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1. When first experiencing an unfamiliar work of art, start by asking questions about:
a. expressive content, historical style, individual style.
b. patrons, function, and collocation.
c. historical significance and historical context.
d. composition, formal analysis, medium and technique.
e. all of these.
2. The word “style” derives from stylus, that is:
a. a Greek word for history.
b. Latin for writing instrument.
c. Egyptian for spiritual content.
d. all of these.
e. none of these.
3. According to Mircea Eliade, within traditional societies objects such as the Bwa mask
acquire meaning because they participate in:
a. a ritual that links seasonal cycles to the cosmos.
b. the inter-tribal warfare.
c. the blessing of a new building.
d. all of these.
e. none of these.
4. In Guo Xi’s painting Early Spring, despite the curvilinear and diagonal elements, the
work has an axial composition because:
a. of the primary color scheme.
b. of its circular format.
c. the mountain dominates.
d. all of these.
e. none of these.
5. Bernini’s Apollo and Daphne emphasizes dramatic movement primarily because it:
a. uses only strict verticals and horizontals.
b. is composed on a diagonal axis.
c. involves axial stability.
d. all of these.
e. none of these.
6. The most striking feature of Wright’s Fallingwater is that the building’s structure
responds to:
a. European building style.
b. the Pittsburgh skyline.
c. ancient material limitations.
d. the site.
e. all of these.
7. Palladio’s Villa Rotonda relates to its environment by:
a. subtly integrating with it.
b. dominating the site.
c. becoming virtually invisible.
d. all of these.
e. none of these.
8. Controlled city designs, such as the Forbidden City in Beijing, imply:
a. notions of utility within society.
b. a centralized authority.
c. notions of efficiency.
d. all of these.
e. none of these.
9. “Sculpture in the round” is sculpture that is:
a. finished on all sides.
b. part of a wall.
c. meant to be viewed from one vantage point.
d. all of these.
e. none of these.
10. Daniel Chester French’s Minuteman is animated by a suggested sense of movement
created by the contrast of the vertical axis with the:
a. horizontals of the base.
b. cantilever of the hat.
c. diagonals of right leg and musket.
d. all of these.
e. none of these.
11. To properly understand the Bwa mask Bird of the Night as a sculptural form, we
must also consider:
a. the spiritual context.
b. the participation of the onlookers in the ritual.
c. the dynamic context.
d. all of these.
e. none of these.
12. Raphael’s Philosophy is illusionistic; this means that the objects represented:
a. appear to exist within actual space.
b. seem to be weighty.
c. seem to be tangible.
d. all of these.
e. none of these.
13. In Philosophy Raphael creates his illusion of three-dimensional reality by:
a. overlapping.
b. diminution.
c. atmospheric perspective.
d. scientific perspective.
e. all of these.
14. Viewing a horizontal hand scroll is unlike viewing a wall painting because the
horizontal hand scroll is:
a. not seen in its entirety at one time.
b. like a journey involving time.
c. meant to be viewed by one or few persons.
d. all of these.
e. none of these.
15. In northeast Nigeria Wodaabe women carve gourds into calabashes; most of these
are treasured as:
a. ceremonial possessions.
b. utensils to hold porridge.
c. vessels to carry milk.
d. all of these.
e. none of these.
16. The term used to describe how the appearance of a work of art is tied to the period
during which it was created is ____________.
17. Works of art from the same historical period and culture often share similar
____________ characteristics.
18. In Bernini’s Apollo and Daphne, the ____________ is energized by the extension of the
figures’ limbs and the sculptural form.
19. The patron for Bernini’s Apollo and Daphne was ____________.
20. The design of the Katsura Imperial Villa was inspired by the tenets of Zen Buddhism
to create an integration of the building with ____________.
21. The rigid geometric layout visible at the Forbidden City in Beijing symbolized the
relationships between heaven and earth, as well as between the ancestors and
____________.
22. Davis Smith’s Cubi XIX is nonrepresentational because it does not ____________
actual figures or real objects.
23. For a work such as the Bird of the Night (Butterfly) mask, a static presentation in a
display case in a museum obscures its original use in ____________.
24. The Bwa Butterfly mask, like certain works of contemporary art, is ephemeral; this
means that it lasts ____________.
25. In Raphael’s Philosophy, the composition is arranged to emphasize the figures of
____________ and ____________.
26. Because Mondrian’s Composition No. 8 leads us to the periphery without
concentrating on any single area or element, the composition could be described as
____________.
27. A painting technique that utilizes broad, free brushstrokes to define form is termed
____________.
28. The relative darkness or lightness of a color is called the ____________.
29. During certain periods artists formed ____________, which were like trade unions
and assured professional standards.
30. Early in the 19th century, the concept was born of the artist as a member of the
____________, who progressively leads society.
31. Upon encountering an unfamiliar artwork, one begins one’s communication with
the work by interpreting.
32. The particular manner of visual expression created by an individual artist is known
as individual style.
33. The ancient Chinese Terra-cotta warrior proclaims instability and transience.
34. In Palladio’s Villa Rotonda, the arrangement is governed by symmetry and balance.
35. A cantilever is a vertical projection into space.
36. According to Xu Bing’s interpretation of Chan Buddhist thought, the work of art is
useless in itself.
37. Mondrian’s Composition No. 8, 1939-42, with Red, Blue, and Yellow reinforces the
flatness of the picture plane.
38. The level of richness or saturation of a color is termed value.
39. The visual arts are a rare feature of human culture.
40. When we study finished works of art, it is important to ignore the artist’s creative
process.
41. Iconology is the art-historical study that interprets what?
Page Ref: 7
42. What are the means of atmospheric perspective?
Page Ref: 16-17
43. Mondrian’s Composition No. 8 is orderly and serene; it shows his search for pictorial
Page Ref: 17
44. In Ancient Greece, how was the production of art viewed?
Page Ref: 18
45. In the 15th century, what transformed the traditional Western classification of the
46. Describe how Frank Lloyd Wright achieves unity in Fallingwater despite the
Page Ref: 10
47. In the Chinese classical tradition among the aristocracy, discuss the three
1. Prehistory is defined as the period before:
a. architecture.
b. domesticated animals.
c. writing.
d. all of these.
e. none of these.
2. It is almost certain that the “Great Serpent Mound” had, for its builders, a purpose
that was:
a. scientific.
b. religious.
c. decorative.
d. all of these.
e. none of these.
3. In the image of Bulls from Lascaux cave, the application of line and color reveals:
a. understanding of the animals’ anatomy.
b. careful observation.
c. understanding of the animals’ movement.
d. all of these.
e. none of these.
4. Paleolithic artists created pigments by grinding minerals and mixing them with:
a. bone marrow.
b. vegetable oil.
c. animal fat.
d. all of these.
e. none of these.
5. The skill of Paleolithic artists was often remarkable in:
a. fluid execution of the animal forms.
b. rendering of the landscape.
c. exact geometry of the decorative patterns.
d. all of these.
e. none of these.
6. In cave art, some animal images are shown pierced with spears:
a. as a demonstration to young hunters.
b. for a ritual purpose.
c. to capture the animals’ life spirits.
d. to help ensure a successful hunt.
e. all of these.
7. The Neolithic period is characterized by:
a. a sedentary lifestyle.
b. domestication of animals.
c. domestication of plants.
d. all of these.
e. none of these.
8. The design of the modest clay pot found in the River Thames may be explained by:
a. aesthetic desire.
b. its function as a container.
c. being an aid in firing.
d. all of these.
e. none of these.
9. The bull figure in the Animal Hunt from Çatal Hüyük was most likely a symbol of:
a. the enemy.
b. food.
c. the male deity.
d. all of these.
e. none of these.
10. In a tradition characteristic of much of African art, the features of the Nok head are
emphatically naturalistic and:
a. strictly realistic.
b. powerfully abstracted.
c. incredibly illusionistic.
d. all of these.
e. none of these.
11. On the North American continent, the most conspicuous remains from the Neolithic
period are:
a. animal heads.
b. cave paintings.
c. giant earth mounds.
d. all of these.
e. none of these.
12. The construction of Stonehenge probably required the support and participation of:
a. the entire community.
b. a priestly class.
c. the army.
d. all of these.
e. none of these.
13. The arrangement of stones at Stonehenge reveals the importance, for Neolithic
peoples, of:
a. animal sacrifice.
b. smelting.
c. celestial events.
d. all of these.
e. none of these.
14. In the Middle Neolithic period in China, during the fourth millennium BCE, several
cultures began to produce refined jade artifacts, which signaled trends toward:
a. public architecture.
b. craft specialization.
c. social inequality.
d. all of these.
e. none of these.
15. If much prehistoric art was used in rituals, then the persons who created the images
may have been the individuals who functioned as:
a. kings.
b. shamans.
c. builders.
d. all of these.
e. none of these.
16. The first European Paleolithic cave paintings were discovered in 1879 near
____________.
17. The building up of the walls of a clay vessel by successively adding long ropes of
clay and then smoothing the joints is called ____________.
18. By 3000 BCE, in parts of Asia and China, a revolving stand for forming clay vessels
was in use; this device is called a(n) ____________.
19. The axis at Stonehenge, established through the horseshoe by the heel stone, leads
the eye to the point on the eastern horizon where the sun rises on the dawn of the
____________.
20. Bacchus was the ancient Roman god of ____________ and ____________.
21. The term Paleolithic means “Old Iron Age.”
22. The term Neolithic means “New Stone Age.”
23. Mesolithic rock painting shows scenes of human conflict.
24. As at Stonehenge, when placed in a row, menhirs become a cromlech.
25. The scale of Stonehenge and its construction suggest it was not a setting for religious
rituals.
26. During the Neolithic period, why was pottery important to the stabilized living
Page Ref: 25
27. The Hongshan site at Dongshanzui, China probably served as what for surrounding
Page Ref: 28
28. What is a pig-dragon from the Hongshan Culture?
Page Ref: 28
29. In settled Neolithic communities, how did pottery begin and what did it become?
Page Ref: 29
30. The painting of The Mass of Saint Giles shows objects in use during the ritual of the
31. Small figurative sculptures, such as the Statuette of a Woman found at Willendorf,
Austria, pose unique problems of interpretation; what are the various functions
Page Ref: 24-25
32. What is the most likely explanation for the similar iconography in Prehistoric
1. The Panathenaic Amphora with Runners reveals an interest in beauty because of the:
a. patterned decoration.
b. integration of the handles into the overall shape.
c. manner in which it rises from its base.
d. all of these.
e. none of these.
2. In most ancient civilizations, artists were counted among the ranks of:
a. priests.
b. scholars.
c. laborers.
d. all of these.
e. none of these.
3. The Sumerian Storm God and two Stags lintel represents Imdugud as:
a. a mud-covered human.
b. a lioness-headed eagle.
c. a gigantic fist.
d. all of these.
e. none of these.
4. The Sumerian ziggurat functioned as:
a. a human-made sacred mountain.
b. an impenetrable fortress for laborers.
c. a treasury for the priestly class.
d. all of these.
e. none of these.
5. The Great Pyramids at Giza functioned as:
a. royal tombs.
b. navigational signposts for desert travelers.
c. battlements for defense.
d. all of these.
e. none of these.
6. Imhotep’s design for the architectural climax at Saqqara was a solid structure, large
step pyramid that suggests:
a. a celestial marker.
b. the superimposition of shrinking mastabas.
c. a royal fortress.
d. all of these.
e. none of these.
7. Egyptian temple architecture stresses:
a. monumentality.
b. durability.
c. stability.
d. weight.
e. all of these.
8. Egyptian tomb wall paintings tell us a great deal about ancient Egyptian life and
customs because the tomb decorations:
a. had to preserve pleasant everyday life for the ka.
b. were forbidden to involve abstraction.
c. were produced by unskilled laborers.
d. all of these.
e. none of these.
9. The interior decorations of the palace at Knossos exhibit characteristics common to
Minoan art, including:
a. brightly colored paintings.
b. lively rhythms.
c. fresco scenes of ceremony or ritual.
d. all of these.
e. none of these.
10. The patterns and fine detail of the beard and wings of the Assyrian Lamassu stress
the:
a. rhythmic eloquence.
b. encrusted surface.
c. massive scale and powerful forms.
d. all of these.
e. none of these.
11. The Olmec were accomplished carvers, as attested by their:
a. stone stelae.
b. jade celts.
c. figurines.
d. colossal basalt heads.
e. all of these.
12. The Etruscan style of tomb painting involved:
a. simple bright colors.
b. a prohibition on abstract pattern.
c. murkily painted figures.
d. all of these.
e. none of these.
13. The calm, axial, idealized form of Apollo in Apollo and the Battle of the Lapiths and the
Centaurs represents:
a. the punishment of Prometheus.
b. the mastery of reasoned order over brute force.
c. defeat of the Etruscan city-states.
d. all of these.
e. none of these.
14. In the amphora Achilles and Ajax Playing Draughts by Exekias, the composition
reveals the Greek search for:
a. a spiritual medium.
b. emotionally dramatic representations.
c. balance and harmony.
d. all of these.
e. none of these.
15. The Doryphoros (Spear Carrier) by Polykleitos is best understood as a visual exemplar
of:
a. the Canon.
b. Egyptian proportions.
c. rigid symmetry and geometry.
d. all of these.
e. none of these.
16. As seen on the Fang ding, the most famous pattern used on early Chinese bronzes
was the taotie, or ____________.
17. The Votive Palette of King Narmer was apparently created to mark the
____________ of Egypt.
18. The shallow renderings on the Votive Palette of King Narmer are suppressed into
what is essentially a two-dimensional medium called ____________.
19. In Egyptian architecture, lintels had to be short and the posts heavy and close
together because the stone was ____________ and ____________.
20. Mycenaean kings were buried with their personal treasures and weapons in large
round structures called ____________.
21. The differences in expressions and decorative symbols on the Olmec colossal heads
found at San Lorenzo in La Venta suggest that they may be portraits of ____________.
22. The stylistic evolution of Greek figurative sculpture is from rigidly posed to
____________.
23. The earliest large-scale Greek sculptures are indebted to ____________ prototypes.
24. In the Canon of Polykleitos, as promoted by Vitruvius, the width of the shoulders
was ____________ of the total height.
25. In Greek Doric architecture, the walled inner sanctuary, or ____________, contained
the cult statue.
26. The animal forms that create a fang ding vessel’s patterns are believed to represent
the enormous wealth of the patron.
27. An underground burial chamber marked by a mud-brick structure above is called a
mastaba.
28. Artistic invention was prized in ancient Egyptian tomb decoration.
29. The plan of the palace at Knossos is rambling and labyrinthine.
30. Contrapposto originated as the result of the Greeks’ interest in the ideal nude
human body and in athletic achievement.
31. What ensured a continuity of artistic and iconographic formulas in most ancient art?
Page Ref: 37
32. What about the stele relief of Akhenaten with Nefertiti and Their Children leads one
to conclude an equality that seems to have characterized the Amarna period of
Page Ref: 45-46
33. Why did each object in an Egyptian tomb painting have to be shown in its most
Page Ref: 57
34. What parts of the gold funeral mask found at Mycenae display a more abstract
Page Ref: 63
35. What about the Archaic-style kouros is derived from Egyptian sculpture?
36. Discuss how Praxiteles’s Aphrodite of Knidos is unlike earlier Greek sculptures.
Page Ref: 83
37. Discuss the iconographic themes of the Parthenon sculptures and to what they are
1. A Buddhist stupa, like the Great Stupa at Sanchi, acts to:
a. be the symbol of nirvana.
b. commemorate a sacred place.
c. be a monumental burial mound.
d. be the center of a Buddhist religious compound.
e. all of these.
2. In its later stage, the Dongson culture is identified as the first unified kingdom of
Vietnam with:
a. a ruling royal dynasty.
b. a capital city.
c. a professional administrative class.
d. all of these.
e. none of these.
3. The pseudo-peripteral Temple of Portunus in Rome reveals the Romans’ lack of
interest in:
a. the interior space.
b. the aesthetic unity of Greek temples.
c. engaged columns.
d. all of these.
e. none of these.
4. At the Flavian Amphitheater, 80 arched passageways on the ground floor provide
entrance to a double row of what encircling the arena?
a. annular tunnel vaults
b. sculpted gladiators
c. engaged columns
d. all of these
e. none of these
5. The Flavian Amphitheater was built to reassure the Romans that:
a. the cruelty of Nero had ended.
b. Christians would be human sacrifices.
c. gladiators could defeat slaves.
d. all of these.
e. none of these.
6. Among the most significant of all Roman artistic accomplishments is the Empire’s use
of the architectural device(s) of:
a. concrete.
b. the vault.
c. the arch.
d. all of these.
e. none of these.
7. The intersection at right angles of two tunnel vaults is a called:
a. an angular vault.
b. a pendentive.
c. a groin vault.
d. all of these.
e. none of these.
8. A cylindrical or polygonal wall that provides continuous support for a dome is
called:
a. a coffer.
b. a drum.
c. a domestep.
d. all of these.
e. none of these.
9. The Pantheon was commissioned by:
a. Julius Caesar.
b. Constantine.
c. Emperor Hadrian.
d. Tacitus.
e. none of these.
10. Teotihuacán was a city of temples dominated by:
a. a vast amphitheater.
b. a domed rotunda.
c. two altars, each atop a pyramid.
d. all of these.
e. none of these.
11. Related to the philosophical outlook of Aristotle, Hellenistic art places an emphasis
on ____________ and ____________ naturalism.
12. Roman middle- and upper-class houses followed a regular plan dominated by a(n)
____________, or open courtyard.
13. During the Roman Republican period it was recognized that ____________ sculptors
represented a long-standing tradition of excellence.
14. The Bacchic Mysteries from Pompeii is one of the first examples of a painted wall
decoration integrated with the physical space and architecture of its setting; this is
called a(n) ____________.
15. ____________ is a wooden support structure upon which arches and vaults are
constructed.
16. A hemispherical structure that can be understood as an arch rotated 180 degrees on
its axis is a(n) ____________.
17. Useful in Roman engineering, ____________ was a silicate that functioned as a
natural, fast-drying cement.
18. The recessed panels that decorate the interior of a vault are termed ____________.
19. At Teotihuacán, the builders used ____________ as a temple base.
20. The planned urban centers of Mesoamerica had streets and buildings that were
oriented ____________.
21. The discovery of the burial pits at Pazyryk was significant because the mounds
contained examples of ancient art in materials that are seldom preserved.
22. The scenes depicted on the Flying Banner found in Lady Dai’s Han Dynasty Tomb
near Changsha, China represent the passage of the souls of the dead to the realm of the
immortals.
23. The Temple of Portunus is not truly peripteral.
24. The Roman town plan reveals their interest in irregularity and variation.
25. The term fresco, as in fresco painting, derives from the Italian word for “water–
based.”
26. The wedge-shaped blocks that make up the parts of an arch are called voussoirs.
27. The dynamics of an arch or vault create outward diagonal thrusts that must be
counteracted by springing.
28. At the Pantheon, the thickness of the concrete of the dome is only one foot at the
oculus.
29. The main thoroughfare at Teotihuacán is called the Avenue of the Priests.
30. The tablero, as seen on the Temple of the Feathered Serpent, appears only on
religious temples.
31. How is each of the attendant figures found in Emperor Qin Shi Huangdi’s tomb at
Page Ref: 102
32. In addition to inscribed drawings on the exterior of the Dongson bronze drum that
reveal the importance of elegant boats, what else would have been depicted on such
Page Ref: 112
33. How did the Roman architect solve the problem of lighting the vast interior space of
Page Ref: 133
34. In Roman engineering, how has the transition from the circular base of the dome to
Page Ref: 134
35. Regarded as one of Rome’s most important temples, the Pantheon joins what two
36. In Roman fresco technique, what is the difference between buon fresco and fresco
Page Ref: 128
37. Describe the probable meanings of the feathered serpents at Teotihuacán.
1. The term “Middle Ages” was invented during the Italian Renaissance to suggest that
the period embracing these centuries was an interruption between the new golden age
of the Renaissance and the age of:
a. Byzantine iconoclasm.
b. Romanesque renascence.
c. classical Greece and Rome.
d. all of these.
e. none of these.
2. In the Synagogue reconstruction at Dura Europos, the decoration of the shell over the
niche signifies:
a. the ruler’s seat.
b. a holy place.
c. the site for the treasury.
d. all of these.
e. none of these.
3. In the Byzantine apse mosaic Transfiguration of Christ from the monastery of St.
Catherine, Christ is shown surrounded by:
a. an almond-shaped halo.
b. a mandorla.
c. blue light.
d. all of these.
e. none of these.
4. In the Incarnation page from the Book of Kells, we see:
a. whorl patterns.
b. colored frames.
c. interlace.
d. all of these.
e. none of these.
5. The reassuring hand gesture of the Buddha of the Shaka Triad from the Golden Hall at
Horyuji is called the:
a. abhaya mudra.
b. kondo manua.
c. chumon desine.
d. all of these.
e. none of these.
6. In the Carolingian period image of Saint Matthew from the Gospel Book of Archbishop
Ebbo of Reims, we see the revival of classical elements in the:
a. toga.
b. modeling.
c. spontaneous technique.
d. all of these.
e. none of these.
7. The plan of the Carolingian monastery at St. Gall included:
a. a refectory.
b. a cloister.
c. novitiate housing.
d. all of these.
e. none of these.
8. The third church of the monastery at Cluny was the largest church in Europe, and
was the mother church of a reformed order of:
a. Franciscans.
b. Dominicans.
c. Benedictines.
d. all of these.
e. none of these.
9. The Buddhist temple called Borobudur was:
a. sited in central Java.
b. designed legendarily by a divine architect.
c. originally considered sacred by Hindus.
d. all of these.
e. none of these.
10. The purpose of the Buddhist temple Borobudur has been interpreted as a(n):
a. symbolic mountain.
b. stupa.
c. mandala for meditation.
d. all of these.
e. none of these.
11. In the Hindu relief at Mahamallapuram, both form and iconography express
____________.
12. Hundreds of earthenware figures called ____________ once encircled the huge
mound tombs of the Japanese yamato rulers.
13. In Europe during the tenth century, “lay” artists in cities began to gather themselves
into professional organizations, like trade unions, called ____________.
14. As seen in The Three Hebrew Youths in the Fiery Furnace, the frontal figures stand amid
flames with their arms raised in a position of ____________.
15. In the San Vitale mosaic of Justinian, Archbishop Maximianus of Ravenna and
Attendants, Justinian’s placement communicates his position as head of ____________
and ____________.
16. Characteristic of Anglo-Saxon metalwork, such as the Sutton Hoo purse cover, is the
use of a complex pattern composed of a single line that intertwines and overlaps to
completely fill the available space, called ____________.
17. The program of statues and paintings in the kondo at Horyuji makes the temple a
terrestrial representation of the Buddha’s ____________.
18. One common element of Islamic mosques from all periods is the marking of a wall
that indicates which direction Muslims should turn when they pray, called the
____________.
19. On the Buddhist Temple of Borobudur in Java, the inner and outer walls at each
level are covered with carved panels illustrating the path toward ____________.
20. Chinese painting derives from the art of ____________.
21. During the period covered by this chapter, the Japanese state defined itself as a
political institution—named Yamato.
22. Throughout the period covered by this chapter, religious books were written by
hand, usually on treated animal skins called vellum or parchment.
23. When the Ottoman Turks conquered Constantinople in 1453, they converted all
Christian churches, including Hagia Sophia, into burial shrines.
24. In Moses Giving Water to the Tribes at Dura Europos, Moses stands in a relaxed
contrapposto position.
25. The exterior of Old St. Peter’s was elaborately and exquisitely adorned with precious
materials, including gold, jewels, and mosaics.
26. Pendentives are curving triangular segments that transition from square plan
supporting piers to the circular base of a dome.
27. Chang’an was based on principles of symmetry and axiality, and was the first totally
planned Chinese city.
28. The Hindu Kailasantha Temple at Ellora, India is actually an achievement in
sculpture.
29. The interior space of the Mosque at Córdoba functioned as a place for liturgical
worship.
30. Li Cheng, artist of the Chinese landscape painting Buddhist Temple in the Hills after
Rain, lived a poor, illiterate, worldly life.
31. What fact explains why in The First Sermon Buddha is seated on a throne decorated
Page Ref: 146
32. What was the central rite of the Medieval Christian church and what did it reenact
Page Ref: 147
33. What does the word catacomb mean, and from where is it derived?
Page Ref: 154
34. At Santa Costanza, what is symbolized by the cross circumscribed by the circular
35. Why did the Naiku Shrine complex at Ise become the center for imperial rites and
Page Ref: 160-161
36. Why was care taken in the creation of a mosaic to adjust each tessera so that its
Page Ref: 169
37. The Tang Dynasty is notable in the history of Chinese ceramics for what
Page Ref: 174
38. At the Buddhist Horyuji complex near Nara, Japan, after entering through the
Page Ref: 177
39. What influential Carolingian architectural innovation in church design is evident in
Page Ref: 188
40. In his painting Sailboat in the Rain, Xia Gui does what instead of concentrating on
41. What did Procopius say about the effect Hagia Sophia had on an observer, and what
Page Ref: 143; 164-165
42. In the Christian tradition, what is the Transfiguration? What and who did it involve?
1. The miniature Christian church functioning as a container for the bones of a holy
person is called a(n):
a. triad.
b. iconograph.
c. reliquary.
d. all of these.
e. none of these.
2. A continuation of Anglo-Saxon interlace motifs is visible in the Bayeux Tapestry
image of King Harold Receiving a Messenger in the:
a. abstracted undulating tree.
b. fleece of the lion.
c. design on the saint’s robes.
d. all of these.
e. none of these.
3. In Romanesque sculpture, arches of decorative or narrative motifs that enframe the
tympanum are called:
a. jambs.
b. trumeaux.
c. buttresses.
d. archivolts.
e. none of these.
4. The artifacts, quarries, and ruins on Easter Island form a remarkable:
a. playground.
b. giant temple.
c. open-air museum.
d. all of these.
e. none of these.
5. Gothic architecture (p. 206) is easily identifiable because of its use of:
a. stained-glass windows.
b. ribbed cross vaults.
c. flying buttresses.
d. pointed arches.
e. all of these.
6. An aspect of Gothic art that is particularly true of the decorative arts, both secular
and liturgical, is the use of:
a. imported non-Christian labor.
b. sumptuous, colorful materials.
c. only children as artisans.
d. all of these.
e. none of these.
7. Chartres Cathedral is the most memorable of French Gothic cathedrals because of the:
a. quality of its sculpture.
b. preservation of original stained glass.
c. quality of its architecture.
d. all of these.
e. none of these.
8. In Gothic cathedral engineering, the ribs of the vault allow for a(n):
a. more massive foundation.
b. heavy convex ceiling.
c. physically lighter structure.
d. all of these.
e. none of these.
9. The sculpted trumeau figure of Beau Dieu at Amiens exhibits:
a. a human, solemn dignity.
b. a quiet, stately presence.
c. naturalistic drapery.
d. all of these.
e. none of these.
10. In his painting Madonna Enthroned with Angels and Saints, Giotto renders his figures:
a. with mass.
b. as existing in space.
c. with modeled drapery.
d. subject to gravity.
e. all of these.
11. In addition to being used in Christianity, reliquaries that preserve the remains of
holy figures are also found in ____________ and ____________.
12. In the apse fresco from San Clemente in Tahull, Spain, the drapery flutters and folds
in a(n) ____________.
13. The embroidered narrative of the Bayeux Tapestry depicts events that led to the
____________ of England.
14. The monastic church of Ste.-Foy was located along one of the ____________ that
leads to Santiago de Compostela.
15. At the temple complex of Angkor Wat, the centralized plan of the buildings
signified the axis of the ____________ that marks the axis of the universe.
16. The development of Gothic architecture seems to have been initiated by Abbot
Suger at the Royal Abbey Church of ____________.
17. The high, narrow nave of the Gothic cathedral is the climax of a long tradition in
Christian art in which architects tried to invent a physical space that would express
Christianity’s ____________.
18. On the Great Mosque at Jenne in Mali, the horizontal protrusions that seem to bristle
on the exterior are known as ____________.
19. The dramatic core of the narrative in Giotto’s Lamentation exists in the lower left in
the heads of the ____________ and ____________.
20. In the Head of a Woman from the Owo kingdom, Yoruba culture, the vertical
striations on the face represent scarification performed to signify the rite of
____________.
21. By the time of Marco Polo’s Description of the World, the Chinese economy already
used paper money.
22. In the amber bead necklaces excavated from the tomb of Princess Chen at
Qinglongshan Village in Inner Mongolia, the spacers are carved in the shapes of
geometric forms.
23. As examples of narrative painting, Giotto’s Arena Chapel frescoes illustrate the lives
of Moses and John the Baptist.
24. The Bayeux Tapestry was probably commissioned by the half-brother of William the
Conqueror, Bishop Odo.
25. The ceiling over the nave at the Abbey Church of Ste.-Foy at Conques is a coffered,
domical ceiling like the Pantheon.
26. The outstanding rulers of the Khmer kingdom, who produced the temple complex at
Angkor Wat, held a faith that was eclectic and acted as a source of power.
27. The term “Gothic” originally was a complimentary salute to the sophisticated
Visigoths, who preserved much of Roman culture in the 5th century.
28. The structure of a Gothic cathedral is aptly described as “skeletal.”
29. Glowing, gemlike, stained glass windows support the idea that the Gothic cathedral
serves as a metaphor for the Heavenly Jerusalem.
30. In a typical late-medieval tempera painting, the frame is not integral in the painting
process and is added later.
31. Why did nineteenth-century historians coin the term “Romanesque” to describe the
Page Ref: 204
32. In the tympanum sculpture at La Madeleine at Vézelay what is used to indicate the
Page Ref: 210
33. Why did The Tale of Genji lend itself so well to the format of the Japanese horizontal
Page Ref: 217
34. The interior elevation of the typical Gothic church is composed of what three parts?
Page Ref: 226
35. By transferring the thrust and weight to an exterior support, what does the flying
36. What symbolic role did the plan of the capital city of the Mongol leaders of the Yuan
Page Ref: 236
37. In Giotto’s Lamentation in the Arena Chapel, what do the angels do?
Page Ref: 240
38. In what fashion is blue usually applied in a fresco painting?
Page Ref: 243
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40. The main subject of Ife art is the human head, rendered how?
41. What problem with Romanesque pilgrimage churches was solved with the use of an
Page Ref: 209
42. Discuss the spires of the ideal Gothic church. How do the spires serve the
1. Both della Francesca’s Resurrection and van der Weyden’s Deposition show a
characteristic not seen in painting since Roman times, which is:
a. abstract decoration.
b. naturalism.
c. miniaturization.
d. all of these.
e. none of these.
2. In his portraits of the rulers of Urbino, Piero della Francesca suggests:
a. the vast extent of ducal power.
b. their elevation above the everyday.
c. their almost omnipotent presence.
d. all of these.
e. none of these.
3. Donatello’s treatment of St. Mark is non-medieval because it emphasizes:
a. divine inspiration.
b. a pantocrater type.
c. human attributes.
d. all of these.
e. none of these.
4. In scientific perspective, the diagonal lines that converge at a “vanishing point” on
the horizon are called:
a. orthogonals.
b. capitals.
c. transversals.
d. all of these.
e. none of these.
5. What about Jan van Eyck’s Portrait of Giovanni Arnolfini and Giovanna Cenami suggests
that an oath is being taken?
a. hanging pillows
b. position of the couple’s hands
c. view outside the window
d. all of these
e. none of these
6. Originally, the Inka mountain retreat of Machu Picchu included:
a. ceremonial plazas.
b. housing for various classes.
c. sectors devoted to agriculture.
d. temples.
e. all of these.
7. In the Medici Palace courtyard, Michelozzo reveals the new attitudes of the
Renaissance by the:
a. classical-style arcade.
b. references to antiquity.
c. lucid regularity.
d. all of these.
e. none of these.
8. The purpose of the Renaissance portrait by Ghirlandaio, Portrait of a Man and a Boy,
was as:
a. a marriage token.
b. vainglorious self-flattery.
c. a remembrance after death.
d. all of these.
e. none of these.
9. In Sandro Botticelli’s Realm of Venus, the unpredictable nature of love is suggested by
the:
a. blindfolded Cupid.
b. rancid lemons.
c. stormy sky.
d. all of these.
e. none of these.
10. In Leonardo’s Last Supper, the calm figure of Christ exists:
a. at the focal point of the perspective.
b. to form a symbolic triangle.
c. on the axis of symmetry.
d. to give visual stability to the composition.
e. all of these.
11. As seen in the Mandala of Jnanadakini from Tibet, a mandala is the Buddhist symbol
for the structure of the ____________.
12. In the February calendar page by the Limbourg Brothers, subtle details characterize
the comprehensive ____________ developing in Flemish painting at the beginning of the
fifteenth century.
13. In Brunelleschi’s Church of Santo Spirito, instead of towering Gothic verticality, we
perceive a measured ____________ and ____________.
14. In Mantegna’s Camera Picta for the Gonzaga Ducal palace at Mantua, most of the
vault is painted with gold decorative patterns and ____________.
15. Giorgio Vasari argued that the transition to the High Renaissance occurred with the
art of ____________.
16. In the Chief’s Stool from the Taino culture, the figure carved on the front represents
a Taino deity.
17. In his Trinity, Masaccio has advanced Giotto’s artistic innovations by combining
them with superfluous abstract detail.
18. In Flanders oil painting, most colors are modeled downward toward black.
19. In the Self-Portrait of Shen Zhou, the gesture of the hands suggests that the picture
was painted from life.
20. On his Pietà, Michelangelo carved his signature on the ribbon that crosses Mary’s
chest.
21. Humanistic studies in Renaissance Italy involved what disciplines in its curriculum?
Page Ref: 253
22. What about Robert Campin’s Annunciation triptych suggests that the patron’s wife
Page Ref: 264
23. On the interior of The Altarpiece of the Lamb, what aspects are considered to unify the
Page Ref: 270
24. Leonardo’s drawing of the Vitruvian Man is based on a passage from the Roman
Page Ref: 290
25. What factors contributed to the sad state of Leonardo’s Last Supper before
26. What common features would appear to characterize the art of the 15th century,
particularly in Flanders and Italy, but also in Japan, and what themes continue to be
Page Ref: 247
27. Discuss the idea of the Renaissance. What does it mean literally, historically,
1. In Soami’s Dry garden of the Daisenin of Daitokuji, the waterless boulders, stones,
and gravel suggest a course of water:
a. racing along a mountain riverbed.
b. falling over a waterfall.
c. flowing into a broad river.
d. all of these.
e. none of these.
2. The response of the Roman Catholic Church to the Reformation, known as the
Counter-Reformation, was planned between 1545 and 1563 at the:
a. Peace of Augsburg.
b. Council of Trent.
c. Synod of Wittenburg.
d. all of these.
e. none of these.
3. Leonardo became famous for his ability to:
a. create a sense of mystery.
b. gently model through careful blending.
c. represent subtle shadows.
d. all of these.
e. none of these.
4. In what way(s) does Albrecht Dürer’s Adam and Eve reveal his contact with Italian
Renaissance art?
a. placement of Greek temples in the background
b. subtle coloring in imitation of Raphael
c. use of antique models for the figures
d. all of these
e. none of these
5. In Michelangelo’s Creation of Adam fresco, what aspect suggests the vital energy soon
to be released?
a. Adam’s powerfully muscled figure
b. the lightning bolt streaking across the sky
c. Adam’s laurel crown
d. all of these
e. none of these
6. On the interior of Bosch’s Garden of Earthly Delights triptych, the wings show:
a. a vision of Hell.
b. the creation of Eve.
c. God the Father.
d. the Garden of Eden.
e. all of these.
7. Grünewald’s Isenheim Altarpiece was painted for the chapel of a monastic hospital that
specialized in treating:
a. dangerous Christian mystics.
b. patients with skin diseases.
c. renegade Catholic converts.
d. all of these.
e. none of these.
8. Titian’s Madonna of the Pesaro Family was innovative in Renaissance art because of its:
a. vanishing point seen only from above.
b. tight tempera linearity.
c. asymmetrical composition.
d. all of these.
e. none of these.
9. The Mannerist qualities in Michelangelo’s The Last Judgment are believed to result
from:
a. the leaden psychological climate of Rome.
b. the Reformation.
c. the brutal sack of Rome in 1527.
d. all of these.
e. none of these.
10. In the fifteenth and sixteenth centuries in Japan, the arts were inspired by the Zen
Buddhist apprehension of the spiritual identity of all things and by aesthetic standards
that stressed:
a. allusiveness.
b. restraint.
c. subtlety.
d. all of these.
e. none of these.
11. In Michelangelo’s Florence Pietà, the normal Renaissance harmony is broken by the
unstable composition and the ____________.
12. Mannerist artists sought to create ____________ and ____________ constructions to
demonstrate their intellectual and technical virtuosity and the sophistication of their
patrons.
13. In most printmaking media, the surface of the print form can be re-inked to produce
a number of additional prints, called a(n) ____________.
14. In Titian’s Venus of Urbino, the identification of the nude female figure as Venus is
supported by symbolism of the ____________ and the ____________.
15. In Brueghel’s Peasant Wedding Feast, the composition is based on the strong right–to–
left ____________ of the table.
16. The Raft from the Muisca culture of northern South America functioned as a votive
offering.
17. Sophonisba Anguissola is credited with creating a new category of still-life painting.
18. Pope Julius II commissioned Bramante to build a new St. Peter’s as part of a
campaign to make Rome worthy of its status as the capital of Christendom.
19. Giorgio Vasari considered the art of the Middle Ages to be very worthy and highly
estimable.
20. Brueghel’s December Landscape emphasizes nature by the manner in which the
season, as expressed by the landscape, controls the activities of the peasants.
21. What explains the appearance of the “onion” domes placed on Russian orthodox
Page Ref: 300
22. What political qualities were associated with Michelangelo’s David because of its
Page Ref: 308-309
23. In Raphael’s Philosophy, what does Aristotle’s right hand gesture with palm down
Page Ref: 322
24. Why is Titian’s technique known as having a painterly quality?
Page Ref: 332
25. Why was Veronese’s Last Supper considered so controversial by the Inquisition
26. Describe Bramante’s plan for the new St. Peter’s. What was his inspiration, and what
Page Ref: 316
27. Discuss the iconographic scheme for Michelangelo’s painting of the Sistine Chapel
1. In his sculpture of David, Bernini chooses to portray the instant of:
a. celebratory triumph.
b. deepest thought.
c. greatest action.
d. all of these.
e. none of these.
2. Baroque painting is characterized by:
a. strong lighting.
b. asymmetrical compositions.
c. powerful effects of movement.
d. dramatic subject matter.
e. all of these.
3. Caravaggio’s Christ with the Doubting Thomas is arresting because:
a. the actions of the figures are convincing.
b. the strong light gives sharp physical presence.
c. the figures are naturalistic.
d. all of these.
e. none of these.
4. Bernini’s Baldacchino at St. Peter’s solved the problem of providing:
a. shade for the Pope.
b. a focal point for the interior.
c. an entrance to the dome.
d. all of these.
e. none of these.
5. In the Militia Company of Captain Frans Banning Cocq, Rembrandt offered a radical
solution to the problem of the militia portrait, which was to:
a. create spontaneous groupings.
b. emphasize pictorial drama and focus.
c. subordinate the democratic ideal.
d. all of these.
e. none of these.
6. On the interior of the dome for San Carlo alle Quattro Fontane, Borromini creates a
floating, levitating sensation by:
a. adding hidden windows at the base.
b. leaving an oculus open to the sky.
c. actually stretching the dome high upward.
d. all of these.
e. none of these.
7. In Rembrandt’s etching of Christ Preaching, a child is visible in the foreground doing
what?
a. considering Jesus’s words
b. arguing with Christ
c. drawing in the dust
d. all of these
e. none of these
8. In the painting Arcadian Shepherds, Poussin treats even death as:
a. colorful and energetic.
b. philosophical and contemplative.
c. tragic and dramatic.
d. all of these.
e. none of these.
9. The palace at Versailles by Louis Le Vau and Jules Hardouin Mansart was not only
Louis XIV’s main royal residence, it was also the:
a. site of a famous battle.
b. mausoleum for St. Louis.
c. governmental seat.
d. all of these.
e. none of these.
10. Rubens’ landscapes exhibit the same tumultuous energy and visual excitement as
his:
a. allegorical pictures.
b. religious pictures.
c. mythological pictures.
d. all of these.
e. none of these.
11. During the seventeenth century in China, the Ming Dynasty fell and was succeeded
by the ____________ Dynasty, which ruled until 1912.
12. In Velázquez’s Water Carrier, the influence of Caravaggio is evident in the half-
length, lifesize figures, as well as in the dark background and ____________.
13. The Taj Mahal in India was built by Shah Jahan in the Mughal period from 1632 to
1648 as a(n) ____________ to his favorite wife.
14. In Return of the Prodigal Son, Rembrandt countered the avoidance of Dutch artists to
painting a religious subject, because of his interest in the ____________.
15. In the seventeenth century, landscape became a truly popular theme in the
____________ for the first time in the history of Western art.
16. In countries that remained Catholic in the seventeenth century, the Counter–
Reformation led to the production of contemplative Baroque secular images.
17. Evidence in many Vermeer paintings suggests that he used a camera obscura.
18. On the Taj Mahal, the lotus dome that crowns the building sits atop a high drum.
19. In A Man Rowing a Boat on the Bullewyk, Rembrandt applied wash, which is thick ink
mixed with liquid soap.
20. Seventeenth-century art in Japan was dominated by a spirit of spontaneous action
and revolutionary innovation.
21. In essence, what is Artemisia Gentileschi saying in her 1630 painting titled Self-
Page Ref: 355
22. In his Arrival and Reception of Marie de´ Medici at Marseilles, how did Rubens satisfy
Page Ref: 364
23. Why is Teresa of Ávila depicted barefoot in Bernini’s sculpture Ecstasy of Saint
Page Ref: 374
24. In Velázquez’s painting Las Meninas, why do we believe that the cross on
Page Ref: 380
25. Why is realistic still-life painting considered to be a democratic art?
26. Why and how did seventeenth-century art theorists neglect and underestimate still-
Page Ref: 386
27. What do the fountain sculptures and gardens of the park at Versailles have to say
1. Because of the web of gold woodwork, the stucco ornament, the rhythmic curving
cornice, and the delicate arches, the effect of Boffrand’s Salon de la Princesse is:
a. spiritual and meditative.
b. elegant and ebullient.
c. robust and heroic.
d. all of these.
e. none of these.
2. The view that human knowledge is pragmatically gained from experience and
sensation is called:
a. empiricism.
b. Victorianism.
c. classicism.
d. all of these.
e. none of these.
3. Fueling the Neoclassical style was:
a. the influential art historian Wittgenstein.
b. changing political realities.
c. the rediscovery of Herculaneum and Pompeii.
d. all of these.
e. none of these.
4. As the first president of England’s Royal Academy of Arts, Joshua Reynolds endorsed
an education based on imitating:
a. the perfection of nature.
b. High Renaissance art.
c. classical art.
d. all of these.
e. none of these.
5. In the eighteenth century, a painting or print featuring a picturesque view of ancient
ruins or a romanticized view of the contemporary cityscape was called:
a. rotonda.
b. veduta.
c. pastelli.
d. all of these.
e. none of these.
6. The French word that refers to a European artistic style of the 17th and 18th centuries
characterized by fanciful imagery of an imaginary China is called:
a. orientalism.
b. Japonisme.
c. Chinoiserie.
d. all of these.
e. none of these.
7. Fragonard’s Happy Accidents of the Swing reaffirms the pleasures of:
a. lovers’ games.
b. playing chess.
c. idyllic partying.
d. all of these.
e. none of these.
8. The unusual French Rococo artist, Jean-Baptiste Siméon Chardin, was inspired by:
a. Watteau.
b. the grand style of Reynolds.
c. Dutch 17th century naturalism.
d. all of these.
e. none of these.
9. In Chong Son’s Twelve Thousand Peaks of Mount Kumgang, the artist rendered an actual
place employing:
a. self consciousness.
b. traditional Chinese brush methods.
c. a new Korean aesthetic.
d. traditional Chinese pictorial ideas.
e. all of these.
10. Rosalba Carriera, as seen in her Portrait of Louis XV as a Young Man, was famous for
her ability to render portraits in:
a. tempera.
b. fresco.
c. pastel.
d. all of these.
e. none of these.
11. Robert Adam’s style of remodeling of the fireplace niche at Osterly Park House is
referred to as Neoclassicism, because the ornamentation is based on ____________.
12. With Watteau’s Pilgrimage to the Island of Cythera, a new category of painting was
established for the French Royal Academy, listed as ____________.
13. Because Reynolds depicts the subject as an allegorical figure in his Allegorical Portrait
of Sarah Siddons as the Tragic Muse and his composition recalls Michelangelo’s Sistine
Chapel ceiling figures, we find that Reynolds is aspiring to the ____________.
14. David’s Death of Socrates offered a guide for ____________ in the troubled social
climate of France in the late 1780s.
15. Benjamin West’s Death of General Wolfe was stimulated by a serious study of
____________ and study of the works of Renaissance and Baroque artists.
16. The eighteenth century in European cultural history is sometimes called the Age of
Enlightenment.
17. During the eighteenth century in Korea, heavy green celadon ceramics gradually
replaced delicate white porcelain ware.
18. Kim Hongdo’s painting Roof Tiling shows the interest in the actual appearances of
powerful Korean rulers in eighteenth-century Korea.
19. The shape of Neumann’s Kaisersaal is too complicated to be either an oval or an
octagon, but it is surmounted by a high oval dome pierced by windows.
20. Jefferson’s use of the combination of pedimented entrance and dome at Monticello
can be traced back to the Pantheon in Rome.
21. The term “Rococo” was first used to designate what style?
Page Ref: 400
22. To truly understand the “grand style,” any artist who desired professional fame was
Page Ref: 402
23. In William Hogarth’s Marriage à la Mode, Scene II, what suggests that the wife’s lover
Page Ref: 410
24. What about Egid Quirin Asam’s Assumption of the Virgin encourages us to gasp?
Page Ref: 415
25. Why would Thomas Jefferson’s Virginia State Capitol have surprised many
26. Describe the motivations, purposes, and allegorical meanings behind The Ocean’s
Coach commissioned by the Portuguese King John V. What was the iconography
Page Ref: 398-399
27. What are the implicit meanings behind John Singleton Copley’s Portrait of Paul
Revere? How does the portrait work to convey these meanings? What do these
1. Delacroix’s revolutionary technique used in Liberty Leading the People is a reaction to
the prevailing Neoclassicism in its:
a. loose brushstrokes.
b. blurred edges.
c. strong colors.
d. all of these.
e. none of these.
2. Manet’s A Bar at the Folies-Bergère exhibits new nineteenth century issues of the
individual in a modern, urban society, most particularly:
a. stoic virtue.
b. isolation and alienation.
c. vainglorious heroism.
d. all of these.
e. none of these.
3. The creation of an ukiyo-e woodblock print, such as Hokusai’s The Great Wave, was the
result of the work of:
a. a carver.
b. printing specialists.
c. an artist-designer.
d. all of these.
e. none of these.
4. In his caricatures, Daumier’s heroes most often came from the:
a. working classes.
b. aristocracy.
c. ranks of amateur artists.
d. all of these.
e. none of these.
5. In the medium of lithography, the print form is a(n):
a. very smooth board of bamboo.
b. copper plate.
c. very smooth slab of limestone.
d. all of these.
e. none of these.
6. In England in the nineteenth century, the Gothic Revival style was perceived as the
style that best expressed:
a. truth.
b. the proper relationship between God and humans.
c. spiritual goodness.
d. all of these.
e. none of these.
7. Courbet’s aim was to create a “living art”; his style became known as:
a. Gothic Revival.
b. Realism.
c. Romanticism.
d. all of these.
e. none of these.
8. Manet’s Le Déjeuner sur l’herbe caused a scandal in 1863 because (of):
a. its subject is perplexing.
b. the lack of modeling on the nude.
c. its large strokes of thick paint.
d. its visual impact is unexpectedly powerful.
e. all of these.
9. The goal of Monet in Impression-Sunrise was to:
a. paint a beautiful picture.
b. record reality as he saw it.
c. display significant moral import.
d. all of these.
e. none of these.
10. The technique of the Impressionists was to:
a. work quickly before the natural light changed.
b. use loose, bold strokes of color.
c. paint outside, on the spot.
d. all of these.
e. none of these.
11. At the Parisian Salon of 1863, there was such an outcry about the rejected works that
a special exhibition of rejected works was set up, known as the ____________.
12. Constable’s painting of The Hay Wain is unified by the flecks of ____________ and
____________ used to recreate the sparkling luminosity of the English countryside after
the rain.
13. The style of Hiroshige’s woodblock prints focuses on the subtleties of a particular
____________ and ____________.
14. Rodin’s The Burghers of Calais disappointed many people at first because it lacked
overtly ____________ references.
15. Seurat systematized contemporary scientific advances in color theory to create what
he termed ____________.
16. In the period of Romanticism, a revealing consistency in the various arts can be
discerned.
17. Géricault’s The Raft of the Medusa is a history painting, and its subject is a heroic
event.
18. In Japanese woodblock technique, the design is carved into the wood, leaving the
lines and solid areas raised above the cut surface of the wood.
19. The highest goal of Academic painters was to create history paintings of significant
moral import.
20. In The Vision after the Sermon, Paul Gauguin uses both line and color in an abstract,
expressive way.
21. What did the declining percentage of commissioned works in the nineteenth century
Page Ref: 432
22. Goya’s The Execution of Madrileños on the Third of May, 1808 emphasizes a
Page Ref: 442
23. What was the advantage of William Henry Fox Talbot’s invention of the
Page Ref: 469
24. In Thomas Eakins’s Portrait of Dr. Samuel Gross, the touches of red are used for what
Page Ref: 478-479
25. In Arles in 1888-89, van Gogh adopted what Japanese belief about the color yellow?
26. In Thomas Cole’s paintings, why is his emphasis on the uniqueness of American
Page Ref: 456
27. The Crystal Palace demonstrates what two innovative developments that
transformed architecture in the second half of the nineteenth century? How did these
1. In Hopper’s Nighthawks the harsh interior light is used to:
a. reveal the personalities of the sitters.
b. encourage deep psychoanalysis.
c. expose the lack of communication.
d. all of these.
e. none of these.
2. The duality felt by Frida Kahlo is revealed in The Two Fridas by the:
a. two hearts.
b. contrasting costumes.
c. Catholic and Aztec implications.
d. all of these.
e. none of these.
3. Picasso used the African masks in Les Demoiselles d’Avignon because to him they were:
a. reminiscent of Greek vases.
b. exotic, magic things.
c. references to Goya.
d. all of these.
e. none of these.
4. Braque’s Violin and Palette presents:
a. a series of planes.
b. different points of view reassembled.
c. a highly abstract composition.
d. disengaged fragments.
e. all of these.
5. Hopi villages seem to grow directly out of the mesa top, the building materials and
shapes suggesting continuity with the living rock; this is often called:
a. an organic mode of building.
b. a harmonic stratum.
c. a sandwich design.
d. all of these.
e. none of these.
6. The artists of Die Brücke, including Kirchner, deeply probed the psychological
relationship between the:
a. guild and patron.
b. artist and world.
c. shaman and patient.
d. all of these.
e. none of these.
7. To create his eerie scene in The Melancholy and Mystery of a Street, Giorgio De Chirico
employs:
a. a void setting.
b. an exaggerated perspective.
c. stark chiaroscuro.
d. all of these.
e. none of these.
8. Henry Moore’s Recumbent Figure suggests:
a. the hills and gullies of a landscape.
b. a voluptuous figure.
c. a reclining female form.
d. all of these.
e. none of these.
9. The true modernity of Joseph Cornell’s boxes lies in how they encourage:
a. the precious juxtaposed to the sublime.
b. art critics to dismiss them.
c. individual, unconscious interpretations.
d. all of these.
e. none of these.
10. Inspired by the works of Mies van der Rohe, Philip Johnson’s Glass House is a
satisfying construction of:
a. elegant materials.
b. subtle proportional relationships.
c. pure geometric form.
d. all of these.
e. none of these.
11. Picasso’s Guernica has endured as an emblem for all those who hate the
____________ experienced by humanity during political conflicts.
12. Alfred Stieglitz’s 1907 photograph The Steerage balances the relationship between
form and ____________, and thus should be understood as a work of art in itself.
13. In Nude Descending a Staircase, Marcel Duchamp used a sequence of fragmented
planes to describe the ____________ of a figure descending a staircase.
14. In his nonrepresentational compositions dominated by simple geometric shapes,
Kasimir Malevich attempted “to free art from the burden of the ____________.”
15. Diego Rivera’s fresco murals present a stark and didactic contrast between the
debauchery of the rich and the ____________ of the poor, honest peasants.
16. The ritual dancers wearing painted wooden masks of the Bwa culture are
participants in rites performed to ensure success in battle over tribal enemies.
17. Assemblage usually involves combining three-dimensional objects into a coherent
composition.
18. Frank Lloyd Wright’s style at the time of the Robie House is known as the Prairie
style.
19. The cantilever projects a horizontal architectural member out into space and
supports it with a vertical member at its terminating point.
20. Gropius’ design for the new Bauhaus building at Dessau was guided by his
philosophy on the unity of the arts.
21. Even standing still, Pininfarina’s Cistalia “202” GT car gives what impression?
Page Ref: 498-499
22. Early in the twentieth century, as a Fauve painter Matisse began to make paintings
Page Ref: 508
23. Brancusi’s Bird in Space draws us close not to the essence of a natural form, but to
Page Ref: 528-529
24. How did Duchamp enter his mass-produced objects called “ready–mades” into the
Page Ref: 536
25. The poetic, evocative position implied by the point of view in Georgia O’Keeffe’s The
26. In his Schröder House of 1923-24, how does Gerrit Rietveld establish a series of
Page Ref: 540
27. Despite its purity and reductive beauty, why did the International Style quickly
1. Pollack’s method of painting is derived from:
a. Picasso’s synthesis.
b. Surrealist automatism.
c. Cézanne.
d. all of these.
e. none of these.
2. In the style called Abstract Expressionism, the approach emphasizing a free, gestural
expression of paint on the canvas was termed:
a. Action Painting.
b. Performance Art.
c. Spontaneism.
d. all of these.
e. none of these.
3. Robert Rauschenberg referred to works of his, such as Monogram, as:
a. “collage–sculptures.”
b. performance pieces.
c. “combines.”
d. all of these.
e. none of these.
4. In the 1960s, the definition of the work of art as a tangible object was challenged by:
a. Happenings.
b. Performance Art.
c. Conceptual Art.
d. all of these.
e. none of these.
5. In his work titled One and Three Chairs, Joseph Kosuth presents:
a. the image.
b. the actuality.
c. the idea of a chair.
d. all of these.
e. none of these.
6. In the late 1960s, the style that presented the work of art as an object of elemental
form divorced from symbolic or personal content was:
a. Op Art.
b. Minimal Art.
c. Pop Art.
d. all of these.
e. none of these.
7. At exhibitions of the sculptural works of Duane Hanson, viewers sometimes:
a. damage the works in frustration.
b. leave the gallery in anger.
c. speak to the works.
d. all of these.
e. none of these.
8. In a work such as Running Fence, by Christo and Jeanne-Claude, the creative act
consists of:
a. raising funds.
b. acquiring legal permits.
c. finding volunteer workers.
d. administering affairs.
e. all of these.
9. Postmodernist art is defined by:
a. welcoming the artistic past into the present.
b. celebrating diversity.
c. acknowledgment of social, political, and historical issues.
d. all of these.
e. none of these.
10. Miriam Schapiro’s multimedia Wonderland exemplifies a(n):
a. femmage.
b. Happening.
c. Ready-made.
d. all of these.
e. none of these.
11. In each of the works in his series Homage to the Square, Albers sets square planes of
color within larger ____________.
12. During the 1950s, Jasper Johns and Robert Rauschenberg incorporated found objects
and representational imagery into their artistic activity, a practice sometimes referred to
as ____________.
13. Maya Lin’s Vietnam Veterans Memorial certainly fulfills the second competition
criterion, which states that the monument should be “reflective and ____________ in
nature.”
14. Laurie Anderson’s performance-concerts synthesize ____________ and
____________.
15. Nancy Graves’s Canoptic Legerdemain makes use of laser-cut steel produced by a
computer program, plus cast and molded resins; it is thus an exemplary use of
____________ in art.
16. In his photographic essay The Americans, Robert Frank employed his “snapshot
aesthetic” in producing many commercial glamour photos.
17. Warhol’s multiple images of Marilyn Monroe are born from the aesthetic numbness
produced by the commercial environment.
18. The subject of Wandjuk Marika’s The Birth of the Djang’kawu Children at Yalanghara is
a creation and journey myth.
19. Komar and Melamid’s America’s Most Wanted was produced based on the aesthetic
preferences of America’s 100 most famous art critics.
20. Chen Zhen’s Jue Chang invites viewers to actually beat the drums of the work.
21. Of what is the AIDS Memorial Quilt an expression?
Page Ref: 565
22. How do works in the style called Color Field Painting operate?
Page Ref: 569
23. On what legend was Robert Smithson’s design for Spiral Jetty based?
Page Ref: 584
24. Many artists in the 1990s explored installation art, which fashions a complex
25. How are Bilbao’s shipbuilding and port activities reflected in Frank Gehry’s 1997
26. In order to understand it, Le Corbusier’s Nôtre-Dame-du-Haut forces us to do what?
Page Ref: 572-573
27. What is Audrey Flack’s working method? How does the manner in which she
1. Cai Guo-qiang’s work makes use of:
a. geography.
b. medicine.
c. history.
d. Chinese philosophy.
e. all of these.
2. What aspects of third millennium life meet in New York City at the Prada Flagship
Store designed by Rem Koolhaas?
a. hi-tech
b. haute couture consumerism
c. innovative architecture
d. all of these
e. none of these
3. At the Prada Flagship Store in New York City designed by Rem Koolhaas, the “big
wave” functions as a huge:
a. skateboard ramp.
b. metaphor for sliding consumption.
c. minimalist sculptural form.
d. all of these.
e. none of these.
4. The form of Mariko Mori’s Wave UFO is based on a(n):
a. fish.
b. drop of water.
c. surfboard.
d. all of these.
e. none of these.
5. Vito Acconci’s The Island in the Mur affords new viewpoints on the city, and thus
gives the opportunity, as art often does, for new:
a. perspectives on the familiar.
b. criticisms of capitalism.
c. modes of introspection.
d. all of these.
e. none of these.
6. In creating Torqued Ellipses, Richard Serra was influenced by Borromini’s:
a. ramp of his Guggenheim Museum.
b. steeples of the Church of Sagrada Familia.
c. dome in San Carlo alle Quattro Fontane.
d. all of these.
e. none of these.
7. Matthew Barney’s Cremaster 3 ends with the Rockettes doing a precision dance
routine on the:
a. ramp of the Guggenheim Museum.
b. roof of St. Peter’s.
c. steps of the Tate Modern.
d. all of these.
e. none of these.
8. Julie Mehretu’s Empirical Construction, Istanbul presents a vision of an urban
environment that is:
a. dynamic.
b. enormous.
c. multi-layered.
d. almost kaleidoscopic.
e. all of these.
9. The photographs of Andreas Gursky:
a. are visually stunning.
b. are enormous in size.
c. often present a dialogue between architecture and human presence.
d. all of these.
e. none of these.
10. In Kara Walker’s Insurrection! installation, projected light casts our shadows on the
walls, and thus works to:
a. involve us.
b. render the work invisible.
c. scare children present.
d. all of these.
e. none of these.
11. The pluralistic and global art that characterized the last decades of the twentieth
century, along with contemporary individualism, suggest that there may never again be
one ____________.
12. An example of “destination architecture,” which brought revitalization to a fading
industrial center, is Frank Gehry’s ____________ in Bilbao.
13. Mariko Mori’s Wave UFO sets out to provide an experience that can express the
inner self through ____________.
14. Individuality has been a hallmark of modern art, and the ____________ of 21st-
century art is proof of its continued importance.
15. The colossal scale of the Buddha figure at Bamiyan, Afghanistan is a deliberate
attempt to express the ____________ of the Buddha when compared to that of an
ordinary human.
16. With Richard Serra’s Torqued Ellipses, the enormous sheets of steel seem to deny
their materiality as they flow and billow like fabric.
17. In Bill Viola’s Five Angels for the Millennium, the observer’s viewpoint remains fixed
at the water’s surface.
18. Battle of the Giants by Armit and Rabindra K.D. Kaur Singh involves two elephants
whose bodies are composed of football and rugby players.
19. Ann Hamilton’s corpus was installation art on a massive scale that proposed a
contemplation on the modes of human communication.
20. James Turrell has said that he wants people to mentally regard light as a
nonexistent, ephemeral, invisible entity.
21. What is the metaphor used by Santiago Calatrava to describe his design for the
Page Ref: 608
22. To create the Tate Modern museum, into what did the Swiss architectural firm of
Page Ref: 609
23. What facts, in part, have inspired Joyce Kozloff’s Targets?
Page Ref: 611-612
24. Through their ephemeral quality, Andy Goldsworthy’s works partake in the cycle of
Page Ref: 617-618
25. How will James Turrell’s Roden Crater project be like Stonehenge?
26. What sort of unexpected materials have been used for art in the last few years?
Page Ref: 608
27. How does Julie Mehretu’s Empirical Construction, Istanbul work to illustrate how