outlined forms and large areas of negative space
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.
Staff gods from the Cook Islands, like the Rarotonga staff god shown, were wrapped in tapa, or bark cloth, because tapa was
considered to possess spiritual significance and was therefore appropriate for a sacred object
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.
Which of the following best describes the traditional function of hiapo (tapa)?
It is given as a gift to demonstrate social relationships
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.
The medium of the work on the right is tempera, which is pigment mixed with
egg yolk
The progression of distinct spaces along the axial plan of the temple of Amun-Re at Karnak reflects the
increasing restriction of access as one moved toward the inner sanctum
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.
A pharaoh progressing through the temple complex was intended to encounter
spaces that were increasingly dark and mysterious, leading to the inner sanctum housing the cult statue
The form of the columns in the hypostyle hall was intended to recall the
dense clusters of papyrus reeds on the Nile
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?
The pharaoh possessed divinely granted power to maintain order on earth.
The architectural order shown on the right is
Ionic
The building on the right is the
Temple of Athena Nike
The facade of the Temple of Minerva includes which of the following architectural features?
A pediment supported by Tuscan columns
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.
The design of the Templo Mayor as a double pyramid signifies the
dedication of the temple to two different deities important to the Aztecs
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.
The destruction of images for political or religious reasons is known as
iconoclasm
The piece is called
a triptych
The type of work is called a
stele
The thousands of armed, individualized terra cotta warriors that were commissioned by the first Qin emperor were intended to reflect his
vision of an army comparable to his earthly army that would accompany him to the afterlife
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.
The Qin Dynasty Terra cotta warriors differ from the warriors shown on the Standard of Ur in that only the Qin warriors
have individual features
While the Qin warriors are individualized, the Sumerian soldiers on the Standard of Ur are stylized and repeated.
The building on the right, designed by Renzo Piano and Richard Rogers, is
a cultural center
The Merode Altarpiece by the Master of Flémalle (Robert Campin?) includes symbols that
appear in the guise of everyday objects
The painting on the left was painted by
Thomas Cole
The photographer of the work shown is
Alfred Stieglitz
In The Swing (after Fragonard), Yinka Shonibare utilizes specific fabrics as a
reference to colonialism and cultural hybridity
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.
The work shown can be attributed to
Katsushika Hokusai
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.
The artist of the painting on the left is associated with an art-historical movement known as the
Hudson River School
Which of the following terms best describes the content of the painting?
Sacra conversazione
The artist of the work dominated painting in which of the following cities?
Venice
The composition of the painting can best be described as which of the following?
Diagonal
The illusion of depth is achieved primarily through the use of
architectural structures
The artist of the work shown is
Titian
The kneeling figures at the lower left and the lower right of the painting represent
donors
The medium used in the work is
oil
The stylistic period of the work is
Renaissance
Figurines such as the one shown can be considered most similar in content to the
jade cong
The ceramic figurine shown from Tlatilco, Central Mexico, is characterized by
a lack of attention to the hands and feet
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.
The Anavysos Kouros is similar to the Tlatilco figurine in that both
were found in burial contexts
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.
The work shown was created by the
Tlatilco culture between 1200 and 900 B.C.E.
The work shown is the Tlatilco female figurine, created by the Tlatilco culture in central Mexico between 1200 and 900 B.C.E.
The work was created using
hand-shaped clay and a sharp instrument to incise details
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.
Scholars believe that the work was used for which of the following purposes?
As an offering made to accompany the deceased in burial
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.
In the Tlatilco figurine shown, the artist created an effect of stylization through which of the following visual characteristics?
Exaggerated proportions that place an emphasis on truncated arms and expansive hips
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.
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
painted eyes onto the statue
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.
The Great Buddha statue located in the main hall at Todai-ji was constructed of
cast bronze
The Great Buddha was created out of cast bronze.
The Todai-ji temple complex demonstrates continuity with other works of imperial Buddhist architecture from Asia because it was
constructed on a monumental scale to express royal authority
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.
Like the Fengxian Temple that is part of the Longmen caves, Todai-ji includes
fierce guardian figures created to protect the complex’s sacred space
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.
The work shown is
the Tomb of the Triclinium
The image shows the Tomb of the Triclinium from the Monterozzi necropolis in Tarquinia, Italy.
The depiction of dancers and musicians references the
elaborate feasting that accompanied funerals
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.
The work has been interpreted both as honoring a deceased individual and as
emphasizing the high social status of the deceased’s family
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.
In creating the figures, the artist used which of the following conventions of representation typical of the culture?
Color differentiation to convey gender
As is traditional in Etruscan painting, the male figures are depicted with darker skin than female figures.
In terms of its content, the work is most similar to the
Sarcophagus of the Spouses
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.
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
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.
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 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.
When a Kwakwaka’wakw transformation mask was used in a ceremony, the audience would most likely have felt that the wearer was
filled with energy from ancestors or spirit forces
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.
The specific imagery on Kwakwaka’wakw transformation masks is primarily influenced by
the clan association of the person qualified to dance the mask
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.
The combination of zoological and anthropomorphic forms in the work shown functions as
an external display of the transformation of the wearer
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.
Because of the way Kwakwaka’wakw transformation masks function, artists who create them have to
plan for and design two completely different images
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.
The artist intended the Kwakwaka’wakw transformation mask to be experienced in all of the following ways EXCEPT as
musically clanking and rattling while the wearer moved
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.
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
people are insignificant in relation to nature
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.
The exterior decoration of the Treasury at Petra attests to the manner in which Nabataean architects were influenced by the
rich ornamentation of Hellenistic architecture
The work illustrates
members of the court on an outing
The work was painted by
the Limbourg brothers
Works like this are related to themes found in the paintings of which of the following artists?
Pieter Bruegel
This work is an example of which of the following period styles?
International Gothic
The work is a
manuscript illumination
This example is taken from which of the following cycles?
A representation of the labors of the months
The painting on the left tells a story by
The painting on the left tells a story by
In creating the work shown, Michel Tuffery used
flattened metal cans that were joined together with rivets
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.
In order to heighten the impact of his work, Tuffery
featured versions of the sculpture in interactive public street performances
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.
Michel Tuffery chose the image of a bull for his work in order to
draw attention to the environmental impact of cattle farming in the Pacific Islands
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.
Which work demonstrates the continued importance of the Andean textile tradition?
All-T’oqapu tunic
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.
Joseph Mallord William Turner’s Slave Ship (Slavers Throwing Overboard the Dead and Dying, Typhoon Coming On) exemplifies the Romantic era through its
emphasis on color as a means of eliciting intense emotion
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.
The work shown, by Joseph Mallord William Turner, can be understood in the context of the artist’s
sympathies for the abolitionist movement
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.
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
address the atrocities human beings committed against others in the context of slavery
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.
The subject matter of Turner’s Slave Ship reflects
Romantic interest in social injustice
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
flattened forms, planes of solid color, and rhythmic patterns
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.
The relief carving shown can be attributed to the Amarna style because it depicts the
veneration of the sun god Aten by the pharaoh and his family
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.
Both of these works were created by
Bernini
The facade shown contains which of the following architectural elements?
Engaged columns and decorative pediments
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.
The artist of the painting shown used which of the following techniques in the scene depicted?
Atmospheric perspective through the inclusion of cool colors in the background
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.
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
the Lakshmana Temple
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.
Due to the style of calligraphic script and gold detailing used in the folio shown, the work can be identified as
a Kufic folio from the Qur’an
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.
The work is characterized by
stylized forms
The work shown by Henri Matisse demonstrates an interest in the
flattening of pictorial space with unblended brushstrokes of vibrant colors
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.
The artist who painted the Greek vase shown created a sense of naturalism by using
fine lines to depict the muscles and contours of the figure’s body
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.
In the Renaissance interior shown, the architect included
contrasting stone for pilasters and molding to outline the building’s geometry
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.
The style and iconographic details of the eighteenth-century work shown suggest that its content is most likely
a representation of love in the context of aristocratic culture
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.
The structure shown, the octagonal court of Emperor Nero’s Domus Aurea, exemplifies the ancient Roman architectural innovation of
the oculus
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.
This work can be attributed to the prehistoric culture that produced the
Tlatilco female figurine from Central Mexico
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.
The work shown can be attributed to which of the following artists?
Vincent van Gogh
The work can be correctly attributed to Vincent van Gogh because of the use of brightly colored paint, thick impasto, and swirling brushstrokes.
The painting shown can be attributed to the workshop of Robert Campin because of which of the following characteristics?
The presentation of holy figures within a contemporary interior
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).
The sculpture shown can be attributed to the same culture that produced the
votive figures from the Sumerian Square Temple at Eshnunna
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.
The work shown can be attributed to which of the following artists?
Andy Warhol
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.
In Édouard Manet’s Olympia, the influence of Titian’s Venus of Urbino on the work is most evident in the
reclining pose of the nude female figure
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.
Which of the following best characterizes Synthetic Cubism?
It is associated with collage.
Which of the following employed concrete as a building material?
The Pantheon in Rome
The nudity of the sculpture on the left is a reference to
Classical antiquity
The painting suggests spatial recession by
the overlapping of forms
In Egypt and Mesopotamia, relief figures were often carved in
registers
According to the plan, the church’s ambulatory allowed access to its
chapels
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
reflect themes of Mexican patriotism and national identity important to his audience
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.
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
Romanticism
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.
Some art historians have theorized that Velasquez included a mirror in the background of Las Meninas in order to
suggest that the viewer is seeing the painting from the perspective of the king and queen, whose presence it implies
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.
With his design for the House in New Castle County, Robert Venturi departed from the traditions of modernist architecture because he believed that architecture
could not meet human needs by being designed around pure functionality
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.
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
emphasize her strength and authority
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.
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
reinforce authority by depicting hierarchy
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.
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
protection of female ancestors
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.
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
using depictions of everyday objects to communicate a moral message
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.
The architects of Versailles were
Louis Le Vau and Jules Hardouin-Mansart
The work on the right is from
Classical Greece
The work on the right is from the
Temple of Athena Nike on the Acropolis
The drapery in both works does which of the following?
Emphasizes the body
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
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.
One reason for Lin’s choice of black granite for the design of the Vietnam Veterans Memorial was to elicit
a personal connection because the memorial’s polished surface reflects the viewer
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.
Which of the following is a feature of Maya Lin’s Vietnam Veterans Memorial that constitutes its primary departure from traditional war memorials?
The nonfigurative composition made up of engraved names
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.
In the design of the Vietnam Veterans Memorial, Maya Lin drew connections between the Vietnam War and other events in United States history by
orienting the walls so that they point to the Washington Monument and the Lincoln Memorial
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.
Through both its form and its symbolism, the Vietnam Veterans Memorial is most similar to which of the following works?
Shibboleth by Doris Salcedo
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.
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?
Critics initially claimed that the black granite suggested shame and degradation.
oth images show the Vietnam Veterans Memorial in Washington, D.C. Lin’s design called for polished black granite because
its reflective quality contributes to the monument’s meaning
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?
Minimalism
Both images show the Vietnam Veterans Memorial in Washington, D.C.
Both images demonstrate Lin’s intent for the monument to
encourage interaction
Elisabeth Louise Vigée Le Brun’s Self-Portrait differs from earlier European portraiture traditions because Vigée Le Brun
was among the first women to depict herself as an artist
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.
The building on the left, designed by Le Corbusier, is an example of which architectural style?
International
The Crossing, a video installation by Bill Viola, expands the viewer’s temporal, psychological, and spiritual experience through his signature use of
high-speed film, capturing extreme detail beyond the normal range of human perception
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.
The work on the left was painted during the
sixth or seventh century C.E.
The elegant style of the sculpture on the left is most often associated with
public commissions
The sculpture on the left was most likely made by a
silversmith
hich of the following is an innovative feature of these four figures?
They are nearly freestanding.
The two figures on the right reflect the influence of which of the following earlier styles?
Roman
The image shows all of the following characteristics EXCEPT
atmospheric perspective
The illusion of depth in both paintings is created by all of the following EXCEPT
marbleized panels
The temple on the left is the Lakshmana Temple in India. The temple on the right is
Angkor Wat in Cambodia
In Darkytown Rebellion, Kara Walker uses silhouettes of nineteenth-century racist images to
provoke dialogue about how stereotypes still affect contemporary society
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.
Kara Walker’s installation Darkytown Rebellion has been interpreted as challenging the historical erasure of African Americans because of its
silhouettes that were drawn from historical visuals
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.
The wall plaque from Oba’s palace shows continuity with other works created in the kingdom of Benin through its use of
lost-wax casting techniques using recycled brass
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
The sculptor of the wall plaque from Oba’s palace unifies the composition by utilizing
similar facial features and incised textural patterns
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.
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?
The wealth coming to the Benin Kingdom through trade with the Portuguese
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.
The artist of the work on the right is
Andy Warhol
The primary medium of the work on the right is
photo silk-screening
The panels of the work on the right form a
diptych
The painting Spaniard and Indian Produce a Mestizo fuses elements of traditional European painting and its colonial context through its
combination of symbolic gestures and indigenous textiles
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.
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) ?
The style evoked nationalist feelings through association with earlier buildings.
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.
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
promote Christian values associated with the style
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.
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
tracery
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.
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
the contributions of two different artists who were each interested in different revivalist styles
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.
Which of the following is the primary reason that the public found Manet’s Olympia objectionable?
The direct gaze of the nude woman was perceived as provocative
Botticelli, the artist of the work on the left, also painted which of the following?
Primavera
Winged Victory of Samothrace exemplifies the art of the Hellenistic period through its
dramatic movement and fluid drapery
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.
Both works personify
victory
The work on the left is from
Hellenistic Greece
The work on the left represents a figure
alighting on the prow of a boat
At Frank Lloyd Wright’s Fallingwater, the construction materials stone and glass were chosen for their
ability to harmonize with the surrounding natural environment
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.
The elements projecting from the roof of the building on the right are known as
cantilevers
A key element in the work is the
relationship of the structure to the site
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?
Hand-bound books and scrolls printed with woodblock
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.
Lintel 25 from Yaxchilán, depicting Lady Xoc, is recognizable as a Mayan work because of its
hieroglyphics, decorative patterns, and richly dressed figures in the midst of rituals
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.
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 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.
