Diverging from traditional artistic conventions the artist who decorated the walls of
Nerfertari’s tomb used ____________.
A. new proportions for the figure
B. a new hue
C. shading and highlights
D. numerous landscape elements
Drer’s The Four Horsemen of the Apocalypse (Fig. 22-7) is a(n) __________.
A. woodcut
B. drawing
C. engraving
D. etching
The _________________ reflects the basic design of medieval monasteries.
A. westwork
B. cloister
C. Saint Gall Plan
D. stave church
The wooden design tablet used by Samoan artists to create siapo bark cloths is called
a(n) ______.
A. upeti
B. tapa
C. moai
D. hapu
A common theme among Symbolist artists was ____________.
A. Egyptian culture
B. irrational fears and desires
C. the idealized landscape
D. primitive cultures
____________ appears on works in many media throughout the history of Islamic art.
A. Blazons
B. Tugras
C. Calligraphy
D. Images of holy figures
How were Lapita ceramics decorated?
A. They were covered with red slip.
B. They were decorated with figurative images.
C. Dots, lines, and hatchings were stamped or incised on the surface.
D. All of the above.
When Koi Konboro, the 26th king of Jenn converted to Islam, he transformed
_____________ into a mosque.
A. the city’s existing ceremonial complex
B. his palace
C. a block of volcanic tuff
D. a marketplace
The large-scale single figures in the lancets of the north transept at Chartres (Fig. 17-11)
refer to the ______________.
A. royal patronage of the cathedral’s stained glass
B. royal ancestry of Jesus, Mary and the Church
C. the zodiac
D. scenes from the Virgin’s life
Maruyama Okyo perfected methods to incorporate western shading and perspective into
his mid-eighteenth century paintings of a more native Japanese decorative style. Who
was his most famous pupil?
A. Nagasawa Rosetsu
B. Suzuki Harunobu
C. Toshusai Sharaku
D. Otani Oniji
What material was commonly used to produce exquisite lamps, lit from within by oil
and wick, for illumination in mosques?
A. vellum
B. glass
C. ceramic
D. brass
Lusterware refers to a technique used to make ceramic surfaces resemble_________.
A. glass
B. precious metals
C. enamel
D. porcelain
__________ was regarded as one of the most uncompromising American Realists of the
era.
A. Eakins
B. Ingres
C. Repin
D. Gross
A __________, which symbolizes the Holy Sepulcher, covers the main altar in the apse
of San Clemente.
A. baldachin
B. mausoleum
C. tapestry
D. font
The Rinpa school refers to a group of artists who _______________________.
A. produced work that reinterpreted ancient courtly-style arts
B. sometimes collaborated with craftmakers in the production of luxury goods
C. worked in the city of Kyoto
D. all of the above
What religious theme unites the mosaics at the Church of San Vitale (Fig. 8-5, Fig. 8-6,
Fig. 8-7, Fig. 8-8, Fig. 8-9)?
A. the martyrdom of St. Vitalis
B. the marriage sacrament of Justinian and Theodora
C. Christ’s role as King of Heaven
D. the celebration of the Eucharist
The practices of Tantric Buddhism include techniques for _______________,
encouraging the development of images with precise iconographic details.
A. visualizing deities
B. unifying the soul
C. resurrecting the deceased
D. visualizing loved ones
Bihzad’s representation of the story of Joseph and Potiphar’s wife was influenced by the
Timurid poet __________.
A. Abbas
B. Bahram Gur
C. Timur
D. Jami
Supported by the Carolingians _____________ was to become the dominant form of
monasticism throughout Europe.
A. Merovingian
B. Benedictine
C. Celtic
D. Ionian
The age of metal made its European debut around __________ BCE.
A. 10,000
B. 7000
C. 4000
D. 3000
The distinctive character of Claus Sluter’s sculpture can still be seen in the surviving
parts of his monumental __________.
A. Unicorn Fountain
B. Well of Moses
C. Jacob’s Ladder
D. Isenheim Altarpiece
What element of Giacomo della Porta’s design of Il Ges (Fig. 21-40) was widely
influential?
A. the wide nave
B. the single apse and dome at the crossing
C. a two-story faade emphasizing with the nave elevation
D. all of the above
Thai artisans working under royal patronage created ________ images of Buddha,
which evoked the ascetic simplicity of Theravada Buddhism.
A. wood
B. bronze
C. marble
D. granite
Olowe of Ise was a highly regarded __________ woodcarver.
A. Yoruba
B. Dama
C. Bwa
D. Baule
The artist of the Garden Vista at the Villa of Livia used __________ to make the
distance less distinct.
A. architectural vistas
B. monochromatic backgrounds
C. intuitive perspective
D. atmospheric perspective
Which of the following was NOT included in the Imperial Forum begun by the
Emperor Trajan?
A. a public market comparable in size to a modern shopping mall
B. a triumphal arch commemorating Trajan’s victorious military campaigns
C. a library housing the emperor’s collection of manuscripts
D. an administrative center including law courts and army drill halls
__________ is an example of Rajput painting.
A. Jahangir in Darbar
B. Krishna and the Gopis
C. Akbar and his Court
D. Krishna and Akbar
What is a common feature of ritual objects from the Chinese Bronze Age?
A. They include images of taotie masks.
B. The use of piece-mold casting for bronze objects.
C. They reflect a mythocentric worldview.
D. All of the above.
Along with pilasters, carved cupboards and niche-filled statues, the Studiolo of
Federico da Montefeltro (Fig. 20-29) also featured a squirrel, the symbol of
_____________.
A. the church
B. an ideal ruler
C. the Virgin Mary
D. the artist
What sociological change may have encouraged the innovative developments in Italian
art of the fourteenth century?
A. the growth of the urban population
B. the guild system for artistic training
C. artists began to emerge as individuals
D. fortified cities provided a greater sense of security
Gerard ter Borch was a renowned __________ painter.
A. genre
B. cantilever
C. mirror
D. religious
Upon its completion in 1130, the Church of __________ was the largest church in
Europe.
A. San Miniato
B. Saint Peter’s
C. Cluny III
D. Santo Domingo
Traditional Chinese judge a painting above all by the quality of its _____________.
A. provenance
B. materials
C. subject
D. brushwork