A BRIEF HISTORY 7TH EDITION BY MARILYN STOKSTAD, MICHAEL COTHREN TEST BANK

Chapter 1: Prehistoric Art in Europe Multiple-Choice Questions 1. Which of the following is incorporated into the composition of Spotted Horses and Human Hands? a. the natural environment of the horses b. the illusion of three-dimensional space c. the depiction of abstract human bodies d. the natural contour of the cave wall Answer: d Learning Objective: None Topic: Introduction Difficulty Level: Moderate Skill Level: Understand the Concepts 2. A statue carved free of any background or block is called a __________. a. sculpture in the round b. capstone c. linear design d. dolmen Answer: a Learning Objective: 1.1 Discuss whether the earliest representational images and shelters of the Paleolithic period can be considered works of art and architecture.

Topic: Artifacts or Works of Art? Difficulty Level: Easy Skill Level: Remember the Facts 3. Which of the following distinguishes Lion-Human Statuette from other Paleolithic figurines? a. its large size b. its medium c. its style d. its technique Answer: a Learning Objective: 1.1 Discuss whether the earliest representational images and shelters of the Paleolithic period can be considered works of art and architecture.

Topic: Artifacts or Works of Art? Difficulty Level: Moderate Skill Level: Understand the Concepts

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4. Although archeologists and art historians are unsure of the meaning of Lion-Human Statuette, it is considered an artwork because it __________. a. demonstrates the technique of modeling clay into representational figures b. establishes that Paleolithic artists copied what they observed in nature c. represents a spiritual figure communing with the celestial world d. demonstrates complex thinking and creative imagination Answer: d Learning Objective: 1.1 Discuss whether the earliest representational images and shelters of the Paleolithic period can be considered works of art and architecture.

Topic: Artifacts or Works of Art? Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 5. Most carved human figures from the Paleolithic period depict __________. a. men b. children c. women d. elders Answer: c Learning Objective: 1.1 Discuss whether the earliest representational images and shelters of the Paleolithic period can be considered works of art and architecture.

Topic: Artifacts or Works of Art? Difficulty Level: Easy Skill Level: Remember the Facts 6. Female figurines from the Paleolithic period most likely exaggerated female attributes to emphasize __________. a. beauty b. power c. fertility d. religious ritual Answer: c Learning Objective: 1.1 Discuss whether the earliest representational images and shelters of the Paleolithic period can be considered works of art and architecture.

Topic: Artifacts or Works of Art? Difficulty Level: Moderate Skill Level: Understand the Concepts

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7. In Russia and Ukraine, the buildings of Upper Paleolithic settlements were built using __________. a. mammoth bones b. the post-and-lintel system c. stone dolmens d. corbel vaults Answer: a Learning Objective: 1.1 Discuss whether the earliest representational images and shelters of the Paleolithic period can be considered works of art and architecture.

Topic: Shelter of Architecture?

Difficulty Level: Easy Skill Level: Remember the Facts 8. The earliest-known prehistoric cave paintings are located at __________. a. Lascaux b. Altamira c. Chauvet d. Çatalhöyük Answer: c Learning Objective: 1.2 Summarize the diverse forms and potential meanings of Paleolithic cave paintings and sculptures.

Topic: Cave Painting and Sculpture Difficulty Level: Easy Skill Level: Remember the Facts 9. Why do scholars agree that cave paintings were meaningful to prehistoric peoples? a. The cave openings were sealed before the artists moved to a new location. b. Archaeologists found hunting equipment in the subterranean galleries of each cave. c. The archaeological record indicates that people were buried underneath the paintings. d. People returned to them many times generation after generation.

Answer: d Learning Objective: 1.2 Summarize the diverse forms and potential meanings of Paleolithic cave paintings and sculptures.

Topic: The Meaning(s) of Prehistoric Cave Paintings Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It

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10. Which of the following types of evidence might suggest that the subterranean galleries of prehistoric caves had religious or magical functions? a. elaborate burials b. stones engraved with linear designs c. artifacts and footprints d. ceramic figurines Answer: c Learning Objective: 1.2 Summarize the diverse forms and potential meanings of Paleolithic cave paintings and sculptures.

Topic: The Meaning(s) of Prehistoric Cave Paintings Difficulty Level: Moderate Skill Level: Understand the Concepts 11. Which of the following examples of Paleolithic art is unique because it may tell a story? a. Men Taunting a Deer (?) b. Hall of Bulls c. Woman from Willendorf d. Bird-Headed Man with Bison Answer: d Learning Objective: 1.2 Summarize the diverse forms and potential meanings of Paleolithic cave paintings and sculptures.

Topic: Lascaux and Altamira Difficulty Level: Moderate Skill Level: Understand the Concepts 12. A technique called modeling was used to create __________. a. corbel vaults in Neolithic passage graves b. relief sculptures in Paleolithic caves c. dolmens in Neolithic henges d. paintings in prehistoric caves Answer: b Learning Objective: 1.2 Summarize the diverse forms and potential meanings of Paleolithic cave paintings and sculptures.

Topic: Lascaux and Altamira Difficulty Level: Moderate Skill Level: Understand the Concepts

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13. The paintings at the Lascaux Caves were created around __________. a. 32,000 BCE b. 7400 BCE c. 3000 BCE d. 15,000 BCE Answer: d Learning Objective: 1.2 Summarize the diverse forms and potential meanings of Paleolithic cave paintings and sculptures.

Topic: Lascaux and Altamira Difficulty Level: Easy Skill Level: Remember the Facts 14. In the Hall of Bulls at the Lascaux Caves, which aspects of the animals are represented in profile? a. horns b. hooves c. heads d. eyes Answer: c Learning Objective: 1.2 Summarize the diverse forms and potential meanings of Paleolithic cave paintings and sculptures.

Topic: Lascaux and Altamira Difficulty Level: Moderate Skill Level: Understand the Concepts 15. How is Bison at a cave at Altamira different from the Hall of Bulls at the Lascaux Caves? a. The artists painted the bodies of the bison on natural bulges in the cave’s walls and ceilings. b. The artists used modeling to shape clay into the bodies of the bison before applying paint. c. The artists engraved the bodies of the animals into the surface of the cave walls. d. The artists surrounded the herd of bison with stylized depictions of human figures.

Answer: a Learning Objective: 1.2 Summarize the diverse forms and potential meanings of Paleolithic cave paintings and sculptures.

Topic: Lascaux and Altamira Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It

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16. In Bison from Le Tuc d’Audoubert, the creator gave the animals a more lifelike quality by __________. a. depicting human figures surrounding the bison herds b. surrounding the animals with small footprints in the clay floor c. engraving short parallel lines below their necks to suggest shaggy coats d. overlapping them with low-relief carvings of thin, active animals Answer: c Learning Objective: 1.2 Summarize the diverse forms and potential meanings of Paleolithic cave paintings and sculptures.

Topic: Lascaux and Altamira Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 17. One fundamental change that marked the beginning of the Neolithic period was the __________. a. development of agricultural settlements b. emergence of cave painting. c. development of weaving d. use of wooden tools Answer: a Learning Objective: 1.3 Describe the changes in prehistoric art and architecture that resulted from the social and cultural changes of the Neolithic period.

Topic: The Neolithic Period (c. 6500–3400/2300 BCE) Difficulty Level: Easy Skill Level: Remember the Facts 18. What was the result of successive generations continually building house upon house in the Neolithic community of Çatalhöyük? a. large open chambers b. great mounds of villages c. little archeological evidence d. small grave chambers Answer: b Learning Objective: 1.3 Describe the changes in prehistoric art and architecture that resulted from the social and cultural changes of the Neolithic period.

Topic: Çatalhöyük Difficulty Level: Moderate Skill Level: Understand the Concepts

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19. Most of the wall paintings in the houses of Çatalhöyük depict __________. a. people planting crops b. herds of animals c. exaggerated female figures d. violent and wild scenes Answer: d Learning Objective: 1.3 Describe the changes in prehistoric art and architecture that resulted from the social and cultural changes of the Neolithic period.

Topic: Çatalhöyük Difficulty Level: Easy Skill Level: Remember the Facts 20. The houses in Çatalhöyük were constructed of __________. a. stone posts b. mammoth bones c. mud bricks d. wooden lintels Answer: c Learning Objective: 1.3 Describe the changes in prehistoric art and architecture that resulted from the social and cultural changes of the Neolithic period.

Topic: Çatalhöyük Difficulty Level: Moderate Skill Level: Understand the Concepts 21. Which of the following marked the emergence of the human body as the primary location of human identity? a. Lion-Human Statuette b. Woman and Man from Cernavoda c. Bird-Man with Bison at Lascaux Caves d. Woman from Willendorf Answer: b Learning Objective: 1.3 Describe the changes in prehistoric art and architecture that resulted from the social and cultural changes of the Neolithic period.

Topic: Ceramics Difficulty Level: Moderate Skill Level: Understand the Concepts

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22. Compared to Paleolithic sculptures, such as the Woman from Willendorf, the Woman and Man from Cernavoda display more __________. a. exaggerated features b. gestures and expressions c. idealized attributes d. painted colors Answer: b Learning Objective: 1.3 Describe the changes in prehistoric art and architecture that resulted from the social and cultural changes of the Neolithic period.

Topic: Ceramics Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 23. A structure in which each row or layers of stone are laid with the end of each row projecting beyond the row below until they come together to span an interior space is called a __________. a. dolmen b. capstone c. cairn d. corbel vault Answer: d Learning Objective: 1.4 Explain the construction and uses of megalithic architecture.

Topic: Megalithic Monuments Difficulty Level: Easy Skill Level: Remember the Facts 24. A method of construction in which two upright materials support a horizontal element is called __________. a. post-and-lintel b. corbeling c. modeling d. vaulting Answer: a Learning Objective: 1.4 Explain the construction and uses of megalithic architecture.

Topic: Megalithic Monuments Difficulty Level: Easy Skill Level: Remember the Facts

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25. The term “megalithic” means __________. a. small stone b. large stone c. old stone d. new stone Answer: b Learning Objective: 1.4 Explain the construction and uses of megalithic architecture.

Topic: Megalithic Monuments Difficulty Level: Easy Skill Level: Remember the Facts 26. Neolithic passage graves feature __________. a. wall paintings with lifelike animal images b. high relief sculpture of bison herds c. linear designs of rings, spirals, and diamonds d. violent scenes with humans taunting animals Answer: c Learning Objective: 1.4 Explain the construction and uses of megalithic architecture.

Topic: Megalithic Monuments Difficulty Level: Moderate Skill Level: Understand the Concepts 27. The burial site at Newgrange in Ireland is an example of a __________. a. passage grave b. circular henge c. megalithic cairn d. post-and-lintel structure Answer: a Learning Objective: 1.4 Explain the construction and uses of megalithic architecture.

Topic: Megalithic Monuments Difficulty Level: Moderate Skill Level: Understand the Concepts 28. Which of the following sites includes an example of a corbel vault? a. Stonehenge b. Çatalhöyük c. Lascaux Caves d. Newgrange Answer: d Learning Objective: 1.4 Explain the construction and uses of megalithic architecture.

Topic: Megalithic Monuments Difficulty Level: Moderate Skill Level: Understand the Concepts

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29. A simple tomb in which large, often upright, stones form a chamber that supports one or more table-like rocks, or capstones, is called a __________. a. passage grave b. henge c. dolmen d. cairn Answer: c Learning Objective: 1.4 Explain the construction and uses of megalithic architecture.

Topic: Megalithic Monuments Difficulty Level: Easy Skill Level: Remember the Facts 30. A structure formed by a circle of stones or posts and often surrounded by a ditch with embankments is called a __________. a. henge b. dolmen c. cairn d. capstone Answer: a Learning Objective: 1.4 Explain the construction and uses of megalithic architecture.

Topic: Stonehenge Difficulty Level: Easy Skill Level: Remember the Facts 31. Which of the following sites is an example of post-and-lintel construction? a. Çatalhöyük b. Newgrange c. Chauvet d. Stonehenge Answer: d Learning Objective: 1.4 Explain the construction and uses of megalithic architecture.

Topic: Stonehenge Difficulty Level: Moderate Skill Level: Understand the Concepts 32. Construction at Stonehenge began around __________. a. 3000 BCE b. 7400 BCE c. 13,000 BCE d. 25,000 BCE Answer: a Learning Objective: 1.4 Explain the construction and uses of megalithic architecture.

Topic: Stonehenge Difficulty Level: Easy Skill Level: Remember the Facts

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33. In the Middle Ages, which structure was thought to have been built by Merlin, the legendary magician of King Arthur? a. Stonehenge b. Newgrange c. Durrington Walls d. Çatalhöyük Answer: a Learning Objective: 1.4 Explain the construction and uses of megalithic architecture.

Topic: Megalithic Monuments Difficulty Level: Easy Skill Level: Remember the Facts 34. At Stonehenge, the horseshoe-shaped arrangement of five upright stones topped by lintels is called the __________. a. cairn b. sarsen trilithon c. arc of bluestones d. capstone Answer: b Learning Objective: 1.4 Explain the construction and uses of megalithic architecture.

Topic: Stonehenge Difficulty Level: Moderate Skill Level: Understand the Concepts 35. Why do scholars believe that Stonehenge was a site of ceremonies related to death and burial? a. The interior circle of sarsen stones is oriented towards the position of the sun at the solstice. b. Its original bluestones include engraved designs of spirals, rings, and diamonds. c. Archaeologists found musical instruments buried in the surrounding embankments. d. It began as a cemetery of cremation burials marked by a circle of imported bluestones.

Answer: d Learning Objective: 1.4 Explain the construction and uses of megalithic architecture.

Topic: Stonehenge Difficulty Level: Moderate Skill Level: Understand the Concepts

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Essay Questions 36. Describe the Lion-Human Statuette and discuss its possible meaning(s). Why can it be considered an artwork?

Answer: The ideal answer should include: 1. The Lion-Human Statuette is a sculpture in the round that combines the features of a human and a lion.

2. The statue could represent a human wearing a ritual lion mask.

3. The figure could express the power of an animal or convey Paleolithic peoples’ conception of animals and humans as one common group of beings sharing the world.

4. The figure can be considered an early example of prehistory artwork because it demonstrates complex thinking and creative imagination by conceiving of and representing a creature never seen in nature.

Learning Objective: 1.1 Discuss whether the earliest representational images and shelters of the Paleolithic period can be considered works of art and architecture.

Topic: Artifacts or Works of Art? Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 37. Which theories and conclusions have scholars reached about the possible meanings and purposes of prehistoric cave painting? What is the consensus among scholars about prehistoric cave painting?

Answer: The ideal answer should include: 1. In the early twentieth century, scholars believed that art had a social function and proposed that cave paintings might be associated with prehistoric ceremonies performed to strengthen clan bonds or to enhance the fertility of animals used for food.

2. Early anthropologists also suggested that cave paintings were expressions of “sympathetic magic” and that prehistoric caves were thus used to ensure that hunters found their prey asleep, as places of worship, and as settings for initiation rites.

3. In the second half of the twentieth century, scholars discovered that the depicted animals were not those frequently used for food and dismissed earlier theories, instead arguing that the paintings could be used to teach novice hunters about animal behavior.

4. Due to the artifacts and footprints found in the caves, scholars agree that the decorated caves must have had special meaning because prehistoric people returned to them time after time over many generations.

Learning Objective: 1.2 Summarize the diverse forms and potential meanings of Paleolithic cave paintings and sculptures.

Topic: The Meaning(s) of Prehistoric Cave Paintings Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It

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38. How do the houses at Çatalhöyük embody the fundamental social changes during the Neolithic period?

Answer: The ideal answer should include: 1. The foundation of year-round settlements with houses occurred during the Neolithic period, and Çatalhöyük embodies this important fundamental social and cultural change.

2. Beginning in 7400 BCE, Çatalhöyük featured the continual building of house upon house in successive generations that resulted in the rise of great mounds of villages.

3. The mud-brick houses included short walls and ridges that defined separate areas for different activities or social grouping and special objects were displayed in conical wall recesses.

4. Village residents were often buried under of the floors of the houses, which rooted the site in the community’s past as well as its future.

Learning Objective: 1.3 Describe the changes in prehistoric art and architecture that resulted from the social and cultural changes of the Neolithic period.

Topic: The Neolithic Period (c. 6500-3400/2300 BCE) Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 39. How does the architecture of the burial site at Newgrange, Ireland, represent the architectural conventions of megalithic monuments?

Answer: the ideal answer should include: 1. In the Neolithic period, megalithic architecture consisted of massive tombs and ceremonial structures built from huge stones.

2. The elaborate burial site at Newgrange is called a passage grave.

3. It has a 62-foot long passageway lined with standing stones that leads into a three-part chamber.

4. The large chamber was constructed as a corbel vault using corbeling, a method of construction in which rows of stones are laid with the end of each row projecting beyond the row beneath until it can be capped with a stone.

Learning Objective: 1.4 Explain the construction and uses of megalithic architecture.

Topic: Megalithic Monuments Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It

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40. Explain the architectural structure and construction of Stonehenge. What are the theories regarding its possible function?

Answer: the ideal answer should include: 1. Stonehenge is a henge, or circle of stones or posts that is surrounded by a ditch with builtup embankments.

2. Over eight different phases of construction, large sarsen stones and bluestones were placed to create the henge using the post-and-lintel system: two upright stones support a horizontal lintel.

3. The site started as a cemetery of cremation burials marked by a circle of imported bluestones.

While the complex was erroneously associated with the rituals of Celtic druids and considered a calendar for regulating agricultural schedules, recent archaeological evidence and the discovery of nearby prehistoric habitation led scholars to believe that Stonehenge was the site of ceremonies linked to death and burial.

Learning Objective: 1.4 Explain the construction and uses of megalithic architecture.

Topic: Stonehenge Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It

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Revel Quizzes Quiz: The Upper Paleolithic Period (c. 42,000-8000 BCE) EOM Q1.1.1 The earliest known representational art dates to roughly __________. a. 38,000 years ago b. 26,000 years ago Consider This: Representational art looks like what it represents. 1.1 Discuss whether the earliest representational images and shelters of the Paleolithic period can be considered works of art and architecture. c. 54,000 years ago Consider This: Representational art looks like what it represents. 1.1 Discuss whether the earliest representational images and shelters of the Paleolithic period can be considered works of art and architecture. d. 12,000 years ago Consider This: Representational art looks like what it represents. 1.1 Discuss whether the earliest representational images and shelters of the Paleolithic period can be considered works of art and architecture.

Answer: a Learning Objective: 1.1 Discuss whether the earliest representational images and shelters of the Paleolithic period can be considered works of art and architecture.

Topic: The Upper Paleolithic Period (c. 42,000–8000 BCE) Difficulty Level: Easy Skill Level: Remember

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EOM Q1.1.2 Paleolithic figurines that can be carried or held in the hand are examples of __________. a. sculpture in the round b. relief sculpture Consider This: Small figurines traveled with their owners. 1.1 Discuss whether the earliest representational images and shelters of the Paleolithic period can be considered works of art and architecture. c. tool construction Consider This: Small figurines traveled with their owners. 1.1 Discuss whether the earliest representational images and shelters of the Paleolithic period can be considered works of art and architecture. d. composite pose Consider This: Small figurines traveled with their owners. 1.1 Discuss whether the earliest representational images and shelters of the Paleolithic period can be considered works of art and architecture.

Answer: a Learning Objective: 1.1 Discuss whether the earliest representational images and shelters of the Paleolithic period can be considered works of art and architecture.

Topic: The Upper Paleolithic Period (c. 42,000–8000 BCE) Difficulty Level: Easy Skill Level: Remember EOM Q1.1.3 The Lion-Human statuette can be considered a work of art because it __________. a. used visual design to solve a problem b. served a functional purpose Consider This: It also displays formal complexity. 1.1 Discuss whether the earliest representational images and shelters of the Paleolithic period can be considered works of art and architecture. c. was made between 40,000 and 35,000 years ago Consider This: It also displays formal complexity. 1.1 Discuss whether the earliest representational images and shelters of the Paleolithic period can be considered works of art and architecture. d. was carved from a wooly mammoth tusk Consider This: It also displays formal complexity. 1.1 Discuss whether the earliest representational images and shelters of the Paleolithic period can be considered works of art and architecture.

Answer: a Learning Objective: 1.1 Discuss whether the earliest representational images and shelters of the Paleolithic period can be considered works of art and architecture.

Topic: The Upper Paleolithic Period (c. 42,000–8000 BCE) Difficulty Level: Moderate Skill Level: Understand

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EOM Q1.1.4 How do the mammoth-bone dwellings in Russia and Ukraine fit the definition of architecture? a. The planned structures are not just utilitarian. b. The structures have sleeping areas and hearths for cooking.

Consider This: Not every living space fits the definition of architecture. 1.1 Discuss whether the earliest representational images and shelters of the Paleolithic period can be considered works of art and architecture. c. The homes are found on the treeless grasslands.

Consider This: Not every living space fits the definition of architecture. 1.1 Discuss whether the earliest representational images and shelters of the Paleolithic period can be considered works of art and architecture. d. The homes are naturally occurring shelters.

Consider This: Not every living space fits the definition of architecture. 1.1 Discuss whether the earliest representational images and shelters of the Paleolithic period can be considered works of art and architecture.

Answer: a Learning Objective: 1.1 Discuss whether the earliest representational images and shelters of the Paleolithic period can be considered works of art and architecture.

Topic: The Upper Paleolithic Period (c. 42,000–8000 BCE) Difficulty Level: Moderate Skill Level: Understand Quiz: Cave Painting and Sculpture EOM Q1.2.1 Despite their disagreements over the exact meaning of Paleolithic cave paintings, scholars agree that the images __________. a. hold special meaning thanks to their location and repeated use b. are accessed only by shamans and hunters in training Consider This: The items found in the cave support this conclusion. 1.2 Summarize the diverse forms and potential meanings of Paleolithic cave paintings and sculptures. c. embody the innate human desire to adorn our surroundings Consider This: The items found in the cave support this conclusion. 1.2 Summarize the diverse forms and potential meanings of Paleolithic cave paintings and sculptures. d. represent an attempt to ensure the fertility of hunted animals Consider This: The items found in the cave support this conclusion. 1.2 Summarize the diverse forms and potential meanings of Paleolithic cave paintings and sculptures.

Answer: a Learning Objective: 1.2 Summarize the diverse forms and potential meanings of Paleolithic cave paintings and sculptures.

Topic: Cave Painting and Sculpture Difficulty Level: Moderate Skill Level: Understand

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EOM Q1.2.2 Paleolithic painters captured the essence of the animals they painted through the use of __________. a. characteristic features b. abstraction Consider This: This helped to identify the animals. 1.2 Summarize the diverse forms and potential meanings of Paleolithic cave paintings and sculptures. c. hunting themes Consider This: This helped to identify the animals. 1.2 Summarize the diverse forms and potential meanings of Paleolithic cave paintings and sculptures. d. blowing paint Consider This: This helped to identify the animals. 1.2 Summarize the diverse forms and potential meanings of Paleolithic cave paintings and sculptures.

Answer: a Learning Objective: 1.2 Summarize the diverse forms and potential meanings of Paleolithic cave paintings and sculptures.

Topic: Cave Painting and Sculpture Difficulty Level: Easy Skill Level: Understand EOM Q1.2.3 Cave painters at Altamira created sculptural effects by __________. a. using the shape of the cave wall b. adding full-round sculpture Consider This: Colored paint added to the effect. 1.2 Summarize the diverse forms and potential meanings of Paleolithic cave paintings and sculptures. c. carving relief images on the wall Consider This: Colored paint added to the effect. 1.2 Summarize the diverse forms and potential meanings of Paleolithic cave paintings and sculptures. d. blowing paint through a tube Consider This: Colored paint added to the effect. 1.2 Summarize the diverse forms and potential meanings of Paleolithic cave paintings and sculptures.

Answer: a Learning Objective: 1.2 Summarize the diverse forms and potential meanings of Paleolithic cave paintings and sculptures.

Topic: Cave Painting and Sculpture Difficulty Level: Moderate Skill Level: Understand

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EOM Q1.2.4 The artist’s goal for the sculpture of the bison shown here was to make the animals __________. a. look familiar b. come to life Consider This: This was also the goal of paintings. 1.2 Summarize the diverse forms and potential meanings of Paleolithic cave paintings and sculptures. c. perform magic Consider This: This was also the goal of paintings. 1.2 Summarize the diverse forms and potential meanings of Paleolithic cave paintings and sculptures. d. appear dead Consider This: This was also the goal of paintings. 1.2 Summarize the diverse forms and potential meanings of Paleolithic cave paintings and sculptures.

Answer: a Learning Objective: 1.2 Summarize the diverse forms and potential meanings of Paleolithic cave paintings and sculptures.

Topic: Cave Painting and Sculpture Difficulty Level: Difficult Skill Level: Apply Quiz: The Neolithic Period (c. 6500-3400/2300 BCE) EOM Q1.3.1 What Neolithic period cultural change is illustrated by the continual building at Çatalhöyük? a. Year-round settlement b. Metallurgy Consider This: Burials provide a clue. 1.3 Describe the changes in prehistoric art and architecture that resulted from the social and cultural changes of the Neolithic period. c. Ceremonial burial structures Consider This: Burials provide a clue. 1.3 Describe the changes in prehistoric art and architecture that resulted from the social and cultural changes of the Neolithic period. d. Isolated nuclear families Consider This: Burials provide a clue. 1.3 Describe the changes in prehistoric art and architecture that resulted from the social and cultural changes of the Neolithic period.

Answer: a Learning Objective: 1.3 Describe the changes in prehistoric art and architecture that resulted from the social and cultural changes of the Neolithic period.

Topic: The Neolithic Period (c. 6500–3400/2300 BCE) Difficulty Level: Moderate Skill Level: Understand

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EOM Q1.3.2 Mural paintings at Çatalhöyük depict __________. a. rituals b. gods Consider This: This involved hunting. 1.3 Describe the changes in prehistoric art and architecture that resulted from the social and cultural changes of the Neolithic period. c. rulers Consider This: This involved hunting. 1.3 Describe the changes in prehistoric art and architecture that resulted from the social and cultural changes of the Neolithic period. d. history Consider This: This involved hunting. 1.3 Describe the changes in prehistoric art and architecture that resulted from the social and cultural changes of the Neolithic period.

Answer: a Learning Objective: 1.3 Describe the changes in prehistoric art and architecture that resulted from the social and cultural changes of the Neolithic period.

Topic: The Neolithic Period (c. 6500–3400/2300 BCE) Difficulty Level: Easy Skill Level: Understand EOM Q1.3.3 The Woman and Man figures from Romania embody the centrality of the __________ to human identity. a. body b. community Consider This: Neolithic artists produced many human figurines. 1.3 Describe the changes in prehistoric art and architecture that resulted from the social and cultural changes of the Neolithic period. c. spirit Consider This: Neolithic artists produced many human figurines. 1.3 Describe the changes in prehistoric art and architecture that resulted from the social and cultural changes of the Neolithic period. d. gods Consider This: Neolithic artists produced many human figurines. 1.3 Describe the changes in prehistoric art and architecture that resulted from the social and cultural changes of the Neolithic period.

Answer: a Learning Objective: 1.3 Describe the changes in prehistoric art and architecture that resulted from the social and cultural changes of the Neolithic period.

Topic: The Neolithic Period (c. 6500–3400/2300 BCE) Difficulty Level: Moderate Skill Level: Understand

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EOM Q1.3.4 The Woman and Man figures from Romania were possible because their Neolithic maker __________. a. lived in a settled community b. was also a priest Consider This: This was a fundamental change during the Neolithic period. 1.3 Describe the changes in prehistoric art and architecture that resulted from the social and cultural changes of the Neolithic period. c. practiced metallurgy Consider This: This was a fundamental change during the Neolithic period. 1.3 Describe the changes in prehistoric art and architecture that resulted from the social and cultural changes of the Neolithic period. d. engaged in sympathetic magic Consider This: This was a fundamental change during the Neolithic period. 1.3 Describe the changes in prehistoric art and architecture that resulted from the social and cultural changes of the Neolithic period.

Answer: a Learning Objective: 1.3 Describe the changes in prehistoric art and architecture that resulted from the social and cultural changes of the Neolithic period.

Topic: The Neolithic Period (c. 6500–3400/2300 BCE) Difficulty Level: Difficult Skill Level: Apply Quiz: Megalithic Monuments EOM Q1.4.1 Many megalithic ceremonial structures in western and northern Europe were dedicated to __________ rituals. a. death b. fertility Consider This: Megalithic structures were the sites of performance of group identity. 1.4 Explain the construction and uses of megalithic architecture. c. hunting Consider This: Megalithic structures were the sites of performance of group identity. 1.4 Explain the construction and uses of megalithic architecture. d. migration Consider This: Megalithic structures were the sites of performance of group identity. 1.4 Explain the construction and uses of megalithic architecture.

Answer: a Learning Objective: 1.4 Explain the construction and uses of megalithic architecture.

Topic: Megalithic Monuments Difficulty Level: Easy Skill Level: Understand

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EOM Q1.4.2 Passage graves are constructed using __________. a. corbel vaults b. linear designs Consider This: Each stone projects out above the one below. 1.4 Explain the construction and uses of megalithic architecture. c. wattle-and-daub Consider This: Each stone projects out above the one below. 1.4 Explain the construction and uses of megalithic architecture. d. stoneware Consider This: Each stone projects out above the one below. 1.4 Explain the construction and uses of megalithic architecture.

Answer: a Learning Objective: 1.4 Explain the construction and uses of megalithic architecture.

Topic: Quiz: Megalithic Monuments Difficulty Level: Easy Skill Level: Remember EOM Q1.4.3 Why did earlier scholars believe Stonehenge was linked to an agricultural calendar? a. It appeared to be oriented to the solstice. b. It had linear drawings of plants.

Consider This: People still flock to the site for this reason. 1.4 Explain the construction and uses of megalithic architecture. c. It was constructed using posts and lintels.

Consider This: People still flock to the site for this reason. 1.4 Explain the construction and uses of megalithic architecture. d. It sheltered an agricultural village.

Consider This: People still flock to the site for this reason. 1.4 Explain the construction and uses of megalithic architecture.

Answer: a Learning Objective: 1.4 Explain the construction and uses of megalithic architecture.

Topic: Megalithic Monuments Difficulty Level: Moderate Skill Level: Understand

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Chapter Quiz: Prehistoric Art in Europe EOC Q1.1 Which of the following reflects the nomadic lifestyle of the Paleolithic era in the Woman from Willendorf? a. Its small size b. The female subject Consider This: Nomads move around. 1.1 Discuss whether the earliest representational images and shelters of the Paleolithic period can be considered works of art and architecture. c. Its exaggerated attributes Consider This: Nomads move around. 1.1 Discuss whether the earliest representational images and shelters of the Paleolithic period can be considered works of art and architecture. d. Its rounded forms Consider This: Nomads move around. 1.1 Discuss whether the earliest representational images and shelters of the Paleolithic period can be considered works of art and architecture.

Answer: a Learning Objective: 1.1 Discuss whether the earliest representational images and shelters of the Paleolithic period can be considered works of art and architecture.

Topic: Prehistoric Art in Europe Difficulty Level: Difficult Skill Level: Apply

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EOC Q1.2 Which term is used when a Paleolithic artist uses specific traits to distinguish a type of figure? a. Attribute b. Sculpture in the round Consider This: Some Paleolithic art only pictures the generalized elements that reside in our memory rather than detailed visual information. 1.1 Discuss whether the earliest representational images and shelters of the Paleolithic period can be considered works of art and architecture. c. Relief Consider This: Some Paleolithic art only pictures the generalized elements that reside in our memory rather than detailed visual information. 1.1 Discuss whether the earliest representational images and shelters of the Paleolithic period can be considered works of art and architecture. d. Composite pose Consider This: Some Paleolithic art only pictures the generalized elements that reside in our memory rather than detailed visual information. 1.1 Discuss whether the earliest representational images and shelters of the Paleolithic period can be considered works of art and architecture.

Answer: a Learning Objective: 1.1 Discuss whether the earliest representational images and shelters of the Paleolithic period can be considered works of art and architecture.

Topic: Prehistoric Art in Europe Difficulty Level: Easy Skill Level: Remember EOC Q1.3 The Paleolithic architecture of Russia and Ukraine was constructed of __________. a. turf and bones b. megaliths Consider This: The structures were built in the grasslands. 1.1 Discuss whether the earliest representational images and shelters of the Paleolithic period can be considered works of art and architecture. c. tree trunks and branches Consider This: The structures were built in the grasslands. 1.1 Discuss whether the earliest representational images and shelters of the Paleolithic period can be considered works of art and architecture. d. stone and earth Consider This: The structures were built in the grasslands. 1.1 Discuss whether the earliest representational images and shelters of the Paleolithic period can be considered works of art and architecture.

Answer: a Learning Objective: 1.1 Discuss whether the earliest representational images and shelters of the Paleolithic period can be considered works of art and architecture.

Topic: Prehistoric Art in Europe Difficulty Level: Easy Skill Level: Remember 24 Copyright © 2020, 2016, 2012 Pearson Education, Inc. All rights reserved.

EOC Q1.4 The __________ of Paleolithic cave paintings led scholars to believe that they were more than mere art for art’s sake. a. challenging location and repeated use b. naturalistic style and subject matter Consider This: The explanation may suggest ritual use. 1.2 Summarize the diverse forms and potential meanings of Paleolithic cave paintings and sculptures. c. diversity of themes Consider This: The explanation may suggest ritual use. 1.2 Summarize the diverse forms and potential meanings of Paleolithic cave paintings and sculptures. d. appearance and popularity Consider This: The explanation may suggest ritual use. 1.2 Summarize the diverse forms and potential meanings of Paleolithic cave paintings and sculptures.

Answer: a Learning Objective: 1.2 Summarize the diverse forms and potential meanings of Paleolithic cave paintings and sculptures.

Topic: Prehistoric Art in Europe Difficulty Level: Difficult Skill Level: Understand EOC Q1.5 Paleolithic cave paintings represent __________. a. a wide variety of animals b. only animals hunted by early humans Consider This: This has challenged old interpretations. 1.2 Summarize the diverse forms and potential meanings of Paleolithic cave paintings and sculptures. c. landscape views of the surrounding area Consider This: This has challenged old interpretations. 1.2 Summarize the diverse forms and potential meanings of Paleolithic cave paintings and sculptures. d. individuals within the nomadic community Consider This: This has challenged old interpretations. 1.2 Summarize the diverse forms and potential meanings of Paleolithic cave paintings and sculptures.

Answer: a Learning Objective: 1.2 Summarize the diverse forms and potential meanings of Paleolithic cave paintings and sculptures.

Topic: Prehistoric Art in Europe Difficulty Level: Easy Skill Level: Understand

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EOC Q1.6 Bird-Headed Man with Bison at Lascaux is unusual among Paleolithic cave paintings because it __________. a. represents a human figure b. includes a bison Consider This: This scene may depict a vision. 1.2 Summarize the diverse forms and potential meanings of Paleolithic cave paintings and sculptures. c. is painted directly on the cave wall Consider This: This scene may depict a vision. 1.2 Summarize the diverse forms and potential meanings of Paleolithic cave paintings and sculptures. d. is painted deep within the cave Consider This: This scene may depict a vision. 1.2 Summarize the diverse forms and potential meanings of Paleolithic cave paintings and sculptures.

Answer: a Learning Objective: 1.2 Summarize the diverse forms and potential meanings of Paleolithic cave paintings and sculptures.

Topic: Prehistoric Art in Europe Difficulty Level: Moderate Skill Level: Apply EOC Q1.7 Relief sculpture within Paleolithic caves was made using the technique called __________. a. modeling b. carving Consider This: This is different than the technique used for figurines. 1.2 Summarize the diverse forms and potential meanings of Paleolithic cave paintings and sculptures. c. casting Consider This: This is different than the technique used for figurines. 1.2 Summarize the diverse forms and potential meanings of Paleolithic cave paintings and sculptures. d. painting Consider This: This is different than the technique used for figurines. 1.2 Summarize the diverse forms and potential meanings of Paleolithic cave paintings and sculptures.

Answer: a Learning Objective: 1.2 Summarize the diverse forms and potential meanings of Paleolithic cave paintings and sculptures.

Topic: Prehistoric Art in Europe Difficulty Level: Easy Skill Level: Remember

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EOC Q1.8 Other than date, what distinguishes the Neolithic period from the Paleolithic period? a. The development of agricultural settlements b. The use of tools Consider This: This transformed nomadic lives. 1.3 Describe the changes in prehistoric art and architecture that resulted from the social and cultural changes of the Neolithic period. c. The birth of human communities Consider This: This transformed nomadic lives. 1.3 Describe the changes in prehistoric art and architecture that resulted from the social and cultural changes of the Neolithic period. d. The introduction of fire Consider This: This transformed nomadic lives. 1.3 Describe the changes in prehistoric art and architecture that resulted from the social and cultural changes of the Neolithic period.

Answer: a Learning Objective: 1.3 Describe the changes in prehistoric art and architecture that resulted from the social and cultural changes of the Neolithic period.

Topic: Prehistoric Art in Europe Difficulty Level: Difficult Skill Level: Understand EOC Q1.9 The site known as Çatalhöyük is best described as a Neolithic __________. a. apartment complex b. mobile home Consider This: This was the result of continuous building. 1.3 Describe the changes in prehistoric art and architecture that resulted from the social and cultural changes of the Neolithic period. c. Campground Consider This: This was the result of continuous building. 1.3 Describe the changes in prehistoric art and architecture that resulted from the social and cultural changes of the Neolithic period. d. holy land Consider This: This was the result of continuous building. 1.3 Describe the changes in prehistoric art and architecture that resulted from the social and cultural changes of the Neolithic period.

Answer: a Learning Objective: 1.3 Describe the changes in prehistoric art and architecture that resulted from the social and cultural changes of the Neolithic period.

Topic: Prehistoric Art in Europe Difficulty Level: Difficult Skill Level: Apply

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EOC Q1.10 What items are sometimes found under the floors of Neolithic settlements? a. Human remains b. Grain storage Consider This: Neolithic homes functioned as symbols of community history and identity. 1.3 Describe the changes in prehistoric art and architecture that resulted from the social and cultural changes of the Neolithic period. c. Coins Consider This: Neolithic homes functioned as symbols of community history and identity. 1.3 Describe the changes in prehistoric art and architecture that resulted from the social and cultural changes of the Neolithic period. d. Musical instruments Consider This: Neolithic homes functioned as symbols of community history and identity. 1.3 Describe the changes in prehistoric art and architecture that resulted from the social and cultural changes of the Neolithic period.

Answer: a Learning Objective: 1.3 Describe the changes in prehistoric art and architecture that resulted from the social and cultural changes of the Neolithic period.

Topic: Prehistoric Art in Europe Difficulty Level: Easy Skill Level: Understand EOC Q1.11 Which two cultural developments in the Neolithic period affected art and architecture? a. Production of food and ceramics b. Competition for resources and war Consider This: Settlements meant larger populations and more specialized labor. 1.3 Describe the changes in prehistoric art and architecture that resulted from the social and cultural changes of the Neolithic period. c. Need for defense and discovery of fire Consider This: Settlements meant larger populations and more specialized labor. 1.3 Describe the changes in prehistoric art and architecture that resulted from the social and cultural changes of the Neolithic period. d. Metallurgy and end of hunting Consider This: Settlements meant larger populations and more specialized labor. 1.3 Describe the changes in prehistoric art and architecture that resulted from the social and cultural changes of the Neolithic period.

Answer: a Learning Objective: 1.3 Describe the changes in prehistoric art and architecture that resulted from the social and cultural changes of the Neolithic period.

Topic: Prehistoric Art in Europe Difficulty Level: Moderate Skill Level: Apply

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EOC Q1.12 Which term refers to construction with monumental stones? a. Megalithic b. Neolithic Consider This: Stonehenge is an example. 1.4 Explain the construction and uses of megalithic architecture. c. post-and-lintel Consider This: Stonehenge is an example. 1.4 Explain the construction and uses of megalithic architecture. d. corbel vault Consider This: Stonehenge is an example. 1.4 Explain the construction and uses of megalithic architecture.

Answer: a Learning Objective: 1.4 Explain the construction and uses of megalithic architecture.

Topic: Prehistoric Art in Europe Difficulty Level: Easy Skill Level: Remember EOC Q1.13 Neolithic burials accessed by a corridor are known as __________ graves. a. passage b. dolmen Consider This: The burial at Newgrange is an example. 1.4 Explain the construction and uses of megalithic architecture. c. cairn Consider This: The burial at Newgrange is an example. 1.4 Explain the construction and uses of megalithic architecture. d. corbel Consider This: The burial at Newgrange is an example. 1.4 Explain the construction and uses of megalithic architecture.

Answer: a Learning Objective: 1.4 Explain the construction and uses of megalithic architecture.

Topic: Prehistoric Art in Europe Difficulty Level: Easy Skill Level: Remember

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EOC Q1.14 Stonehenge is now thought to be a site related to __________. a. burial b. trade Consider This: This interpretation is new. 1.4 Explain the construction and uses of megalithic architecture. c. settlement Consider This: This interpretation is new. 1.4 Explain the construction and uses of megalithic architecture. d. calendar Consider This: This interpretation is new. 1.4 Explain the construction and uses of megalithic architecture.

Answer: a Learning Objective: 1.4 Explain the construction and uses of megalithic architecture.

Topic: Prehistoric Art in Europe Difficulty Level: Easy Skill Level: Remember EOC Q1.15 Which answer BEST describes scholarship on prehistoric art, as demonstrated by Stonehenge? a. Interpretations of the meaning of prehistoric art vary and change over time. b. Scholars believe that prehistoric art was principally concerned with survival.

Consider This: Scholars approach prehistoric art from their own eras’ perspectives. 1.4 Explain the construction and uses of megalithic architecture. c. The meaning of prehistoric art is best determined by each individual viewer.

Consider This: Scholars approach prehistoric art from their own eras’ perspectives. 1.4 Explain the construction and uses of megalithic architecture. d. Determining the meaning and function of prehistoric art is impossible today.

Consider This: Scholars approach prehistoric art from their own eras’ perspectives. 1.4 Explain the construction and uses of megalithic architecture.

Answer: a Learning Objective: 1.4 Explain the construction and uses of megalithic architecture.

Topic: Prehistoric Art in Europe Difficulty Level: Difficult Skill Level: Apply

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Chapter 2: Art of the Ancient Near East Multiple-Choice Questions 1. The term “Mesopotamia” means land __________. a. outside the rivers b. between the rivers c. north of the rivers d. south of the rivers Answer: b Learning Objective: None Topic: Introduction Difficulty Level: Easy Skill Level: Remember the Facts 2. Which two great rivers run through Mesopotamia? a. the Euphrates and the Nile b. the Indus and the Nile c. the Nile and the Tigris d. the Tigris and the Euphrates Answer: d Learning Objective: None Topic: Introduction Difficulty Level: Easy Skill Level: Remember the Facts 3. The form of Mesopotamian writing that uses wedge-shaped marks is called __________. a. hieroglyphs b. cuneiform c. pictographs d. hieratic Answer: b Learning Objective: 2.1 Discuss the early development of ancient Near Eastern art and architecture at Sumer.

Topic: Sumer Difficulty Level: Easy Skill Level: Remember the Facts

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4. Which of the following is a writing instrument shaped like a triangular wedge? a. cuneiform b. stele c. cylinder seal d. stylus Answer: d Learning Objective: 2.1 Discuss the early development of ancient Near Eastern art and architecture at Sumer.

Topic: Sumer Difficulty Level: Easy Skill Level: Remember the Facts 5. The stepped pyramidal structures in Sumer are called __________. a. stele b. lamassu c. ziggurats d. cuneiform Answer: c Learning Objective: 2.1 Discuss the early development of ancient Near Eastern art and architecture at Sumer.

Topic: Sumer Difficulty Level: Easy Skill Level: Remember the Facts 6. Which of the following is the function of a Sumerian ziggurat? a. It was a temple dedicated to a god or goddess. b. It was a royal palace for the Sumerian rulers. c. It was an upright stone slab to commemorate a victory. d. It was a device used to secure and identify documents.

Answer: a Learning Objective: 2.1 Discuss the early development of ancient Near Eastern art and architecture at Sumer.

Topic: Sumer Difficulty Level: Moderate Skill Level: Understand the Concepts

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7. The Sumerians worshiped many gods, among them the goddess of love and war, called __________. a. Anu b. Gudea c. Assurbanipal d. Inanna Answer: d Learning Objective: 2.1 Discuss the early development of ancient Near Eastern art and architecture at Sumer.

Topic: Sumer Difficulty Level: Easy Skill Level: Remember the Facts 8. In the Carved Vessel from Uruk, the horizontal bands that organize the visual narrative are known as __________. a. brackets b. veneers c. registers d. grids Answer: c Learning Objective: 2.1 Discuss the early development of ancient Near Eastern art and architecture at Sumer.

Topic: Sumer Difficulty Level: Moderate Skill Level: Understand the Concepts Difficulty Level: Easy 9. The Votive Statues from Tell Asmar, Iraq exemplify the conventions of __________. a. Persian royal art b. Akkadian military art c. Babylonian pictorial art d. Sumerian religious art Answer: d Learning Objective: 2.1 Discuss the early development of ancient Near Eastern art and architecture at Sumer.

Topic: Sumer Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It Difficulty Level: Moderate

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10. The Votive Statues from Tell Asmar, Iraq, are best described as __________. a. stylized b. naturalistic c. low relief d. cuneiform Answer: a Learning Objective: 2.1 Discuss the early development of ancient Near Eastern art and architecture at Sumer.

Topic: Sumer Difficulty Level: Moderate Skill Level: Understand the Concepts 11. Which of the following is an example of narrative? a. Votive Statues from Tell Asmar, Iraq b. Standard of Ur c. Human-Headed Winged Lion (Lamassu) d. Nanna Ziggurat Answer: b Learning Objective: 2.1 Discuss the early development of ancient Near Eastern art and architecture at Sumer.

Topic: Royal Tombs of Ur Difficulty Level: Moderate Skill Level: Understand the Concepts 12. Which technique was used to create the figural scenes on the Standard of Ur? a. inlay b. modeling c. low relief d. painting Answer: a Learning Objective: 2.1 Discuss the early development of ancient Near Eastern art and architecture at Sumer.

Topic: Royal Tombs of Ur Difficulty Level: Moderate Skill Level: Understand the Concepts

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13. How is the Standard of Ur different from Lyre with Bull’s Head? a. It represents widespread trade in the region. b. It celebrates a Sumerian military victory. c. It was found in a royal tomb in Ur. d. It depicts Sumerian devotional practices.

Answer: b Learning Objective: 2.1 Discuss the early development of ancient Near Eastern art and architecture at Sumer.

Topic: Royal Tombs of Ur Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 14. A stone decorated with incised designs in order to make an easily identifiable image when rolled across damp clay is called a __________. a. cylinder seal b. relief c. stele d. veneer Answer: a Learning Objective: 2.1 Discuss the early development of ancient Near Eastern art and architecture at Sumer.

Topic: Royal Tombs of Ur Difficulty Level: Moderate Skill Level: Understand the Concepts 15. The Stele of Naram-Sin commemorates __________. a. an Akkadian military victory b. the dedication of a Sumerian ziggurat c. the first written legal code d. a successful lion hunting expedition Answer: a Learning Objective: 2.2 Explain how the ancient art of Akkad, Ur, Lagash, and Babylon embodied the power, prestige, and achievements of a series of ancient Near Eastern rulers.

Topic: Akkad, Ur, Lagash, and Babylon Difficulty Level: Moderate Skill Level: Understand the Concepts

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16. In the Stele of Naram-Sin, Naram-Sin can be identified as the most important figure in the composition due to __________. a. the use of hierarchic scale b. cuneiform inscriptions c. large, stylized eyes d. the inclusion of a lamassu Answer: a Learning Objective: 2.2 Explain how the ancient art of Akkad, Ur, Lagash, and Babylon embodied the power, prestige, and achievements of a series of ancient Near Eastern rulers.

Topic: Looking Forward; Akkad, Ur, Lagash, and Babylon Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It 17. Which of the following cultures conquered the Akkadian Empire in 2180 BCE? a. the Guti b. the Persians c. the Babylonians d. the Assyrians Answer: a Learning Objective: 2.2 Explain how the ancient art of Akkad, Ur, Lagash, and Babylon embodied the power, prestige, and achievements of a series of ancient Near Eastern rulers.

Topic: Akkad, Ur, Lagash, and Babylon Difficulty Level: Easy Skill Level: Remember the Facts 18. How does the Votive Statue of Gudea embody the conventions of Sumerian religious art? a. The oversized, open eyes perpetually confront the gaze of the deity. b. The statue depicts Gudea in the regalia of Sumerian priests. c. The cuneiform inscriptions describe Gudea’s victory over the Akkadians. d. The statue was placed in the temple at the top of the Nanna Ziggurat.

Answer: a Learning Objective: 2.2 Explain how the ancient art of Akkad, Ur, Lagash, and Babylon embodied the power, prestige, and achievements of a series of ancient Near Eastern rulers.

Topic: Lagash and Babylon Difficulty Level: Moderate Skill Level: Understand the Concepts

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19. A written legal code that recorded laws and the punishments for breaking them is found on the __________. a. Stele of Naram-Sin b. Votive Statue of Gudea c. Carved Vessel from Uruk d. Stele of Hammurabi Answer: d Learning Objective: 2.2 Explain how the ancient art of Akkad, Ur, Lagash, and Babylon embodied the power, prestige, and achievements of a series of ancient Near Eastern rulers.

Topic: Lagash and Babylon Difficulty Level: Moderate Skill Level: Understand the Concepts 20. How does the Stele of Hammurabi embody the power of ancient Near Eastern rulers? a. It depicts the ruler Hammurabi standing before the god Shamash, patron of law and justice. b. It portrays the king wearing the horned-helmet crown of a deity and atop a mountain. c. It represents the king in a traditional devotional gesture with oversized, wide-open eyes. d. It shows the king hunting in a chariot and vanquishing several attacking lions.

Answer: a Learning Objective: 2.2 Explain how the ancient art of Akkad, Ur, Lagash, and Babylon embodied the power, prestige, and achievements of a series of ancient Near Eastern rulers.

Topic: Lagash and Babylon Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 21. Which culture strongly influenced the Assyrians? a. Sumerian b. Babylonian c. Persian d Akkadian Answer: a Learning Objective: 2.3 Characterize the design and meaning of the great palace complexes and urban development sponsored by Assyrian and Neo-Babylonian rulers.

Topic: Assyrians and Neo-Babylonians Difficulty Level: Moderate Skill Level: Understand the Concepts

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22. A guardian figure found on Assyrian gateways is called a __________. a. votive figure b. stele c. lamassu d. pictograph Answer: c Learning Objective: 2.3 Characterize the design and meaning of the great palace complexes and urban development sponsored by Assyrian and Neo-Babylonian rulers.

Topic: Assyrians and Neo-Babylonians Difficulty Level: Easy Skill Level: Remember the Facts 23. In Assyrian palaces, limestone and alabaster were used to __________. a. construct most of the building b. create a veneer of pictorial decoration c. build the defensive walls d. produce votive figures for the temples Answer: b Learning Objective: 2.3 Characterize the design and meaning of the great palace complexes and urban development sponsored by Assyrian and Neo-Babylonian rulers.

Topic: Assyrians and Neo-Babylonians Difficulty Level: Moderate Skill Level: Understand the Concepts 24. Assurbanipal and His Queen in the Garden is a depiction of __________. a. a celebration of a military victory b. a royal marriage c. the protective deities of Assyria d. a Sumerian religious ritual Answer: a Learning Objective: 2.3 Characterize the design and meaning of the great palace complexes and urban development sponsored by Assyrian and Neo-Babylonian rulers.

Topic: Assyrians and Neo-Babylonians Difficulty Level: Moderate Skill Level: Understand the Concepts

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25. Assurnasirpal II Killing Lions is characteristic of the __________. a. unchanging conventions of Mesopotamian art b. drama and emotion of Assyrian art c. ferocity of Neo-Babylonian art d. timeless solemnity of Sumerian art Answer: b Learning Objective: 2.3 Characterize the design and meaning of the great palace complexes and urban development sponsored by Assyrian and Neo-Babylonian rulers.

Topic: Assyrians and Neo-Babylonians Difficulty Level: Moderate Skill Level: Understand the Concepts 26. Which of the following is an example of the use of low relief sculpture in Assyrian palace complexes? a. Stele of Naram-Sin b. Ishtar Gate c. Ceremonial complex of Darius I and Xerxes I d. Assurnasirpal II Killing Lions Answer: d Learning Objective: 2.3 Characterize the design and meaning of the great palace complexes and urban development sponsored by Assyrian and Neo-Babylonian rulers.

Topic: Assyrians and Neo-Babylonians Difficulty Level: Moderate Skill Level: Understand the Concepts 27. Who was the most well-known Neo-Babylonian ruler? a. Naram-Sin b. Nebuchadnezzar II c. Gudea d. Darius I Answer: b Learning Objective: 2.3 Characterize the design and meaning of the great palace complexes and urban development sponsored by Assyrian and Neo-Babylonian rulers.

Topic: Neo-Babylonians Difficulty Level: Easy Skill Level: Remember the Facts

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28. Which of the following buildings featured four crenellated towers and glazed decoration that symbolized Babylonian power? a. Ishtar Gate b. Nanna Ziggurat c. Ceremonial Complex of Darius I and Xerxes I d. Palace at Nineveh Answer: a Learning Objective: 2.3 Characterize the design and meaning of the great palace complexes and urban development sponsored by Assyrian and Neo-Babylonian rulers.

Topic: Neo-Babylonians Difficulty Level: Moderate Skill Level: Understand the Concepts 29. How was the Ishtar Gate different from the Nanna ziggurat? a. It was decorated with glazed tiles depicting gods. b. It was elevated on a series of platforms accessed by stairs. c. It was constructed of mud-brick and unadorned. d. It was covered in stele that commemorated victories.

Answer: a Learning Objective: 2.3 Characterize the design and meaning of the great palace complexes and urban development sponsored by Assyrian and Neo-Babylonian rulers.

Topic: Neo-Babylonians Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 30. The alternating rows of bulls on the Ishtar Gate symbolize __________. a. the moon god Nanna b. the city god Marduk c. the sun god Shamush d. the storm god Adad Answer: d Learning Objective: 2.3 Characterize the design and meaning of the great palace complexes and urban development sponsored by Assyrian and Neo-Babylonian rulers.

Topic: Neo-Babylonians Difficulty Level: Moderate Skill Level: Understand the Concepts

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31. In 539 BCE, Persia conquered __________. a. Sumer b. Assyria c. Babylonia d. Akkadia Answer: c Learning Objective: 2.4 Appraise the impact of the Persian conquest on the history of ancient Near Eastern architecture.

Topic: Persia Difficulty Level: Easy Skill Level: Remember the Facts 32. The Persians laid out Persepolis on a rectangular grid, a tradition borrowed from the __________. a. Babylonians and Medians b. Sumerians and Akkadians c. Greeks and Egyptians d. Assyrians and the Achaemenids Answer: c Learning Objective: 2.4 Appraise the impact of the Persian conquest on the history of ancient Near Eastern architecture.

Topic: Persia Difficulty Level: Moderate Skill Level: Understand the Concepts 33. Darius I became an effective and able administrator of a large empire because he __________. a. developed a system of fair taxation b was intolerant of diverse native customs c. removed lesser local rulers d. created a standardized religion Answer: a Learning Objective: 2.4 Appraise the impact of the Persian conquest on the history of ancient Near Eastern architecture.

Topic: Persia Difficulty Level: Easy Skill Level: Remember the Facts

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34. Who ultimately defeated the Persian Empire? a. the Babylonians b. the Sumerians c. the Greeks d. the Egyptians Answer: c Learning Objective: 2.4 Appraise the impact of the Persian conquest on the history of ancient Near Eastern architecture.

Topic: Persia Difficulty Level: Easy Skill Level: Remember the Facts 35. Which part of Persepolis could hold thousands of people? a. the treasury b. the Apadana c. the palace d. the ziggurat Answer: b Learning Objective: 2.4 Appraise the impact of the Persian conquest on the history of ancient Near Eastern architecture.

Topic: Persia Difficulty Level: Moderate Skill Level: Understand the Concepts Essay Questions 36. Discuss the iconography and possible meaning of the Carved Vessel from Uruk.

Answer: The ideal answer should include: 1. The carved alabaster vessel features a visual narrative that is organized into three different registers and reduced to the essential elements.

2. The lower register shows the sources of life in the natural world, beginning with a broader strip of water and plants and continuing in the strip above them, where alternating rams and ewes march along a ground line.

3. In the middle register, naked men carry baskets of foodstuffs; in the top register, the goddess Inanna, who stands before her shrine and storehouse, accepts an offering from two standing figures: a naked priest or acolyte and a ceremonially dressed figure of the priest-king.

4. This scene may represent a reenactment of the ritual marriage between the goddess and her consort, Dumuzi—a role taken by the priest-king—that took place during the New Year’s festival to ensure the fertility of crops, animals, and people.

Learning Objective: 2.1 Discuss the early development of ancient Near Eastern art and architecture at Sumer.

Topic: Sumer Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 12 Copyright © 2020, 2016, 2012 Pearson Education, Inc. All rights reserved.

37. Describe the appearance of Sumerian votive figures and discuss the function of these objects using the Votive Statues from Tell Asmar, Iraq, as an example.

Answer: The ideal answer should include: 1. Votive figures, such as the Votive Statues from Tell Asmar, Iraq, are images dedicated to the gods.

2. They are directly related to the devotional practice in which wealthy worshipers would set up images of themselves in a shrine before a larger, more elaborate image of a god.

3. They follow the conventions of Sumerian art because the faces, bodies, and clothing are stylized to emphasize the cylindrical forms of the figures.

4. All stand solemnly with their hands clasped in respectful worship and the bold, glaring, inlaid eyes may be related to statements in contemporary Sumerian texts that advise worshipers to approach their deities with an attentive gaze.

Learning Objective: 2.1 Discuss the early development of ancient Near Eastern art and architecture at Sumer.

Topic: Sumer Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 38. How does the Stele of Naram-Sin communicate the power of the Akkadian ruler through its iconography?

Answer: The ideal answer should include: 1. The artist used hierarchic scale to depict Naram-Sin as the largest figure in the composition, which indicates that he is the most important subject of the stele.

2. Naram-Sin holds a spear, battleaxe, and bow and arrow, and wears the horned helmetcrown, an attribute usually restricted to representations of gods.

3. Naram-Sin’s pose reflects the profile of the stele and the carved mountain depicted within it, and he stands at the top of the mountain, above his soldiers and fallen enemies.

4. Naram-Sin’s power and divine right to rule is further expressed by his well-formed male body and a cluster of solar deities at the top of the composition that watch over the king.

Learning Objective: 2.2 Explain how the ancient art of Akkad, Ur, Lagash, and Babylon embodied the power, prestige, and achievements of a series of ancient Near Eastern rulers.

Topic: Akkad, Ur, Lagash, and Babylon Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It

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39. How were Assyrian palace complexes typically decorated and why? Use Assurbanipal and His Queen in the Garden as an example to support your statements.

Answer: The ideal answer should include: 1. Assyrian palaces were constructed of mud brick and decorated with panels of alabaster or limestone that were carved with pictorial narratives in low relief.

2. These sculpted panels usually depict battle and hunting scenes, royal life or ceremonies, and religious imagery.

3. Assurbanipal and His Queen in the Garden, for example, portrays the king and queen relaxing in a pleasure garden as servants bring them trays or food and whisking away insects.

4. However, this relief, like many others, also celebrates the king’s military victories and power because the severed head of a vanquished enemy hangs from a tree at the far left of the composition.

Learning Objective: 2.3 Characterize the design and meaning of the great palace complexes and urban development sponsored by Assyrian and Neo-Babylonian rulers.

Topic: Assyrians and Neo-Babylonians Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 40. How does the imperial complex at Persepolis represent the multicultural style of art and architecture of the Persian empire?

Answer: The ideal answer should include: 1. Darius I imported materials, workers, and artists from across his vast empire to create a multicultural style of art that combined the different traditions.

2. Like Assyrian buildings, the imperial complex at Persepolis was set on a raised platform.

3. The imperial complex, which included a treasury, the Apadana, and a palace, was also laid out on a rectangular grid, like Egyptian and Greek cities.

4. The Apadana included low relief sculptures of animal combats that were a popular them in the Near East.

Learning Objective: 2.4 Appraise the impact of the Persian conquest on the history of ancient Near Eastern architecture.

Topic: Persia Difficulty Level: Moderate Skill Level: Understand the Concepts

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Revel Quizzes Quiz: Sumer EOM Q2.1.1 Ziggurats were the result of which cultural shift occurring in Early Mesopotamia? a. The development of city-states with protective gods b. The construction of large-scale irrigation systems Consider This: Ziggurats had a specific function. 2.1 Discuss the early development of ancient Near Eastern art and architecture at Sumer. c. The formation of trade networks between city-states Consider This: Ziggurats had a specific function. 2.1 Discuss the early development of ancient Near Eastern art and architecture at Sumer. d. The emergence of specialized labor for production of goods Consider This: Ziggurats had a specific function. 2.1 Discuss the early development of ancient Near Eastern art and architecture at Sumer.

Answer: a Learning Objective: 2.1 Discuss the early development of ancient Near Eastern art and architecture at Sumer.

Topic: Sumer Difficulty Level: Difficult Skill Level: Apply EOM Q2.1.2 A characteristic feature of Mesopotamian votive figures is their __________. a. clasped hands b. individualized faces Consider This: Early Mesopotamian votive figures follow specific conventions. 2.1 Discuss the early development of ancient Near Eastern art and architecture at Sumer. c. rectangular bodies Consider This: Early Mesopotamian votive figures follow specific conventions. 2.1 Discuss the early development of ancient Near Eastern art and architecture at Sumer. d. downcast eyes Consider This: Early Mesopotamian votive figures follow specific conventions. 2.1 Discuss the early development of ancient Near Eastern art and architecture at Sumer.

Answer: a Learning Objective: 2.1 Discuss the early development of ancient Near Eastern art and architecture at Sumer.

Topic: Sumer Difficulty Level: Easy Skill Level: Remember

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EOM Q2.1.3 Which of the following objects from Sumer provides an example of narrative? a. Carved vessel b. Ziggurat Consider This: Narrative is storytelling. 2.1 Discuss the early development of ancient Near Eastern art and architecture at Sumer. c. Votive figure Consider This: Narrative is storytelling. 2.1 Discuss the early development of ancient Near Eastern art and architecture at Sumer. d. Warka Head Consider This: Narrative is storytelling. 2.1 Discuss the early development of ancient Near Eastern art and architecture at Sumer.

Answer: a Learning Objective: 2.1 Discuss the early development of ancient Near Eastern art and architecture at Sumer.

Topic: Sumer Difficulty Level: Difficult Skill Level: Apply EOM Q2.1.4 The materials used in the Lyre with Bull’s Head provide evidence of __________. a. a regional trade network b. contact with Europe Consider This: The materials include gold, silver, lapis lazuli, and shell. 2.1 Discuss the early development of ancient Near Eastern art and architecture at Sumer. c. religious monotheism Consider This: The materials include gold, silver, lapis lazuli, and shell. 2.1 Discuss the early development of ancient Near Eastern art and architecture at Sumer. d. the use of cuneiform Consider This: The materials include gold, silver, lapis lazuli, and shell. 2.1 Discuss the early development of ancient Near Eastern art and architecture at Sumer.

Answer: a Learning Objective: 2.1 Discuss the early development of ancient Near Eastern art and architecture at Sumer.

Topic: Sumer Difficulty Level: Moderate Skill Level: Understand

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EOM Q2.1.5 The stylized figures on the Cylinder Seal and Its Modern Impression exemplify __________. a. conventions of Sumerian art b. observation of nature Consider This: The figures are similar to those on the lyre panel. 2.1 Discuss the early development of ancient Near Eastern art and architecture at Sumer. c. the development of city-states Consider This: The figures are similar to those on the lyre panel. 2.1 Discuss the early development of ancient Near Eastern art and architecture at Sumer. d. the invention of metal casting Consider This: The figures are similar to those on the lyre panel. 2.1 Discuss the early development of ancient Near Eastern art and architecture at Sumer.

Answer: a Learning Objective: 2.1 Discuss the early development of ancient Near Eastern art and architecture at Sumer.

Topic: Sumer Difficulty Level: Difficult Skill Level: Apply Quiz: Akkad, Ur, Lagash, and Babylon EOM Q2.2.1 What is the purpose of the Stele of Naram-Sin? a. To commemorate a military victory b. To tell a story from Akkadian mythology Consider This: Naram-Sin appears in hierarchic scale. 2.2 Explain how the ancient art of Akkad, Ur, Lagash, and Babylon embodied the power, prestige, and achievements of a series of ancient Near Eastern rulers. c. To worship the god Gudea Consider This: Naram-Sin appears in hierarchic scale. 2.2 Explain how the ancient art of Akkad, Ur, Lagash, and Babylon embodied the power, prestige, and achievements of a series of ancient Near Eastern rulers. d. To celebrate the foundation of Akkad Consider This: Naram-Sin appears in hierarchic scale. 2.2 Explain how the ancient art of Akkad, Ur, Lagash, and Babylon embodied the power, prestige, and achievements of a series of ancient Near Eastern rulers.

Answer: a Learning Objective: 2.2 Explain how the ancient art of Akkad, Ur, Lagash, and Babylon embodied the power, prestige, and achievements of a series of ancient Near Eastern rulers.

Topic: Akkad, Ur, Lagash, and Babylon Difficulty Level: Easy Skill Level: Remember

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EOM Q2.2.2 What Sumerian invention appears on the Votive Statue of Gudea? a. cuneiform b. metallurgy Consider This: This developed from pictographs. 2.2 Explain how the ancient art of Akkad, Ur, Lagash, and Babylon embodied the power, prestige, and achievements of a series of ancient Near Eastern rulers. c. lapis lazuli Consider This: This developed from pictographs. 2.2 Explain how the ancient art of Akkad, Ur, Lagash, and Babylon embodied the power, prestige, and achievements of a series of ancient Near Eastern rulers. d. ceramics Consider This: This developed from pictographs. 2.2 Explain how the ancient art of Akkad, Ur, Lagash, and Babylon embodied the power, prestige, and achievements of a series of ancient Near Eastern rulers.

Answer: a Learning Objective: 2.2 Explain how the ancient art of Akkad, Ur, Lagash, and Babylon embodied the power, prestige, and achievements of a series of ancient Near Eastern rulers.

Topic: Akkad, Ur, Lagash, and Babylon Difficulty Level: Easy Skill Level: Remember EOM Q2.2.3 How is the Stele of Hammurabi typical of Mesopotamian art? a. The ruler represents sacred and political authority. b. It pictures the ruler’s military and physical might.

Consider This: Mesopotamian rulers represented themselves as supported by the gods.

2.2 Explain how the ancient art of Akkad, Ur, Lagash, and Babylon embodied the power, prestige, and achievements of a series of ancient Near Eastern rulers. c. It hangs on the palace walls.

Consider This: Mesopotamian rulers represented themselves as supported by the gods.

2.2 Explain how the ancient art of Akkad, Ur, Lagash, and Babylon embodied the power, prestige, and achievements of a series of ancient Near Eastern rulers. d. It was placed in a temple.

Consider This: Mesopotamian rulers represented themselves as supported by the gods.

2.2 Explain how the ancient art of Akkad, Ur, Lagash, and Babylon embodied the power, prestige, and achievements of a series of ancient Near Eastern rulers.

Answer: a Learning Objective: 2.2 Explain how the ancient art of Akkad, Ur, Lagash, and Babylon embodied the power, prestige, and achievements of a series of ancient Near Eastern rulers.

Topic: Akkad, Ur Difficulty Level: Difficult Skill Level: Apply

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EOM Q2.2.4 The purpose of the Stele of Hammurabi was to __________. a. proclaim a legal code b. commemorate a military victory Consider This: Hammurabi appears with the god Shamash. 2.2 Explain how the ancient art of Akkad, Ur, Lagash, and Babylon embodied the power, prestige, and achievements of a series of ancient Near Eastern rulers. c. declare the independence of Babylon Consider This: Hammurabi appears with the god Shamash. 2.2 Explain how the ancient art of Akkad, Ur, Lagash, and Babylon embodied the power, prestige, and achievements of a series of ancient Near Eastern rulers. d. summarize Hammurabi’s biography Consider This: Hammurabi appears with the god Shamash. 2.2 Explain how the ancient art of Akkad, Ur, Lagash, and Babylon embodied the power, prestige, and achievements of a series of ancient Near Eastern rulers.

Answer: a Learning Objective: 2.2 Explain how the ancient art of Akkad, Ur, Lagash, and Babylon embodied the power, prestige, and achievements of a series of ancient Near Eastern rulers.

Topic: Akkad, Ur, Lagash, and Babylon Difficulty Level: Easy Skill Level: Remember Quiz: Assyrians and Neo-Babylonians EOM Q2.3.1 The Lamassus figures at the palace of Assurnasirpal II are __________. a. guardians b. portraits Consider This: They appear at portals. 2.3 Characterize the design and meaning of the great palace complexes and urban development sponsored by Assyrian and NeoBabylonian rulers. c. guides Consider This: They appear at portals. 2.3 Characterize the design and meaning of the great palace complexes and urban development sponsored by Assyrian and NeoBabylonian rulers. d. warriors Consider This: They appear at portals. 2.3 Characterize the design and meaning of the great palace complexes and urban development sponsored by Assyrian and NeoBabylonian rulers.

Answer: a Learning Objective: 2.3 Characterize the design and meaning of the great palace complexes and urban development sponsored by Assyrian and Neo-Babylonian rulers.

Topic: Assyrians and Neo-Babylonians Difficulty Level: Easy Skill Level: Remember 19 Copyright © 2020, 2016, 2012 Pearson Education, Inc. All rights reserved.

EOM Q2.3.2 Which of the following best describes the sculpture technique used for the alabaster narrative images in Assyrian palaces? a. Low relief b. High relief Consider This: They appear as veneer on palace walls. 2.3 Characterize the design and meaning of the great palace complexes and urban development sponsored by Assyrian and Neo-Babylonian rulers. c. Full-round Consider This: They appear as veneer on palace walls. 2.3 Characterize the design and meaning of the great palace complexes and urban development sponsored by Assyrian and Neo-Babylonian rulers. d. Cast Consider This: They appear as veneer on palace walls. 2.3 Characterize the design and meaning of the great palace complexes and urban development sponsored by Assyrian and Neo-Babylonian rulers.

Answer: a Learning Objective: 2.3 Characterize the design and meaning of the great palace complexes and urban development sponsored by Assyrian and Neo-Babylonian rulers.

Topic: Assyrians and Neo-Babylonians Difficulty Level: Easy Skill Level: Remember EOM Q2.3.3 How are Assyrian palace reliefs unlike Sumerian art? a. The Assyrian reliefs capture drama and emotion. b. The Assyrian reliefs are sculpted and conventional.

Consider This: Assurnasirpal II Killing Lions is a good example. 2.3 Characterize the design and meaning of the great palace complexes and urban development sponsored by Assyrian and Neo-Babylonian rulers. c. The Assyrian reliefs have exaggerated eyes.

Consider This: Assurnasirpal II Killing Lions is a good example. 2.3 Characterize the design and meaning of the great palace complexes and urban development sponsored by Assyrian and Neo-Babylonian rulers. d. The Assyrian reliefs include narratives and groundlines.

Consider This: Assurnasirpal II Killing Lions is a good example. 2.3 Characterize the design and meaning of the great palace complexes and urban development sponsored by Assyrian and Neo-Babylonian rulers.

Answer: a Learning Objective: 2.3 Characterize the design and meaning of the great palace complexes and urban development sponsored by Assyrian and Neo-Babylonian rulers.

Topic: Assyrians and Neo-Babylonians Difficulty Level: Difficult Skill Level: Apply

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EOM Q2.3.4 Which part of the Neo-Babylonian Ishtar Gate symbolizes strength? a. Crenellations b. Arch Consider This: The gate loomed over a major road. 2.3 Characterize the design and meaning of the great palace complexes and urban development sponsored by Assyrian and Neo-Babylonian rulers. c. Colors Consider This: The gate loomed over a major road. 2.3 Characterize the design and meaning of the great palace complexes and urban development sponsored by Assyrian and Neo-Babylonian rulers. d. Bricks Consider This: The gate loomed over a major road. 2.3 Characterize the design and meaning of the great palace complexes and urban development sponsored by Assyrian and Neo-Babylonian rulers.

Answer: a Learning Objective: 2.3 Characterize the design and meaning of the great palace complexes and urban development sponsored by Assyrian and Neo-Babylonian rulers.

Topic: Assyrians and Neo-Babylonians Difficulty Level: Moderate Skill Level: Understand Quiz: Persia EOM Q2.4.1 What feature of the imperial complex at Persepolis reflects the influence of Assyrian architecture? a. Its placement on a raised platform b. The massive walls and gateways Consider This: This was seen at Nimrud. 2.4 Appraise the impact of the Persian conquest on the history of ancient Near Eastern architecture. c. The use of intimidating lamassus Consider This: This was seen at Nimrud. 2.4 Appraise the impact of the Persian conquest on the history of ancient Near Eastern architecture. d. The use of many columns Consider This: This was seen at Nimrud. 2.4 Appraise the impact of the Persian conquest on the history of ancient Near Eastern architecture.

Answer: a Learning Objective: 2.4 Appraise the impact of the Persian conquest on the history of ancient Near Eastern architecture.

Topic: Persia Difficulty Level: Moderate Skill Level: Apply

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EOM Q2.4.2 The Apadana at the imperial complex at Persepolis was __________. a. an audience hall b. a bedroom Consider This: The Apadana was raised above the rest of the palace complex. 2.4 Appraise the impact of the Persian conquest on the history of ancient Near Eastern architecture. c. a temple Consider This: The Apadana was raised above the rest of the palace complex. 2.4 Appraise the impact of the Persian conquest on the history of ancient Near Eastern architecture. d. a gateway Consider This: The Apadana was raised above the rest of the palace complex. 2.4 Appraise the impact of the Persian conquest on the history of ancient Near Eastern architecture.

Answer: a Learning Objective: 2.4 Appraise the impact of the Persian conquest on the history of ancient Near Eastern architecture.

Topic: Persia Difficulty Level: Easy Skill Level: Remember EOM Q2.4.3 What does animal combat symbolize in Persian art? a. Strong leaders and their fearsome soldiers b. The power of the gods over nature Consider This: This is similar to Assyrian sculpture. 2.4 Appraise the impact of the Persian conquest on the history of ancient Near Eastern architecture. c. The battle between good and evil Consider This: This is similar to Assyrian sculpture. 2.4 Appraise the impact of the Persian conquest on the history of ancient Near Eastern architecture. d. Formidable gods and their earthly servants Consider This: This is similar to Assyrian sculpture. 2.4 Appraise the impact of the Persian conquest on the history of ancient Near Eastern architecture.

Answer: a Learning Objective: 2.4 Appraise the impact of the Persian conquest on the history of ancient Near Eastern architecture.

Topic: Persia Difficulty Level: Moderate Skill Level: Understand

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Chapter Quiz: Art of the Ancient Near East EOC Q2.1 Which Early Mesopotamian formal convention illustrates political stratification? a. Hierarchic scale b. Large eyes Consider This: Formal conventions can convey meaning. 2.1 Discuss the early development of ancient Near Eastern art and architecture at Sumer. c. Registers Consider This: Formal conventions can convey meaning. 2.1 Discuss the early development of ancient Near Eastern art and architecture at Sumer. d. Cuneiform Consider This: Formal conventions can convey meaning. 2.1 Discuss the early development of ancient Near Eastern art and architecture at Sumer.

Answer: a Learning Objective: 2.1 Discuss the early development of ancient Near Eastern art and architecture at Sumer.

Topic: Art of the Ancient Near East Difficulty Level: Moderate Skill Level: Understand EOC Q2.2 What is a ziggurat? a. A pyramidal structure b. A temple Consider This: It towers over a flat plane. 2.1 Discuss the early development of ancient Near Eastern art and architecture at Sumer. c. A palace Consider This: It towers over a flat plane. 2.1 Discuss the early development of ancient Near Eastern art and architecture at Sumer. d. A fortification Consider This: It towers over a flat plane. 2.1 Discuss the early development of ancient Near Eastern art and architecture at Sumer.

Answer: a Learning Objective: 2.1 Discuss the early development of ancient Near Eastern art and architecture at Sumer.

Topic: Art of the Ancient Near East Difficulty Level: Easy Skill Level: Understand

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EOC Q2.3 What was the primary function of the earliest Sumerian writing? a. To keep records of trade and commercial exchange b. To record ancestral lineage among rulers Consider This: Writing was invented around 3100 BCE. 2.1 Discuss the early development of ancient Near Eastern art and architecture at Sumer. c. To codify a standard set of legal guidelines Consider This: Writing was invented around 3100 BCE. 2.1 Discuss the early development of ancient Near Eastern art and architecture at Sumer. d. To create a literary record of cultural myths and beliefs Consider This: Writing was invented around 3100 BCE. 2.1 Discuss the early development of ancient Near Eastern art and architecture at Sumer.

Answer: a Learning Objective: 2.1 Discuss the early development of ancient Near Eastern art and architecture at Sumer.

Topic: Art of the Ancient Near East Difficulty Level: Easy Skill Level: Remember EOC Q2.4 What explains the exaggerated size of eyes in Early Mesopotamian art? a. They represent the donor’s gaze locked on the god. b. They symbolize the ruler’s strength and right to rule.

Consider This: Sumerian sculptors exaggerate the eyes for specific purposes. 2.1 Discuss the early development of ancient Near Eastern art and architecture at Sumer. c. Sculptors used inlaid materials.

Consider This: Sumerian sculptors exaggerate the eyes for specific purposes. 2.1 Discuss the early development of ancient Near Eastern art and architecture at Sumer. d. The figures are small and portable.

Consider This: Sumerian sculptors exaggerate the eyes for specific purposes. 2.1 Discuss the early development of ancient Near Eastern art and architecture at Sumer.

Answer: a Learning Objective: 2.1 Discuss the early development of ancient Near Eastern art and architecture at Sumer.

Topic: Art of the Ancient Near East Difficulty Level: Moderate Skill Level: Understand

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EOC Q2.5 The Carved Vessel and Cylinder Seal both use which organizational device? a. Registers b. Mythology Consider This: The Lyre with Bull’s Head does as well. 2.1 Discuss the early development of ancient Near Eastern art and architecture at Sumer. c. Narrative Consider This: The Lyre with Bull’s Head does as well. 2.1 Discuss the early development of ancient Near Eastern art and architecture at Sumer. d. Cuneiform Consider This: The Lyre with Bull’s Head does as well. 2.1 Discuss the early development of ancient Near Eastern art and architecture at Sumer.

Answer: a Learning Objective: 2.1 Discuss the early development of ancient Near Eastern art and architecture at Sumer.

Topic: Art of the Ancient Near East Difficulty Level: Moderate Skill Level: Understand EOC Q2.6 The Lyre with Bull’s Head includes a figure from the __________. a. Epic of Gilgamesh b. Bible Consider This: This story exemplified heroism. 2.1 Discuss the early development of ancient Near Eastern art and architecture at Sumer. c. Code of Hammurabi Consider This: This story exemplified heroism. 2.1 Discuss the early development of ancient Near Eastern art and architecture at Sumer. d. Victory of Naram-Sin Consider This: This story exemplified heroism. 2.1 Discuss the early development of ancient Near Eastern art and architecture at Sumer.

Answer: a Learning Objective: 2.1 Discuss the early development of ancient Near Eastern art and architecture at Sumer.

Topic: Art of the Ancient Near East Difficulty Level: Easy Skill Level: Remember

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EOC Q2.7 What artistic convention explains why Naram-Sin is larger than other figures on his stele? a. Hierarchic scale because he is more important b. Clasped hands because he appears before the gods Consider This: The convention defies nature. 2.2 Explain how the ancient art of Akkad, Ur, Lagash, and Babylon embodied the power, prestige, and achievements of a series of ancient Near Eastern rulers. c. Cuneiform to describe his victory Consider This: The convention defies nature. 2.2 Explain how the ancient art of Akkad, Ur, Lagash, and Babylon embodied the power, prestige, and achievements of a series of ancient Near Eastern rulers. d. Silhouette to emphasize his divine nature Consider This: The convention defies nature. 2.2 Explain how the ancient art of Akkad, Ur, Lagash, and Babylon embodied the power, prestige, and achievements of a series of ancient Near Eastern rulers.

Answer: a Learning Objective: 2.2 Explain how the ancient art of Akkad, Ur, Lagash, and Babylon embodied the power, prestige, and achievements of a series of ancient Near Eastern rulers.

Topic: Art of the Ancient Near East Difficulty Level: Moderate Skill Level: Understand EOC Q2.8 The image of Hammurabi is called a stele because it __________. a. is a standing stone b. depicts an event Consider This: The Stele of Hammurabi was meant for public viewing. 2.2 Explain how the ancient art of Akkad, Ur, Lagash, and Babylon embodied the power, prestige, and achievements of a series of ancient Near Eastern rulers. c. includes text and image Consider This: The Stele of Hammurabi was meant for public viewing. 2.2 Explain how the ancient art of Akkad, Ur, Lagash, and Babylon embodied the power, prestige, and achievements of a series of ancient Near Eastern rulers. d. is sculpted Consider This: The Stele of Hammurabi was meant for public viewing. 2.2 Explain how the ancient art of Akkad, Ur, Lagash, and Babylon embodied the power, prestige, and achievements of a series of ancient Near Eastern rulers.

Answer: a Learning Objective: 2.2 Explain how the ancient art of Akkad, Ur, Lagash, and Babylon embodied the power, prestige, and achievements of a series of ancient Near Eastern rulers.

Topic: Art of the Ancient Near East Difficulty Level: Moderate Skill Level: Apply

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EOC Q2.9 Assyrian palace walls displayed __________. a. limestone veneers with pictorial decoration b. the heads of defeated enemies Consider This: The Assurbanipal and His Queen in the Garden is an example. 2.3 Characterize the design and meaning of the great palace complexes and urban development sponsored by Assyrian and Neo-Babylonian rulers. c. mural paintings with hunting and war scenes Consider This: The Assurbanipal and His Queen in the Garden is an example. 2.3 Characterize the design and meaning of the great palace complexes and urban development sponsored by Assyrian and Neo-Babylonian rulers. d. glazed bricks with images of animals Consider This: The Assurbanipal and His Queen in the Garden is an example. 2.3 Characterize the design and meaning of the great palace complexes and urban development sponsored by Assyrian and Neo-Babylonian rulers.

Answer: a Learning Objective: 2.3 Characterize the design and meaning of the great palace complexes and urban development sponsored by Assyrian and Neo-Babylonian rulers.

Topic: Art of the Ancient Near East Difficulty Level: Easy Skill Level: Remember EOC Q2.10 How is Assurbanipal and his Queen in the Garden similar to the Stele of Naram-Sin? a. Both commemorate the ruler’s victory. b. Both show leisure scenes.

Consider This: Both display hierarchy. 2.3 Characterize the design and meaning of the great palace complexes and urban development sponsored by Assyrian and NeoBabylonian rulers. c. Both use the horned helmet attribute.

Consider This: Both display hierarchy. 2.3 Characterize the design and meaning of the great palace complexes and urban development sponsored by Assyrian and NeoBabylonian rulers. d. Both are stele displayed in public.

Consider This: Both display hierarchy. 2.3 Characterize the design and meaning of the great palace complexes and urban development sponsored by Assyrian and NeoBabylonian rulers.

Answer: a Learning Objective: 2.3 Characterize the design and meaning of the great palace complexes and urban development sponsored by Assyrian and Neo-Babylonian rulers.

Topic: Art of the Ancient Near East Difficulty Level: Difficult Skill Level: Apply

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EOC Q2.11 How is the decoration of the Ishtar Gate typical of much ancient Mesopotamian art? a. It refers to the city’s protective deity. b. It pictures the ruler’s accomplishments.

Consider This: The Ishtar Gate was part of a ritual procession route. 2.3 Characterize the design and meaning of the great palace complexes and urban development sponsored by Assyrian and Neo-Babylonian rulers. c. It includes votive figures.

Consider This: The Ishtar Gate was part of a ritual procession route. 2.3 Characterize the design and meaning of the great palace complexes and urban development sponsored by Assyrian and Neo-Babylonian rulers. d. It employs hierarchic scale.

Consider This: The Ishtar Gate was part of a ritual procession route. 2.3 Characterize the design and meaning of the great palace complexes and urban development sponsored by Assyrian and Neo-Babylonian rulers.

Answer: a Learning Objective: 2.3 Characterize the design and meaning of the great palace complexes and urban development sponsored by Assyrian and Neo-Babylonian rulers.

Topic: Art of the Ancient Near East Difficulty Level: Difficult Skill Level: Apply EOC Q2.12 Which of the following did the Ishtar Gate use to symbolize Babylonian power? a. Crenellated towers b. Protective moats Consider This: It also used decorated bricks. 2.3 Characterize the design and meaning of the great palace complexes and urban development sponsored by Assyrian and NeoBabylonian rulers. c. Royal portraits Consider This: It also used decorated bricks. 2.3 Characterize the design and meaning of the great palace complexes and urban development sponsored by Assyrian and NeoBabylonian rulers. d. Lamassu reliefs Consider This: It also used decorated bricks. 2.3 Characterize the design and meaning of the great palace complexes and urban development sponsored by Assyrian and NeoBabylonian rulers.

Answer: a Learning Objective: 2.3 Characterize the design and meaning of the great palace complexes and urban development sponsored by Assyrian and Neo-Babylonian rulers.

Topic: Art of the Ancient Near East Difficulty Level: Easy Skill Level: Understand

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EOC Q2.13 Which two ancient Mesopotamian cultures built huge royal complexes on elevated foundations? a. Assyrian and Persian b. Sumerian and Akkadian Consider This: Both types of palaces were decorated with relief sculpture. 2.4 Appraise the impact of the Persian conquest on the history of ancient Near Eastern architecture. c. Neo-Babylonian and Akkadian Consider This: Both types of palaces were decorated with relief sculpture. 2.4 Appraise the impact of the Persian conquest on the history of ancient Near Eastern architecture. d. Babylonian and Sumerian Consider This: Both types of palaces were decorated with relief sculpture. 2.4 Appraise the impact of the Persian conquest on the history of ancient Near Eastern architecture.

Answer: a Learning Objective: 2.4 Appraise the impact of the Persian conquest on the history of ancient Near Eastern architecture.

Topic: Art of the Ancient Near East Difficulty Level: Difficult Skill Level: Apply EOC Q2.14 Which ancient Mesopotamian culture’s art incorporated stylistic influences from Greece and Egypt, as well as other cultures in the region? a. Persian b. Sumerian Consider This: This culture obtained their independence in 549 BCE under Cyrus II. 2.4 Appraise the impact of the Persian conquest on the history of ancient Near Eastern architecture. c. Assyrian Consider This: This culture obtained their independence in 549 BCE under Cyrus II. 2.4 Appraise the impact of the Persian conquest on the history of ancient Near Eastern architecture. d. Neo-Babylonian Consider This: This culture obtained their independence in 549 BCE under Cyrus II. 2.4 Appraise the impact of the Persian conquest on the history of ancient Near Eastern architecture.

Answer: a Learning Objective: 2.4 Appraise the impact of the Persian conquest on the history of ancient Near Eastern architecture.

Topic: Art of the Ancient Near East Difficulty Level: Easy Skill Level: Understand

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EOC Q2.15 Where did Darius receive his guests at Persepolis? a. In the Apadana b. In the courtyard Consider This: This structure rested on a second elevated platform. 2.4 Appraise the impact of the Persian conquest on the history of ancient Near Eastern architecture. c. At the ziggurat Consider This: This structure rested on a second elevated platform. 2.4 Appraise the impact of the Persian conquest on the history of ancient Near Eastern architecture. d. On the grid Consider This: This structure rested on a second elevated platform. 2.4 Appraise the impact of the Persian conquest on the history of ancient Near Eastern architecture.

Answer: a Learning Objective: 2.4 Appraise the impact of the Persian conquest on the history of ancient Near Eastern architecture.

Topic: Art of the Ancient Near East Difficulty Level: Easy Skill Level: Remember

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Chapter 3: Art of Ancient Egypt Multiple-Choice Questions 1. Egypt was ruled by a succession of kings from powerful families called __________. a. oligarchies b. empires c. dynasties d. tribes Answer: c Learning Objective: None Topic: Introduction Difficulty Level: Easy Skill Level: Remember the Facts 2. Why is Upper Egypt in the south and Lower Egypt in the north? a. The Nile River floods in the south. b. The Nile River floods in the north. c. The Nile River flows from north to south. d. The Nile River flows from south to north.

Answer: d Learning Objective: 3.1 Define the pictorial and architectural conventions developed during the Early Dynastic and Old Kingdom periods in ancient Egyptian art.

Topic: Early Dynastic and Old Kingdom Egypt (c. 2950–2150 BCE) Difficulty Level: Moderate Skill Level: Understand the Concepts 3. Who unified Upper and Lower Egypt into one kingdom? a. Khafre b. Hatshepsut c. Akhenaten d. Narmer Answer: d Learning Objective: 3.1 Define the pictorial and architectural conventions developed during the Early Dynastic and Old Kingdom periods in ancient Egyptian art.

Topic: Early Dynastic and Old Kingdom Egypt (c. 2950–2150 BCE) Difficulty Level: Easy Skill Level: Remember the Facts

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4. In the Palette of Narmer, which of the following symbolizes Lower Egypt? a. the falcon b. the White Crown c. the sprouting papyrus d. the upraised mace Answer: c Learning Objective: 3.1 Define the pictorial and architectural conventions developed during the Early Dynastic and Old Kingdom periods in ancient Egyptian art.

Topic: Early Dynastic and Old Kingdom Egypt (c. 2950–2150 BCE) Difficulty Level: Moderate Skill Level: Understand the Concepts 5. Egyptian artistic conventions employed composite poses to depict __________. a. slaves b. foreigners c. royalty d. commoners Answer: c Learning Objective: 3.1 Define the pictorial and architectural conventions developed during the Early Dynastic and Old Kingdom periods in ancient Egyptian art.

Topic: Early Dynastic and Old Kingdom Egypt (c. 2950–2150 BCE) Difficulty Level: Moderate Skill Level: Understand the Concepts 6. In ancient Egyptian art, which of the following subjects are portrayed more naturalistically? a. kings b. military leaders c. queens d. persons of lesser social rank Answer: d Learning Objective: 3.1 Define the pictorial and architectural conventions developed during the Early Dynastic and Old Kingdom periods in ancient Egyptian art.

Topic: Early Dynastic and Old Kingdom Egypt (c. 2950–2150 BCE) Difficulty Level: Moderate Skill Level: Understand the Concepts

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7. The ancient Egyptian artistic convention in which the shoulders and torso are depicted frontally and the hips, legs, and feet are represented in profile is called __________. a. composite pose b. hierarchic scale c. sunken relief d. naturalistic proportion Answer: a Learning Objective: 3.1 Define the pictorial and architectural conventions developed during the Early Dynastic and Old Kingdom periods in ancient Egyptian art.

Topic: Early Dynastic and Old Kingdom Egypt (c. 2950–2150 BCE) Difficulty Level: Easy Skill Level: Remember the Facts 8. Which of the following aspects of the Palette of Narmer emphasizes Narmer’s importance over other figures in the composition? a. his lifelike body b. the stylized papyrus c. the use of low relief d. hierarchic scale Answer: d Learning Objective: 3.1 Define the pictorial and architectural conventions developed during the Early Dynastic and Old Kingdom periods in ancient Egyptian art.

Topic: Early Dynastic and Old Kingdom Egypt (c. 2950–2150 BCE) Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 9. Which of the following is a city of the dead? a. mastaba b. sarcophagus c. necropolis d. funerary temple Answer: c Learning Objective: 3.1 Define the pictorial and architectural conventions developed during the Early Dynastic and Old Kingdom periods in ancient Egyptian art.

Topic: Tombs Difficulty Level: Easy Skill Level: Remember the Facts

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10. Who designed the funerary complex and stepped pyramid of Djoser? a. Djoser b. Imhotep c. Menkaure d. Menes Answer: b Learning Objective: 3.1 Define the pictorial and architectural conventions developed during the Early Dynastic and Old Kingdom periods in ancient Egyptian art.

Topic: Tombs Difficulty Level: Easy Skill Level: Remember the Facts 11. Which Third Dynasty king is buried in the stepped pyramid at Saqqara? a. Senusret III b. Djoser c. Ramses II d. Hatshepsut Answer: b Learning Objective: 3.1 Define the pictorial and architectural conventions developed during the Early Dynastic and Old Kingdom periods in ancient Egyptian art.

Topic: Tombs Difficulty Level: Easy Skill Level: Remember the Facts 12. The oldest and largest of the Giza pyramids is that of __________. a. Djoser b. Khafre c. Khufu d. Menkaure Answer: c Learning Objective: 3.1 Define the pictorial and architectural conventions developed during the Early Dynastic and Old Kingdom periods in ancient Egyptian art.

Topic: Tombs Difficulty Level: Easy Skill Level: Remember the Facts

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13. Why does each of the Giza pyramids include a temple? a. They were burial chambers for members of the royal family. b. They were used for funerary rites to benefit the pharaohs’ ka. c. They were used by elites and commoners to worship the pharaohs. d. They were private chapels where the living pharaohs worshipped the gods.

Answer: b Learning Objective: 3.1 Define the pictorial and architectural conventions developed during the Early Dynastic and Old Kingdom periods in ancient Egyptian art.

Topic: Tombs Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 14. In the seated statue Khafre, what is the significance of the falcon? a. The falcon references Khafre’s military victories and judicious rule. b. The falcon represents hunting, which was an important activity for pharaohs. c. The falcon symbolizes the judgment the pharaoh will receive from Anubis. d. The falcon represents the god Horus, who protects the enthroned king.

Answer: d Learning Objective: 3.1 Define the pictorial and architectural conventions developed during the Early Dynastic and Old Kingdom periods in ancient Egyptian art.

Topic: Sculpture Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 15. Khafre and Menkaure and a Queen are both sculpted likenesses that __________. a. ensured the preservation of the ka of the deceased in the afterlife b. correspond to the Egyptian convention of depicting royalty in composite pose c. were displayed in public in order to commemorate the rulers d. represent the stylistic shifts from stylization to naturalism during the New Kingdom Answer: a Learning Objective: 3.1 Define the pictorial and architectural conventions developed during the Early Dynastic and Old Kingdom periods in ancient Egyptian art.

Topic: Early Dynastic and Old Kingdom Egypt (c. 2950–2150 BCE) Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It

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16. How are Middle Kingdom portraits different from Old Kingdom portraits? a. They are not included in tombs. b. They display more emotion. c. They are more idealized. d. They are larger in scale.

Answer: b Learning Objective: 3.2 Recognize the subtle changes to the conventions of ancient Egyptian art during the Middle Kingdom.

Topic: Middle Kingdom (c. 1975–1640 BCE) Difficulty Level: Moderate Skill Level: Understand the Concepts 17. Why was Hatshepsut portrayed as a male king? a. She was not of royal blood and used her image to validate her reign. b. She was a warrior and led many successful military campaigns. c. There was no artistic tradition for a female ruler in Egyptian art. d. There was not a legitimate male heir and she pretended to be a male king.

Answer: c Learning Objective: 3.3 Distinguish the refinements and transformations that occurred in the New Kingdom.

Topic: New Kingdom (c. 1539–1075 BCE) Difficulty Level: Moderate Skill Level: Understand the Concepts 18. Who was the first king of Egypt to use the title “Pharaoh”? a. Djoser b. Tutmose III c. Narmer d. Khafre Answer: b Learning Objective: 3.3 Distinguish the refinements and transformations that occurred in the New Kingdom.

Topic: New Kingdom (c. 1539–1075 BCE) Difficulty Level: Easy Skill Level: Remember the Facts

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19. At the funerary temple of Hatshepsut, the chapels dedicated to Hatshepsut, Tutmose I, and the gods Amun and Ra-Horakhty were located in the __________. a. hypostyle hall b. colonnade c. mastaba d. clerestory Answer: a Learning Objective: 3.3 Distinguish the refinements and transformations that occurred in the New Kingdom.

Topic: New Kingdom (c. 1539–1075 BCE) Difficulty Level: Moderate Skill Level: Understand the Concepts 20. Which of the following is a term used to describe a massive gateway? a. clerestory b. dolmen c. capital d. pylon Answer: d Learning Objective: 3.3 Distinguish the refinements and transformations that occurred in the New Kingdom.

Topic: The Temple Complex Difficulty Level: Easy Skill Level: Remember the Facts 21. Openings in side walls that let light and a cooling flow of air into the central interior space are called __________. a. pylons b. hypostyle halls c. colonnades d. clerestory windows Answer: d Learning Objective: 3.3 Distinguish the refinements and transformations that occurred in the New Kingdom.

Topic: The Temple Complex Difficulty Level: Easy Skill Level: Remember the Facts

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22. Which of the following is an example of a typical New Kingdom temple complex that includes a sanctuary, hypostyle hall, and pylons? a. Funerary Temple of Hatshepsut b. Great Temple of Amun at Karnak c. Funerary Complex of Djoser d. Giza Pyramids Answer: b Learning Objective: 3.3 Distinguish the refinements and transformations that occurred in the New Kingdom.

Topic: The Temple Complex Difficulty Level: Moderate Skill Level: Understand the Concepts 23. How does Nebamun Hunting Birds in the Marshes demonstrate the artistic conventions of New Kingdom art? a. The artist carved the scene in shallow relief to suggest a more lifelike three-dimensionality for the figures’ bodies. b. The artist exaggerated the proportions of Nebamun’s body to express dynamic action rather than eternal serenity. c. The artist combined stylized representations of the human body with a naturalistic environment. d. The artist maintained the conventions of official royal portraits by portraying Nebamun with the traditional symbols of kingship.

Answer: c Learning Objective: 3.3 Distinguish the refinements and transformations that occurred in the New Kingdom.

Topic: Tombs of the Elite Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze 24. Which of the following artworks depicts the elite leisure activities enjoyed by the deceased in the afterlife? a. Akhenaten and His Family b. Nebamun Hunting Birds in the Marshes c. Judgment of Hunefer Before Osiris d. Palette of Narmer Answer: b Learning Objective: 3.3 Distinguish the refinements and transformations that occurred in the New Kingdom.

Topic: Tombs of the Elite Difficulty Level: Moderate Skill Level: Understand the Concepts

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25. Egypt during the reign of Akhenaten is called the __________. a. Amarna period b. Nineteenth Dynasty c. Middle Kingdom d. Ptolemaic dynasty Answer: a Learning Objective: 3.3 Distinguish the refinements and transformations that occurred in the New Kingdom.

Topic: The Amarna Style Difficulty Level: Easy Skill Level: Remember the Facts 26. Akhenaten transformed Egypt during the Amarna period by __________. a. founding a monotheistic religion that worshipped the sun disk Aten b. returning to traditional artistic conventions for royal portraits c. building funerary complexes that featured stepped pyramids d. creating the magical spells to help the deceased in “Books of the Dead” Answer: a Learning Objective: 3.3 Distinguish the refinements and transformations that occurred in the New Kingdom.

Topic: The Amarna Style Difficulty Level: Moderate Skill Level: Understand the Concepts 27. Which of the following artworks is an example of sunken relief? a. Palette of Narmer b. Judgment of Hunefer Before Osiris c. Akhenaten and His Family d. Ti Watching a Hippopotamus Hunt Answer: c Learning Objective: 3.3 Distinguish the refinements and transformations that occurred in the New Kingdom.

Topic: The Amarna Style Difficulty Level: Moderate Skill Level: Understand the Concepts

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28. How is the Colossal Figure of Akhenaten different from Menkaure and a Queen? a. Akhenaten is not depicted with the traditional symbols of the pharaoh’s sovereignty. b. Akhenaten’s face is idealized and his pose evokes power and permanence. c. Akhenaten is depicted as a youthful, athletic male at the peak of physical perfection. d. Akhenaten’s body is distorted and his facial features are exaggerated.

Answer: d Learning Objective: 3.3 Distinguish the refinements and transformations that occurred in the New Kingdom.

Topic: The Amarna Style Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 29. In the Inner Coffin of Tutankhamun, Tutankhamun’s power as a provider and protector to his people is symbolized by the __________. a. crook and flail b. ankhs and hieroglyphs c. falcon-god Horus d. crown of Upper and Lower Egypt Answer: a Learning Objective: 3.3 Distinguish the refinements and transformations that occurred in the New Kingdom.

Topic: Traditions Reasserted Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It 30. Egyptian funerary practices revolved around a belief in an afterlife for the righteous and the __________. a. resurrection of the god Osiris b. devouring of all souls by Ammit c. “breath of life” from Aten d. protection offered by Horus Answer: a Learning Objective: 3.3 Distinguish the refinements and transformations that occurred in the New Kingdom.

Topic: Traditions Reasserted Difficulty Level: Moderate Skill Level: Understand the Concepts

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31. In the Judgment of Hunefer Before Osiris, which figure supervised the judgment of the souls of the dead? a. Ma’at, the goddess of truth b. the falcon-god Horus c. the jackal-headed god Anubis d. the ibis-headed god Thoth Answer: c Learning Objective: 3.3 Distinguish the refinements and transformations that occurred in the New Kingdom.

Topic: Traditions Reasserted Difficulty Level: Moderate Skill Level: Understand the Concepts 32. The “Books of the Dead” were __________. a. books of prayers spoken during the funeral of wealthy Egyptians b. collections of magic spells to help the dead survive Osiris’s judgment c. records of soldiers who died during the Nubian conquest of Egypt d. lists of Egyptian pharaohs who ruled during the Old Kingdom Answer: b Learning Objective: 3.3 Distinguish the refinements and transformations that occurred in the New Kingdom.

Topic: Traditions Reasserted Difficulty Level: Easy Skill Level: Remember the Facts 33. Which event officially ended the traditional dynastic rule of Ancient Egypt? a. the death of Cleopatra VII b. the Nubian conquest of Egypt c. the rise of Ptolemaic rule d. the death of Tutankhamun Answer: a Learning Objective: 3.4 Identify both traditional and new features seen in Late Egyptian art.

Topic: Late Egyptian Art Difficulty Level: Easy Skill Level: Remember the Facts

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34. The Sphinx of Taharqo demonstrates how the Nubian rulers of the late Egyptian period __________. a. represented themselves as Egyptian gods to legitimize their right to rule b. commissioned artwork that deviated from Egyptian artistic traditions c. adopted traditional Egyptian conventions of depicting royal power d. created artwork that venerated one god, the sun disk Aten.

Answer: c Learning Objective: 3.4 Identify both traditional and new features seen in Late Egyptian art.

Topic: Late Egyptian Art Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 35. In the Sphinx of Taharqo, the facial features identify the figure as __________. a. Egyptian b. African c. Greek d. Roman Answer: b Learning Objective: 3.4 Identify both traditional and new features seen in Late Egyptian art.

Topic: Late Egyptian Art Difficulty Level: Moderate Skill Level: Understand the Concepts Essay Questions 36. How did ancient Egyptian beliefs about the afterlife influence their art and architecture?

Answer: The ideal answer should include: 1. Egyptians built massive and monumental structures, such as the Giza pyramids, to house the bodies of deceased pharaohs.

2. Mummies and sculpted likenesses were created to preserve the life-force—the ka, or spirit—of the deceased so that they could live eternally in the afterlife and forever engage in everyday activities that they had once enjoyed in their earthly existence.

3. Elaborate paintings and reliefs often decorated the interiors of tombs of royalty and wealthy individuals.

4. These images often show the dead person performing the duties of everyday life and enjoying earthly pleasures.

Learning Objective: 3.1 Define the pictorial and architectural conventions developed during the Early Dynastic and Old Kingdom periods in ancient Egyptian art.

Topic: Early Dynastic and Old Kingdom Egypt (c. 2950–2150 BCE) Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It

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37. How are royal portraits different from portraits of less prominent people in ancient Egyptian art? Compare and contrast Khafre and Seated Scribe to explain your answer.

Answer: The ideal answer should include: 1. Khafre is highly idealized as his body and face represent him as a youthful, athletic ruler at the peak of perfection.

2. Khafre wears the symbols of the pharaoh’s sovereignty, such as the folded linen headdress, false beard, and short kilt, and the compact and rigid pose of his body evokes his dignity and permanence as a ruler.

3. Unlike the idealized sculpture of Khafre, the scribe is much more realistic, with a sagging stomach, naturalistic inlaid eyes that express alertness, and a soft and fleshy face.

4. The scribe is shown with a partially unrolled papyrus scroll and he once held a reed brush, which represent his important job in ancient Egyptian society.

Learning Objective: 3.1 Define the pictorial and architectural conventions developed during the Early Dynastic and Old Kingdom periods in ancient Egyptian art.

Topic: Early Dynastic and Old Kingdom Egypt (c. 2950–2150 BCE) Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 38. Describe the style and iconography of Ti Watching a Hippopotamus Hunt and explain its significance within the broader context of tomb decoration.

Answer: The ideal answer should include: 1. This painted relief is in the mastaba of a government official named Ti and, like other Old Kingdom tombs, this mastaba includes decoration that showed the deceased engaging in the duties and pleasures of earthly life.

2. Ti is depicted in the conventional composite pose, while the hunters are more lifelike and engaged in livelier activities.

3. Since Ti was a government official, he is shown in the relief conducting one of his many duties: supervising a hippopotamus hunt.

4. Seth, the god of darkness, often disguised himself as a hippo, and, therefore, the tomb depiction documents the valor of the deceased and symbolizes the triumph of good over evil.

Learning Objective: 3.1 Define the pictorial and architectural conventions developed during the Early Dynastic and Old Kingdom periods in ancient Egyptian art.

Topic: Early Dynastic and Old Kingdom Egypt (c. 2950–2150 BCE) Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It

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39. Discuss how New Kingdom funerary complexes differed from the Old Kingdom tomb complexes.

Answer: The ideal answer should include: 1. Old Kingdom necropolises, such as the Giza pyramids, included monumental pyramids that functioned as burial structures for deceased pharaohs and their ka, or life force.

2. They also included funerary temples that were connected to the pyramid by an enclosed corridor and in which the funeral ceremony for the pharaoh occurred and important rites that benefitted the pharaoh’s ka were intended to be practiced in perpetuity.

3. Whereas Old Kingdom tomb complexes emphasized the monumental tombs, New Kingdom funerary complexes, such as the Funerary Temple of Hatshepsut, emphasized the temple.

4. Hatshepsut’s temple was constructed on three levels connected by ramps and fronted by colonnades. The top colonnade led to a large hypostyle hall with multiple chapels, and a causeway lined with sphinxes connected the complex to a valley temple on the Nile.

Learning Objective: 3.3 Distinguish the refinements and transformations that occurred in the New Kingdom.

Topic: New Kingdom (c. 1539–1075 BCE) Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 40. How does the iconography of Judgment of Hunefer Before Osiris correspond to the function of “Books of the Dead”?

Answer: The ideal answer should include: 1. Books of the Dead were magical texts or spells that helped the dead pass the god Osiris’s tests that judged the righteousness of the souls of the dead.

2. Judgment of Hunefer Before Osiris depicts three successive stages of Hunefer’s induction into the afterlife.

3. On the left side of the composition, the jackal-headed god Anubis leads Hunefer, who is depicted in the conventional composite pose, to the area where he will weigh Hunefer’s heart against the “feather of truth.”

4. Then, the ibis-headed god Thoth records Hunefer’s passing of the test and Horus presents the man to the enthroned god Osiris, who holds a crook and a flail.

Learning Objective: 3.3 Distinguish the refinements and transformations that occurred in the New Kingdom.

Topic: New Kingdom (c. 1539–1075 BCE) Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It

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Revel Quizzes Quiz: Early Dynastic and Old Kingdom Egypt (c. 2950–2150 BCE) EOM Q3.1.1 Which Egyptian artistic convention identifies Narmer as a king? a. Hierarchic scale b. Composite pose Consider This: This does not correspond to nature. 3.1 Define the pictorial and architectural conventions developed during the Early Dynastic and Old Kingdom periods in ancient Egyptian art. c. Outlining Consider This: This does not correspond to nature. 3.1 Define the pictorial and architectural conventions developed during the Early Dynastic and Old Kingdom periods in ancient Egyptian art. d. Color and line Consider This: This does not correspond to nature. 3.1 Define the pictorial and architectural conventions developed during the Early Dynastic and Old Kingdom periods in ancient Egyptian art.

Answer: a Learning Objective: 3.1 Define the pictorial and architectural conventions developed during the Early Dynastic and Old Kingdom periods in ancient Egyptian art.

Topic: Early Dynastic and Old Kingdom Egypt (c. 2950–2150 BCE) Difficulty Level: Moderate Skill Level: Understand

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EOM Q3.1.2 The mastaba contains a __________. a. chapel with a ka statue b. burial chamber and temple Consider This: Mastabas were part of a larger necropolis. 3.1 Define the pictorial and architectural conventions developed during the Early Dynastic and Old Kingdom periods in ancient Egyptian art. c. burial sculpture and palette Consider This: Mastabas were part of a larger necropolis. 3.1 Define the pictorial and architectural conventions developed during the Early Dynastic and Old Kingdom periods in ancient Egyptian art. d. sphinx and ka Consider This: Mastabas were part of a larger necropolis. 3.1 Define the pictorial and architectural conventions developed during the Early Dynastic and Old Kingdom periods in ancient Egyptian art.

Answer: a Learning Objective: 3.1 Define the pictorial and architectural conventions developed during the Early Dynastic and Old Kingdom periods in ancient Egyptian art.

Topic: Early Dynastic and Old Kingdom Egypt (c. 2950–2150 BCE) Difficulty Level: Easy Skill Level: Understand EOM Q3.1.3 The Great Pyramids of Giza in Gaza differ from mastabas because they __________. a. contain burials b. are part of funerary complexes Consider This: Pyramids developed from mastabas. 3.1 Define the pictorial and architectural conventions developed during the Early Dynastic and Old Kingdom periods in ancient Egyptian art. c. accommodate the ka Consider This: Pyramids developed from mastabas. 3.1 Define the pictorial and architectural conventions developed during the Early Dynastic and Old Kingdom periods in ancient Egyptian art. d. were located in a necropolis Consider This: Pyramids developed from mastabas. 3.1 Define the pictorial and architectural conventions developed during the Early Dynastic and Old Kingdom periods in ancient Egyptian art.

Answer: a Learning Objective: 3.1 Define the pictorial and architectural conventions developed during the Early Dynastic and Old Kingdom periods in ancient Egyptian art.

Topic: Early Dynastic and Old Kingdom Egypt (c. 2950–2150 BCE) Difficulty Level: Moderate Skill Level: Understand

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EOM Q3.1.4 Which Egyptian artistic convention do Khafre and Menkaure and a Queen share? a. They appear as athletic, youthful figures. b. They employ the composite pose.

Consider This: This convention is intended to make figures perfect, not tell a story. 3.1 Define the pictorial and architectural conventions developed during the Early Dynastic and Old Kingdom periods in ancient Egyptian art. c. They are sculpted in hierarchic scale.

Consider This: This convention is intended to make figures perfect, not tell a story. 3.1 Define the pictorial and architectural conventions developed during the Early Dynastic and Old Kingdom periods in ancient Egyptian art. d. They both exhibit narrative detail.

Consider This: This convention is intended to make figures perfect, not tell a story. 3.1 Define the pictorial and architectural conventions developed during the Early Dynastic and Old Kingdom periods in ancient Egyptian art.

Answer: a Learning Objective: 3.1 Define the pictorial and architectural conventions developed during the Early Dynastic and Old Kingdom periods in ancient Egyptian art.

Topic: Early Dynastic and Old Kingdom Egypt (c. 2950–2150 BCE) Difficulty Level: Difficult Skill Level: Apply EOM Q3.1.5 Compared to Old Kingdom depictions of royalty, images depicting common people were __________. a. more lifelike b. more stylized Consider This: Egyptian art had different conventions for royal and non-royal subjects.

3.1 Define the pictorial and architectural conventions developed during the Early Dynastic and Old Kingdom periods in ancient Egyptian art. c. less active Consider This: Egyptian art had different conventions for royal and non-royal subjects.

3.1 Define the pictorial and architectural conventions developed during the Early Dynastic and Old Kingdom periods in ancient Egyptian art. d. less engaging Consider This: Egyptian art had different conventions for royal and non-royal subjects.

3.1 Define the pictorial and architectural conventions developed during the Early Dynastic and Old Kingdom periods in ancient Egyptian art.

Answer: a Learning Objective: 3.1 Define the pictorial and architectural conventions developed during the Early Dynastic and Old Kingdom periods in ancient Egyptian art.

Topic: Early Dynastic and Old Kingdom Egypt (c. 2950–2150 BCE) Difficulty Level: Moderate Skill Level: Understand

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Quiz: Middle Kingdom (c. 1975–1640 BCE) EOM Q3.2.1 How does ancient Egyptian art change during the Middle Kingdom? a. Some Middle Kingdom ruler portraits reveal human emotions. b. Narratives are presented in registers in Middle Kingdom art.

Consider This: This approach was not found in Old Kingdom examples. 3.2 Recognize the subtle changes to the conventions of ancient Egyptian art during the Middle Kingdom. c. Hieroglyphs identify the figures in Middle Kingdom art.

Consider This: This approach was not found in Old Kingdom examples. 3.2 Recognize the subtle changes to the conventions of ancient Egyptian art during the Middle Kingdom. d. Most Middle Kingdom art is painting rather than sculpture.

Consider This: This approach was not found in Old Kingdom examples. 3.2 Recognize the subtle changes to the conventions of ancient Egyptian art during the Middle Kingdom.

Answer: a Learning Objective: 3.2 Recognize the subtle changes to the conventions of ancient Egyptian art during the Middle Kingdom.

Topic: Middle Kingdom (c. 1975–1640 BCE) Difficulty Level: Moderate Skill Level: Understand EOM Q3.2.2 The sunken cheeks and drooping eyelids of the Head of Senusret III suggest that the ruler was emotionally __________. a. drained b. invigorated Consider This: The head displays a new artistic convention of the Middle Kingdom. 3.2 Recognize the subtle changes to the conventions of ancient Egyptian art during the Middle Kingdom. c. distant Consider This: The head displays a new artistic convention of the Middle Kingdom. 3.2 Recognize the subtle changes to the conventions of ancient Egyptian art during the Middle Kingdom. d. immature Consider This: The head displays a new artistic convention of the Middle Kingdom. 3.2 Recognize the subtle changes to the conventions of ancient Egyptian art during the Middle Kingdom.

Answer: a Learning Objective: 3.2 Recognize the subtle changes to the conventions of ancient Egyptian art during the Middle Kingdom.

Topic: Middle Kingdom (c. 1975–1640 BCE) Difficulty Level: Moderate Skill Level: Understand 18 Copyright © 2020, 2016, 2012 Pearson Education, Inc. All rights reserved.

EOM Q3.2.3 The text suggests that Middle Kingdom Egyptian artists were __________. a. esteemed b. slaves Consider This: A tombstone inscription provides the evidence. 3.2 Recognize the subtle changes to the conventions of ancient Egyptian art during the Middle Kingdom. c. rulers Consider This: A tombstone inscription provides the evidence. 3.2 Recognize the subtle changes to the conventions of ancient Egyptian art during the Middle Kingdom. d. foreigners Consider This: A tombstone inscription provides the evidence. 3.2 Recognize the subtle changes to the conventions of ancient Egyptian art during the Middle Kingdom.

Answer: a Learning Objective: 3.2 Recognize the subtle changes to the conventions of ancient Egyptian art during the Middle Kingdom.

Topic: Middle Kingdom (c. 1975–1640 BCE) Difficulty Level: Easy Skill Level: Remember Quiz: New Kingdom (c. 1539–1075 BCE) EOM Q3.3.1 How does the kneeling figure of Hatshepsut illustrate the persistence of Old Kingdom conventions during the New Kingdom? a. She wears the kilt, headdress, and beard of the male ruler. b. She appears more relaxed than the workers around her.

Consider This: Hatshepsut’s image challenged Egyptian artistic conventions. 3.3 Distinguish the refinements and transformations that occurred in the New Kingdom. c. She wears the thin dress of an Old Kingdom queen.

Consider This: Hatshepsut’s image challenged Egyptian artistic conventions. 3.3 Distinguish the refinements and transformations that occurred in the New Kingdom. d. She is represented in composite pose.

Consider This: Hatshepsut’s image challenged Egyptian artistic conventions. 3.3 Distinguish the refinements and transformations that occurred in the New Kingdom.

Answer: a Learning Objective: 3.3 Distinguish the refinements and transformations that occurred in the New Kingdom.

Topic: New Kingdom (c. 1539–1075 BCE) Difficulty Level: Moderate Skill Level: Understand

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EOM Q3.3.2 How does Hatshepsut’s Funerary Temple represent the new approach to funerary complexes during the New Kingdom? a. The temple is monumental, while the burial site is less prominent. b. The burial is monumental, while the temple is less prominent.

Consider This: New Kingdom tombs like Hatshepsut’s are in the Valleys of the Kings and Queens. 3.3 Distinguish the refinements and transformations that occurred in the New Kingdom. c. The burial pyramid is located along the Nile River.

Consider This: New Kingdom tombs like Hatshepsut’s are in the Valleys of the Kings and Queens. 3.3 Distinguish the refinements and transformations that occurred in the New Kingdom. d. The temple is connected to the burial by a causeway.

Consider This: New Kingdom tombs like Hatshepsut’s are in the Valleys of the Kings and Queens. 3.3 Distinguish the refinements and transformations that occurred in the New Kingdom.

Answer: a Learning Objective: 3.3 Distinguish the refinements and transformations that occurred in the New Kingdom.

Topic: New Kingdom (c. 1539–1075 BCE) Difficulty Level: Moderate Skill Level: Understand EOM Q3.3.3 New Kingdom Egyptian temple complexes dedicated to the gods include __________. a. a sanctuary, courtyard, and hypostyle hall b. a burial, chapel, and ka sculpture Consider This: One room looked like a forest of columns. 3.3 Distinguish the refinements and transformations that occurred in the New Kingdom. c. a palace, temple, and necropolis Consider This: One room looked like a forest of columns. 3.3 Distinguish the refinements and transformations that occurred in the New Kingdom. d. an apadana, clerestory, and shrine Consider This: One room looked like a forest of columns. 3.3 Distinguish the refinements and transformations that occurred in the New Kingdom.

Answer: a Learning Objective: 3.3 Distinguish the refinements and transformations that occurred in the New Kingdom.

Topic: New Kingdom (c. 1539–1075 BCE) Difficulty Level: Moderate Skill Level: Understand

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EOM Q3.3.4 What distinguishes the Amarna style from other New Kingdom art? a. Some figures are represented with exaggerated proportions. b. Some figures are drawn in composite pose.

Consider This: The Amarna style introduces even more conventions during the New Kingdom. 3.3 Distinguish the refinements and transformations that occurred in the New Kingdom. c. Some figures are depicted in action.

Consider This: The Amarna style introduces even more conventions during the New Kingdom. 3.3 Distinguish the refinements and transformations that occurred in the New Kingdom. d. Some figures are scaled according to social status.

Consider This: The Amarna style introduces even more conventions during the New Kingdom. 3.3 Distinguish the refinements and transformations that occurred in the New Kingdom.

Answer: a Learning Objective: 3.3 Distinguish the refinements and transformations that occurred in the New Kingdom.

Topic: New Kingdom (c. 1539–1075 BCE) Difficulty Level: Moderate Skill Level: Understand EOM Q3.3.5 Art created during the rule of Tutankhamun __________. a. returned to traditional conventions b. experimented with new forms Consider This: The Judgment of Hunefer before Osiris is a good example. 3.3 Distinguish the refinements and transformations that occurred in the New Kingdom. c. rejected funerary functions Consider This: The Judgment of Hunefer before Osiris is a good example. 3.3 Distinguish the refinements and transformations that occurred in the New Kingdom. d. introduced painted reliefs Consider This: The Judgment of Hunefer before Osiris is a good example. 3.3 Distinguish the refinements and transformations that occurred in the New Kingdom.

Answer: a Learning Objective: 3.3 Distinguish the refinements and transformations that occurred in the New Kingdom.

Topic: New Kingdom (c. 1539–1075 BCE) Difficulty Level: Moderate Skill Level: Understand

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Quiz: Late Egyptian Art EOM Q3.4.1 What historical circumstance does this sculpture of Taharqo represent? a. Invasion by foreign powers b. Flooding of the Nile River Consider This: Taharqo was Nubian. 3.4 Identify both traditional and new features seen in Late Egyptian art. c. Egyptian imperial expansion Consider This: Taharqo was Nubian. 3.4 Identify both traditional and new features seen in Late Egyptian art. d. Introduction of Christianity Consider This: Taharqo was Nubian. 3.4 Identify both traditional and new features seen in Late Egyptian art.

Answer: a Learning Objective: 3.4 Identify both traditional and new features seen in Late Egyptian art.

Topic: Late Egyptian Art Difficulty Level: Difficult Skill Level: Understand EOM Q3.4.2 Which traditional Egyptian pictorial practice persists in this sculpture of Taharqo? a. The use of snakes to symbolize royal power b. The representation of specific racial characteristics Consider This: These conventions date back to the Early Dynastic and Old Kingdom periods. 3.4 Identify both traditional and new features seen in Late Egyptian art. c. The inclusion of hieroglyphs identifying the subject Consider This: These conventions date back to the Early Dynastic and Old Kingdom periods. 3.4 Identify both traditional and new features seen in Late Egyptian art. d. The use of male symbols for a female ruler Consider This: These conventions date back to the Early Dynastic and Old Kingdom periods. 3.4 Identify both traditional and new features seen in Late Egyptian art.

Answer: a Learning Objective: 3.4 Identify both traditional and new features seen in Late Egyptian art.

Topic: Late Egyptian Art Difficulty Level: Moderate Skill Level: Understand

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EOM Q3.4.3 The Sphinx of Taharqo is unlike Old Kingdom sculpture because it __________. a. displays African facial features b. is carved from stone Consider This: A specific identity is engraved into his chest. 3.4 Identify both traditional and new features seen in Late Egyptian art. c. represents a sphinx Consider This: A specific identity is engraved into his chest. 3.4 Identify both traditional and new features seen in Late Egyptian art. d. is a symbol of power Consider This: A specific identity is engraved into his chest. 3.4 Identify Both traditional and new features seen in Late Egyptian art.

Answer: a Learning Objective: 3.4 Identify both traditional and new features seen in Late Egyptian art.

Topic: Late Egyptian Art Difficulty Level: Moderate Skill Level: Understand Chapter Quiz: Art of Ancient Egypt EOC Q3.1 What is the purpose of the ka statue in ancient Egyptian culture? a. To shelter the soul b. To house the mummy Consider This: The ka statue was part of the funerary complex. 3.1 Define the pictorial and architectural conventions developed during the Early Dynastic and Old Kingdom periods in ancient Egyptian art. c. To commemorate the deceased’s deeds Consider This: The ka statue was part of the funerary complex. 3.1 Define the pictorial and architectural conventions developed during the Early Dynastic and Old Kingdom periods in ancient Egyptian art. d. To accommodate the gods Consider This: The ka statue was part of the funerary complex. 3.1 Define the pictorial and architectural conventions developed during the Early Dynastic and Old Kingdom periods in ancient Egyptian art.

Answer: a Learning Objective: 3.1 Define the pictorial and architectural conventions developed during the Early Dynastic and Old Kingdom periods in ancient Egyptian art.

Topic: Art of Ancient Egypt Difficulty Level: Moderate Skill Level: Understand

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EOC Q3.2 Egyptian pyramids developed from the Early Dynastic period __________. a. mastaba b. temple Consider This: Pyramids grew throughout the Old Kingdom. 3.1 Define the pictorial and architectural conventions developed during the Early Dynastic and Old Kingdom periods in ancient Egyptian art. c. shrine Consider This: Pyramids grew throughout the Old Kingdom. 3.1 Define the pictorial and architectural conventions developed during the Early Dynastic and Old Kingdom periods in ancient Egyptian art. d. ka Consider This: Pyramids grew throughout the Old Kingdom. 3.1 Define the pictorial and architectural conventions developed during the Early Dynastic and Old Kingdom periods in ancient Egyptian art.

Answer: a Learning Objective: 3.1 Define the pictorial and architectural conventions developed during the Early Dynastic and Old Kingdom periods in ancient Egyptian art.

Topic: Art of Ancient Egypt Difficulty Level: Moderate Skill Level: Understand EOC Q3.3 Egyptian Early Dynastic and Old Kingdom burials are located in a __________. a. necropolis b. palette Consider This: This is also known as a city for the dead. 3.1 Define the pictorial and architectural conventions developed during the Early Dynastic and Old Kingdom periods in ancient Egyptian art. c. temple Consider This: This is also known as a city for the dead. 3.1 Define the pictorial and architectural conventions developed during the Early Dynastic and Old Kingdom periods in ancient Egyptian art. d. shrine Consider This: This is also known as a city for the dead. 3.1 Define the pictorial and architectural conventions developed during the Early Dynastic and Old Kingdom periods in ancient Egyptian art.

Answer: a Learning Objective: 3.1 Define the pictorial and architectural conventions developed during the Early Dynastic and Old Kingdom periods in ancient Egyptian art.

Topic: Art of Ancient Egypt Difficulty Level: Easy Skill Level: Remember

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EOC Q3.4 The Old Kingdom Egyptian relief image of Ti is described as stylized because it __________. a. stands rigidly in a composite pose b. appears next to active figures Consider This: This is a convention for royal images. 3.1 Define the pictorial and architectural conventions developed during the Early Dynastic and Old Kingdom periods in ancient Egyptian art. c. is a tomb image Consider This: This is a convention for royal images. 3.1 Define the pictorial and architectural conventions developed during the Early Dynastic and Old Kingdom periods in ancient Egyptian art. d. is a painted relief Consider This: This is a convention for royal images. 3.1 Define the pictorial and architectural conventions developed during the Early Dynastic and Old Kingdom periods in ancient Egyptian art.

Answer: a Learning Objective: 3.1 Define the pictorial and architectural conventions developed during the Early Dynastic and Old Kingdom periods in ancient Egyptian art.

Topic: Art of Ancient Egypt Difficulty Level: Difficult Skill Level: Apply EOC Q3.5 Egyptians decorate their tombs so that the ka __________. a. has what it needs for eternity b. transforms into a god Consider This: Much Egyptian art addresses the afterlife. 3.1 Define the pictorial and architectural conventions developed during the Early Dynastic and Old Kingdom periods in ancient Egyptian art. c. is appropriately worshipped Consider This: Much Egyptian art addresses the afterlife. 3.1 Define the pictorial and architectural conventions developed during the Early Dynastic and Old Kingdom periods in ancient Egyptian art. d. makes the transition to the afterlife Consider This: Much Egyptian art addresses the afterlife. 3.1 Define the pictorial and architectural conventions developed during the Early Dynastic and Old Kingdom periods in ancient Egyptian art.

Answer: a Learning Objective: 3.1 Define the pictorial and architectural conventions developed during the Early Dynastic and Old Kingdom periods in ancient Egyptian art.

Topic: Art of Ancient Egypt Difficulty Level: Moderate Skill Level: Understand

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EOC Q3.6 Each of the Great Pyramids is accompanied by a __________. a. temple b. mastaba Consider This: This was used for funerary rituals. 3.1 Define the pictorial and architectural conventions developed during the Early Dynastic and Old Kingdom periods in ancient Egyptian art. c. sphinx Consider This: This was used for funerary rituals. 3.1 Define the pictorial and architectural conventions developed during the Early Dynastic and Old Kingdom periods in ancient Egyptian art. d. palace Consider This: This was used for funerary rituals. 3.1 Define the pictorial and architectural conventions developed during the Early Dynastic and Old Kingdom periods in ancient Egyptian art.

Answer: a Learning Objective: 3.1 Define the pictorial and architectural conventions developed during the Early Dynastic and Old Kingdom periods in ancient Egyptian art.

Topic: Art of Ancient Egypt Difficulty Level: Moderate Skill Level: Understand EOC Q3.7 What convention of Egyptian art changed during the Middle Kingdom? a. The stylized formality of royal portraits b. The practice of painting royal sculpture Consider This: The Head of Senusret III is an example. 3.2 Recognize the subtle changes to the conventions of ancient Egyptian art during the Middle Kingdom. c. The exclusive attention to royal subjects Consider This: The Head of Senusret III is an example. 3.2 Recognize the subtle changes to the conventions of ancient Egyptian art during the Middle Kingdom. d. The use of symbols of royal power Consider This: The Head of Senusret III is an example. 3.2 Recognize the subtle changes to the conventions of ancient Egyptian art during the Middle Kingdom.

Answer: a Learning Objective: 3.2 Recognize the subtle changes to the conventions of ancient Egyptian art during the Middle Kingdom.

Topic: Art of Ancient Egypt Difficulty Level: Moderate Skill Level: Understand

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EOC Q3.8 Each of the levels of the Temple of Hatshepsut features a long __________. a. colonnade b. clerestory Consider This: These are accessed by ramps. 3.3 Distinguish the refinements and transformations that occurred in the New Kingdom. c. shrine Consider This: These are accessed by ramps. 3.3 Distinguish the refinements and transformations that occurred in the New Kingdom. d. tomb Consider This: These are accessed by ramps. 3.3 Distinguish the refinements and transformations that occurred in the New Kingdom.

Answer: a Learning Objective: 3.3 Distinguish the refinements and transformations that occurred in the New Kingdom.

Topic: Art of Ancient Egypt Difficulty Level: Easy Skill Level: Remember EOC Q3.9 The upper window openings in a hypostyle hall are known as the __________. a. clerestory b. colonnade Consider This: The windows permitted a cooling flow of air in the hall. 3.3 Distinguish the refinements and transformations that occurred in the New Kingdom. c. capital Consider This: The windows permitted a cooling flow of air in the hall. 3.3 Distinguish the refinements and transformations that occurred in the New Kingdom. d. inlay Consider This: The windows permitted a cooling flow of air in the hall. 3.3 Distinguish the refinements and transformations that occurred in the New Kingdom.

Answer: a Learning Objective: 3.3 Distinguish the refinements and transformations that occurred in the New Kingdom.

Topic: Art of Ancient Egypt Difficulty Level: Easy Skill Level: Remember

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EOC Q3.10 The shoulders and torso of Ramose’s brother in the Tomb of Ramose illustrate the “conceptual convention of Egyptian royal art” known as __________. a. composite pose b. hierarchic scale Consider This: Egyptian artistic conventions persisted through the centuries. 3.3 Distinguish the refinements and transformations that occurred in the New Kingdom. c. groundline Consider This: Egyptian artistic conventions persisted through the centuries. 3.3 Distinguish the refinements and transformations that occurred in the New Kingdom. d. naturalism Consider This: Egyptian artistic conventions persisted through the centuries. 3.3 Distinguish the refinements and transformations that occurred in the New Kingdom.

Answer: a Learning Objective: 3.3 Distinguish the refinements and transformations that occurred in the New Kingdom.

Topic: Art of Ancient Egypt Difficulty Level: Difficult Skill Level: Apply EOC Q3.11 Which pictorial convention of Egyptian art resulted in Nebamun’s wife being smaller than her husband in Nebamun Hunting Birds in the Marshes? a. Hierarchic scale b. Composite pose Consider This: This also appears in the Palette of Narmer. 3.3 Distinguish the refinements and transformations that occurred in the New Kingdom. c. Youthful idealization Consider This: This also appears in the Palette of Narmer. 3.3 Distinguish the refinements and transformations that occurred in the New Kingdom. d. Observed naturalism Consider This: This also appears in the Palette of Narmer. 3.3 Distinguish the refinements and transformations that occurred in the New Kingdom.

Answer: a Learning Objective: 3.3 Distinguish the refinements and transformations that occurred in the New Kingdom.

Topic: Art of Ancient Egypt Difficulty Level: Difficult Skill Level: Apply

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EOC Q3.12 The colossal figure of Akhenaten demonstrates characteristics that distinguish the Amarna style through its __________. a. physical distortion b. monumental scale Consider This: The Amarna style had unique and short-lived characteristics. 3.3 Distinguish the refinements and transformations that occurred in the New Kingdom. c. Old Kingdom conventions Consider This: The Amarna style had unique and short-lived characteristics. 3.3 Distinguish the refinements and transformations that occurred in the New Kingdom. d. hierarchic scale Consider This: The Amarna style had unique and short-lived characteristics. 3.3 Distinguish the refinements and transformations that occurred in the New Kingdom.

Answer: a Learning Objective: 3.3 Distinguish the refinements and transformations that occurred in the New Kingdom.

Topic: Art of Ancient Egypt Difficulty Level: Moderate Skill Level: Understand EOC Q3.13 Which symbol of Egyptian royal power is visible on the Inner Coffin of Tutankhamun? a. False beard b. Sphinx Consider This: This was worn by Khafre as well. 3.3 Distinguish the refinements and transformations that occurred in the New Kingdom. c. Crown Consider This: This was worn by Khafre as well. 3.3 Distinguish the refinements and transformations that occurred in the New Kingdom. d. Linen kilt Consider This: This was worn by Khafre as well. 3.3 Distinguish the refinements and transformations that occurred in the New Kingdom.

Answer: a Learning Objective: 3.3 Distinguish the refinements and transformations that occurred in the New Kingdom.

Topic: Art of Ancient Egypt Difficulty Level: Moderate Skill Level: Apply

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EOC Q3.14 The Book of the Dead of Hunefer illustrates his __________. a. path into the afterlife b. achievements in life Consider This: Much Egyptian art addresses life after death. 3.3 Distinguish the refinements and transformations that occurred in the New Kingdom. c. offerings to Ma’at Consider This: Much Egyptian art addresses life after death. 3.3 Distinguish the refinements and transformations that occurred in the New Kingdom. d. life and death Consider This: Much Egyptian art addresses life after death. 3.3 Distinguish the refinements and transformations that occurred in the New Kingdom.

Answer: a Learning Objective: 3.3 Distinguish the refinements and transformations that occurred in the New Kingdom.

Topic: Art of Ancient Egypt Difficulty Level: Moderate Skill Level: Understand EOC Q3.15 The Sphinx of Taharqo embodies the role of __________ in late Egyptian art. a. foreigners b. women Consider This: This was the result of Egypt’s riches. 3.4 Identify both traditional and new features seen in Late Egyptian art. c. mysticism Consider This: This was the result of Egypt’s riches. 3.4 Identify both traditional and new features seen in Late Egyptian art. d. death Consider This: This was the result of Egypt’s riches. 3.4 Identify both traditional and new features seen in Late Egyptian art.

Answer: a Learning Objective: 3.4 Identify both traditional and new features seen in Late Egyptian art.

Topic: Art of Ancient Egypt Difficulty Level: Easy Skill Level: Understand

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Chapter 4: Early Asian Art Multiple-Choice Questions 1. Which of the following styles best describes the Torso from Harappa? a. abstract b. idealized c. naturalistic d. stylized Answer: c Learning Objective: 4.1 Discuss the early art of India and Southeast Asia from the early culture of the Indus Valley through the founding of Buddhism and Hinduism.

Topic: The Indus Civilization Difficulty Level: Moderate Skill Level: Understand the Concepts 2. The religiously sanctioned hereditary social classes in India are called __________. a. stupas b. mudras c. castes d. vedas Answer: c Learning Objective: 4.1 Discuss the early art of India and Southeast Asia from the early culture of the Indus Valley through the founding of Buddhism and Hinduism.

Topic: The Vedic Period Difficulty Level: Easy Skill Level: Remember the Facts 3. The relentless cycle of birth, life, death, and rebirth is called __________. a. samsara b. chakra c. nirvana d. lakshana Answer: a Learning Objective: 4.1 Discuss the early art of India and Southeast Asia from the early culture of the Indus Valley through the founding of Buddhism and Hinduism.

Topic: The Vedic Period Difficulty Level: Easy Skill Level: Remember the Facts

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4. What is nirvana? a. the cycle of life, death, and rebirth b. liberation from samsara c. harmony with the Way of the universe d. the various states of existence Answer: b Learning Objective: 4.1 Discuss the early art of India and Southeast Asia from the early culture of the Indus Valley through the founding of Buddhism and Hinduism.

Topic: The Vedic Period Difficulty Level: Moderate Skill Level: Understand the Concepts 5. Buddhism developed from the teachings of __________. a. Siddhartha Gautama b. Brahman c. Amitabha d. Shiva Answer: a Learning Objective: 4.1 Discuss the early art of India and Southeast Asia from the early culture of the Indus Valley through the founding of Buddhism and Hinduism.

Topic: The Rise of Buddhism Difficulty Level: Easy Skill Level: Remember the Facts 6. Saintly beings who qualify for Buddhahood but vow to help others attain it first are called __________. a. buddhas b. chakras c. kami d. bodhisattvas Answer: d Learning Objective: 4.1 Discuss the early art of India and Southeast Asia from the early culture of the Indus Valley through the founding of Buddhism and Hinduism.

Topic: The Rise of Buddhism Difficulty Level: Easy Skill Level: Remember the Facts

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7. What is the purpose of stupas, such as the Great Stupa at Sanchi? a. They are burial mounds for emperors and royal families. b. They are representations of deities for Hindu rituals c. They are a sacred place to venerate relics of the Buddha. d. They are temples that house the kami of the Shinto religion.

Answer: c Learning Objective: 4.1 Discuss the early art of India and Southeast Asia from the early culture of the Indus Valley through the founding of Buddhism and Hinduism.

Topic: The Rise of Buddhism Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 8. On a stupa, the mast that connects the cosmic waters below the earth with the celestial realm above is known as the __________. a. axis mundi b. torana c. haniwa d. pagoda Answer: a Learning Objective: 4.1 Discuss the early art of India and Southeast Asia from the early culture of the Indus Valley through the founding of Buddhism and Hinduism.

Topic: The Rise of Buddhism Difficulty Level: Easy Skill Level: Remember the Facts 9. The stone gateways around a stupa are called __________. a. haniwa b. toranas c. mudras d. pagodas Answer: b Learning Objective: 4.1 Discuss the early art of India and Southeast Asia from the early culture of the Indus Valley through the founding of Buddhism and Hinduism.

Topic: The Rise of Buddhism Difficulty Level: Easy Skill Level: Remember the Facts

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10. Female spirits associated with beauty and fertility are known as __________. a. mudras b. yakshis c. bodhisattvas d. toranas Answer: b Learning Objective: 4.1 Discuss the early art of India and Southeast Asia from the early culture of the Indus Valley through the founding of Buddhism and Hinduism.

Topic: The Rise of Buddhism Difficulty Level: Easy Skill Level: Remember the Facts 11. In Buddha Shakyamuni, the ushnisha symbolizes the Buddha’s __________. a. religious teachings b. earthly life c. royal heritage d. enlightenment Answer: d Learning Objective: 4.1 Discuss the early art of India and Southeast Asia from the early culture of the Indus Valley through the founding of Buddhism and Hinduism.

Topic: Gandhara and Mathura Styles Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It 12. In Buddha and Attendants, the Buddha’s hand is raised in a symbolic gesture called a __________. a. chakra b. mudra c. linga d. stupa Answer: b Learning Objective: 4.1 Discuss the early art of India and Southeast Asia from the early culture of the Indus Valley through the founding of Buddhism and Hinduism.

Topic: Gandhara and Mathura Styles Difficulty Level: Moderate Skill Level: Understand the Concepts

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13. In Buddha and Attendants, which of the following symbolizes the Wheel of the Law? a. multiple arms b. chakras c. lotus flowers d. the pipal tree Answer: b Learning Objective: 4.1 Discuss the early art of India and Southeast Asia from the early culture of the Indus Valley through the founding of Buddhism and Hinduism.

Topic: Gandhara and Mathura Styles Difficulty Level: Moderate Skill Level: Understand the Concepts 14. The Gupta monarchs sponsored __________. a. Daoism b. Hinduism c. Confucianism d. Shintoism Answer: b Learning Objective: 4.1 Discuss the early art of India and Southeast Asia from the early culture of the Indus Valley through the founding of Buddhism and Hinduism.

Topic: Gupta Period Difficulty Level: Easy Skill Level: Remember the Facts 15. In Eternal Shiva, why did the artist depict the deity with multiple heads? a. The heads associate the kami with elements of nature. b. Each head represents a different path to nirvana. c. The heads symbolize the fivefold nature of the god. d. Each head contains a relic to be venerated by worshippers.

Answer: c Learning Objective: 4.1 Discuss the early art of India and Southeast Asia from the early culture of the Indus Valley through the founding of Buddhism and Hinduism.

Topic: Gupta Period Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It

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16. Which of the following exemplifies the zoomorphic forms of Bronze Age Chinese art? a. Haniwa b. Hungry Tigress Jataka c. Yakshi Bracket Figure d. Guang with Tiger and Owl Décor Answer: d Learning Objective: 4.2 Trace the early development of art in China and Korea through a series of empires and the introduction of Buddhism.

Topic: The Bronze Age Difficulty Level: Moderate Skill Level: Understand the Concepts 17. Which of the following is a philosophy that emphasizes a just and harmonious society based on reverence for ancestors and correct relationships among people? a. Confucianism b. Shintoism c. Daoism d. Hinduism Answer: a Learning Objective: 4.2 Trace the early development of art in China and Korea through a series of empires and the introduction of Buddhism.

Topic: The Bronze Age Difficulty Level: Moderate Skill Level: Understand the Concepts 18. A monumental tomb is also known as a __________. a. stupa b. pagoda c. mausoleum d. reliquary Answer: c Learning Objective: 4.2 Trace the early development of art in China and Korea through a series of empires and the introduction of Buddhism.

Topic: Qin and Han Empires Difficulty Level: Easy Skill Level: Remember the Facts

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19. The terra-cotta soldiers in Emperor Shihuangdi’s mausoleum were able to be mass-produced by __________. a. using standardized molds to produce each body part b. carving each figure from the local sandstone c. incising the soldiers onto the walls of the tomb d. casting the figures from bronze and gold Answer: a Learning Objective: 4.2 Trace the early development of art in China and Korea through a series of empires and the introduction of Buddhism.

Topic: Looking Forward, Qin and Han Empires Difficulty Level: Difficult Skill Level: Understand the Concepts 20. Which of the following is a philosophy that emphasizes harmony between humans and nature? a. Confucianism b. Buddhism c. Daoism d. Hinduism Answer: c Learning Objective: 4.2 Trace the early development of art in China and Korea through a series of empires and the introduction of Buddhism.

Topic: Qin and Han Empires Difficulty Level: Moderate Skill Level: Understand the Concepts 21. How does Incense Burner from the tomb of Prince Liu Sheng correspond to the teachings of Daoism? a. It emphasizes social order by portraying an empress receiving visitors. b. It depicts an island filled with people who discovered the secret of immortality. c. It was used as a ceremonial offering in the tomb of a Korean emperor. d. It includes stories from the life of Buddha and the path to enlightenment.

Answer: b Learning Objective: 4.2 Trace the early development of art in China and Korea through a series of empires and the introduction of Buddhism.

Topic: Qin and Han Empires Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It

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22. The 5,000-mile-long network of caravan and sea routes between East Asia and the West was known as the __________. a. Indus Road b. Song Road c. Tang Road d. Silk Road Answer: d Learning Objective: 4.2 Trace the early development of art in China and Korea through a series of empires and the introduction of Buddhism.

Topic: Northern and Southern Dynasties Difficulty Level: Easy Skill Level: Remember the Facts 23. Which of the following is an example of early Chinese Buddhist art? a. Buddha and Attendants b. Hungry Tigress Jataka c. Seated Buddha d. Eternal Shiva Answer: c Learning Objective: 4.2 Trace the early development of art in China and Korea through a series of empires and the introduction of Buddhism.

Topic: Northern and Southern Dynasties Difficulty Level: Moderate Skill Level: Understand the Concepts 24. The art of beautiful writing practiced by China’s literati is known as __________. a. pictographs b. ceramics c. haniwa d. calligraphy Answer: d Learning Objective: 4.2 Trace the early development of art in China and Korea through a series of empires and the introduction of Buddhism.

Topic: Northern and Southern Dynasties Difficulty Level: Easy Skill Level: Remember the Facts

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25. In Portion of a Letter from the Feng Ju Album, the stamped characters are called __________. a. calligraphy b. chakra c. seals d. haniwa Answer: c Learning Objective: 4.2 Trace the early development of art in China and Korea through a series of empires and the introduction of Buddhism.

Topic: Northern and Southern Dynasties Difficulty Level: Moderate Skill Level: Understand the Concepts 26. How is the Nanchan Temple characteristic of East Asian architecture? a. It is a multistoried pagoda with upward-curving roofs that housed relics. b. It is a stupa with sculpture featuring scenes from the life of the Buddha. c. Its main building is surrounded by a massive gate with four toranas. d. Its curved, tiled roof has overhanging eaves supported by brackets.

Answer: d Learning Objective: 4.2 Trace the early development of art in China and Korea through a series of empires and the introduction of Buddhism.

Topic: Tang Dynasty Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 27. During the Tang Dynasty, ceramic figurines were produced by the thousands for __________. a. houses b. tombs c. palaces d. trade Answer: b Learning Objective: 4.2 Trace the early development of art in China and Korea through a series of empires and the introduction of Buddhism.

Topic: Tang Dynasty Difficulty Level: Moderate Skill Level: Understand the Concepts

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28. Which of the following features an architectural design that was influenced by Indian Buddhist stupas? a. Nanchan Temple b. Grand Shrine at Ise c. Great Wild Goose Pagoda d. Cave-Temple of Shiva Answer: c Learning Objective: 4.2 Trace the early development of art in China and Korea through a series of empires and the introduction of Buddhism.

Topic: Tang Dynasty Difficulty Level: Moderate Skill Level: Understand the Concepts 29. Why is the Bodhisattva Seated in Meditation significant for Korean art? a. Its slender body, elliptical face, and trilobed crown exemplify the courtly Korean style. b. Its meditative pose is copied directly from late sixth-century Japanese sculpture. c. It depicts a bodhisattva, a figure which only appeared in Korean Buddhist teachings. d. Its patterned garment represents the influence of the Indian Gandharan style.

Answer: a Learning Objective: 4.2 Trace the early development of art in China and Korea through a series of empires and the introduction of Buddhism.

Topic: Korea Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 30. Kofun means __________. a. enlightenment b. old tombs c. the cycle of life d. harmony with nature Answer: b Learning Objective: 4.3 Explain the ancient native traditions of Japanese art that blossomed in Shinto and Buddhist art and architecture.

Topic: The Kofun Period Difficulty Level: Easy Skill Level: Remember the Facts

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31. The small, unglazed ceramic sculptures found in Japanese tombs are called __________. a. bodhisattvas b. haniwa c. toranas d. kami Answer: b Learning Objective: 4.3 Explain the ancient native traditions of Japanese art that blossomed in Shinto and Buddhist art and architecture.

Topic: The Kofun Period Difficulty Level: Moderate Skill Level: Understand the Concepts 32. Which religious building has been rebuilt every 20 years according to the Shinto belief in ritual purification? a. Grand Shrine at Ise b. Horyu-ji c. Nanchan Temple d. Great Stupa at Sanchi Answer: a Learning Objective: 4.3 Explain the ancient native traditions of Japanese art that blossomed in Shinto and Buddhist art and architecture.

Topic: The Kofun Period Difficulty Level: Moderate Skill Level: Understand the Concepts 33. The Grand Shrine of Ise is typical of Shinto architecture because __________. a. it is a reliquary pagoda that houses the kami and their relics b. its main temple was used for ceremonial worship by the local community c. of the wooden piles that raise the building off the ground d. it is a solid dome-shape structure that references a sacred mountain Answer: c Learning Objective: 4.3 Explain the ancient native traditions of Japanese art that blossomed in Shinto and Buddhist art and architecture.

Topic: The Kofun Period Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It

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34. A type of hard, glossy varnish used to create painted decorations is called __________. a. lacquer b. glaze c. kami d. calligraphy Answer: a Learning Objective: 4.3 Explain the ancient native traditions of Japanese art that blossomed in Shinto and Buddhist art and architecture.

Topic: The Asuka Period Skill Level: Understand the Concepts Difficulty Level: Easy 35. Which of the following is an example of Japanese Buddhist art? a. Bodhisattva Seated in Meditation b. Buddha Shakyamuni c. Hungry Tigress Jataka d. Eternal Shiva Answer: c Learning Objective: 4.3 Explain the ancient native traditions of Japanese art that blossomed in Shinto and Buddhist art and architecture.

Topic: The Asuka Period Difficulty Level: Moderate Skill Level: Understand the Concepts Essay Questions 36. Describe the architectural elements and symbolism of the Great Stupa at Sanchi.

Answer: The ideal answer should include: 1. Stupas derive from burial mounds, and their solid, dome-shaped earthen core contains relics.

2. The Great Stupa at Sanchi also features a large brick dome that was once covered with shining white plaster.

3. The railing on the dome symbolizes the domain of the gods atop the cosmic mountain; it also encloses the top of a mast which represents the axis mundi that connects the cosmic waters below the earth with the celestial realm above it.

4. Four stone gateways, or toranas, punctuate the railing, which surrounds the stupa as physical and symbolic boundary between the inner, sacred area and the outer, profane world. Each gateway is decorated with scenes from the life and past lives of the Buddha.

Learning Objective: 4.1 Discuss the early art of India and Southeast Asia from the early culture of the Indus Valley through the founding of Buddhism and Hinduism.

Topic: The Rise of Buddhism Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It

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37. How does the iconography of Eternal Shiva from the Cave-Temple at Elephanta correspond to the beliefs and practices of Hinduism?

Answer: The ideal answer should include: 1. Eternal Shiva represents the Sadashiva aspect of the deity whom Hindus believe dances a cosmic dance within a ring of fire that controls the endless cycle of death, rebirth, destruction, and creation.

2. The relief sculpture depicts three heads, but five heads are implied; the heads summarize Shiva’s fivefold nature as creator, protector, destroyer, obscurer, and releaser.

3. On his left shoulder, for example, his protector nature is depicted as female; on his right, his wrathful, destroyer nature wears a fierce expression; in front, Shiva is depicted in deep introspection with the matted, piled-up hair of a yogi.

4. By worshipping the gods, such as Shiva, with rituals, meditation, and intense love, Hindus believe that they will be reborn into ever-higher positions until they can escape samsara, the cycle of life, death, and rebirth.

Learning Objective: 4.1 Discuss the early art of India and Southeast Asia from the early culture of the Indus Valley through the founding of Buddhism and Hinduism.

Topic: Gupta Period Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 38. How is the colossal Seated Buddha from Sanxi, China, different from earlier Buddhist sculpture from India, such as Buddha and Attendants?

Answer: The ideal answer should include: 1. Like early Chinese Buddhist sculpture, Seated Buddha is remote and austere, making it seem less human.

2. The image of Buddha became increasingly formal and unearthly as it traveled east from India, and the Seated Buddha is likewise more simplistic and stylized.

3. Buddhist sculpture from India conveys more sensuous qualities through voluptuous forms and a prevalence of naturalistic detail.

4. For example, in Buddha and Attendants, Buddha is depicted wearing a thin robe pulled over the body that emphasizes his fleshy form and makes him appear almost nude.

Learning Objective: 4.2 Trace the early development of art in China and Korea through a series of empires and the introduction of Buddhism.

Topic: Northern and Southern Dynasties Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It

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39. How does the Ise Shrine exemplify the beliefs and practices of Shintoism?

Answer: The ideal answer should include: 1. One of the most important aspects of the Shinto faith is ritual purification, which was derived from respect for the cycle of the season in which pure new life emerges in springtime and gives way to death in winter, yet is reborn again the following year.

2. Accordingly, since at least 690 CE, the shrine has been ritually rebuilt at 20-year intervals.

3. Many aspects of the Ise Shrine are typical of Shinto architecture: the wooden piles that raise the building off the ground, the horizontal logs that hold a thatched roof in place, and the unpainted cypress wood.

4. The use of wood and thatch conveys a sense of natural simplicity rather than elaborate decoration and corresponds to the Japanese appreciation of natural materials and the veneration of kami, which were though to inhabit many different aspects of nature.

Learning Objective: 4.2 Trace the early development of art in China and Korea through a series of empires and the introduction of Buddhism.

Topic: The Kofun Period Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 40. How does the design and function of Horyu-Ji reveal the influence of China during the Asuka period?

Answer: The ideal answer should include: 1. Buddhism, a centralized governmental structure, and a system of writing reached Japan from China and Korea during the Asuka period.

2. The Mahayana form of Buddhism, with its many buddhas and bodhisattvas, introduced different gods with rich anthropomorphic iconography that was distinct from the nonhuman portrayals of the kami of Shintoism, and Buddhism’s teachings about meditation and enlightenment enabled the ruling elites to justify their own power through religious association.

3. Ceremonial worship was now focused in temples, and the main compound at Horyu-Ji includes a large Chinese-style kondo, or golden hall, filled with Buddhist images that was used for worship and ceremonies.

4. Also located in the main compound, a five-story pagoda in the Chinese style served as a reliquary.

Learning Objective: 4.3 Explain the ancient native traditions of Japanese art that blossomed in Shinto and Buddhist art and architecture.

Topic: The Asuka Period Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It

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Revel Quizzes Quiz: The Indian Subcontinent and Southeast Asia EOM Q4.1.1 The Indus male Torso is typical of Indian art in its __________. a. sensuous form b. emotional layers Consider This: The body type recalls a yogi. 4.1 Discuss the early art of India and Southeast Asia from the early culture of the Indus Valley through the founding of Buddhism and Hinduism. c. profuse ornament Consider This: The body type recalls a yogi. 4.1 Discuss the early art of India and Southeast Asia from the early culture of the Indus Valley through the founding of Buddhism and Hinduism. d. disguised symbolism Consider This: The body type recalls a yogi. 4.1 Discuss the early art of India and Southeast Asia from the early culture of the Indus Valley through the founding of Buddhism and Hinduism.

Answer: a Learning Objective: 4.1 Discuss the early art of India and Southeast Asia from the early culture of the Indus Valley through the founding of Buddhism and Hinduism.

Topic: The Indian Subcontinent and Southeast Asia Difficulty Level: Moderate Skill Level: Apply

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EOM Q4.1.2 Scholars believe that Maurya period pillars __________. a. promoted Buddhism b. picture Hindu teachings Consider This: Pillars were erected by Emperor Ashoka. 4.1 Discuss the early art of India and Southeast Asia from the early culture of the Indus Valley through the founding of Buddhism and Hinduism. c. supported small shrines Consider This: Pillars were erected by Emperor Ashoka. 4.1 Discuss the early art of India and Southeast Asia from the early culture of the Indus Valley through the founding of Buddhism and Hinduism. d. picture the king Consider This: Pillars were erected by Emperor Ashoka. 4.1 Discuss the early art of India and Southeast Asia from the early culture of the Indus Valley through the founding of Buddhism and Hinduism.

Answer: a Learning Objective: 4.1 Discuss the early art of India and Southeast Asia from the early culture of the Indus Valley through the founding of Buddhism and Hinduism.

Topic: The Indian Subcontinent and Southeast Asia Difficulty Level: Moderate Skill Level: Understand EOM Q4.1.3 Unlike a Buddhist temple, the Great Stupa at Sanchi is intended to __________. a. house relics b. accommodate worshippers Consider This: Its form is related to this function. 4.1 Discuss the early art of India and Southeast Asia from the early culture of the Indus Valley through the founding of Buddhism and Hinduism. c. symbolize paradise Consider This: Its form is related to this function. 4.1 Discuss the early art of India and Southeast Asia from the early culture of the Indus Valley through the founding of Buddhism and Hinduism. d. serve pilgrims Consider This: Its form is related to this function. 4.1 Discuss the early art of India and Southeast Asia from the early culture of the Indus Valley through the founding of Buddhism and Hinduism.

Answer: a Learning Objective: 4.1 Discuss the early art of India and Southeast Asia from the early culture of the Indus Valley through the founding of Buddhism and Hinduism.

Topic: The Indian Subcontinent and Southeast Asia Difficulty Level: Moderate Skill Level: Apply

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EOM Q4.1.4 The Shakyamuni Buddha from the Kushan period’s Gandahara style is remarkable for representing the earliest __________. a. figural representations of the Buddha in South Asia art b. continuous narratives in South Asian Buddhist art Consider This: The Buddha is sometimes represented by symbols. 4.1 Discuss the early art of India and Southeast Asia from the early culture of the Indus Valley through the founding of Buddhism and Hinduism. c. high relief sculptures in South Asian Buddhist art Consider This: The Buddha is sometimes represented by symbols. 4.1 Discuss the early art of India and Southeast Asia from the early culture of the Indus Valley through the founding of Buddhism and Hinduism. d. symbolic representations of Buddhism in South Asian art Consider This: The Buddha is sometimes represented by symbols. 4.1 Discuss the early art of India and Southeast Asia from the early culture of the Indus Valley through the founding of Buddhism and Hinduism.

Answer: a Learning Objective: 4.1 Discuss the early art of India and Southeast Asia from the early culture of the Indus Valley through the founding of Buddhism and Hinduism.

Topic: The Indian Subcontinent and Southeast Asia Difficulty Level: Difficult Skill Level: Understand EOM Q4.1.5 The temple at Borobudur in Indonesia is designed to represent __________. a. the Buddhist follower’s rise to enlightenment b. intertwining political and religious ideas Consider This: The building embodies the goals of Buddhism. 4.1 Discuss the early art of India and Southeast Asia from the early culture of the Indus Valley through the founding of Buddhism and Hinduism. c. the mandala Consider This: The building embodies the goals of Buddhism. 4.1 Discuss the early art of India and Southeast Asia from the early culture of the Indus Valley through the founding of Buddhism and Hinduism. d. the god Shiva Consider This: The building embodies the goals of Buddhism. 4.1 Discuss the early art of India and Southeast Asia from the early culture of the Indus Valley through the founding of Buddhism and Hinduism.

Answer: a Learning Objective: 4.1 Discuss the early art of India and Southeast Asia from the early culture of the Indus Valley through the founding of Buddhism and Hinduism.

Topic: The Indian Subcontinent and Southeast Asia Difficulty Level: Moderate Skill Level: Understand

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Quiz: China and Korea EOM Q4.2.1 The mausoleum of Chinese emperor Shihuangdi contains __________. a. terra-cotta soldiers b. bronze guangs Consider This: These were originally painted. 4.2 Trace the early development of art in China and Korea through a series of empires and the introduction of Buddhism. c. a stupa with relics Consider This: These were originally painted. 4.2 Trace the early development of art in China and Korea through a series of empires and the introduction of Buddhism. d. stone reliefs Consider This: These were originally painted. 4.2 Trace the early development of art in China and Korea through a series of empires and the introduction of Buddhism.

Answer: a Learning Objective: 4.2 Trace the early development of art in China and Korea through a series of empires and the introduction of Buddhism.

Topic: China and Korea Difficulty Level: Easy Skill Level: Remember EOM Q4.2.2 The Wu family relief sculpture illustrates the Confucian belief in __________. a. respect for authority b. the harmony of man and nature Consider This: Confucianism was promoted by the emperor Wudi. 4.2 Trace the early development of art in China and Korea through a series of empires and the introduction of Buddhism. c. the pursuit of enlightenment Consider This: Confucianism was promoted by the emperor Wudi. 4.2 Trace the early development of art in China and Korea through a series of empires and the introduction of Buddhism. d. individual freedom Consider This: Confucianism was promoted by the emperor Wudi. 4.2 Trace the early development of art in China and Korea through a series of empires and the introduction of Buddhism.

Answer: a Learning Objective: 4.2 Trace the early development of art in China and Korea through a series of empires and the introduction of Buddhism.

Topic: China and Korea Difficulty Level: Moderate Skill Level: Apply

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EOM Q4.2.3 Chinese calligraphy developed from __________. a. pictographs b. cuneiform Consider This: Chinese characters are unlike Western letterforms. 4.2 Trace the early development of art in China and Korea through a series of empires and the introduction of Buddhism. c. hieroglyphs Consider This: Chinese characters are unlike Western letterforms. 4.2 Trace the early development of art in China and Korea through a series of empires and the introduction of Buddhism. d. Confucianism Consider This: Chinese characters are unlike Western letterforms. 4.2 Trace the early development of art in China and Korea through a series of empires and the introduction of Buddhism.

Answer: a Learning Objective: 4.2 Trace the early development of art in China and Korea through a series of empires and the introduction of Buddhism.

Topic: China and Korea Difficulty Level: Easy Skill Level: Understand EOM Q4.2.4 The Nanchan Temple employs the basic modular unit of Chinese architectural construction known as the __________. a. bay b. elevation Consider This: This is formed by four posts and their lintels. 4.2 Trace the early development of art in China and Korea through a series of empires and the introduction of Buddhism. c. Bracket Consider This: This is formed by four posts and their lintels. 4.2 Trace the early development of art in China and Korea through a series of empires and the introduction of Buddhism. d. curved roofline Consider This: This is formed by four posts and their lintels. 4.2 Trace the early development of art in China and Korea through a series of empires and the introduction of Buddhism.

Answer: a Learning Objective: 4.2 Trace the early development of art in China and Korea through a series of empires and the introduction of Buddhism.

Topic: China and Korea Difficulty Level: Easy Skill Level: Understand

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EOM Q4.2.5 Bodhisattva Seated in Meditation displays the distinctive Korean style thanks to its __________. a. slender body b. seated pose Consider This: This style spread to Japan, where it became the basis for an international style of Buddhist art. 4.2 Trace the early development of art in China and Korea through a series of empires and the introduction of Buddhism. c. surface hatching Consider This: This style spread to Japan, where it became the basis for an international style of Buddhist art. 4.2 Trace the early development of art in China and Korea through a series of empires and the introduction of Buddhism. d. descriptive detail Consider This: This style spread to Japan, where it became the basis for an international style of Buddhist art. 4.2 Trace the early development of art in China and Korea through a series of empires and the introduction of Buddhism.

Answer: a Learning Objective: 4.2 Trace the early development of art in China and Korea through a series of empires and the introduction of Buddhism.

Topic: China and Korea Difficulty Level: Moderate Skill Level: Apply Quiz: Japan EOM Q4.3.1 Haniwa figures display the Japanese taste for __________. a. natural materials b. glazed ceramics Consider This: This taste is one of the dominant features in Japanese art. 4.3 Explain the ancient native traditions of Japanese art that blossomed in Shinto and Buddhist art and architecture. c. symbolic figures Consider This: This taste is one of the dominant features in Japanese art. 4.3 Explain the ancient native traditions of Japanese art that blossomed in Shinto and Buddhist art and architecture. d. theatrical designs Consider This: This taste is one of the dominant features in Japanese art. 4.3 Explain the ancient native traditions of Japanese art that blossomed in Shinto and Buddhist art and architecture.

Answer: a Learning Objective: 4.3 Explain the ancient native traditions of Japanese art that blossomed in Shinto and Buddhist art and architecture.

Topic: Japan Difficulty Level: Difficult Skill Level: Understand 20 Copyright © 2020, 2016, 2012 Pearson Education, Inc. All rights reserved.

EOM Q4.3.2 How is the Ise Shrine an example of ritual purification? a. It is rebuilt in a reenactment of seasonal death and rebirth. b. It is built from the natural stones of the surrounding landscape.

Consider This: The materials used are ephemeral. 4.3 Explain the ancient native traditions of Japanese art that blossomed in Shinto and Buddhist art and architecture. c. It contains an altar dedicated to the Shinto nature gods.

Consider This: The materials used are ephemeral. 4.3 Explain the ancient native traditions of Japanese art that blossomed in Shinto and Buddhist art and architecture. d. Its profile recalls the shape of the sacred Mt. Fuji.

Consider This: The materials used are ephemeral. 4.3 Explain the ancient native traditions of Japanese art that blossomed in Shinto and Buddhist art and architecture.

Answer: a Learning Objective: 4.3 Explain the ancient native traditions of Japanese art that blossomed in Shinto and Buddhist art and architecture.

Topic: Japan Difficulty Level: Moderate Skill Level: Understand EOM Q4.3.3 Why does the textbook describe the structures at Horyu-ji as Chinese-style? a. They are built with brackets and bays. b. They are built of stone and plaster.

Consider This: The pagoda is a good example. 4.3 Explain the ancient native traditions of Japanese art that blossomed in Shinto and Buddhist art and architecture. c. They imitate the forms of wooden architecture.

Consider This: The pagoda is a good example. 4.3 Explain the ancient native traditions of Japanese art that blossomed in Shinto and Buddhist art and architecture. d. They sit in a courtyard surrounded by corridors.

Consider This: The pagoda is a good example. 4.3 Explain the ancient native traditions of Japanese art that blossomed in Shinto and Buddhist art and architecture.

Answer: a Learning Objective: 4.3 Explain the ancient native traditions of Japanese art that blossomed in Shinto and Buddhist art and architecture.

Topic: Japan Difficulty Level: Difficult Skill Level: Apply

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EOM Q4.3.4 The Hungry Tigress Jataka illustrates the international Buddhist style with its __________. a. stylized landscape b. use of lacquer Consider This: This was transmitted to Japan via China and Korea. 4.3 Explain the ancient native traditions of Japanese art that blossomed in Shinto and Buddhist art and architecture. c. placement on a shrine Consider This: This was transmitted to Japan via China and Korea. 4.3 Explain the ancient native traditions of Japanese art that blossomed in Shinto and Buddhist art and architecture. d. naturalistic figures Consider This: This was transmitted to Japan via China and Korea. 4.3 Explain the ancient native traditions of Japanese art that blossomed in Shinto and Buddhist art and architecture.

Answer: a Learning Objective: 4.3 Explain the ancient native traditions of Japanese art that blossomed in Shinto and Buddhist art and architecture.

Topic: Japan Difficulty Level: Easy Skill Level: Apply EOM Q4.3.5 Buddhism arrived in Japan during the __________. a. Asuka period b. Kofun period A centralized governmental structure and a system of writing were also imported at this time. 4.3 Explain the ancient native traditions of Japanese art that blossomed in Shinto and Buddhist art and architecture. c. Yayoi period A centralized governmental structure and a system of writing were also imported at this time. 4.3 Explain the ancient native traditions of Japanese art that blossomed in Shinto and Buddhist art and architecture. d. Goguryeo period A centralized governmental structure and a system of writing were also imported at this time. 4.3 Explain the ancient native traditions of Japanese art that blossomed in Shinto and Buddhist art and architecture.

Answer: a Learning Objective: 4.3 Explain the ancient native traditions of Japanese art that blossomed in Shinto and Buddhist art and architecture.

Topic: Japan Difficulty Level: Easy Skill Level: Apply

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Chapter Quiz: Early Asian Art EOC Q4.1 What characterizes Buddhist devotional practice at sites such as the Great Stupa at Sanchi? a. Circumambulation b. Seated meditation Consider This: The design of the stupa facilitates this behavior. 4.1 Discuss the early art of India and Southeast Asia from the early culture of the Indus Valley through the founding of Buddhism and Hinduism. c. Rhythmic chanting Consider This: The design of the stupa facilitates this behavior. 4.1 Discuss the early art of India and Southeast Asia from the early culture of the Indus Valley through the founding of Buddhism and Hinduism. d. Monastic rituals Consider This: The design of the stupa facilitates this behavior. 4.1 Discuss the early art of India and Southeast Asia from the early culture of the Indus Valley through the founding of Buddhism and Hinduism.

Answer: a Learning Objective: 4.1 Discuss the early art of India and Southeast Asia from the early culture of the Indus Valley through the founding of Buddhism and Hinduism.

Topic: Early Asian Art Difficulty Level: Moderate Skill Level: Understand EOC Q4.2 Buddhas and bodhisattvas are distinguished in Indian art by their __________. a. dress b. facial features Consider This: Bodhisattvas help believers to achieve nirvana. 4.1 Discuss the early art of India and Southeast Asia from the early culture of the Indus Valley through the founding of Buddhism and Hinduism. c. location Consider This: Bodhisattvas help believers to achieve nirvana. 4.1 Discuss the early art of India and Southeast Asia from the early culture of the Indus Valley through the founding of Buddhism and Hinduism. d. material Consider This: Bodhisattvas help believers to achieve nirvana. 4.1 Discuss the early art of India and Southeast Asia from the early culture of the Indus Valley through the founding of Buddhism and Hinduism.

Answer: a Learning Objective: 4.1 Discuss the early art of India and Southeast Asia from the early culture of the Indus Valley through the founding of Buddhism and Hinduism.

Topic: Early Asian Art Difficulty Level: Difficult Skill Level: Apply

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EOC Q4.3 The Gandhara style combines Indian forms with those of __________ art. a. Greco-Roman b. East Asian Consider This: Cultures across the region and beyond shared influence. 4.1 Discuss the early art of India and Southeast Asia from the early culture of the Indus Valley through the founding of Buddhism and Hinduism. c. Mesopotamian Consider This: Cultures across the region and beyond shared influence. 4.1 Discuss the early art of India and Southeast Asia from the early culture of the Indus Valley through the founding of Buddhism and Hinduism. d. Egyptian Consider This: Cultures across the region and beyond shared influence. 4.1 Discuss the early art of India and Southeast Asia from the early culture of the Indus Valley through the founding of Buddhism and Hinduism.

Answer: a Learning Objective: 4.1 Discuss the early art of India and Southeast Asia from the early culture of the Indus Valley through the founding of Buddhism and Hinduism.

Topic: Early Asian Art Difficulty Level: Moderate Skill Level: Understand EOC Q4.4 What features distinguish the Buddha from other figures in Indian art? a. Mudras and ushnisha b. Princely garments and urna Consider This: Buddha has achieved enlightenment. 4.1 Discuss the early art of India and Southeast Asia from the early culture of the Indus Valley through the founding of Buddhism and Hinduism. c. Mahabharata and Lakshmi Consider This: Buddha has achieved enlightenment. 4.1 Discuss the early art of India and Southeast Asia from the early culture of the Indus Valley through the founding of Buddhism and Hinduism. d. Mahayana and headpiece Consider This: Buddha has achieved enlightenment. 4.1 Discuss the early art of India and Southeast Asia from the early culture of the Indus Valley through the founding of Buddhism and Hinduism.

Answer: a Learning Objective: 4.1 Discuss the early art of India and Southeast Asia from the early culture of the Indus Valley through the founding of Buddhism and Hinduism.

Topic: Early Asian Art Difficulty Level: Moderate Skill Level: Remember

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EOC Q4.5 Which term best describes the style of the Guang with Tiger and Owl Décor? a. Abstracted b. Illusionistic Consider This: The meaning of this work remains unclear. 4.2 Trace the early development of art in China and Korea through a series of empires and the introduction of Buddhism. c. Veristic Consider This: The meaning of this work remains unclear. 4.2 Trace the early development of art in China and Korea through a series of empires and the introduction of Buddhism. d. Symbolic Consider This: The meaning of this work remains unclear. 4.2 Trace the early development of art in China and Korea through a series of empires and the introduction of Buddhism.

Answer: a Learning Objective: 4.2 Trace the early development of art in China and Korea through a series of empires and the introduction of Buddhism.

Topic: Early Asian Art Difficulty Level: Difficult Skill Level: Apply EOC Q4.6 The tomb of Emperor Qin attempted to __________. a. recreate the emperor’s world b. defeat the emperor’s enemies Consider This: Egyptian tombs performed a similar function. 4.2 Trace the early development of art in China and Korea through a series of empires and the introduction of Buddhism. c. capture the glories of Chinese history Consider This: Egyptian tombs performed a similar function. 4.2 Trace the early development of art in China and Korea through a series of empires and the introduction of Buddhism. d. appease the emperor’s ancestors Consider This: Egyptian tombs performed a similar function. 4.2 Trace the early development of art in China and Korea through a series of empires and the introduction of Buddhism.

Answer: a Learning Objective: 4.2 Trace the early development of art in China and Korea through a series of empires and the introduction of Buddhism.

Topic: Early Asian Art Difficulty Level: Moderate Skill Level: Understand

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EOC Q4.7 The Incense Burner represents the typical Daoist interest in __________. a. immortality b. hierarchy Consider This: Daoism also was interested in nature. 4.2 Trace the early development of art in China and Korea through a series of empires and the introduction of Buddhism. c. nirvana Consider This: Daoism also was interested in nature. 4.2 Trace the early development of art in China and Korea through a series of empires and the introduction of Buddhism. d. equity Consider This: Daoism also was interested in nature. 4.2 Trace the early development of art in China and Korea through a series of empires and the introduction of Buddhism.

Answer: a Learning Objective: 4.2 Trace the early development of art in China and Korea through a series of empires and the introduction of Buddhism.

Topic: Early Asian Art Difficulty Level: Moderate Skill Level: Apply EOC Q4.8 Which object reflects Chinese Confucian ideas? a. Reliefs from the Wu family shrines b. Guang with Tiger and Owl Décor Consider This: This differs from Daoism’s humble, quiet path. 4.2 Trace the early development of art in China and Korea through a series of empires and the introduction of Buddhism. c. Camel Carrying a Group of Musicians Consider This: This differs from Daoism’s humble, quiet path. 4.2 Trace the early development of art in China and Korea through a series of empires and the introduction of Buddhism. d. Seated Buddha Consider This: This differs from Daoism’s humble, quiet path. 4.2 Trace the early development of art in China and Korea through a series of empires and the introduction of Buddhism.

Answer: a Learning Objective: 4.2 Trace the early development of art in China and Korea through a series of empires and the introduction of Buddhism.

Topic: Early Asian Art Difficulty Level: Moderate Skill Level: Understand

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EOC Q4.9 Chinese Han roofs are supported by __________. a. brackets b. mud brick Consider This: Han architecture is known only from models. 4.2 Trace the early development of art in China and Korea through a series of empires and the introduction of Buddhism. c. round arches Consider This: Han architecture is known only from models. 4.2 Trace the early development of art in China and Korea through a series of empires and the introduction of Buddhism. d. bays Consider This: Han architecture is known only from models. 4.2 Trace the early development of art in China and Korea through a series of empires and the introduction of Buddhism.

Answer: a Learning Objective: 4.2 Trace the early development of art in China and Korea through a series of empires and the introduction of Buddhism.

Topic: Early Asian Art Difficulty Level: Easy Skill Level: Understand EOC Q4.10 The Chinese Tang dynasty ceramics are known for their __________. a. naturalistic and lively figural images b. stylized and zoomorphic forms Consider This: This is different than the style of the Shang dynasty. 4.2 Trace the early development of art in China and Korea through a series of empires and the introduction of Buddhism. c. schematic figures and landscapes Consider This: This is different than the style of the Shang dynasty. 4.2 Trace the early development of art in China and Korea through a series of empires and the introduction of Buddhism. d. geometric patterns and textures Consider This: This is different than the style of the Shang dynasty. 4.2 Trace the early development of art in China and Korea through a series of empires and the introduction of Buddhism.

Answer: a Learning Objective: 4.2 Trace the early development of art in China and Korea through a series of empires and the introduction of Buddhism.

Topic: Early Asian Art Difficulty Level: Moderate Skill Level: Understand

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EOC Q4.11 Korean Buddhist art reflects the influence of __________. a. Chinese Buddhism b. Silla Buddhism Consider This: Monks spread Buddhism throughout Asia. 4.2 Trace the early development of art in China and Korea through a series of empires and the introduction of Buddhism. c. Goguryeo Shinto Consider This: Monks spread Buddhism throughout Asia. 4.2 Trace the early development of art in China and Korea through a series of empires and the introduction of Buddhism. d. Japanese Confucianism Consider This: Monks spread Buddhism throughout Asia. 4.2 Trace the early development of art in China and Korea through a series of empires and the introduction of Buddhism.

Answer: a Learning Objective: 4.2 Trace the early development of art in China and Korea through a series of empires and the introduction of Buddhism.

Topic: Early Asian Art Difficulty Level: Moderate Skill Level: Understand EOC Q4.12 The Main Hall, Inner Shrine at Ise exemplifies the Japanese interest in __________. a. natural materials b. Buddhism Consider This: The haniwa are similar. 4.3 Explain the ancient native traditions of Japanese art that blossomed in Shinto and Buddhist art and architecture. c. Confucianism Consider This: The haniwa are similar. 4.3 Explain the ancient native traditions of Japanese art that blossomed in Shinto and Buddhist art and architecture. d. brackets and bays Consider This: The haniwa are similar. 4.3 Explain the ancient native traditions of Japanese art that blossomed in Shinto and Buddhist art and architecture.

Answer: a Learning Objective: 4.3 Explain the ancient native traditions of Japanese art that blossomed in Shinto and Buddhist art and architecture.

Topic: Early Asian Art Difficulty Level: Moderate Skill Level: Understand

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EOC Q4.13 The Main Compound at Horyu-Ji illustrates the Buddhist practice of __________. a. worship in temples b. ritual purification Consider This: This happened at the kondo. 4.3 Explain the ancient native traditions of Japanese art that blossomed in Shinto and Buddhist art and architecture. c. circumambulation Consider This: This happened at the kondo. 4.3 Explain the ancient native traditions of Japanese art that blossomed in Shinto and Buddhist art and architecture. d. kami worship Consider This: This happened at the kondo. 4.3 Explain the ancient native traditions of Japanese art that blossomed in Shinto and Buddhist art and architecture.

Answer: a Learning Objective: 4.3 Explain the ancient native traditions of Japanese art that blossomed in Shinto and Buddhist art and architecture.

Topic: Early Asian Art Difficulty Level: Difficult Skill Level: Understand EOC Q4.14 Japanese lacquer is a kind of __________. a. varnish b. enamel Consider This: This can be lustrous. 4.3 Explain the ancient native traditions of Japanese art that blossomed in Shinto and Buddhist art and architecture. c. Ink Consider This: This can be lustrous. 4.3 Explain the ancient native traditions of Japanese art that blossomed in Shinto and Buddhist art and architecture. d. Paint Consider This: This can be lustrous. 4.3 Explain the ancient native traditions of Japanese art that blossomed in Shinto and Buddhist art and architecture.

Answer: a Learning Objective: 4.3 Explain the ancient native traditions of Japanese art that blossomed in Shinto and Buddhist art and architecture.

Topic: Early Asian Art Difficulty Level: Easy Skill Level: Remember

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EOC Q4.15 The Hungry Tigress Jataka at the Tamamushi Shrine tells the story of the Buddha’s __________. a. self-sacrifice b. selfishness Consider This: This is a characteristic that aids the path to enlightenment. 4.3 Explain the ancient native traditions of Japanese art that blossomed in Shinto and Buddhist art and architecture. c. self-reliance Consider This: This is a characteristic that aids the path to enlightenment. 4.3 Explain the ancient native traditions of Japanese art that blossomed in Shinto and Buddhist art and architecture. d. self-image Consider This: This is a characteristic that aids the path to enlightenment. 4.3 Explain the ancient native traditions of Japanese art that blossomed in Shinto and Buddhist art and architecture.

Answer: a Learning Objective: 4.3 Explain the ancient native traditions of Japanese art that blossomed in Shinto and Buddhist art and architecture.

Topic: Early Asian Art Difficulty Level: Moderate Skill Level: Understand

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Chapter 5: Art of Ancient Greece and the Aegean World Multiple-Choice Questions 1. Which of the following is the oldest Aegean civilization? a. Minoan b. Mycenaean c. Cycladic d. Greek Answer: c Learning Objective: 5.1 Identify the diverse forms of art and architecture surviving from the Bronze Age in the Aegean.

Topic: The Bronze Age in the Aegean Difficulty Level: Easy Skill Level: Remember the Facts 2. Where are Cycladic figurines usually found? a. in and around graves b. in palaces c. in temples d. in homes Answer: a Learning Objective: 5.1 Identify the diverse forms of art and architecture surviving from the Bronze Age in the Aegean.

Topic: The Cycladic Islands Difficulty Level: Moderate Skill Level: Understand the Concepts 3. Which of the following statements best characterizes Cycladic sculptures? a. They are reduced to abstract forms and stylized. b. They are luxury goods traded to Egypt and Anatolia. c. They usually depict houses, boats, birds, and animals. d. They portray naturalistic and youthful female nudes.

Answer: a Learning Objective: 5.1 Identify the diverse forms of art and architecture surviving from the Bronze Age in the Aegean.

Topic: The Cycladic Islands Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It

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4. Documents written in Linear B give insight into __________ material cultural. a. Cycladic b. Greek c. Minoan d. Hellenistic Answer: c Learning Objective: 5.1 Identify the diverse forms of art and architecture surviving from the Bronze Age in the Aegean.

Topic: Minoan Crete Difficulty Level: Easy Skill Level: Remember the Facts 5. The Minoan style of wall painting is characterized by __________. a. granulation, stylized insects, and geometric designs b. black-figure technique, military scenes, and foreshortening c. idealized male nudes, static compositions, and contrapposto d. linear contours, views of nature, and fields of pure color Answer: d Learning Objective: 5.1 Identify the diverse forms of art and architecture surviving from the Bronze Age in the Aegean.

Topic: Minoan Crete Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It 6. Octopus Flask exemplifies the Minoan interest in the __________. a. use of animals to express royal power b. grace and energy of natural forms c. mythology of ancient Greece d. abstract and geometric designs Answer: b Learning Objective: 5.1 Identify the diverse forms of art and architecture surviving from the Bronze Age in the Aegean.

Topic: Minoan Crete Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It

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7. The metalsmithing technique in which minute balls of precious metal are attached to a surface is called __________. a. niello b. granulation c. modeling d. mosaic Answer: b Learning Objective: 5.1 Identify the diverse forms of art and architecture surviving from the Bronze Age in the Aegean.

Topic: Minoan Crete Difficulty Level: Easy Skill Level: Remember the Facts 8. Which of the following demonstrates the use of corbeled vaults and cyclopean masonry in Mycenaean tholos tombs? a. “Treasury of Atreus” b. Erechtheion c. Altar from Pergamon d. Palace complex at Knossos Answer: a Learning Objective: 5.1 Identify the diverse forms of art and architecture surviving from the Bronze Age in the Aegean.

Topic: The Mycenaeans Difficulty Level: Moderate Skill Level: Understand the Concepts 9. The “great room” in the citadel at Mycenae is called the __________. a. architrave b. proscenium c. megaron d. cella Answer: c Learning Objective: 5.1 Identify the diverse forms of art and architecture surviving from the Bronze Age in the Aegean.

Topic: The Mycenaeans Difficulty Level: Moderate Skill Level: Understand the Concepts

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10. Which of the following aspects of the Lion Gate at Mycenae demonstrates the influence of Minoan architecture? a. the pair of lions b. the column c. the corbel arch d. the cyclopean walls Answer: b Learning Objective: 5.1 Identify the diverse forms of art and architecture surviving from the Bronze Age in the Aegean.

Topic: The Mycenaeans Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It 11. Which of the following artworks demonstrates the linear, stylized decoration of the Geometric period? a. The Death of Sarpedon b. Funerary Vessel (Krater) c. Bull Leaping d. Dying Gallic Trumpeter Answer: b Learning Objective: 5.2 Describe the distinctive ideals of human representation and architectural design that emerged at the beginning of ancient Greek civilization.

Topic: The Geometric Style Difficulty Level: Moderate Skill Level: Understand the Concepts 12. What does “archaic” mean? a. advanced b. unique c. common d. antiquated Answer: d Learning Objective: 5.2 Describe the distinctive ideals of human representation and architectural design that emerged at the beginning of ancient Greek civilization.

Topic: The Archaic Period Difficulty Level: Easy Skill Level: Remember the Facts

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13. What was the function of a Greek temple? a. to house a god or goddess b. to provide an interior space for worship c. to create sacred ground for burials d. to enshrine an altar for communal offerings Answer: a Learning Objective: 5.2 Describe the distinctive ideals of human representation and architectural design that emerged at the beginning of ancient Greek civilization.

Topic: The Archaic Period Difficulty Level: Moderate Skill Level: Understand the Concepts 14. In Greek architecture, temples conform to sets of proportional relationships and regulated decorative systems called __________. a. stylobates b. orders c. peristyles d. pediments Answer: b Learning Objective: 5.2 Describe the distinctive ideals of human representation and architectural design that emerged at the beginning of ancient Greek civilization.

Topic: The Archaic Period Difficulty Level: Moderate Skill Level: Understand the Concepts 15. Which of the following is an example of a structure constructed in the Doric order? a. “Treasury of Atreus” b. Temple of Aphaia c. Theater of Epidauros d. Altar from Pergamon Answer: b Learning Objective: 5.2 Describe the distinctive ideals of human representation and architectural design that emerged at the beginning of ancient Greek civilization.

Topic: The Archaic Period Difficulty Level: Moderate Skill Level: Understand the Concepts

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16. Fluted columns without bases that rise to unadorned, cushion-like capitals characterize the __________. a. Ionic order b. Corinthian order c. Composite order d. Doric order Answer: d Learning Objective: 5.2 Describe the distinctive ideals of human representation and architectural design that emerged at the beginning of ancient Greek civilization.

Topic: The Archaic Period Difficulty Level: Easy Skill Level: Remember the Facts 17. Which of the following architectural orders has elaborate capitals with stylized acanthus leaves beneath the volutes? a. Doric b. Ionic c. Corinthian d. Tuscan Answer: c Learning Objective: 5.2 Describe the distinctive ideals of human representation and architectural design that emerged at the beginning of ancient Greek civilization.

Topic: The Archaic Period Difficulty Level: Easy Skill Level: Remember the Facts 18. The Anavysos Kouros corresponds to the sculptural conventions of the Archaic period because the figure __________. a. stands in a contrapposto pose and has naturalistic anatomy b. was originally placed on the pediment of an Archaic Greek temple c. has a rigid stance, rounded musculature, and an archaic smile d. expresses extreme emotions in order to inspire empathy Answer: c Learning Objective: 5.2 Describe the distinctive ideals of human representation and architectural design that emerged at the beginning of ancient Greek civilization.

Topic: The Archaic Period Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It

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19. The ancient Greek vase painting technique in which slip is applied to unpainted clay to create the shapes of figures and details are incised is called __________. a. red-figure b. mosaic c. black-figure d. niello Answer: c Learning Objective: 5.2 Describe the distinctive ideals of human representation and architectural design that emerged at the beginning of ancient Greek civilization.

Topic: The Archaic Period Difficulty Level: Easy Skill Level: Remember the Facts 20. In the Death of Sarpedon, Euphronios makes Sarpedon’s left leg appear to project into the viewer’s space by using a technique called __________. a. foreshortening b. contrapposto c. entasis d. modeling Answer: a Learning Objective: 5.2 Describe the distinctive ideals of human representation and architectural design that emerged at the beginning of ancient Greek civilization.

Topic: The Archaic Period Difficulty Level: Moderate Skill Level: Understand the Concepts 21. The artistic development of the Classical period may have been inspired by the __________. a. defeat of the Persians b. death of Alexander the Great c. conquest of Mycenae d. victory over the Gauls Answer: a Learning Objective: 5.3 Trace the developing features that characterize Classical Greek art and architecture.

Topic: The Classical Period Difficulty Level: Moderate Skill Level: Remember the Facts

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22. The Classical convention of presenting standing figures with opposing alternations of tension and relaxation around a central axis is called __________. a. entasis b. foreshortening c. modeling d. contrapposto Answer: d Learning Objective: 5.3 Trace the developing features that characterize Classical Greek art and architecture.

Topic: The Early Classical Period (c. 480–450 BCE) Difficulty Level: Moderate Skill Level: Understand the Concepts 23. The Parthenon is a Greek temple dedicated to __________. a. Poseidon b. Athena c. Aphrodite d. Zeus Answer: b Learning Objective: 5.3 Trace the developing features that characterize Classical Greek art and architecture.

Topic: The “High” Classical Period (c. 450–400 BCE) Difficulty Level: Moderate Skill Level: Understand the Concepts 24. The Panathenaic festival procession is depicted on the __________. a. Parthenon’s Ionic frieze b. west pediment of the Temple of Aphaia c. metopes of the Erechtheion d. base of the Altar from Pergamon Answer: a Learning Objective: 5.3 Trace the developing features that characterize Classical Greek art and architecture.

Topic: The “High” Classical Period (c. 450–400 BCE) Difficulty Level: Moderate Skill Level: Understand the Concepts

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25. The north and east porches of the Erechtheion exemplify the Ionic order because the __________. a. fluted columns are topped with unadorned abaci b. slender columns end in capitals with volutes c. entablature was originally filled with sculpture d. temple was constructed according to a peristyle plan Answer: b Learning Objective: 5.3 Trace the developing features that characterize Classical Greek art and architecture.

Topic: The “High” Classical Period (c. 450–400 BCE) Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It 26. In ancient Greek architecture, female figures acting as columns are called __________. a. caryatids b. metopes c. volutes d. kore Answer: a Learning Objective: 5.3 Trace the developing features that characterize Classical Greek art and architecture.

Topic: The “High” Classical Period (c. 450–400 BCE) Difficulty Level: Easy Skill Level: Remember the Facts 27. Which of the following artworks exemplifies the use of a canon of proportions to create the ideal human figure? a. Anavysos Kouros b. Spear Bearer (Doryphoros) c. Grave Stele of a Little Girl d. “Kritios” Boy Answer: b Learning Objective: 5.3 Trace the developing features that characterize Classical Greek art and architecture.

Topic: The “High” Classical Period (c. 450–400 BCE) Difficulty Level: Moderate Skill Level: Understand the Concepts

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28. Praxiteles’ Aphrodite of Knidos was considered daring because it __________. a. deviated from the canon of Polykleitos b. used expressionism to incite empathy c. featured bright polychrome detail d. depicted the goddess as a nude woman Answer: d Learning Objective: 5.3 Trace the developing features that characterize Classical Greek art and architecture.

Topic: The Late Classical Period (400–323 BCE) Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It 29. The Hellenistic world was caused by the political unrest following the __________. a. defeat of the Persians b. Greek conquest of Mycenae c. Peloponnesian War d. death of Alexander Answer: d Learning Objective: 5.4 Distinguish Hellenistic art from the Classical art that preceded it.

Topic: Hellenistic Art Difficulty Level: Easy Skill Level: Remember the Facts 30. Unlike the conventions of Classical art, Hellenistic artwork is characterized by its __________. a. idealization and youthful nude figures b. aloof serenity and balanced proportions c. individual emotion and emotional melodrama d. heroic figures and peristyle plan temples Answer: c Learning Objective: 5.4 Distinguish Hellenistic art from the Classical art that preceded it.

Topic: Hellenistic Art Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It 31. Which two conflicting artistic trends are featured in Hellenistic sculpture? a. realistic and abstract b. Classical and anti-Classical c. organic and geometric d. idealized and stylized Answer: b Learning Objective: 5.4 Distinguish Hellenistic art from the Classical art that preceded it.

Topic: Hellenistic Art Difficulty Level: Moderate Skill Level: Understand the Concepts

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32. Sculptures that depicted people from all levels of society and unusual physical types were popular during the __________. a. Archaic b. Classical c. Geometric d. Hellenistic Answer: d Learning Objective: 5.4 Distinguish Hellenistic art from the Classical art that preceded it.

Topic: Hellenistic Art Difficulty Level: Moderate Skill Level: Understand the Concepts 33. In Dying Gallic Trumpeter, the figure can be identified as a Celtic “barbarian” because of his__________. a. torc b. drapery c. ideal body d. expressionism Answer: a Learning Objective: 5.4 Distinguish Hellenistic art from the Classical art that preceded it.

Topic: Pergamon Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It 34. Which of the following artworks demonstrates the conventions of Hellenistic sculpture? a. Lysippos’s Man Scraping Himself (Apoxyomenos) b. Athena Attacking the Giants c. Nike (Victory) Adjusting Her Sandal d. “Peplos” Kore Answer: b Learning Objective: 5.4 Distinguish Hellenistic art from the Classical art that preceded it.

Topic: Pergamon Difficulty Level: Moderate Skill Level: Understand the Concepts 35. The Pergamon frieze created dramatic contrasts of light and shade by using a technique called __________. a. modeling b. foreshortening c. undercutting d. contrapposto Answer: c Learning Objective: 5.4 Distinguish Hellenistic art from the Classical art that preceded it.

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Essay Questions 36. How does Young Girl Gathering Saffron Crocus Flowers demonstrate the stylistic conventions of Minoan wall painting?

Answer: The ideal answer should include: 1. Minoan painters created large scale paintings that depicted views of nature and scenes of human activity using linear contours and bright, unshaded fields of color.

2. In Young Girl Gathering Saffron Crocus Flowers, the artist uses these conventions to depict a young girl in the process of harvesting saffron from crocus flowers.

3. For example, the artist portrays the young girl in an active pose and delineates the outline of her body using black contour lines.

4. The girl’s light skin corresponds to Minoan painting conventions that used pale skin to distinguish females from darker-skinned males, and her blue scalp implies that she is entering adolescence; this is further indicated by the presence of saffron, which was a medicinal herb used to alleviate menstrual cramps.

Learning Objective: 5.1 Identify the diverse forms of art and architecture surviving from the Bronze Age in the Aegean.

Topic: Minoan Crete Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 37. Why is it important to consider the use of polychromy when analyzing Greek art? Use Archer and Reconstruction of Archer to explain your answer.

Answer: The ideal answer should include: 1. Ancient Greek sculpture was originally painted with brilliant colors that made them more lifelike than the stark white sculptures we see today.

2. Using scientific analysis of the sculptures, scholars have created reconstructions that replaced the lost features of Archer, such as ringlet hair extensions, a bow, a quiver, and arrows, which were probably made of bronze.

3. Diamond-shaped patterns were originally painted on the figure’s leggings and sleeves, using pigments derived from malachite, azurite, arsenic, cinnabar, and charcoal.

4. Artists enhanced the lifelike qualities of the polychrome by creating patterning that changed in size and shape in relation to the body beneath it, stretching out on expansive thighs and contracting on tapering ankles.

Learning Objective: 5.2 Describe the distinctive ideals of human representation and architectural design that emerged at the beginning of ancient Greek civilization.

Topic: The Archaic Period Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It

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38. How does the Parthenon embody the refinement of Classical Greek architecture?

Answer: The ideal answer should include: 1. The Parthenon was constructed of the finest white marble throughout and featured sculptural decorations that filled the pediments.

2. It followed the traditional cella and peristyle plan of Greek temple architecture, but because long horizontal lines appear to sag in the center, the architects designed both the base and the entablature to curve slightly upward to correct this optical distortion.

3. The columns have a subtle swelling called entasis and tilt inward slightly, and the corners are strengthened visually by reducing the space between columns at the ends of colonnades.

4. These subtle refinements give the Parthenon a lighter appearance and prevent it from looking like a heavy, lifeless stone box.

Learning Objective: 5.3 Trace the developing features that characterize Classical Greek art and architecture.

Topic: The “High” Classical Period (c. 450–400 BCE) Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 39. How does Alexandros’s Aphrodite of Melos combine Classical and Hellenistic conventions?

Answer: The ideal answer should include: 1. Alexandros’s Aphrodite of Melos represents a nostalgic interest in Late Classical style and was based on Praxiteles’ Aphrodite of Knidos.

2. The head and gaze of the figure is serene and dreamy, which is reminiscent of the Late Classical style.

3. However, the twisting stance and strong projection of the knee is typical of Hellenistic art.

4. The three-dimensional quality of the drapery and its texture is juxtaposed with the figure’s soft flesh creates an erotic tension that is characteristic of Hellenistic art.

Learning Objective: 5.4 Distinguish Hellenistic art from the Classical art that preceded it.

Topic: Hellenistic Art Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It

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40. How does the altar from Pergamon exemplify the characteristics of Hellenistic art?

Answer: The ideal answer should include: 1. The Pergamon frieze is carved in high relief with deep undercutting that creates dramatic contrasts of light and shade that heighten the expressionism of imagery.

2. Unlike the equilibrium and control conveyed by the grid of horizontals and verticals created by Classical Greek artists, the figures on the Pergamon frieze are depicted in complex forms and balanced on diagonal lines.

3. Some figures even extend beyond the architectural setting, crawling out onto the steps, and the combination of deep space and complex form corresponds to the theatrical style of Hellenistic art.

4. The figures also show extreme expressions, including pain, stress, anger, fear, or despair, which corresponds to the Hellenistic interest in eliciting an emotional response, such as empathy, from viewers.

Learning Objective: 5.4 Distinguish Hellenistic art from the Classical art that preceded it.

Topic: Pergamon Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It

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Revel Quizzes Quiz: The Bronze Age in the Aegean EOM Q5.1.1 Cycladic art displays the artistic convention known as __________. a. stylization b. composite view Consider This: Cycladic objects look very modern to us today. 5.1 Identify the diverse forms of art and architecture surviving from the Bronze Age in the Aegean. c. hierarchic scale Consider This: Cycladic objects look very modern to us today. 5.1 Identify the diverse forms of art and architecture surviving from the Bronze Age in the Aegean. d. Expression Consider This: Cycladic objects look very modern to us today. 5.1 Identify the diverse forms of art and architecture surviving from the Bronze Age in the Aegean.

Answer: a Learning Objective: 5.1 Identify the diverse forms of art and architecture surviving from the Bronze Age in the Aegean.

Topic: The Bronze Age in the Aegean Difficulty Level: Moderate Skill Level: Understand EOM Q5.1.2 What characterizes Minoan architecture? a. Dressed stone walls and wood columns b. Corbeled vaults and guardian figures Consider This: Minoan walls include mud-brick infill. 5.1 Identify the diverse forms of art and architecture surviving from the Bronze Age in the Aegean. c. Papyrus capitals and tent-like buildings Consider This: Minoan walls include mud-brick infill. 5.1 Identify the diverse forms of art and architecture surviving from the Bronze Age in the Aegean. d. Imposing fortifications and tombs Consider This: Minoan walls include mud-brick infill. 5.1 Identify the diverse forms of art and architecture surviving from the Bronze Age in the Aegean.

Answer: a Learning Objective: 5.1 Identify the diverse forms of art and architecture surviving from the Bronze Age in the Aegean.

Topic: The Bronze Age in the Aegean Difficulty Level: Moderate Skill Level: Understand

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EOM Q5.1.3 The most prominent feature of Minoan complexes was a large, central __________. a. courtyard b. shrine Consider This: This served a growing population. 5.1 Identify the diverse forms of art and architecture surviving from the Bronze Age in the Aegean. c. temple Consider This: This served a growing population. 5.1 Identify the diverse forms of art and architecture surviving from the Bronze Age in the Aegean. d. graveyard Consider This: This served a growing population. 5.1 Identify the diverse forms of art and architecture surviving from the Bronze Age in the Aegean.

Answer: a Learning Objective: 5.1 Identify the diverse forms of art and architecture surviving from the Bronze Age in the Aegean.

Topic: The Bronze Age in the Aegean Difficulty Level: Easy Skill Level: Remember EOM Q5.1.4 Mycenaean architecture is known for its __________. a. cyclopean masonry, fortified citadels, and megarons b. openness, light, and courtyards Consider This: Mycenae is a good example. 5.1 Identify the diverse forms of art and architecture surviving from the Bronze Age in the Aegean. c. Egyptian-influenced funerary compounds Consider This: Mycenae is a good example. 5.1 Identify the diverse forms of art and architecture surviving from the Bronze Age in the Aegean. d. airy stairwells and complicated grid plans Consider This: Mycenae is a good example. 5.1 Identify the diverse forms of art and architecture surviving from the Bronze Age in the Aegean.

Answer: a Learning Objective: 5.1 Identify the diverse forms of art and architecture surviving from the Bronze Age in the Aegean.

Topic: The Bronze Age in the Aegean Difficulty Level: Moderate Skill Level: Understand

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EOM Q5.1.5 Mycenaean tombs were built using a __________. a. corbeled vault b. passage grave Consider This: The Treasury of Atreus is a type of structure known as a beehive tomb.

5.1 Identify the diverse forms of art and architecture surviving from the Bronze Age in the Aegean. c. hypostyle hall Consider This: The Treasury of Atreus is a type of structure known as a beehive tomb.

5.1 Identify the diverse forms of art and architecture surviving from the Bronze Age in the Aegean. d. clerestory Consider This: The Treasury of Atreus is a type of structure known as a beehive tomb.

5.1 Identify the diverse forms of art and architecture surviving from the Bronze Age in the Aegean.

Answer: a Learning Objective: 5.1 Identify the diverse forms of art and architecture surviving from the Bronze Age in the Aegean.

Topic: The Bronze Age in the Aegean Difficulty Level: Easy Skill Level: Remember Quiz: The Emergence of Greek Civilization EOM Q5.2.1 How is Greek art different from Egyptian art? a. Greek artistic styles changed rapidly. b. Greek artists use stone and metal.

Consider This: The difference lies in the fact that Greek art reflected different beliefs than Egyptian. 5.2 Describe the distinctive ideals of human representation and architectural design that emerged at the beginning of ancient Greek civilization. c. Greek art depicts gods and mortals.

Consider This: The difference lies in the fact that Greek art reflected different beliefs than Egyptian. 5.2 Describe the distinctive ideals of human representation and architectural design that emerged at the beginning of ancient Greek civilization. d. Greek art is principally associated with death.

Consider This: The difference lies in the fact that Greek art reflected different beliefs than Egyptian. 5.2 Describe the distinctive ideals of human representation and architectural design that emerged at the beginning of ancient Greek civilization.

Answer: a Learning Objective: 5.2 Describe the distinctive ideals of human representation and architectural design that emerged at the beginning of ancient Greek civilization.

Topic: The Emergence of Greek Civilization Difficulty Level: Difficult Skill Level: Apply 17 Copyright © 2020, 2016, 2012 Pearson Education, Inc. All rights reserved.

EOM Q5.2.2 Greek Geometric style art is characterized by its __________. a. stylization b. bright colors Consider This: This was accomplished by line. 5.2 Describe the distinctive ideals of human representation and architectural design that emerged at the beginning of ancient Greek civilization. c. compositional unity Consider This: This was accomplished by line. 5.2 Describe the distinctive ideals of human representation and architectural design that emerged at the beginning of ancient Greek civilization. d. perspective Consider This: This was accomplished by line. 5.2 Describe the distinctive ideals of human representation and architectural design that emerged at the beginning of ancient Greek civilization.

Answer: a Learning Objective: 5.2 Describe the distinctive ideals of human representation and architectural design that emerged at the beginning of ancient Greek civilization.

Topic: The Emergence of Greek Civilization Difficulty Level: Moderate Skill Level: Understand EOM Q5.2.3 Archaic period sculpture is increasingly __________. a. lifelike b. abstract Consider This: Greek art experiences change even within a single period style. 5.2 Describe the distinctive ideals of human representation and architectural design that emerged at the beginning of ancient Greek civilization. c. formal Consider This: Greek art experiences change even within a single period style. 5.2 Describe the distinctive ideals of human representation and architectural design that emerged at the beginning of ancient Greek civilization. d. colorless Consider This: Greek art experiences change even within a single period style. 5.2 Describe the distinctive ideals of human representation and architectural design that emerged at the beginning of ancient Greek civilization.

Answer: a Learning Objective: 5.2 Describe the distinctive ideals of human representation and architectural design that emerged at the beginning of ancient Greek civilization.

Topic: The Emergence of Greek Civilization Difficulty Level: Moderate Skill Level: Understand

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Quiz: The Classical Period EOM Q5.3.1 How is the Early Classical period “Kritios” Boy unlike Archaic period kouroi figures? a. “Kritios” Boy has a naturalistic posture. b. “Kritios” Boy exhibits strict frontality.

Consider This: The Early Classical period changed the representation of the figure. 5.3 Trace the developing features that characterize Classical Greek art and architecture. c. “Kritios Boy” is a nude male.

Consider This: The Early Classical period changed the representation of the figure. 5.3 Trace the developing features that characterize Classical Greek art and architecture. d. “Kritios” Boy is made of marble.

Consider This: The Early Classical period changed the representation of the figure. 5.3 Trace the developing features that characterize Classical Greek art and architecture.

Answer: a Learning Objective: 5.3 Trace the developing features that characterize Classical Greek art and architecture.

Topic: The Classical Period Difficulty Level: Moderate Skill Level: Understand EOM Q5.3.2 The Riace Warrior embodies the Greek desire to __________. a. seek an ideal based on the human form b. depict real human emotions and suffering Consider This: Humanist philosophy urges the Greek to “know thyself.” 5.3 Trace the developing features that characterize Classical Greek art and architecture. c. picture life after death Consider This: Humanist philosophy urges the Greek to “know thyself.” 5.3 Trace the developing features that characterize Classical Greek art and architecture. d. appease the gods with offerings Consider This: Humanist philosophy urges the Greek to “know thyself.” 5.3 Trace the developing features that characterize Classical Greek art and architecture.

Answer: a Learning Objective: 5.3 Trace the developing features that characterize Classical Greek art and architecture.

Topic: The Classical Period Difficulty Level: Difficult Skill Level: Apply

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EOM Q5.3.3 How does the Parthenon embody Greek self-awareness, as illustrated by a Greek philosopher’s statement that “Man is the measure of all things”? a. Refinements in the design counteract optical illusions. b. Peristyle columns are three times human height.

Consider This: Ancient Greeks believed the words of their philosophers and expected to see them embodied in their art. 5.3 Trace the developing features that characterize Classical Greek art and architecture. c. The plan is based on the human body.

Consider This: Ancient Greeks believed the words of their philosophers and expected to see them embodied in their art. 5.3 Trace the developing features that characterize Classical Greek art and architecture. d. The pediment sculpture is exactly life sized.

Consider This: Ancient Greeks believed the words of their philosophers and expected to see them embodied in their art. 5.3 Trace the developing features that characterize Classical Greek art and architecture.

Answer: a Learning Objective: 5.3 Trace the developing features that characterize Classical Greek art and architecture.

Topic: The Classical Period Difficulty Level: Difficult Skill Level: Apply EOM Q5.3.4 The metope sculpture of the Lapith Fighting a Centaur illustrates the Greek belief in the triumph of __________. a. rational thought over emotion b. Greeks over the Turks Consider This: Other metopes on the Parthenon picture a god fighting a Titan, a Greek battling a Trojan, and a Greek struggling with an Amazon. 5.3 Trace the developing features that characterize Classical Greek art and architecture. c. the arts over science Consider This: Other metopes on the Parthenon picture a god fighting a Titan, a Greek battling a Trojan, and a Greek struggling with an Amazon. 5.3 Trace the developing features that characterize Classical Greek art and architecture. d. philosophy over warfare Consider This: Other metopes on the Parthenon picture a god fighting a Titan, a Greek battling a Trojan, and a Greek struggling with an Amazon. 5.3 Trace the developing features that characterize Classical Greek art and architecture.

Answer: a Learning Objective: 5.3 Trace the developing features that characterize Classical Greek art and architecture.

Topic: The Classical Period Difficulty Level: Moderate Skill Level: Understand

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EOM Q5.3.5 How does the Late Classical period Greek mosaic Alexander the Great Confronts Darius III at the Battle of Issos create a believable illusion of the real world? a. Modeling and foreshortening b. Hierarchy of scale and entasis Consider This: These techniques were more difficult in ceramic vessel painting. 5.3 Trace the developing features that characterize Classical Greek art and architecture. c. Canon of proportion and tholos Consider This: These techniques were more difficult in ceramic vessel painting. 5.3 Trace the developing features that characterize Classical Greek art and architecture. d. Hue and composite pose Consider This: These techniques were more difficult in ceramic vessel painting. 5.3 Trace the developing features that characterize Classical Greek art and architecture.

Answer: a Learning Objective: 5.3 Trace the developing features that characterize Classical Greek art and architecture.

Topic: The Classical Period Difficulty Level: Moderate Skill Level: Apply Quiz: Hellenistic Art EOM Q5.4.1 Greek Hellenistic period art differs from Classical period art in its preference for representations that are __________. a. specific and individualized b. generalized and imaginative Consider This: Hellenistic period artists developed visions discernibly distinct from those of their Classical Greek predecessors. 5.4 Distinguish Hellenistic art from the Classical art that preceded it. c. abstracted and expressive Consider This: Hellenistic period artists developed visions discernibly distinct from those of their Classical Greek predecessors. 5.4 Distinguish Hellenistic art from the Classical art that preceded it. d. homogenous and predictable Consider This: Hellenistic period artists developed visions discernibly distinct from those of their Classical Greek predecessors. 5.4 Distinguish Hellenistic art from the Classical art that preceded it.

Answer: a Learning Objective: 5.4 Distinguish Hellenistic art from the Classical art that preceded it.

Topic: Hellenistic Art Difficulty Level: Moderate Skill Level: Apply

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EOM Q5.4.2 How is Dying Gallic Trumpeter typical of Greek Hellenistic period art? a. It attempts to stir emotions. b. It emulates fourth-century Greek sculpture.

Consider This: This characteristic distinguishes Hellenism from the Classical period. 5.4 Distinguish Hellenistic art from the Classical art that preceded it. c. It has a smooth, evenly illuminated surface.

Consider This: This characteristic distinguishes Hellenism from the Classical period. 5.4 Distinguish Hellenistic art from the Classical art that preceded it. d. Its represents a god.

Consider This: This characteristic distinguishes Hellenism from the Classical period. 5.4 Distinguish Hellenistic art from the Classical art that preceded it.

Answer: a Learning Objective: 5.4 Distinguish Hellenistic art from the Classical art that preceded it.

Topic: Hellenistic Art Difficulty Level: Difficult Skill Level: Apply EOM Q5.4.3 The Hellenistic statue in this chapter that exemplifies the continuing use of Classical style is the __________. a. Aphrodite of Melos b. Nike of Samothrace Consider This: This work retains Classical restraint. 5.4 Distinguish Hellenistic art from the Classical art that preceded it. c. Laocoön and His Sons Consider This: This work retains Classical restraint. 5.4 Distinguish Hellenistic art from the Classical art that preceded it. d. Market Woman Consider This: This work retains Classical restraint. 5.4 Distinguish Hellenistic art from the Classical art that preceded it.

Answer: a Learning Objective: 5.4 Distinguish Hellenistic art from the Classical art that preceded it.

Topic: Hellenistic Art Difficulty Level: Moderate Skill Level: Understand

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Chapter Quiz: Art of Ancient Greece and the Aegean World EOC Q5.1 Cycladic art is best known for its __________. a. figurative marble sculptures b. gold and silver jewelry Consider This: These look different in their current unpainted condition. 5.1 Identify the diverse forms of art and architecture surviving from the Bronze Age in the Aegean. c. landscape frescoes Consider This: These look different in their current unpainted condition. 5.1 Identify the diverse forms of art and architecture surviving from the Bronze Age in the Aegean. d. bronze figurines Consider This: These look different in their current unpainted condition. 5.1 Identify the diverse forms of art and architecture surviving from the Bronze Age in the Aegean.

Answer: a Learning Objective: 5.1 Identify the diverse forms of art and architecture surviving from the Bronze Age in the Aegean.

Topic: Art of Ancient Greece and the Aegean World Difficulty Level: Easy Skill Level: Understand EOC Q5.2 The stone used in Minoan architecture is called “dressed stone” because it is __________. a. carefully cut and highly finished b. painted and stacked Consider This: Minoan architecture employs several different materials. 5.1 Identify the diverse forms of art and architecture surviving from the Bronze Age in the Aegean. c. fully removed from the quarry Consider This: Minoan architecture employs several different materials. 5.1 Identify the diverse forms of art and architecture surviving from the Bronze Age in the Aegean. d. carried a long distance Consider This: Minoan architecture employs several different materials. 5.1 Identify the diverse forms of art and architecture surviving from the Bronze Age in the Aegean.

Answer: a Learning Objective: 5.1 Identify the diverse forms of art and architecture surviving from the Bronze Age in the Aegean.

Topic: Art of Ancient Greece and the Aegean World Difficulty Level: Easy Skill Level: Understand

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EOC Q5.3 What feature of the architectural complexes on Crete leads some scholars to speculate that these were key sites for community gatherings and ritual ceremonies? a. Large central courtyards b. Hypostyle audience halls Consider This: Minoan palace complexes share some qualities with Near Eastern examples, but also display unique qualities. 5.1 Identify the diverse forms of art and architecture surviving from the Bronze Age in the Aegean. c. Small, open chapels surrounding a central altar Consider This: Minoan palace complexes share some qualities with Near Eastern examples, but also display unique qualities. 5.1 Identify the diverse forms of art and architecture surviving from the Bronze Age in the Aegean. d. A mazelike network of passageways Consider This: Minoan palace complexes share some qualities with Near Eastern examples, but also display unique qualities. 5.1 Identify the diverse forms of art and architecture surviving from the Bronze Age in the Aegean.

Answer: a Learning Objective: 5.1 Identify the diverse forms of art and architecture surviving from the Bronze Age in the Aegean.

Topic: Art of Ancient Greece and the Aegean World Difficulty Level: Moderate Skill Level: Understand EOC Q5.4 What are the parts of an Archaic temple that are seen on the façade? a. Column, entablature, and pediment b. Peristyle, pronaos, and cella Consider This: The shape and decoration of these is based on the order. 5.2 Describe the distinctive ideals of human representation and architectural design that emerged at the beginning of ancient Greek civilization. c. Sanctuary, shrine, and altar Consider This: The shape and decoration of these is based on the order. 5.2 Describe the distinctive ideals of human representation and architectural design that emerged at the beginning of ancient Greek civilization. d. Stoa, temple, and treasury Consider This: The shape and decoration of these is based on the order. 5.2 Describe the distinctive ideals of human representation and architectural design that emerged at the beginning of ancient Greek civilization.

Answer: a Learning Objective: 5.2 Describe the distinctive ideals of human representation and architectural design that emerged at the beginning of ancient Greek civilization.

Topic: Art of Ancient Greece and the Aegean World Difficulty Level: Easy Skill Level: Remember

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EOC Q5.5 To aid identification, Archaic ceramic vessel painters accompanied figures with __________. a. labels b. red figures Consider This: This is found in the scene of Ajax and Achilles. 5.2 Describe the distinctive ideals of human representation and architectural design that emerged at the beginning of ancient Greek civilization. c. registers Consider This: This is found in the scene of Ajax and Achilles. 5.2 Describe the distinctive ideals of human representation and architectural design that emerged at the beginning of ancient Greek civilization. d. ornaments Consider This: This is found in the scene of Ajax and Achilles. 5.2 Describe the distinctive ideals of human representation and architectural design that emerged at the beginning of ancient Greek civilization.

Answer: a Learning Objective: 5.2 Describe the distinctive ideals of human representation and architectural design that emerged at the beginning of ancient Greek civilization.

Topic: Art of Ancient Greece and the Aegean World Difficulty Level: Easy Skill Level: Remember EOC Q5.6 The advantage of the red-figure vase painting technique over black-figure is __________. a. more fluid drawing b. richer color Consider This: This is due to how details were added. 5.2 Describe the distinctive ideals of human representation and architectural design that emerged at the beginning of ancient Greek civilization. c. broader themes Consider This: This is due to how details were added. 5.2 Describe the distinctive ideals of human representation and architectural design that emerged at the beginning of ancient Greek civilization. d. more permanent marks Consider This: This is due to how details were added. 5.2 Describe the distinctive ideals of human representation and architectural design that emerged at the beginning of ancient Greek civilization.

Answer: a Learning Objective: 5.2 Describe the distinctive ideals of human representation and architectural design that emerged at the beginning of ancient Greek civilization.

Topic: Art of Ancient Greece and the Aegean World Difficulty Level: Moderate Skill Level: Understand

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EOC Q5.7 Early Classical period Greek art is characterized by the increasing desire for __________. a. naturalistic yet idealized forms b. elegant yet legible stylizations Consider This: Egyptian art sought this only briefly. 5.3 Trace the developing features that characterize Classical Greek art and architecture. c. abstract yet natural renderings Consider This: Egyptian art sought this only briefly. 5.3 Trace the developing features that characterize Classical Greek art and architecture. d. moving yet narrative images Consider This: Egyptian art sought this only briefly. 5.3 Trace the developing features that characterize Classical Greek art and architecture.

Answer: a Learning Objective: 5.3 Trace the developing features that characterize Classical Greek art and architecture.

Topic: Art of Ancient Greece and the Aegean World Difficulty Level: Moderate Skill Level: Understand EOC Q5.8 The “Kritios” Boy displays the beginnings of the Classical Greek stylistic convention known as __________. a. contrapposto b. narrative Consider This: This shows the body with weight shifted to one foot. 5.3 Trace the developing features that characterize Classical Greek art and architecture. c. foreshortening Consider This: This shows the body with weight shifted to one foot. 5.3 Trace the developing features that characterize Classical Greek art and architecture. d. modeling Consider This: This shows the body with weight shifted to one foot. 5.3 Trace the developing features that characterize Classical Greek art and architecture.

Answer: a Learning Objective: 5.3 Trace the developing features that characterize Classical Greek art and architecture.

Topic: Art of Ancient Greece and the Aegean World Difficulty Level: Easy Skill Level: Remember

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EOC Q5.9 Like many Greek temples, the Parthenon’s plan includes a __________. a. peristyle, pronaos, and cella b. tholos, metope, and contrapposto Consider This: These elements are not all visible from the exterior. 5.3 Trace the developing features that characterize Classical Greek art and architecture. c. worship hall, pulpit, and colonnade Consider This: These elements are not all visible from the exterior. 5.3 Trace the developing features that characterize Classical Greek art and architecture. d. stoa, temple, and treasury Consider This: These elements are not all visible from the exterior. 5.3 Trace the developing features that characterize Classical Greek art and architecture.

Answer: a Learning Objective: 5.3 Trace the developing features that characterize Classical Greek art and architecture.

Topic: Art of Ancient Greece and the Aegean World Difficulty Level: Moderate Skill Level: Remember EOC Q5.10 Columns that take the shape of women on the Akropolis are called __________. a. caryatids b. entablatures Consider This: Columns are identified by their capitals as well as their shapes. 5.3 Trace the developing features that characterize Classical Greek art and architecture. c. pediments Consider This: Columns are identified by their capitals as well as their shapes. 5.3 Trace the developing features that characterize Classical Greek art and architecture. d. stoas Consider This: Columns are identified by their capitals as well as their shapes. 5.3 Trace the developing features that characterize Classical Greek art and architecture.

Answer: a Learning Objective: 5.3 Trace the developing features that characterize Classical Greek art and architecture.

Topic: Art of Ancient Greece and the Aegean World Difficulty Level: Easy Skill Level: Remember

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EOC Q5.11 How did High Classical Greek period artists achieve ideal figures? a. By using the canon of proportion b. By studying ancient Egyptian figures Consider This: Greek artists sought consistently idealized perfection. 5.3 Trace the developing features that characterize Classical Greek art and architecture. c. By employing hierarchy of scale Consider This: Greek artists sought consistently idealized perfection. 5.3 Trace the developing features that characterize Classical Greek art and architecture. d. By observing the effects of age on the body Consider This: Greek artists sought consistently idealized perfection. 5.3 Trace the developing features that characterize Classical Greek art and architecture.

Answer: a Learning Objective: 5.3 Trace the developing features that characterize Classical Greek art and architecture.

Topic: Art of Ancient Greece and the Aegean World Difficulty Level: Moderate Skill Level: Understand EOC Q5.12 What new Greek subject matter was introduced in the Late Classical period? a. Fully nude women b. Infants and children Consider This: Greek art principally represents humans and gods. 5.3 Trace the developing features that characterize Classical Greek art and architecture. c. Warriors in battle Consider This: Greek art principally represents humans and gods. 5.3 Trace the developing features that characterize Classical Greek art and architecture. d. Artists at work Consider This: Greek art principally represents humans and gods. 5.3 Trace the developing features that characterize Classical Greek art and architecture.

Answer: a Learning Objective: 5.3 Trace the developing features that characterize Classical Greek art and architecture.

Topic: Art of Ancient Greece and the Aegean World Difficulty Level: Easy Skill Level: Understand

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EOC Q5.13 The Pergamon Altar is topped by a __________. a. colonnade b. pediment Consider This: The peristyle on a Greek temple has the same thing. 5.4 Distinguish Hellenistic art from the Classical art that preceded it. c. tholos Consider This: The peristyle on a Greek temple has the same thing. 5.4 Distinguish Hellenistic art from the Classical art that preceded it. d. cella Consider This: The peristyle on a Greek temple has the same thing. 5.4 Distinguish Hellenistic art from the Classical art that preceded it.

Answer: a Learning Objective: 5.3 Trace the developing features that characterize Classical Greek art and architecture.

Topic: Art of Ancient Greece and the Aegean World Difficulty Level: Easy Skill Level: Understand EOC Q5.14 The Pergamon Altar is typical of the Greek Hellenistic style due to its __________. a. expressionism b. restraint Consider This: This is unlike “Kritios” Boy. 5.4 Distinguish Hellenistic art from the Classical art that preceded it. c. rationality Consider This: This is unlike “Kritios” Boy. 5.4 Distinguish Hellenistic art from the Classical art that preceded it. d. philosophy Consider This: This is unlike “Kritios” Boy. 5.4 Distinguish Hellenistic art from the Classical art that preceded it.

Answer: a Learning Objective: 5.4 Distinguish Hellenistic art from the Classical art that preceded it.

Topic: Art of Ancient Greece and the Aegean World Difficulty Level: Moderate Skill Level: Apply

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EOC Q5.15 The Hellenistic Old Woman embodies the Hellenistic period’s interest in images of __________. a. unusual subjects b. mythological themes Consider This: This did not fit the goals of earlier Greek art. 5.4 Distinguish Hellenistic art from the Classical art that preceded it. c. divine characters Consider This: This did not fit the goals of earlier Greek art. 5.4 Distinguish Hellenistic art from the Classical art that preceded it. d. mortal humans Consider This: This did not fit the goals of earlier Greek art. 5.4 Distinguish Hellenistic art from the Classical art that preceded it.

Answer: a Learning Objective: 5.4 Distinguish Hellenistic art from the Classical art that preceded it.

Topic: Art of Ancient Greece and the Aegean World Difficulty Level: Moderate Skill Level: Apply

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Chapter 6: Etruscan and Roman Art Multiple-Choice Questions 1. What is a cistae? a. a cylindrical container used by Etruscan women to carry personal items b. an oven used for firing and curing Roman terra cotta sculptures c. a figural group that includes Dionysus between two satyrs d. a prominent Etruscan iconographic theme that references the Argonauts Answer: a Learning Objective: None Topic: Introduction Difficulty Level: Moderate Skill Level: Understand the Concepts 2. The sculpture Apulu (Apollo) was originally located __________. a. in the cella of a temple b. at the top of a triumphal arch c. on the roof ridge of a temple d. in the atrium of a tomb Answer: c Learning Objective: 6.1 Characterize the ways in which Etruscan art celebrates the vitality of human existence.

Topic: The Etruscans Difficulty Level: Moderate Skill Level: Understand the Concepts 3. Unlike in Greek art, Etruscan artists represented their gods __________. a. in the nude b. with rigid stances c. with “archaic smiles” d. in robes Answer: d Learning Objective: 6.1 Characterize the ways in which Etruscan art celebrates the vitality of human existence.

Topic: The Etruscans Difficulty Level: Moderate Skill Level: Understand the Concepts

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4. Etruscan temples resemble Greek temples because they __________. a. include a stereobate and continuous peristyle colonnade b. use post-and-lintel structures with gable roofs c. are rectangular buildings with a central area called a nave d. feature a large rotunda accessed by a portico Answer: b Learning Objective: 6.1 Characterize the ways in which Etruscan art celebrates the vitality of human existence.

Topic: The Etruscans Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 5. The Tomb of the Reliefs at Cerveteri includes a burial chamber carved to resemble an Etruscan __________. a. house b. basilica c. temple d. forum Answer: a Learning Objective: 6.1 Characterize the ways in which Etruscan art celebrates the vitality of human existence.

Topic: The Etruscans Difficulty Level: Moderate Skill Level: Understand the Concepts 6. The Tomb of the Triclinium at Tarquinia exemplifies Etruscan art in its __________. a. mud-brick rooms that are constructed around a central courtyard, or atrium b. low relief panels that depict victory celebrations and members of the imperial family c. colorful wall paintings that feature dancers and banqueters who engage in joyful activities d. terra-cotta sculptures of gods that were placed on the roof ridge of the tomb’s façade Answer: c Learning Objective: 6.1 Characterize the ways in which Etruscan art celebrates the vitality of human existence.

Topic: The Etruscans Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It

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7. A large carved tomb chest is called a __________. a. basilica b. vault c. sarcophagus d. cistae Answer: c Learning Objective: 6.1 Characterize the ways in which Etruscan art celebrates the vitality of human existence.

Topic: The Etruscans Difficulty Level: Easy Skill Level: Remember the Facts 8. Reclining Couple on a Sarcophagus is characteristic of Etruscan art because it is __________. a. carved from marble b. sculpted from terra cotta c. cast in bronze d. modeled using stucco Answer: b Learning Objective: 6.1 Characterize the ways in which Etruscan art celebrates the vitality of human existence.

Topic: The Etruscans Difficulty Level: Moderate Skill Level: Understand the Concepts 9. In 509 BCE, the Romans __________. a. granted to the Etruscans Roman citizenship b. conquered Greece and adopted Greek customs c. overthrew the last king and founded a republic d. established a dictatorship ruled by four tetrarchs Answer: c Learning Objective: 6.2 Discuss the distinctive modes of human representation and architectural design that emerged during the Roman Republic and Early Empire.

Topic: The Republican Period Difficulty Level: Moderate Skill Level: Remember the Facts

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10. Which of the following traditions influenced the use of verism in Roman Republican portraiture? a. the advertisement of successful gladiators b. the commemoration of military battles on triumphal arches c. the display of death masks of deceased relatives d. the use of images of Roman emperors as propaganda Answer: c Learning Objective: 6.2 Discuss the distinctive modes of human representation and architectural design that emerged during the Roman Republic and Early Empire.

Topic: The Republican Period Difficulty Level: Moderate Skill Level: Understand the Concepts 11. In the temple that might have been dedicated to Portunus, Greek influence is evident in the use of __________. a. Ionic order columns b. engaged half-columns c. a peristyle colonnade d. a single entrance Answer: a Learning Objective: 6.2 Discuss the distinctive modes of human representation and architectural design that emerged during the Roman Republic and Early Empire.

Topic: The Republican Period Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It 12. A structure with water conduits is called __________. a. a voussoir b. a pier c. a nave d. an aqueduct Answer: d Learning Objective: 6.2 Discuss the distinctive modes of human representation and architectural design that emerged during the Roman Republic and Early Empire.

Topic: The Republican Period Difficulty Level: Easy Skill Level: Remember the Facts

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13. A round arch consists of __________. a. arcades and buttresses b. voussoirs and a keystone c. aisles and an apse d. coffers and a clerestory Answer: b Learning Objective: 6.2 Discuss the distinctive modes of human representation and architectural design that emerged during the Roman Republic and Early Empire.

Topic: The Republican Period Difficulty Level: Easy Skill Level: Remember the Facts 14. A round arch can be lengthened to form a cylindrical space called __________. a. an apse b. an arcade c. a barrel vault d. a spandrel Answer: c Learning Objective: 6.2 Discuss the distinctive modes of human representation and architectural design that emerged during the Roman Republic and Early Empire.

Topic: The Republican Period Difficulty Level: Easy Skill Level: Remember the Facts 15. A series of regularly spaced arched openings is called __________. a. an arcade b. a nave c. a spandrel d. a barrel vault Answer: a Learning Objective: 6.2 Discuss the distinctive modes of human representation and architectural design that emerged during the Roman Republic and Early Empire.

Topic: The Republican Period Difficulty Level: Easy Skill Level: Remember the Facts

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16. Which of the following structures demonstrates the Roman use of round arches and arcades? a. Ara Pacis Augustae b. Pont du Gard c. House of the Vettii d. Basilica Ulpia Answer: b Learning Objective: 6.2 Discuss the distinctive modes of human representation and architectural design that emerged during the Roman Republic and Early Empire.

Topic: The Republican Period Difficulty Level: Moderate Skill Level: Understand the Concepts 17. The elevation of a human being to divine status is called __________. a. allegory b. verism c. apotheosis d. trompe l’oeil Answer: c Learning Objective: 6.2 Discuss the distinctive modes of human representation and architectural design that emerged during the Roman Republic and Early Empire.

Topic: The Age of Augustus Difficulty Level: Easy Skill Level: Remember the Facts 18. The relief panels of the Ara Pacis Augustae are different from the sculptures of the Parthenon frieze because they __________. a. depict nude Roman figures in the Classical style b. show a generalized procession of idealized figures c. are contained within the interior of the structure d. portray actual individuals participating in a specific event Answer: d Learning Objective: 6.2 Discuss the distinctive modes of human representation and architectural design that emerged during the Roman Republic and Early Empire.

Topic: The Age of Augustus Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It

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19. Which of the following commemorates Augustus’s triumphal return to Rome after establishing Roman rule in Gaul? a. The Tetrarchs b. Gemma Augustea c. The Pantheon d. Ara Pacis Augustae Answer: d Learning Objective: 6.2 Discuss the distinctive modes of human representation and architectural design that emerged during the Roman Republic and Early Empire.

Topic: The Age of Augustus Difficulty Level: Moderate Skill Level: Understand the Concepts 20. A gemstone carved in low relief is known as a __________. a. cameo b. dado c. voussoir d. spandrel Answer: a Learning Objective: 6.2 Discuss the distinctive modes of human representation and architectural design that emerged during the Roman Republic and Early Empire.

Topic: The Age of Augustus Difficulty Level: Easy Skill Level: Remember the Facts 21. A luxury house in Pompeii, such as the House of the Vettii, usually had rooms organized around the __________. a. peristyle and atrium b. forum and basilica c. nave and apse d. arcade and aqueduct Answer: a Learning Objective: 6.2 Discuss the distinctive modes of human representation and architectural design that emerged during the Roman Republic and Early Empire.

Topic: The Roman House Difficulty Level: Moderate Skill Level: Understand the Concepts

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22. Which architectural order was created by the Romans? a. Tuscan b. Composite c. Ionic d. Corinthian Answer: b Learning Objective: 6.3 Identify major trends and monuments of imperial Roman art and architecture.

Topic: Imperial Architecture Difficulty Level: Easy Skill Level: Remember the Facts 23. The Arch of Titus demonstrates the Roman interest in __________. a. commemorating imperial military victories b. creating forums for administrative functions c. public buildings that made Roman cities viable d. providing interior spaces for altars and cult statues Answer: a Learning Objective: 6.3 Identify major trends and monuments of imperial Roman art and architecture.

Topic: Imperial Architecture Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 24. Which of the following is a large rectangular Roman administration building? a. peristyle b. forum c. basilica d. rotunda Answer: c Learning Objective: 6.3 Identify major trends and monuments of imperial Roman art and architecture.

Topic: Imperial Architecture Skill Level: Remember the Facts Difficulty Level: Easy

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25. In Roman basilicas, the apse functioned as __________. a. an imposing setting for judges during court b. a large central aisle for civic processions c. a circular wall that supported a domed ceiling d. an upper level of windows to provide natural light Answer: a Learning Objective: 6.3 Identify major trends and monuments of imperial Roman art and architecture.

Topic: Imperial Architecture Difficulty Level: Moderate Skill Level: Understand the Concepts 26. The recessed ceiling panels that lightened the weight of the Pantheon’s dome are called __________. a. pilasters b. cameos c. coffers d. apses Answer: c Learning Objective: 6.3 Identify major trends and monuments of imperial Roman art and architecture.

Topic: Imperial Architecture Difficulty Level: Moderate Skill Level: Understand the Concepts 27. A rotunda is a __________. a. circular room b. series of arched openings c. gathering place for civic events d. columned courtyard Answer: a Learning Objective: 6.3 Identify major trends and monuments of imperial Roman art and architecture.

Topic: Imperial Architecture Difficulty Level: Moderate Skill Level: Remember the Facts

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28. The central circular opening in the dome of the Pantheon is __________. a. a keystone b. an attic story c. a drum d. an oculus Answer: d Learning Objective: 6.3 Identify major trends and monuments of imperial Roman art and architecture.

Topic: Imperial Architecture Difficulty Level: Moderate Skill Level: Understand the Concepts 29. Young Flavian Woman demonstrates the Roman interest in __________. a. stylized representations of the wealthy b. using idealized images as imperial propaganda c. creating recognizable likenesses of individuals d. using verism for republican portraiture Answer: c Learning Objective: 6.3 Identify major trends and monuments of imperial Roman art and architecture.

Topic: Imperial Portraits Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 30. Which of the following depicts the Roman emperor who succeeded Hadrian and was known for his military and intellectual achievements? a. Commodus as Hercules b. Augustus of Primaporta c. Equestrian Statue of Marcus Aurelius d. Aulus Metellus Answer: c Learning Objective: 6.3 Identify major trends and monuments of imperial Roman art and architecture.

Topic: Imperial Portraits Difficulty Level: Moderate Skill Level: Understand the Concepts

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31. The Tetrarchs, and other examples of art from the Late Roman empire, are different from imperial portraits because they are __________. a. recognizable b. veristic c. idealized d. stylized Answer: d Learning Objective: 6.4 Distinguish the continuities and changes in art and architecture during the Late Roman Empire.

Topic: The Late Empire Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It 32. The Basilica of Maxentius and Constantine featured a central hall covered with __________. a. a large dome b. square pilasters c. groin vaults d. circular tondi Answer: c Learning Objective: 6.4 Distinguish the continuities and changes in art and architecture during the Late Roman Empire.

Topic: The Late Empire Difficulty Level: Moderate Skill Level: Understand the Concepts 33. In 313 CE, Constantine __________. a. moved the Roman capital to Byzantium b. destroyed the Second Temple of Jerusalem c. issued the Edict of Milan legalizing all religions d. divided the empire among rulers called the tetrarchs Answer: c Learning Objective: 6.4 Distinguish the continuities and changes in art and architecture during the Late Roman Empire.

Topic: Constantine the Great Difficulty Level: Moderate Skill Level: Remember the Facts

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34. The Arch of Constantine associates Constantine with the power of previous Roman emperors by __________. a. rejecting the Classical forms of Greek architecture b. incorporating reliefs from imperial monuments c. its centralized placement in the forum of Trajan d. depicting each emperor as idealized and veristic Answer: b Learning Objective: 6.4 Distinguish the continuities and changes in art and architecture during the Late Roman Empire.

Topic: Constantine the Great Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 35. Which of the following was completed during the Late Roman empire? a. Equestrian Statue of Marcus Aurelius b. Arch of Titus c. Gemma Augustae d. Arch of Constantine Answer: d Learning Objective: 6.4 Distinguish the continuities and changes in art and architecture during the Late Roman Empire.

Topic: Constantine the Great Difficulty Level: Moderate Skill Level: Understand the Concepts Essay Questions 36. How does the architecture of Etruscan temples compare and contrast with that of Greek temples?

Answer: The ideal answer should include: 1. Etruscan temples resembled Greek temples because both are post-and-lintel structures with gabled roofs.

2. The bases, column shafts, and capitals of Etruscan temples are similar to those of the Greek Doric or Ionic orders.

3. Etruscan temples differed from the Greek temples in that their raised base had only one staircase leading to a columned porch on one short side of the rectangular temple.

4. Greek temples, however, had a uniformly stepped stereobate and continuous peristyle colonnade that surrounded the cella.

Learning Objective: 6.1 Characterize the ways in which Etruscan art celebrates the vitality of human existence.

Topic: The Etruscans Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It

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37. Describe and analyze the iconography of Augustus of Primaporta. What was the sculpture’s possible function?

Answer: The ideal answer should include: 1. Augustus of Primaporta was inspired by heroic Greek figures, such as Polykleitos’s Spear Bearer, and portrays the ruler in the prime of his youth.

2. However, the naturalistic details of the sculpture make him easily recognizable and might correspond to the emperor’s use of portraiture for political propaganda.

3. Augustus wears a cuirass that depicts defeated barbarians and scenes of his military victories.

4. Augustus is shown with bare feet, which led some scholars to propose that the sculpture was made after his death to commemorate his apotheosis, or elevation to divine status.

Learning Objective: 6.2 Discuss the distinctive modes of human representation and architectural design that emerged during the Roman Republic and Early Empire.

Topic: The Age of Augustus Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 38. How does the Colosseum exemplify the architectural innovations of imperial Roman monuments?

Answer: The ideal answer should include: 1. The massive arena is constructed of barrel vaults that cover passageways and stairs, which form groin vaults at the intersections around the arena’s perimeter.

2. The Roman builders used concrete created by mixing stone rubble with volcanic sand and water to create the barrel and groin vaults of the structure’s core.

3. The building’s façade is created from stone masonry and features three levels of arcades surrounded by an attic story.

4. Each arch of the arcade is framed by decorative engaged columns and is in a different architectural order: the ground level columns are in the Tuscan order, the second level is in the Ionic order, the third level is in the Corinthian order, and Corinthian pilasters adorn the top level.

Learning Objective: 6.3 Identify major trends and monuments of imperial Roman art and architecture.

Topic: Imperial Architecture Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It

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39. Describe and analyze the form and function of the Arch of Titus.

Answer: The ideal answer should include: 1. The Arch of Titus is a triumphal arch, or a large free-standing gateway whose passageway is covered by a barrel vault, and one of many Roman monuments that served as imperial propaganda.

2. The monument commemorates Titus’s capture of Jerusalem, which ended a revolt of the Jews in Palestine.

3. A relief on the inside walls of the arch depicts Titus’s soldiers flaunting the sacred treasures that they looted from the Second Temple of Jerusalem, especially a large menorah, and which was used in Titus’s triumphal procession during his return to Rome.

4. The arch originally featured a monumental bronze statue of a four-horse chariot and driver, which was a typical Roman triumphal symbol.

Learning Objective: 6.3 Identify major trends and monuments of imperial Roman art and architecture.

Topic: Imperial Architecture Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 40. How is the style of The Tetrarchs distinct from earlier examples Roman portraiture and why is this significant?

Answer: The ideal answer should include: 1. The Tetrarchs depicts the rulers that governed Diocletian’s dictatorial empire and none of the figures bear an individual likeness.

2. The sculpture is symbolic of the powerful positions of the rulers and therefore their individualized likenesses are less significant.

3. They represent a conscious replacement of classical tradition by a providing a different aesthetic viewpoint—severe, militaristic, and abstract rather than idealized and classicizing.

4. The Tetrarchs may embody Diocletian’s abstract concept of government or parallel the idealized abstraction of Neoplatonic provincial art in Diocletian’s Dalmatian homeland.

Learning Objective: 6.4 Distinguish the continuities and changes in art and architecture during the Late Roman Empire.

Topic: The Late Empire Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It

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Revel Quizzes Quiz: The Etruscans EOM Q6.1.1 Apulu illustrates how Etruscans __________. a. were familiar with Greek sculpture b. created complicated narratives Consider This: This was created for a temple roof. 6.1 Characterize the ways in which Etruscan art celebrates the vitality of human existence. c. traded with the Egyptians for terracotta Consider This: This was created for a temple roof. 6.1 Characterize the ways in which Etruscan art celebrates the vitality of human existence. d. excelled at metalwork Consider This: This was created for a temple roof. 6.1 Characterize the ways in which Etruscan art celebrates the vitality of human existence.

Answer: a Learning Objective: 6.1 Characterize the ways in which Etruscan art celebrates the vitality of human existence.

Topic: The Etruscans Difficulty Level: Moderate Skill Level: Understand EOM Q6.1.2 Which element of an Etruscan temple adjusts the Greek peristyle? a. Columned porch b. Underground location Consider This: The ancient Etruscan art is contemporary with ancient Greek art. 6.1 Characterize the ways in which Etruscan art celebrates the vitality of human existence. c. Pediment reliefs Consider This: The ancient Etruscan art is contemporary with ancient Greek art. 6.1 Characterize the ways in which Etruscan art celebrates the vitality of human existence. d. Corinthian order Consider This: The ancient Etruscan art is contemporary with ancient Greek art. 6.1 Characterize the ways in which Etruscan art celebrates the vitality of human existence.

Answer: a Learning Objective: 6.1 Characterize the ways in which Etruscan art celebrates the vitality of human existence.

Topic: The Etruscans Difficulty Level: Moderate Skill Level: Understand

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EOM Q6.1.3 Etruscan tombs are known for their representations of __________. a. daily life and festivities b. funerary rituals Consider This: The Tomb of the Triclinium is a good example. 6.1 Characterize the ways in which Etruscan art celebrates the vitality of human existence. c. gods and giants Consider This: The Tomb of the Triclinium is a good example. 6.1 Characterize the ways in which Etruscan art celebrates the vitality of human existence. d. family and community Consider This: The Tomb of the Triclinium is a good example. 6.1 Characterize the ways in which Etruscan art celebrates the vitality of human existence.

Answer: a Learning Objective: 6.1 Characterize the ways in which Etruscan art celebrates the vitality of human existence.

Topic: The Etruscans Difficulty Level: Moderate Skill Level: Understand EOM Q6.1.4 What aspect of Reclining Couple on a Sarcophagus is typical of Etruscan figural art? a. Its lively humanity b. Its rigid formality Consider This: The paintings in the Tomb of the Triclinium share this characteristic. 6.1 Characterize the ways in which Etruscan art celebrates the vitality of human existence. c. Its timelessness Consider This: The paintings in the Tomb of the Triclinium share this characteristic. 6.1 Characterize the ways in which Etruscan art celebrates the vitality of human existence. d. Its religious theme Consider This: The paintings in the Tomb of the Triclinium share this characteristic. 6.1 Characterize the ways in which Etruscan art celebrates the vitality of human existence.

Answer: a Learning Objective: 6.1 Characterize the ways in which Etruscan art celebrates the vitality of human existence.

Topic: The Etruscans Difficulty Level: Difficult Skill Level: Apply

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Quiz: The Romans: From Republic to Empire EOM Q6.2.1 What distinguishes Roman portraiture during the Republican period from Greek Classical sculpture? a. Roman portraiture emphasizes age and individual likeness. b. Roman portraiture pictures gods, not living individuals.

Consider This: Roman ancestor portraits were displayed in the home. 6.2 Discuss the distinctive modes of human representation and architectural design that emerged during the Roman Republic and Early Empire. c. Roman portraiture is made of painted marble.

Consider This: Roman ancestor portraits were displayed in the home. 6.2 Discuss the distinctive modes of human representation and architectural design that emerged during the Roman Republic and Early Empire. d. Roman portraiture promotes ideal beauty over specificity.

Consider This: Roman ancestor portraits were displayed in the home. 6.2 Discuss the distinctive modes of human representation and architectural design that emerged during the Roman Republic and Early Empire.

Answer: a Learning Objective: 6.2 Discuss the distinctive modes of human representation and architectural design that emerged during the Roman Republic and Early Empire.

Topic: The Romans: From Republic to Empire Difficulty Level: Moderate Skill Level: Understand EOM Q6.2.2 Why are the structure and function of the Pont du Gard representative of Roman civilization? a. The aqueduct is a public building project that employs arcades. b. The aqueduct reliefs represent civilized Romans and technology.

Consider This: Aqueducts bring water from distant sources. 6.2 Discuss the distinctive modes of human representation and architectural design that emerged during the Roman Republic and Early Empire. c. The aqueduct imposes the Roman will on a conquered people.

Consider This: Aqueducts bring water from distant sources. 6.2 Discuss the distinctive modes of human representation and architectural design that emerged during the Roman Republic and Early Empire. d. The aqueduct brings water using corbel vault technology.

Consider This: Aqueducts bring water from distant sources. 6.2 Discuss the distinctive modes of human representation and architectural design that emerged during the Roman Republic and Early Empire.

Answer: a Learning Objective: 6.2 Discuss the distinctive modes of human representation and architectural design that emerged during the Roman Republic and Early Empire.

Topic: The Romans: From Republic to Empire Difficulty Level: Difficult Skill Level: Apply 17 Copyright © 2020, 2016, 2012 Pearson Education, Inc. All rights reserved.

EOM Q6.2.3 How does the Ara Pacis embody the political context of the Roman Early Imperial period? a. It commemorates the emperor’s achievements. b. It celebrates the virtues of the Republic.

Consider This: The Ara Pacis is also known as the Altar of Augustan Peace. 6.2 Discuss the distinctive modes of human representation and architectural design that emerged during the Roman Republic and Early Empire. c. It is a memorial to members of the Senate.

Consider This: The Ara Pacis is also known as the Altar of Augustan Peace. 6.2 Discuss the distinctive modes of human representation and architectural design that emerged during the Roman Republic and Early Empire. d. It includes images from Greco-Roman mythology.

Consider This: The Ara Pacis is also known as the Altar of Augustan Peace. 6.2 Discuss the distinctive modes of human representation and architectural design that emerged during the Roman Republic and Early Empire.

Answer: a Learning Objective: 6.2 Discuss the distinctive modes of human representation and architectural design that emerged during the Roman Republic and Early Empire.

Topic: The Romans: From Republic to Empire Difficulty Level: Moderate Skill Level: Analyze EOM Q6.2.4 Roman villa plans typically include __________. a. rooms organized around a peristyle b. a peristyle organized around a podium Consider This: Villas were single-family homes. 6.2 Discuss the distinctive modes of human representation and architectural design that emerged during the Roman Republic and Early Empire. c. gardens and fountains separated by an impluvium Consider This: Villas were single-family homes. 6.2 Discuss the distinctive modes of human representation and architectural design that emerged during the Roman Republic and Early Empire. d. impluvium rooms separated by a garden Consider This: Villas were single-family homes. 6.2 Discuss the distinctive modes of human representation and architectural design that emerged during the Roman Republic and Early Empire.

Answer: a Learning Objective: 6.2 Discuss the distinctive modes of human representation and architectural design that emerged during the Roman Republic and Early Empire.

Topic: The Romans: From Republic to Empire Difficulty Level: Easy Skill Level: Remember

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EOM Q6.2.5 Roman imperial painters created fictive space on the walls they painted using __________. a. linear perspective and volumetric figures b. fresco paint and colorful mosaics Consider This: The painters sought to give the appearance of opening up the room. 6.2 Discuss the distinctive modes of human representation and architectural design that emerged during the Roman Republic and Early Empire. c. multicolored columns framing registers Consider This: The painters sought to give the appearance of opening up the room. 6.2 Discuss the distinctive modes of human representation and architectural design that emerged during the Roman Republic and Early Empire. d. mirrored tesserae that reflect light Consider This: The painters sought to give the appearance of opening up the room. 6.2 Discuss the distinctive modes of human representation and architectural design that emerged during the Roman Republic and Early Empire.

Answer: a Learning Objective: 6.2 Discuss the distinctive modes of human representation and architectural design that emerged during the Roman Republic and Early Empire.

Topic: The Romans: From Republic to Empire Difficulty Level: Moderate Skill Level: Understand Quiz: Imperial Rome (Num. items: 4) EOM Q6.3.1 The plan of a Roman basilica consists of __________. a. a nave, aisles, and apses b. a podium, base, and cella Consider This: The Forum of Trajan included a basilica with this plan. 6.3 Identify major trends and monuments of imperial Roman art and architecture. c. a sanctuary, column, and exedra Consider This: The Forum of Trajan included a basilica with this plan. 6.3 Identify major trends and monuments of imperial Roman art and architecture. d. an arch, vault, and dome Consider This: The Forum of Trajan included a basilica with this plan. 6.3 Identify major trends and monuments of imperial Roman art and architecture.

Answer: a Learning Objective: 6.3 Identify major trends and monuments of imperial Roman art and architecture.

Topic: Imperial Rome Difficulty Level: Moderate Skill Level: Remember

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EOM Q6.3.2 The Column of Trajan pictures the common Roman Imperial period theme of __________. a. the emperor’s achievements b. scenes of everyday life Consider This: The Column of Trajan is located in Trajan’s Forum. 6.3 Identify major trends and monuments of imperial Roman art and architecture. c. religious rituals Consider This: The Column of Trajan is located in Trajan’s Forum. 6.3 Identify major trends and monuments of imperial Roman art and architecture. d. urban views Consider This: The Column of Trajan is located in Trajan’s Forum. 6.3 Identify major trends and monuments of imperial Roman art and architecture.

Answer: a Learning Objective: 6.3 Identify major trends and monuments of imperial Roman art and architecture.

Topic: Imperial Rome Difficulty Level: Difficult Skill Level: Apply EOM Q6.3.3 The Pantheon takes advantage of the Roman architectural developments of __________. a. concrete and the dome b. marble and the arch Consider This: These developments permitted the vast open space. 6.3 Identify major trends and monuments of imperial Roman art and architecture. c. iron and the vault Consider This: These developments permitted the vast open space. 6.3 Identify major trends and monuments of imperial Roman art and architecture. d. brick and the arcade Consider This: These developments permitted the vast open space. 6.3 Identify major trends and monuments of imperial Roman art and architecture.

Answer: a Learning Objective: 6.3 Identify major trends and monuments of imperial Roman art and architecture.

Topic: Imperial Rome Difficulty Level: Moderate Skill Level: Understand

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EOM Q6.3.4 Commodus’s portrait dressed as Hercules employs the typical Roman Imperial portraiture characteristic of idealization due to its __________. a. Classical body type b. mythological costuming Consider This: Commodus evoked Hercules as a hero. 6.3 Identify major trends and monuments of imperial Roman art and architecture. c. specific facial features Consider This: Commodus evoked Hercules as a hero. 6.3 Identify major trends and monuments of imperial Roman art and architecture. d. stylization of forms Consider This: Commodus evoked Hercules as a hero. 6.3 Identify major trends and monuments of imperial Roman art and architecture.

Answer: a Learning Objective: 6.3 Identify major trends and monuments of imperial Roman art and architecture.

Topic: Imperial Rome Difficulty Level: Moderate Skill Level: Apply Quiz: The Late Empire EOM Q6.4.1 The portraits of the Tetrarchs correspond to what historical event? a. The division of the Roman empire for administrative purposes b. The adoption of Christianity Consider This: The tetrarchy was created by Diocletian. 6.4 Distinguish the continuities and changes in art and architecture during the Late Roman Empire. c. The sack of Rome Consider This: The tetrarchy was created by Diocletian. 6.4 Distinguish the continuities and changes in art and architecture during the Late Roman Empire. d. The discovery of Byzantium Consider This: The tetrarchy was created by Diocletian. 6.4 Distinguish the continuities and changes in art and architecture during the Late Roman Empire.

Answer: a Learning Objective: 6.4 Distinguish the continuities and changes in art and architecture during the Late Roman Empire.

Topic: The Late Empire Difficulty Level: Moderate Skill Level: Understand

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EOM Q6.4.2 The Basilica of Maxentius reflects the Late Imperial period persistence of Roman __________. a. civic architectural projects b. hygiene campaigns Consider This: The Arch of Constantine is another example. 6.4 Distinguish the continuities and changes in art and architecture during the Late Roman Empire. c. colonial architecture Consider This: The Arch of Constantine is another example. 6.4 Distinguish the continuities and changes in art and architecture during the Late Roman Empire. d. adaptation of Greek models Consider This: The Arch of Constantine is another example. 6.4 Distinguish the continuities and changes in art and architecture during the Late Roman Empire.

Answer: a Learning Objective: 6.4 Distinguish the continuities and changes in art and architecture during the Late Roman Empire.

Topic: The Late Empire Difficulty Level: Moderate Skill Level: Understand EOM Q6.4.3 The relief sculptures on the Arch of Constantine demonstrate how the Late Imperial period appreciated art that __________. a. was both abstracted and classicizing b. abandoned traditions inherited from Greek art Consider This: The colossal portrait of Constantine shares this quality. 6.4 Distinguish the continuities and changes in art and architecture during the Late Roman Empire. c. was filled with Christian symbols Consider This: The colossal portrait of Constantine shares this quality. 6.4 Distinguish the continuities and changes in art and architecture during the Late Roman Empire. d. both celebrated and criticized the Roman ruler Consider This: The colossal portrait of Constantine shares this quality. 6.4 Distinguish the continuities and changes in art and architecture during the Late Roman Empire.

Answer: a Learning Objective: 6.4 Distinguish the continuities and changes in art and architecture during the Late Roman Empire.

Topic: The Late Empire Difficulty Level: Difficult Skill Level: Understand

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Chapter Quiz: Etruscan and Roman Art EOC Q6.1 One way in which a Tuscan order column differs from one of the Doric order is that the __________. a. shaft is smooth b. capital includes acanthus leaves Consider This: The distinction is visible on the Roman Colosseum. 6.1 Characterize the ways in which Etruscan art celebrates the vitality of human existence. c. shaft is fluted Consider This: The distinction is visible on the Roman Colosseum. 6.1 Characterize the ways in which Etruscan art celebrates the vitality of human existence. d. capital has two rounded volutes Consider This: The distinction is visible on the Roman Colosseum. 6.1 Characterize the ways in which Etruscan art celebrates the vitality of human existence.

Answer: a Learning Objective: 6.1 Characterize the ways in which Etruscan art celebrates the vitality of human existence.

Topic: Etruscan and Roman Art Difficulty Level: Easy Skill Level: Remember EOC Q6.2 The Dancers and Diners in the Tomb of the Triclinium is typical of Etruscan art’s use of color to __________. a. distinguish gender b. honor the gods Consider This: Egyptian paintings share this characteristic. 6.1 Characterize the ways in which Etruscan art celebrates the vitality of human existence. c. symbolize class Consider This: Egyptian paintings share this characteristic. 6.1 Characterize the ways in which Etruscan art celebrates the vitality of human existence. d. represent authority Consider This: Egyptian paintings share this characteristic. 6.1 Characterize the ways in which Etruscan art celebrates the vitality of human existence.

Answer: a Learning Objective: 6.1 Characterize the ways in which Etruscan art celebrates the vitality of human existence.

Topic: Etruscan and Roman Art Difficulty Level: Easy Skill Level: Understand

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EOC Q6.3 What distinguishes Roman portraiture during the Republican period? a. Verism b. Materials Consider This: Roman ancestor portraits display this. 6.2 Discuss the distinctive modes of human representation and architectural design that emerged during the Roman Republic and Early Empire. c. Idealization Consider This: Roman ancestor portraits display this. 6.2 Discuss the distinctive modes of human representation and architectural design that emerged during the Roman Republic and Early Empire. d. Stylization Consider This: Roman ancestor portraits display this. 6.2 Discuss the distinctive modes of human representation and architectural design that emerged during the Roman Republic and Early Empire.

Answer: a Learning Objective: 6.2 Discuss the distinctive modes of human representation and architectural design that emerged during the Roman Republic and Early Empire.

Topic: Etruscan and Roman Art Difficulty Level: Difficult Skill Level: Apply EOC Q6.4 The plan of Roman urban temples reveals that they were built __________. a. for interior visits b. for exterior rituals Consider This: Roman temples were entered from one direction. 6.2 Discuss the distinctive modes of human representation and architectural design that emerged during the Roman Republic and Early Empire. c. as homes for the gods Consider This: Roman temples were entered from one direction. 6.2 Discuss the distinctive modes of human representation and architectural design that emerged during the Roman Republic and Early Empire. d. as burial sites Consider This: Roman temples were entered from one direction. 6.2 Discuss the distinctive modes of human representation and architectural design that emerged during the Roman Republic and Early Empire.

Answer: a Learning Objective: 6.2 Discuss the distinctive modes of human representation and architectural design that emerged during the Roman Republic and Early Empire.

Topic: Etruscan and Roman Art Difficulty Level: Moderate Skill Level: Understand

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EOC Q6.5 Why is the structure of the Pont du Gard described as an example of Roman engineering? a. It uses the arch. b. It carried troops.

Consider This: This is also a characteristic of the Colosseum. 6.2 Discuss the distinctive modes of human representation and architectural design that emerged during the Roman Republic and Early Empire. c. It includes a dome.

Consider This: This is also a characteristic of the Colosseum. 6.2 Discuss the distinctive modes of human representation and architectural design that emerged during the Roman Republic and Early Empire. d. It was built in France.

Consider This: This is also a characteristic of the Colosseum. 6.2 Discuss the distinctive modes of human representation and architectural design that emerged during the Roman Republic and Early Empire.

Answer: a Learning Objective: 6.2 Discuss the distinctive modes of human representation and architectural design that emerged during the Roman Republic and Early Empire.

Topic: Etruscan and Roman Art Difficulty Level: Moderate Skill Level: Analyze EOC Q6.6 The Augustus of Primaporta was inspired by __________. a. Greek sculpture b. Egyptian portraits Consider This: Romans copied these works. 6.2 Discuss the distinctive modes of human representation and architectural design that emerged during the Roman Republic and Early Empire. c. Etruscan coins Consider This: Romans copied these works. 6.2 Discuss the distinctive modes of human representation and architectural design that emerged during the Roman Republic and Early Empire. d. Mesopotamian stelae Consider This: Romans copied these works. 6.2 Discuss the distinctive modes of human representation and architectural design that emerged during the Roman Republic and Early Empire.

Answer: a Learning Objective: 6.2 Discuss the distinctive modes of human representation and architectural design that emerged during the Roman Republic and Early Empire.

Topic: Etruscan and Roman Art Difficulty Level: Easy Skill Level: Understand

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EOC Q6.7 The first three levels on the exterior of the Colosseum feature __________. a. arcades and engaged columns b. coffers and niches Consider This: Pilasters appear on the top level. 6.2 Discuss the distinctive modes of human representation and architectural design that emerged during the Roman Republic and Early Empire. c. pilasters and an attic Consider This: Pilasters appear on the top level. 6.2 Discuss the distinctive modes of human representation and architectural design that emerged during the Roman Republic and Early Empire. d. drums and an attached dado Consider This: Pilasters appear on the top level. 6.2 Discuss the distinctive modes of human representation and architectural design that emerged during the Roman Republic and Early Empire.

Answer: a Learning Objective: 6.2 Discuss the distinctive modes of human representation and architectural design that emerged during the Roman Republic and Early Empire.

Topic: Etruscan and Roman Art Difficulty Level: Easy Skill Level: Remember EOC Q6.8 A groin vault is created by the intersection of two __________. a. barrel vaults b. arches Consider This: The Colosseum relies on groin vaults. 6.3 Identify major trends and monuments of imperial Roman art and architecture. c. galleries Consider This: The Colosseum relies on groin vaults. 6.3 Identify major trends and monuments of imperial Roman art and architecture. d. corbel vaults Consider This: The Colosseum relies on groin vaults. 6.3 Identify major trends and monuments of imperial Roman art and architecture.

Answer: a Learning Objective: 6.3 Identify major trends and monuments of imperial Roman art and architecture.

Topic: Etruscan and Roman Art Difficulty Level: Easy Skill Level: Remember

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EOC Q6.9 The purpose of a Roman triumphal arch is to __________. a. celebrate a military victory b. enclose a large interior space Consider This: Triumphal arches are part architecture and part sculpture. 6.3 Identify major trends and monuments of imperial Roman art and architecture. c. mark the entrance to a temple Consider This: Triumphal arches are part architecture and part sculpture. 6.3 Identify major trends and monuments of imperial Roman art and architecture. d. commemorate a god Consider This: Triumphal arches are part architecture and part sculpture. 6.3 Identify major trends and monuments of imperial Roman art and architecture.

Answer: a Learning Objective: 6.3 Identify major trends and monuments of imperial Roman art and architecture.

Topic: Etruscan and Roman Art Difficulty Level: Easy Skill Level: Remember EOC Q6.10 The Forum of Trajan exemplifies the Roman Imperial use of architecture __________. a. as propaganda b. for protection Consider This: The Forum of Trajan included the Column of Trajan. 6.3 Identify major trends and monuments of imperial Roman art and architecture. c. constructed by slaves Consider This: The Forum of Trajan included the Column of Trajan. 6.3 Identify major trends and monuments of imperial Roman art and architecture. d. built for religious rituals Consider This: The Forum of Trajan included the Column of Trajan. 6.3 Identify major trends and monuments of imperial Roman art and architecture.

Answer: a Learning Objective: 6.3 Identify major trends and monuments of imperial Roman art and architecture.

Topic: Etruscan and Roman Art Difficulty Level: Difficult Skill Level: Apply

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EOC Q6.11 The dome at the Pantheon rests on the __________. a. drum b. columns Consider This: This included brick arches. 6.3 Identify major trends and monuments of imperial Roman art and architecture. c. porch Consider This: This included brick arches. 6.3 Identify major trends and monuments of imperial Roman art and architecture. d. apse Consider This: This included brick arches. 6.3 Identify major trends and monuments of imperial Roman art and architecture.

Answer: a Learning Objective: 6.3 Identify major trends and monuments of imperial Roman art and architecture.

Topic: Etruscan and Roman Art Difficulty Level: Easy Skill Level: Remember EOC Q6.12 Portraiture under the tetrarchs is characterized by __________. a. abstraction b. verism Consider This: The Late Imperial period developed visual hallmarks distinct from earlier Roman art. 6.4 Distinguish the continuities and changes in art and architecture during the Late Roman Empire. c. Greek style Consider This: The Late Imperial period developed visual hallmarks distinct from earlier Roman art. 6.4 Distinguish the continuities and changes in art and architecture during the Late Roman Empire. d. Emotion Consider This: The Late Imperial period developed visual hallmarks distinct from earlier Roman art. 6.4 Distinguish the continuities and changes in art and architecture during the Late Roman Empire.

Answer: a Learning Objective: 6.4 Distinguish the continuities and changes in art and architecture during the Late Roman Empire.

Topic: Etruscan and Roman Art Difficulty Level: Moderate Skill Level: Apply

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EOC Q6.13 The portrait of the emperor in the Basilica of Maxentius and Constantine rested in an apse at the end of the __________. a. nave b. forum Consider This: This strategy is common in ancient art. 6.4 Distinguish the continuities and changes in art and architecture during the Late Roman Empire. c. triumphal arch Consider This: This strategy is common in ancient art. 6.4 Distinguish the continuities and changes in art and architecture during the Late Roman Empire. d. clerestory Consider This: This strategy is common in ancient art. 6.4 Distinguish the continuities and changes in art and architecture during the Late Roman Empire.

Answer: a Learning Objective: 6.4 Distinguish the continuities and changes in art and architecture during the Late Roman Empire.

Topic: Etruscan and Roman Art Difficulty Level: Moderate Skill Level: Remember EOC Q6.14 The arches that cover the passages beneath the Arch of Constantine are __________. a. barrel vaults b. groin vaults Consider This: These extend the arch back into space. 6.4 Distinguish the continuities and changes in art and architecture during the Late Roman Empire. c. corbeled vaults Consider This: These extend the arch back into space. 6.4 Distinguish the continuities and changes in art and architecture during the Late Roman Empire. d. domed vaults Consider This: These extend the arch back into space. 6.4 Distinguish the continuities and changes in art and architecture during the Late Roman Empire.

Answer: a Learning Objective: 6.4 Distinguish the continuities and changes in art and architecture during the Late Roman Empire.

Topic: Etruscan and Roman Art Difficulty Level: Easy Skill Level: Remember

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EOC Q6.15 The relief of Constantine Addressing the Roman People in the Roman Forum on the Arch of Constantine is described as hierarchical because it __________. a. highlights the emperor b. represents the faith Consider This: This strategy is common in ancient art. 6.4 Distinguish the continuities and changes in art and architecture during the Late Roman Empire. c. is located on a triumphal arch Consider This: This strategy is common in ancient art. 6.4 Distinguish the continuities and changes in art and architecture during the Late Roman Empire. d. is sculpted in marble Consider This: This strategy is common in ancient art. 6.4 Distinguish the continuities and changes in art and architecture during the Late Roman Empire.

Answer: a Learning Objective: 6.4 Distinguish the continuities and changes in art and architecture during the Late Roman Empire.

Topic: Etruscan and Roman Art Difficulty Level: Difficult Skill Level: Apply

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Chapter 7: Jewish, Early Christian, and Byzantine Art Multiple-Choice Questions 1. The Jewish book that contains the first five books of the Hebrew Bible is known as the __________. a. New Testament b. Torah c. Qur’an d. Bible Answer: b Learning Objective: 7.1 Describe the early history of Jewish art.

Topic: Early Jewish Art Difficulty Level: Easy Skill Level: Remember the Facts 2. The Ark of the Covenant contained __________. a. the tablets inscribed with the Ten Commandments b. the bones of Abraham and the prophet Moses c. numerous seven-branched lamps called menorahs d. Byzantine icons of the Virgin Mary and Christ Answer: a Learning Objective: 7.1 Describe the early history of Jewish art.

Topic: Early Jewish Art Difficulty Level: Moderate Skill Level: Remember the Facts 3. High-ranking angels closely associated with God are called __________. a. exedrae b. naves c. icons d. cherubim Answer: d Learning Objective: 7.1 Describe the early history of Jewish art.

Topic: Early Jewish Art Difficulty Level: Easy Skill Level: Remember the Facts

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4. A seven-branched Jewish candleholder is called __________. a. a menorah b. a narthex c. a codex d. an exedra Answer: a Learning Objective: 7.1 Describe the early history of Jewish art.

Topic: Early Jewish Art Difficulty Level: Easy Skill Level: Remember the Facts 5. Menorahs and Ark of the Covenant decorated the walls of __________. a. a Jewish synagogue b. an early Christian martyrium c. a Jewish catacomb d. an early Christian basilica Answer: c Learning Objective: 7.1 Describe the early history of Jewish art.

Topic: Early Jewish Art Difficulty Level: Moderate Skill Level: Understand the Concepts 6. The first synagogue at Dura-Europos was located in a __________. a. private home b. catacomb c. palace d. city center Answer: a Learning Objective: 7.1 Describe the early history of Jewish art.

Topic: Early Jewish Art Difficulty Level: Moderate Skill Level: Understand the Concepts 7. Which of the following was painted on the walls of the synagogue at Dura-Europos? a. the resurrection of Christ b. the story of Moses c. the Good Shepherd d. the story of Rebecca at the Well Answer: b Learning Objective: 7.1 Describe the early history of Jewish art.

Topic: Early Jewish Art Difficulty Level: Moderate Skill Level: Understand the Concepts

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8. At Dura-Europos, the assembly hall was identified as a house-synagogue because of its __________. a. central congregational area, or nave b. altar located in the eastern apse c. wall painting of the Good Shepherd d. niche for the Torah scrolls Answer: d Learning Objective: 7.1 Describe the early history of Jewish art.

Topic: Early Jewish Art Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It 9. In the mosaic floor of the Beth Alpha synagogue, the lion and the ox may symbolize __________. a. the coming of the Messiah b. Abraham’s sacrifice of Isaac c. a peaceful kingdom d. the power of God Answer: c Learning Objective: 7.1 Describe the early history of Jewish art.

Topic: Early Jewish Art Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It 10. The first four books of the Christian New Testament are called the __________. a. Gospels b. Torah c. Psalms d. Qur’an Answer: a Learning Objective: 7.2 Explain the origins and first flowering of Christian art and architecture within the conventions of late Roman art.

Topic: Early Christian Art Difficulty Level: Easy Skill Level: Remember the Facts

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11. Where did Christians worship before their religion was recognized? a. basilicas b. private houses c. synagogues d. martyria Answer: b Learning Objective: 7.2 Explain the origins and first flowering of Christian art and architecture within the conventions of late Roman art.

Topic: Early Christian Art Difficulty Level: Easy Skill Level: Remember the Facts 12. The paintings in the Cubiculum of Leonis demonstrate how __________. a. the earliest examples of Christian art were often found in catacombs b. Byzantine art preferred iconic images rather than narrative imagery c. iconoclasm impacted the iconography of Christian imagery d. Jewish synagogues were decorated with scenes from the Hebrew Bible Answer: a Learning Objective: 7.2 Explain the origins and first flowering of Christian art and architecture within the conventions of late Roman art.

Topic: Looking Forward; Early Christian Art Difficulty Level: Difficulty Skill Level: Apply What You Know and Analyze It 13. Old St. Peter’s in Rome was built at the place where Christians believed the leader of the apostles was __________. a. martyred b. buried c. ordained as a bishop d. resurrected Answer: b Learning Objective: 7.2 Explain the origins and first flowering of Christian art and architecture within the conventions of late Roman art.

Topic: Old St. Peter’s and Sta. Sabina Difficulty Level: Easy Skill Level: Remember the Facts

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14. The central space of a longitudinal-plan church is called the __________. a. nave b. apse c. transept d. narthex Answer: a Learning Objective: 7.2 Explain the origins and first flowering of Christian art and architecture within the conventions of late Roman art.

Topic: Old St. Peter’s and Sta. Sabina Difficulty Level: Easy Skill Level: Remember the Facts 15. Wings that intersect with a longitudinal nave and aisles at a right angle are known as __________. a. portals b. exedrae c. transepts d. arcades Answer: c Learning Objective: 7.2 Explain the origins and first flowering of Christian art and architecture within the conventions of late Roman art.

Topic: Old St. Peter’s and Sta. Sabina Difficulty Level: Easy Skill Level: Remember the Facts 16. The Church of Sta. Sabina exemplifies the architectural elements of an Early Christian basilica because it has __________. a. a central nave, rounded apse, and side aisles b. an ambulatory that surrounds a central domed space c. a hybrid longitudinal plan and central plan d. a processional core that is flanked by side aisles Answer: a Learning Objective: 7.2 Explain the origins and first flowering of Christian art and architecture within the conventions of late Roman art.

Topic: Old St. Peter’s and Sta. Sabina Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It

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17. In an Early Christian church, the focal point of the church where the altar is located is called the __________. a. nave b. apse c. transepts d. narthex Answer: b Learning Objective: 7.2 Explain the origins and first flowering of Christian art and architecture within the conventions of late Roman art.

Topic: Old St. Peter’s and Sta. Sabina Difficulty Level: Easy Skill Level: Remember the Facts 18. Which of the following artworks demonstrates the use of stories from the Hebrew Bible to prefigure important events in the New Testament? a. Anastasis b. Emperor Justinian with His Attendants c. Manuscript page with Rebecca at the Well d. Sarcophagus of Junius Bassus Answer: d Learning Objective: 7.2 Explain the origins and first flowering of Christian art and architecture within the conventions of late Roman art.

Topic: Sarcophagus of Junius Bassus Difficulty Level: Moderate Skill Level: Understand the Concepts 19. At the “Last Supper,” Jesus instructed his disciples to eat bread (his body) and drink wine (his blood) in remembrance of him, which became the foundation for the rite of __________. a. Passover b. the Eucharist c. the Anastasis d. Baptism Answer: b Learning Objective: 7.2 Explain the origins and first flowering of Christian art and architecture within the conventions of late Roman art.

Topic: The Life of Jesus and the Virgin Mary Difficulty Level: Moderate Skill Level: Understand the Concepts

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20. Which ruler began a campaign of building and renovation in Constantinople during the midsixth century? a. Constantine b. Leo V c. Justinian d. Theodore Metochites Answer: c Learning Objective: 7.3 Characterize the early development of Byzantine art and architecture in the Eastern Roman Empire.

Topic: The Golden Age of Justinian Difficulty Level: Easy Skill Level: Remember the Facts 21. Which of the following is a term for semidomes? a. squinches b. conches c. exedrae d. pendentives Answer: b Learning Objective: 7.3 Characterize the early development of Byzantine art and architecture in the Eastern Roman Empire.

Topic: The Golden Age of Justinian Difficulty Level: Easy Skill Level: Remember the Facts 22. At Hagia Sophia, the main dome rests on four __________. a. conches b. exedrae c. pendentives d. transepts Answer: c Learning Objective: 7.3 Characterize the early development of Byzantine art and architecture in the Eastern Roman Empire.

Topic: The Golden Age of Justinian Difficulty Level: Moderate Skill Level: Understand the Concepts

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23. Which of the following is an example of a central-plan martyrium? a. Hagia Sophia b. San Vitale c. Oratory of Galla Placidia d. Cathedral of St. Mark Answer: b Learning Objective: 7.3 Characterize the early development of Byzantine art and architecture in the Eastern Roman Empire.

Topic: The Golden Age of Justinian Difficulty Level: Moderate Skill Level: Understand the Concepts 24. How does the iconography of Empress Theodora and Her Attendants and Emperor Justinian and His Attendants symbolize the celebration of the Eucharist? a. Justinian and Theodora offer a model of San Vitale as well as other gifts to Christ. b. They are depicted alongside Christ in an icon that was used to aid a worshiper in prayer. c. The mosaics portray the baptism of the Byzantine rulers next to scenes from Christ’s life. d. Justinian holds a paten and Theodora carries a chalice that will be used in the liturgy.

Answer: d Learning Objective: 7.3 Characterize the early development of Byzantine art and architecture in the Eastern Roman Empire.

Topic: The Golden Age of Justinian Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 25. A book that was written by hand on parchment is called __________. a. a scroll b. an icon c. a folio d. a manuscript Answer: d Learning Objective: 7.3 Characterize the early development of Byzantine art and architecture in the Eastern Roman Empire.

Topic: Illuminated Manuscripts Difficulty Level: Easy Skill Level: Remember the Facts

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26. A page or leaf in a manuscript is known as __________. a. a folio b. a parchment c. a codex d. an icon Answer: a Learning Objective: 7.3 Characterize the early development of Byzantine art and architecture in the Eastern Roman Empire.

Topic: Illuminated Manuscripts Difficulty Level: Easy Skill Level: Remember the Facts 27. Rebecca at the Well from the book of Genesis combines multiple events into a single illumination by using a pictorial tradition called __________. a. iconic imagery b. continuous narrative c. iconoclasm d. prefiguration Answer: b Learning Objective: 7.3 Characterize the early development of Byzantine art and architecture in the Eastern Roman Empire.

Topic: Illuminated Manuscripts Difficulty Level: Moderate Skill Level: Understand the Concepts 28. Painted panels with images of sacred figures that are used as aids to meditation and prayer are called __________. a. manuscripts b. icons c. cherubim d. folios Answer: b Learning Objective: 7.3 Characterize the early development of Byzantine art and architecture in the Eastern Roman Empire.

Topic: Icons and Iconoclasm Difficulty Level: Easy Skill Level: Remember the Facts

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29. Iconoclasm refers to the __________. a. destruction of images of saints and sacred stories b. use of images of sacred figures as a devotional aid c. screen that separates the sanctuary from the congregation d. private worship of the Christian faith before 313 CE Answer: a Learning Objective: 7.3 Characterize the early development of Byzantine art and architecture in the Eastern Roman Empire.

Topic: Icons and Iconoclasm Difficulty Level: Moderate Skill Level: Understand the Concepts 30. The complex compartmentalization of the interior space of the Cathedral of St. Mark in Venice illustrates the influence of __________. a. Early Christian basilicas b. Jewish house-synagogues c. Byzantine domed churches d. Early Christian martyria Answer: c Learning Objective: 7.4 Identify the changes in Byzantine art during its middle and late periods.

Topic: Middle Byzantine Art (843–1204) Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It 31. The Katholikon of the monastery of Hosios Loukas features an iconostasis that __________. a. functions as the focal point where the altar is located b. acts as a long, congregational area flanked by side aisles c. provides more space for the worshipers to gather d. separates the sanctuary from the congregation Answer: d Learning Objective: 7.4 Identify the changes in Byzantine art during its middle and late periods.

Topic: Middle Byzantine Art (843–1204) Difficulty Level: Moderate Skill Level: Understand the Concepts

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32. The mosaic in the apse of the church at Chora is called the Anastasis because it depicts __________. a. figures condemned to hell b. the resurrection of Christ c. scenes from the life of the Virgin d. the crucifixion of Christ Answer: b Learning Objective: 7.4 Identify the changes in Byzantine art during its middle and late periods.

Topic: Late Byzantine Art (1261–1453) Difficulty Level: Moderate Skill Level: Understand the Concepts 33. The Infant Virgin Mary Caressed by Her Parents (Joachim and Anna) exemplifies the style and iconography of __________. a. Middle Byzantine art b. Early Byzantine art c. Early Christian art d. Late Byzantine art Answer: d Learning Objective: 7.4 Identify the changes in Byzantine art during its middle and late periods.

Topic: Late Byzantine Art (1261–1453) Difficulty Level: Moderate Skill Level: Understand the Concepts 34. Rublyov’s Three Angels Visiting Abraham (Old Testament Trinity) demonstrates the Byzantine interest in depicting __________. a. naturalistic spatial depth b. highly realistic figures c. a sense of the spiritual d. stories with continuous narrative Answer: c Learning Objective: 7.4 Identify the changes in Byzantine art during its middle and late periods.

Topic: Late Byzantine Art (1261–1453) Difficulty Level: Moderate Skill Level: Understand the Concepts 35. Which of the following themes was considered difficult to depict? a. the Trinity b. the Eucharist c. the Annunciation d. the Resurrection Answer: a Learning Objective: 7.4 Identify the changes in Byzantine art during its middle and late periods.

Topic: Late Byzantine Art (1261–1453) Difficulty Level: Moderate Skill Level: Understand the Concepts 11 Copyright © 2020, 2016, 2012 Pearson Education, Inc. All rights reserved.

Essay Questions 36. How does the Mosaic Floor of the Beth Alpha synagogue correspond to the style and iconography of early Jewish art?

Answer: The ideal answer should include: 1. Like the wall paintings in the house-synagogue at Dura-Europos, the mosaic depicts human figures in frontal poses with strong outlines and with flat colors.

2. The animals and figures in the mosaic are symbolic. For example, the upper portion of the composition symbolizes the metaphysical realm by depicting a shrine that holds the Torah and Jewish ritual objects, including two menorahs.

3. In the middle of the mosaic, the signs of zodiac and the winged personifications of the four seasons represent the celestial realm.

4. In the lower register, the terrestrial realm is symbolized by the story of Abraham preparing to sacrifice Isaac from the book of Genesis; here, the peaceful coexistence of the lion and ox may represent a golden age or peaceable kingdom described in Isaiah 11:6-9; 65:25), and the ram symbolizes how sacrificial offerings took the place Isaac.

Learning Objective: 7.1 Describe the early history of Jewish art.

Topic: Early Jewish Art Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 37. Discuss the motif of the Good Shepherd. What is the source of this visual tradition and how does the Good Shepherd mosaic at Galla Placidia demonstrate the development of this motif?

Answer: The ideal answer should include: 1. The Good Shepherd was a Greco-Roman pagan motif associated with the god Hermes, who was sometimes represented as a shepherd carrying a lamb or calf, and the figure of Orpheus, who was believed to have charmed flocks with his music.

2. In Jewish scripture, Psalm 23 describes God as an all-providing shepherd, and in the Christian Gospels, Christ is described as a good shepherd who sacrificed his life for his sheep.

3. Christians adopted the visual tradition of the Good Shepherd as a subtle way to symbolize Christ at a time when Christians were persecuted for their faith.

4. By the fifth century, however, Christianity had become the state religion, and the Good Shepherd mosaic at Galla Placidia symbolizes the triumph of the Christian faith by depicting the Good Shepherd explicitly as Christ; instead of shepherd’s tunic and crook, Christ wears gold imperial robes and holds a golden cross standard.

Learning Objective: 7.2 Explain the origins and first flowering of Christian art and architecture within the conventions of late Roman art.

Topic: Ravenna Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It

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38. How does the style and iconography of Virgin and Child with Saints and Angels from the Monastery of St. Catherine reflect the function of Byzantine icons?

Answer: The ideal answer should include: 1. Byzantine icons were used as devotional aids by worshippers, and the Virgin and Child with Saints and Angels depicts the Virgin Mary as Theotokos, or bearer of God, who was viewed as a powerful intercessor who could appeal to her divine Son for mercy on behalf of devout worshippers.

2. The Virgin Mary is portrayed at the center of the composition and holds Jesus on her lap in a way that suggests she has become his imperial throne.

3. The warrior saints Theodore and George, who symbolize the triumph of the church over paganism, flank the mother and child.

4. The artist has painted the Virgin, Christ child, and angels in an illusionistic, Roman manner that renders them lifelike in appearance, but the warrior-saints are more stylized and static.

Learning Objective: 7.3 Characterize the early development of Byzantine art and architecture in the Eastern Roman Empire.

Topic: Icons and Iconoclasm Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 39. How are Early Byzantine churches different than Early Christian basilicas? Compare and contrast the architecture of Hagia Sophia and Sta. Sabina to explain your answer.

Answer: The ideal answer should include: 1. Sta. Sabina is a typical Early Christian basilica because it has a longitudinal plan based on the rectangular form of the Roman basilica.

2. Sta. Sabina’s nave is lit by clerestory windows and ends in a rounded apse; the nave is flanked by side aisles and the two spaces are separated by a nave arcade.

3. Hagia Sophia is a hybrid longitudinal- and central-plan church that is dominated by a large central dome supported by four pendentives that connect the base of the dome with the huge supporting piers.

4. Flanking conches form a longitudinal nave that expands outward from a central dome to connect with a narthex on one end and an apse on the other; the processional core is flanked by side aisles.

Learning Objective: 7.3 Characterize the early development of Byzantine art and architecture in the Eastern Roman Empire.

Topic: Old St. Peter’s and Sta. Sabina, The Golden Age of Justinian Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It

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40. How does Andrey Rublyov’s Three Angels Visiting Abraham (Old Testament Trinity) exemplify the style and iconography of Late Byzantine art?

Answer: The ideal answer should include: 1. Andrey Rublyov’s Three Angels Visiting Abraham (Old Testament Trinity) is an icon that depicts the Trinity, and Rublyov tackled this challenging theme by showing three identical divine individuals, or angels, from a story in the Hebrew Bible in which Abraham’s wife Sarah entertained three strangers who were in fact God. 2. Tiny images of Abraham and Sarah’s home and the oak of Mamre can be seen above the angels, and, on the table, the food the couple offered to the strangers becomes a chalice on an altar-like table.

3. The icon demonstrates how Late Byzantine artists created an ideal geometry to evoke a heavenly realm in the use of the circle—most apparent in the halos—that form the basic underlying structure for the composition.

4. His figures also highlight the use of Byzantine conventions, such as salient contours, elongated forms, and a limited number of figures to capture a sense of the spiritual.

Learning Objective: 7.4 Identify the changes in Byzantine art during its middle and late periods.

Topic: Late Byzantine Art (1261–1453) Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It

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Revel Quizzes Quiz: Early Jewish Art EOM Q7.1.1 Found in a Jewish catacomb, Menorahs and Ark of the Covenant is a good example of __________. a. an iconic or symbolic image b. a narrative or storytelling image Consider This: Catacombs were used by pagans, Jews, and Christians. 7.1 Describe the early history of Jewish art. c. syncretism of faiths Consider This: Catacombs were used by pagans, Jews, and Christians. 7.1 Describe the early history of Jewish art. d. prefiguration of Christ Consider This: Catacombs were used by pagans, Jews, and Christians. 7.1 Describe the early history of Jewish art.

Answer: a Learning Objective: 7.1 Describe the early history of Jewish art.

Topic: Early Jewish Art Difficulty Level: Difficult Skill Level: Apply EOM Q7.1.2 The story of Moses from the synagogue at Dura-Europos uses the storytelling strategy known as __________. a. continuous narrative b. iconic narration Consider This: Moses appears several times. 7.1 Describe the early history of Jewish art. c. narrative chronicle Consider This: Moses appears several times. 7.1 Describe the early history of Jewish art. d. third-person narration Consider This: Moses appears several times. 7.1 Describe the early history of Jewish art.

Answer: a Learning Objective: 7.1 Describe the early history of Jewish art.

Topic: Early Jewish Art Difficulty Level: Moderate Skill Level: Understand

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EOM Q7.1.3 Some early Jewish synagogues are based on Roman __________. a. basilicas b. temples Consider This: Jewish and Christian buildings are based on Roman models. 7.1 Describe the early history of Jewish art. c. forums Consider This: Jewish and Christian buildings are based on Roman models. 7.1 Describe the early history of Jewish art. d. amphitheaters Consider This: Jewish and Christian buildings are based on Roman models. 7.1 Describe the early history of Jewish art.

Answer: a Learning Objective: 7.1 Describe the early history of Jewish art.

Topic: Early Jewish Art Difficulty Level: Easy Skill Level: Understand Quiz: Early Christian Art EOM Q7.2.1 As an outpost of the Roman Empire, Dura-Europos illustrates the __________. a. coexistence of different religions b. persecution of Christians Consider This: Dura-Europos was a Roman outpost in Syria. 7.2 Explain the origins and first flowering of Christian art and architecture within the conventions of late Roman art. c. destruction of Roman temples Consider This: Dura-Europos was a Roman outpost in Syria. 7.2 Explain the origins and first flowering of Christian art and architecture within the conventions of late Roman art. d. prohibition of paganism Consider This: Dura-Europos was a Roman outpost in Syria. 7.2 Explain the origins and first flowering of Christian art and architecture within the conventions of late Roman art.

Answer: a Learning Objective: 7.2 Explain the origins and first flowering of Christian art and architecture within the conventions of late Roman art.

Topic: Early Christian Art Difficulty Level: Moderate Skill Level: Understand

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EOM Q7.2.2 The Good Shepherd sculpture illustrates the Early Christian adoption of motifs from __________. a. pagan Rome b. Northern Europe Consider This: The image of Christ changes in early Christian history. 7.2 Explain the origins and first flowering of Christian art and architecture within the conventions of late Roman art. c. Egyptian antiquity Consider This: The image of Christ changes in early Christian history. 7.2 Explain the origins and first flowering of Christian art and architecture within the conventions of late Roman art. d. the Tetrarchs Consider This: The image of Christ changes in early Christian history. 7.2 Explain the origins and first flowering of Christian art and architecture within the conventions of late Roman art.

Answer: a Learning Objective: 7.2 Explain the origins and first flowering of Christian art and architecture within the conventions of late Roman art.

Topic: Early Christian Art Difficulty Level: Moderate Skill Level: Understand EOM Q7.2.3 What historical event permitted the building of Christian churches in Rome? a. Edict of Milan b. Fall of Rome Consider This: Emperor Constantine allowed religious freedom. 7.2 Explain the origins and first flowering of Christian art and architecture within the conventions of late Roman art. c. Birth of Costanza Consider This: Emperor Constantine allowed religious freedom. 7.2 Explain the origins and first flowering of Christian art and architecture within the conventions of late Roman art. d. Death of Peter Consider This: Emperor Constantine allowed religious freedom. 7.2 Explain the origins and first flowering of Christian art and architecture within the conventions of late Roman art.

Answer: a Learning Objective: 7.2 Explain the origins and first flowering of Christian art and architecture within the conventions of late Roman art.

Topic: Early Christian Art Difficulty Level: Easy Skill Level: Remember

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EOM Q7.2.4 The plan of a Christian basilica includes __________. a. a nave, aisles, and apse b. a peristyle, podium, and cella Consider This: Christian churches borrow elements from Roman basilicas. 7.2 Explain the origins and first flowering of Christian art and architecture within the conventions of late Roman art. c. a baptistery, martyrium, and shrine Consider This: Christian churches borrow elements from Roman basilicas. 7.2 Explain the origins and first flowering of Christian art and architecture within the conventions of late Roman art. d. a colonnade, façade, and pediment Consider This: Christian churches borrow elements from Roman basilicas. 7.2 Explain the origins and first flowering of Christian art and architecture within the conventions of late Roman art.

Answer: a Learning Objective: 7.2 Explain the origins and first flowering of Christian art and architecture within the conventions of late Roman art.

Topic: Early Christian Art Difficulty Level: Moderate Skill Level: Understand EOM Q7.2.5 Old St. Peter’s Basilica has a transept to __________. a. allow more people near Peter’s tomb b. better illuminate the church interior Consider This: Early Christian churches had several functions. 7.2 Explain the origins and first flowering of Christian art and architecture within the conventions of late Roman art. c. separate the clergy from the faithful Consider This: Early Christian churches had several functions. 7.2 Explain the origins and first flowering of Christian art and architecture within the conventions of late Roman art. d. create a cross-shaped floor plan Consider This: Early Christian churches had several functions. 7.2 Explain the origins and first flowering of Christian art and architecture within the conventions of late Roman art.

Answer: a Learning Objective: 7.2 Explain the origins and first flowering of Christian art and architecture within the conventions of late Roman art.

Topic: Early Christian Art Difficulty Level: Moderate Skill Level: Understand

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Quiz: Early Byzantine Art EOM Q7.3.1 Why did Justinian claim poetically that Hagia Sophia’s gigantic dome seemed to hang suspended on a “golden chain from heaven”? a. The dome rests on pendentives and piers, leaving the area below open. b. The dome rests on a drum, and the coffering makes it appear weightless.

Consider This: Justinian’s claim may not be grounded in reality, but light makes the dome appear to float. 7.3 Characterize the early development of Byzantine art and architecture in the Eastern Roman Empire. c. The dome is supported from above rather than below.

Consider This: Justinian’s claim may not be grounded in reality, but light makes the dome appear to float. 7.3 Characterize the early development of Byzantine art and architecture in the Eastern Roman Empire. d. The dome is constructed of stone squinches around the base.

Consider This: Justinian’s claim may not be grounded in reality, but light makes the dome appear to float. 7.3 Characterize the early development of Byzantine art and architecture in the Eastern Roman Empire.

Answer: a Learning Objective: 7.3 Characterize the early development of Byzantine art and architecture in the Eastern Roman Empire.

Topic: Early Byzantine Art Difficulty Level: Moderate Skill Level: Apply EOM Q7.3.2 How is the plan of Hagia Sophia unlike Early Christian churches in Rome? a. It combines a longitudinal and central plan. b. It has a nave, aisles, and apse.

Consider This: This makes Hagia Sophia highly unusual. 7.3 Characterize the early development of Byzantine art and architecture in the Eastern Roman Empire. c. It merges Roman and Greek building types.

Consider This: This makes Hagia Sophia highly unusual. 7.3 Characterize the early development of Byzantine art and architecture in the Eastern Roman Empire. d. It can accommodate a large congregation.

Consider This: This makes Hagia Sophia highly unusual. 7.3 Characterize the early development of Byzantine art and architecture in the Eastern Roman Empire.

Answer: a Learning Objective: 7.3 Characterize the early development of Byzantine art and architecture in the Eastern Roman Empire.

Topic: Early Byzantine Art Difficulty Level: Moderate Skill Level: Understand

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EOM Q7.3.3 The mosaic panel of Justinian at San Vitale in Ravenna illustrates how Early Byzantine art avoided representing __________. a. deep three-dimensional space b. Christian symbols Consider This: The same is true of the mosaic of his wife. 7.3 Characterize the early development of Byzantine art and architecture in the Eastern Roman Empire. c. earthly rulers Consider This: The same is true of the mosaic of his wife. 7.3 Characterize the early development of Byzantine art and architecture in the Eastern Roman Empire. d. surface patterns Consider This: The same is true of the mosaic of his wife. 7.3 Characterize the early development of Byzantine art and architecture in the Eastern Roman Empire.

Answer: a Learning Objective: 7.3 Characterize the early development of Byzantine art and architecture in the Eastern Roman Empire.

Topic: Early Byzantine Art Difficulty Level: Moderate Skill Level: Understand EOM Q7.3.4 The churches of Hagia Sophia and San Vitale demonstrate how Justinian used religious monuments to embody his __________. a. imperial power b. political alliances Consider This: Justinian is the patron of these monuments. 7.3 Characterize the early development of Byzantine art and architecture in the Eastern Roman Empire. c. religious tolerance Consider This: Justinian is the patron of these monuments. 7.3 Characterize the early development of Byzantine art and architecture in the Eastern Roman Empire. d. dedication to the Virgin Mary Consider This: Justinian is the patron of these monuments. 7.3 Characterize the early development of Byzantine art and architecture in the Eastern Roman Empire.

Answer: a Learning Objective: 7.3 Characterize the early development of Byzantine art and architecture in the Eastern Roman Empire.

Topic: Early Byzantine Art Difficulty Level: Difficult Skill Level: Apply

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EOM Q7.3.5 Few icons from the Early Byzantine period survive thanks to iconoclasm’s __________. a. destruction of religious images b. imposition of a new style Consider This: Iconoclasts found justification in Christian doctrine. 7.3 Characterize the early development of Byzantine art and architecture in the Eastern Roman Empire. c. introduction of iconic images Consider This: Iconoclasts found justification in Christian doctrine. 7.3 Characterize the early development of Byzantine art and architecture in the Eastern Roman Empire. d. rejection of narrative Consider This: Iconoclasts found justification in Christian doctrine. 7.3 Characterize the early development of Byzantine art and architecture in the Eastern Roman Empire.

Answer: a Learning Objective: 7.3 Characterize the early development of Byzantine art and architecture in the Eastern Roman Empire.

Topic: Early Byzantine Art Difficulty Level: Easy Skill Level: Remember Quiz: Middle and Late Byzantine Art EOM Q7.4.1 Middle Byzantine churches are known for their __________. a. central plans b. longitudinal naves Consider This: Hosios Loukas is a good example. 7.4 Identify the changes in Byzantine art during its middle and late periods. c. low profiles Consider This: Hosios Loukas is a good example. 7.4 Identify the changes in Byzantine art during its middle and late periods. d. simple volumes Consider This: Hosios Loukas is a good example. 7.4 Identify the changes in Byzantine art during its middle and late periods.

Answer: a Learning Objective: 7.4 Identify the changes in Byzantine art during its middle and late periods.

Topic: Middle and Late Byzantine Art Difficulty Level: Moderate Skill Level: Understand

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EOM Q7.4.2 Why is there a Byzantine church in Venice? a. Venice traded with Constantinople. b. Venice was the western Byzantine capital.

Consider This: The Byzantine style was not contained to the area around Constantinople.

7.4 Identify the changes in Byzantine art during its middle and late periods. c. Byzantine architects fled to Venice during Iconoclasm.

Consider This: The Byzantine style was not contained to the area around Constantinople.

7.4 Identify the changes in Byzantine art during its middle and late periods. d. Venetian architects were captured by Byzantine pirates.

Consider This: The Byzantine style was not contained to the area around Constantinople.

7.4 Identify the changes in Byzantine art during its middle and late periods.

Answer: a Learning Objective: 7.4 Identify the changes in Byzantine art during its middle and late periods.

Topic: Middle and Late Byzantine Art Difficulty Level: Easy Skill Level: Remember EOM Q7.4.3 The decorative program at the funerary at the Monastery of Christ in Chora uses an image of the Anastasis to address __________. a. salvation b. sin Consider This: The program is related to the structure’s function. 7.4 Identify the changes in Byzantine art during its middle and late periods. c. the Virgin Mary Consider This: The program is related to the structure’s function. 7.4 Identify the changes in Byzantine art during its middle and late periods. d. the Hebrew Bible Consider This: The program is related to the structure’s function. 7.4 Identify the changes in Byzantine art during its middle and late periods.

Answer: a Learning Objective: 7.4 Identify the changes in Byzantine art during its middle and late periods.

Topic: Middle and Late Byzantine Art Difficulty Level: Moderate Skill Level: Understand

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EOM Q7.4.4 Late Byzantine artists invented an ideal geometry to __________. a. evoke the presence of a spiritual realm b. prevent artists from forming personal styles Consider This: The Three Angels Visiting Abraham displays this characteristic. 7.4 Identify the changes in Byzantine art during its middle and late periods. c. demonstrate continuity with Classical Greece Consider This: The Three Angels Visiting Abraham displays this characteristic. 7.4 Identify the changes in Byzantine art during its middle and late periods. d. create diversity in religious images Consider This: The Three Angels Visiting Abraham displays this characteristic. 7.4 Identify the changes in Byzantine art during its middle and late periods.

Answer: a Learning Objective: 7.4 Identify the changes in Byzantine art during its middle and late periods.

Topic: Middle and Late Byzantine Art Difficulty Level: Moderate Skill Level: Understand EOM Q7.4.5 The conventions of Late Byzantine art include __________. a. contour lines and elongated bodies b. Classical figures and linear perspective Consider This: Late Byzantine artists of Constantinople created icons as well as painted murals and made mosaics on walls. 7.4 Identify the changes in Byzantine art during its middle and late periods. c. individualized likenesses and multiple narrative Consider This: Late Byzantine artists of Constantinople created icons as well as painted murals and made mosaics on walls. 7.4 Identify the changes in Byzantine art during its middle and late periods. d. iconic figures, verism, and single-point perspective Consider This: Late Byzantine artists of Constantinople created icons as well as painted murals and made mosaics on walls. 7.4 Identify the changes in Byzantine art during its middle and late periods.

Answer: a Learning Objective: 7.4 Identify the changes in Byzantine art during its middle and late periods.

Topic: Middle and Late Byzantine Art Difficulty Level: Moderate Skill Level: Understand

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Chapter Quiz: Jewish, Early Christian, and Byzantine Art EOC Q7.1 The imagery seen in the catacombs suggests the artists held what assumptions about the viewer? a. The viewer is already familiar with the narratives depicted. b. The illiterate viewer learns from the paintings.

Consider This: This is especially true of the iconic imagery. 7.1 Describe the early history of Jewish art. c. The viewer believed in the power of images.

Consider This: This is especially true of the iconic imagery. 7.1 Describe the early history of Jewish art. d. The viewer has to view the images from a great distance.

Consider This: This is especially true of the iconic imagery. 7.1 Describe the early history of Jewish art.

Answer: a Learning Objective: 7.1 Describe the early history of Jewish art.

Topic: Jewish, Early Christian, and Byzantine Art Difficulty Level: Difficult Skill Level: Understand EOC Q7.2 The painting of St. Peter striking the rock in the Cubiculum of Leonis is a good example of __________. a. narrative imagery b. iconic representation Consider This: This depicts St. Peter striking the rock. 7.1 Describe the early history of Jewish art. c. iconoclasm Consider This: This depicts St. Peter striking the rock. 7.1 Describe the early history of Jewish art. d. narthex Consider This: This depicts St. Peter striking the rock. 7.1 Describe the early history of Jewish art.

Answer: a Learning Objective: 7.1 Describe the early history of Jewish art.

Topic: Jewish, Early Christian, and Byzantine Art Difficulty Level: Moderate Skill Level: Understand

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EOC Q7.3 Which building is an example of a longitudinal plan? a. St. Peter’s b. Dura Europos Consider This: A longitudinal church plan usually includes a nave. 7.2 Explain the origins and first flowering of Christian art and architecture within the conventions of late Roman art. c. Catacomb of Commodilla Consider This: A longitudinal church plan usually includes a nave. 7.2 Explain the origins and first flowering of Christian art and architecture within the conventions of late Roman art. d. Mausoleum of Galla Placidia Consider This: A longitudinal church plan usually includes a nave. 7.2 Explain the origins and first flowering of Christian art and architecture within the conventions of late Roman art.

Answer: a Learning Objective: 7.2 Explain the origins and first flowering of Christian art and architecture within the conventions of late Roman art.

Topic: Jewish, Early Christian, and Byzantine Art Difficulty Level: Easy Skill Level: Understand EOC Q7.4 The plan of Sta. Sabina includes a __________. a. nave, aisles, and apse b. peristyle, podium, and cella Consider This: These are also found at St. Peter’s. 7.2 Explain the origins and first flowering of Christian art and architecture within the conventions of late Roman art. c. baptistery, martyrium, and shrine Consider This: These are also found at St. Peter’s. 7.2 Explain the origins and first flowering of Christian art and architecture within the conventions of late Roman art. d. colonnade, façade, and pediment Consider This: These are also found at St. Peter’s. 7.2 Explain the origins and first flowering of Christian art and architecture within the conventions of late Roman art.

Answer: a Learning Objective: 7.2 Explain the origins and first flowering of Christian art and architecture within the conventions of late Roman art.

Topic: Jewish, Early Christian, and Byzantine Art Difficulty Level: Moderate Skill Level: Understand

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EOC Q7.5 What accounts for the significant number of Christian structures in Ravenna? a. It was the Roman imperial capital in the West in the fifth century. b. Christianity was not yet legal in fifth-century Rome.

Consider This: Ravenna is located in central Italy. 7.2 Explain the origins and first flowering of Christian art and architecture within the conventions of late Roman art. c. The site remained hidden by military fortifications for many years.

Consider This: Ravenna is located in central Italy. 7.2 Explain the origins and first flowering of Christian art and architecture within the conventions of late Roman art. d. It was more cosmopolitan and tolerant of Christians than Rome.

Consider This: Ravenna is located in central Italy. 7.2 Explain the origins and first flowering of Christian art and architecture within the conventions of late Roman art.

Answer: a Learning Objective: 7.2 Explain the origins and first flowering of Christian art and architecture within the conventions of late Roman art.

Topic: Jewish, Early Christian, and Byzantine Art Difficulty Level: Difficult Skill Level: Understand EOC Q7.6 How does the Sarcophagus of Junius Bassus make clear Christ’s power? a. Christ is depicted like a Roman emperor. b. Christ wears an imperial Roman crown.

Consider This: This is an example of borrowed imagery. 7.2 Explain the origins and first flowering of Christian art and architecture within the conventions of late Roman art. c. Christ appears physically imposing.

Consider This: This is an example of borrowed imagery. 7.2 Explain the origins and first flowering of Christian art and architecture within the conventions of late Roman art. d. Christ is shown performing miracles.

Consider This: This is an example of borrowed imagery. 7.2 Explain the origins and first flowering of Christian art and architecture within the conventions of late Roman art.

Answer: a Learning Objective: 7.2 Explain the origins and first flowering of Christian art and architecture within the conventions of late Roman art.

Topic: Jewish, Early Christian, and Byzantine Art Difficulty Level: Moderate Skill Level: Understand

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EOC Q7.7 Early Christian images of the Hebrew Bible that were interpreted as foretelling Jesus’s life and death are said to __________ these events. a. prefigure b. forebode Consider This: Abraham is another example. 7.2 Explain the origins and first flowering of Christian art and architecture within the conventions of late Roman art. c. Predecease Consider This: Abraham is another example. 7.2 Explain the origins and first flowering of Christian art and architecture within the conventions of late Roman art. d. Personify Consider This: Abraham is another example. 7.2 Explain the origins and first flowering of Christian art and architecture within the conventions of late Roman art.

Answer: a Learning Objective: 7.2 Explain the origins and first flowering of Christian art and architecture within the conventions of late Roman art.

Topic: Jewish, Early Christian, and Byzantine Art Difficulty Level: Moderate Skill Level: Remember EOC Q7.8 The purpose of a Byzantine icon is to __________. a. observe while praying b. illustrate sacred stories Consider This: Iconoclasts disagreed. 7.3 Characterize the early development of Byzantine art and architecture in the Eastern Roman Empire. c. carry during pilgrimage Consider This: Iconoclasts disagreed. 7.3 Characterize the early development of Byzantine art and architecture in the Eastern Roman Empire. d. worship the image Consider This: Iconoclasts disagreed. 7.3 Characterize the early development of Byzantine art and architecture in the Eastern Roman Empire.

Answer: a Learning Objective: 7.3 Characterize the early development of Byzantine art and architecture in the Eastern Roman Empire.

Topic: Jewish, Early Christian, and Byzantine Art Difficulty Level: Easy Skill Level: Understand

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EOC Q7.9 What distinguishes a codex from a scroll? a. Individual codex pages are bound together. b. It is printed on parchment or vellum.

Consider This: The codex is more practical and manageable than the scroll. 7.3 Characterize the early development of Byzantine art and architecture in the Eastern Roman Empire. c. It typically included illustrations called miniatures.

Consider This: The codex is more practical and manageable than the scroll. 7.3 Characterize the early development of Byzantine art and architecture in the Eastern Roman Empire. d. It could be written to be read vertically or horizontally.

Consider This: The codex is more practical and manageable than the scroll. 7.3 Characterize the early development of Byzantine art and architecture in the Eastern Roman Empire.

Answer: a Learning Objective: 7.3 Characterize the early development of Byzantine art and architecture in the Eastern Roman Empire.

Topic: Jewish, Early Christian, and Byzantine Art Difficulty Level: Easy Skill Level: Remember EOC Q7.10 The icon Virgin and Child with Saints and Angels applies Roman illusionism through its use of __________. a. modeling b. contour lines Consider This: This contrasts with the flatter figures. 7.3 Characterize the early development of Byzantine art and architecture in the Eastern Roman Empire. c. low relief Consider This: This contrasts with the flatter figures. 7.3 Characterize the early development of Byzantine art and architecture in the Eastern Roman Empire. d. patterning Consider This: This contrasts with the flatter figures. 7.3 Characterize the early development of Byzantine art and architecture in the Eastern Roman Empire.

Answer: a Learning Objective: 7.3 Characterize the early development of Byzantine art and architecture in the Eastern Roman Empire.

Topic: Jewish, Early Christian, and Byzantine Art Difficulty Level: Difficult Skill Level: Apply

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EOC Q7.11 What separates the nave from the altar in a Byzantine church? a. A screen b. A wall Consider This: This feature distinguishes Byzantine from Early Christian churches. 7.4 Identify the changes in Byzantine art during its middle and late periods. c. A curtain Consider This: This feature distinguishes Byzantine from Early Christian churches. 7.4 Identify the changes in Byzantine art during its middle and late periods. d. A choir Consider This: This feature distinguishes Byzantine from Early Christian churches. 7.4 Identify the changes in Byzantine art during its middle and late periods.

Answer: a Learning Objective: 7.4 Identify the changes in Byzantine art during its middle and late periods.

Topic: Jewish, Early Christian, and Byzantine Art Difficulty Level: Moderate Skill Level: Understand EOC Q7.12 At St. Mark’s in Venice, each arm of the Greek cross plan __________. a. is topped by a dome b. is a separate church Consider This: St. Mark’s is inspired by churches in Constantinople. 7.4 Identify the changes in Byzantine art during its middle and late periods. c. contains mosaics of Justinian Consider This: St. Mark’s is inspired by churches in Constantinople. 7.4 Identify the changes in Byzantine art during its middle and late periods. d. is supported by exedrae Consider This: St. Mark’s is inspired by churches in Constantinople. 7.4 Identify the changes in Byzantine art during its middle and late periods.

Answer: a Learning Objective: 7.4 Identify the changes in Byzantine art during its middle and late periods.

Topic: Jewish, Early Christian, and Byzantine Art Difficulty Level: Easy Skill Level: Understand

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EOC Q7.13 The massive building and renovation campaign in Constantinople of the Late Byzantine period began with the __________. a. defeat of the crusaders b. arrival of the Ottomans Consider This: The campaign lasted nearly 200 years. 7.4 Identify the changes in Byzantine art during its middle and late periods. c. coronation of Constantine Consider This: The campaign lasted nearly 200 years. 7.4 Identify the changes in Byzantine art during its middle and late periods. d. division of the empire Consider This: The campaign lasted nearly 200 years. 7.4 Identify the changes in Byzantine art during its middle and late periods.

Answer: a Learning Objective: 7.4 Identify the changes in Byzantine art during its middle and late periods.

Topic: Jewish, Early Christian, and Byzantine Art Difficulty Level: Easy Skill Level: Remember EOC Q7.14 The Byzantine image known as the Anastasis features Christ during the __________. a. Resurrection b. Annunciation Consider This: An example is found in Chora. 7.4 Identify the changes in Byzantine art during its middle and late periods. c. Crucifixion Consider This: An example is found in Chora. 7.4 Identify the changes in Byzantine art during its middle and late periods. d. Adoration Consider This: An example is found in Chora. 7.4 Identify the changes in Byzantine art during its middle and late periods.

Answer: a Learning Objective: 7.4 Identify the changes in Byzantine art during its middle and late periods.

Topic: Jewish, Early Christian, and Byzantine Art Difficulty Level: Easy Skill Level: Remember

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EOC Q7.15 In what way are Late Byzantine figures similar to Classical Greek sculpture? a. They are based on consistent proportions for ideal figures. b. They are based on observation of live models.

Consider This: Three Angels Visiting Abraham displays this characteristic. 7.4 Identify the changes in Byzantine art during its middle and late periods. c. They emphasize the perfection of the human body.

Consider This: Three Angels Visiting Abraham displays this characteristic. 7.4 Identify the changes in Byzantine art during its middle and late periods. d. They change rapidly in style over time.

Consider This: Three Angels Visiting Abraham displays this characteristic. 7.4 Identify the changes in Byzantine art during its middle and late periods.

Answer: a Learning Objective: 7.4 Identify the changes in Byzantine art during its middle and late periods.

Topic: Jewish, Early Christian, and Byzantine Art Difficulty Level: Moderate Skill Level: Understand

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Chapter 8: Islamic Art Multiple-Choice Questions 1. Which of the following means “submission to [God’s will]”? a. Islam b. madrasa c. Qur’an d. mosque Answer: a Learning Objective: None Topic: Introduction Difficulty Level: Easy Skill Level: Remember the Facts 2. Islamic art is characterized by complex geometric designs and scrolling vines known outside the Islamic world as __________. a. kufic script b. tugras c. arabesques d. calligraphy Answer: c Learning Objective: None Topic: Introduction Difficulty Level: Moderate Skill Level: Understand the Concepts 3. The first great monument of Islamic art is the __________. a. Great Mosque of Damascus b. Dome of the Rock in Jerusalem c. Great Mosque of Córdoba d. Masjid-i Jami in Isfahan Answer: b Learning Objective: 8.1 Describe the early formulation of Islamic art and architecture.

Topic: Early Islamic Art Difficulty Level: Moderate Skill Level: Understand the Concepts

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4. The mosaic friezes in the Dome of the Rock depict the __________. a. sacred figures of Islam b. imam preaching a sermon c. gardens of Paradise d. faithful called to prayer Answer: c Learning Objective: 8.1 Describe the early formulation of Islamic art and architecture.

Topic: Early Islamic Art Difficulty Level: Moderate Skill Level: Understand the Concepts 5. A place of worship where Muslims gather on Fridays for public worship is called __________. a. a madrasa b. a minaret c. an iwan d. a mosque Answer: d Learning Objective: 8.1 Describe the early formulation of Islamic art and architecture.

Topic: The Great Mosques of Damascus and Córdoba Difficulty Level: Easy Skill Level: Remember the Facts 6. In a mosque, the enclosure in front of the mihrab for the ruler and other dignitaries is called a __________. a. minbar b. minaret c. madrasa d. maqsura Answer: d Learning Objective: 8.1 Describe the early formulation of Islamic art and architecture.

Topic: The Great Mosques of Damascus and Córdoba Difficulty Level: Easy Skill Level: Remember the Facts 7. At a mosque, the qibla wall is oriented toward Mecca and identified by __________. a. a mihrab b. an iwan c. a minaret d. a madrasa Answer: a Learning Objective: 8.1 Describe the early formulation of Islamic art and architecture.

Topic: The Great Mosques of Damascus and Córdoba Difficulty Level: Easy Skill Level: Remember the Facts 2 Copyright © 2020, 2016, 2012 Pearson Education, Inc. All rights reserved.

8. Tall towers from which the faithful are called to prayer are called __________. a. mihrabs b. iwans c. minarets d. maqsuras Answer: c Learning Objective: 8.1 Describe the early formulation of Islamic art and architecture.

Topic: The Great Mosques of Damascus and Córdoba Difficulty Level: Easy Skill Level: Remember the Facts 9. The pulpit for the prayer leader is called the __________. a. minaret b. madrasa c. minbar d. mihrab Answer: c Learning Objective: 8.1 Describe the early formulation of Islamic art and architecture.

Topic: The Great Mosques of Damascus and Córdoba Difficulty Level: Easy Skill Level: Remember the Facts 10. At the Great Mosque of Damascus, the three long aisles of the structure form the __________. a. qibla wall b. hypostyle prayer hall c. prayer leader’s house d. school building Answer: a Learning Objective: 8.1 Describe the early formulation of Islamic art and architecture.

Topic: The Great Mosques of Damascus and Córdoba Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It 11. Which of the following buildings has a hypostyle hall comprised of horseshoe arches? a. Masjid-i Jami b. Great Mosque of Córdoba c. Sultan Selim Mosque d. Dome of the Rock Answer: b Learning Objective: 8.1 Describe the early formulation of Islamic art and architecture.

Topic: The Great Mosques of Damascus and Córdoba Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It

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12. Which of the following best characterizes the decoration at the Great Mosque of Córdoba? a. realistic cityscapes b. stylized vegetation c. kufic script d. figural art Answer: b Learning Objective: 8.1 Describe the early formulation of Islamic art and architecture.

Topic: The Great Mosques of Damascus and Córdoba Difficulty Level: Moderate Skill Level: Understand the Concepts 13. At the Great Mosque of Córdoba, the glass and ceramic mosaics demonstrate the influence of __________. a. Roman art b. Indian art c. Persian art d. Byzantine art Answer: d Learning Objective: 8.1 Describe the early formulation of Islamic art and architecture.

Topic: The Great Mosques of Damascus and Córdoba Difficulty Level: Moderate Skill Level: Understand the Concepts 14. The earliest form of Islamic calligraphy was called __________. a. tugras b. arabesques c. muhaqqaq d. kufic Answer: d Learning Objective: 8.1 Describe the early formulation of Islamic art and architecture.

Topic: Calligraphy Difficulty Level: Easy Skill Level: Remember the Facts 15. White pottery in the Nishapur region, such as the plate with kufic border from Khurasan, was influenced by __________. a. Chinese porcelain b. Roman wall painting c. Early Christian manuscripts d. Byzantine mosaics Answer: a Learning Objective: 8.1 Describe the early formulation of Islamic art and architecture.

Topic: Calligraphy Difficulty Level: Moderate Skill Level: Understand the Concepts 4 Copyright © 2020, 2016, 2012 Pearson Education, Inc. All rights reserved.

16. In Islamic architecture, an iwan is a __________. a. vaulted open room b. tall prayer tower c. school for advanced study d. niche oriented toward Mecca Answer: a Learning Objective: 8.2 Recognize later developments in the Islamic art and architecture of Persia, Spain, and Turkey.

Topic: The Saljuqs in Persia Difficulty Level: Moderate Skill Level: Remember the Facts 17. Which of the following structures features four iwans arranged around an internal courtyard? a. Great Mosque of Córdoba b. Dome of the Rock c. Masjid-i Jami d. Sultan Selim Mosque Answer: c Learning Objective: 8.2 Recognize later developments in the Islamic art and architecture of Persia, Spain, and Turkey.

Topic: The Saljuqs in Persia Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It 18. At Masji-i Jami, muqarnas embellish the __________. a. courtyard b. prayer hall c. mihrab d. qibla iwan Answer: d Learning Objective: 8.2 Recognize later developments in the Islamic art and architecture of Persia, Spain, and Turkey.

Topic: The Saljuqs in Persia Difficulty Level: Moderate Skill Level: Understand the Concepts

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19. The Alhambra palace complex was the seat of the __________. a. Saljuqs b. Nasrids c. Ottomans d. Abbasids Answer: b Learning Objective: 8.2 Recognize later developments in the Islamic art and architecture of Persia, Spain, and Turkey.

Topic: The Nasrids in Spain Difficulty Level: Easy Skill Level: Remember the Facts 20. How does the Hall of the Abencerrajes at the Alhambra evoke a heavenly space? a. Its star-shaped dome is formed of muqarnas to create a dematerialized architectural form. b. Its sunken gardens, raised fountains, and water channels recall the Islamic vision of paradise. c. It includes a glazed tile mihrab covered in turquoise and blue organic and geometric forms. d. It has mosaics of elaborate cityscapes and vegetation and inscriptions from the Qur’an.

Answer: a Learning Objective: 8.2 Recognize later developments in the Islamic art and architecture of Persia, Spain, and Turkey.

Topic: The Nasrids in Spain Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 21. The architectural focus of the Court of the Lions at the Alhambra was directed toward the __________. a. star-shaped dome with carved stucco muqarnas b. Persian tile work of the mosaic mihrab c. sunken gardens, fountains, and water channels d. large hemispheric dome and four tall minarets Answer: c Learning Objective: 8.2 Recognize later developments in the Islamic art and architecture of Persia, Spain, and Turkey.

Topic: The Nasrids in Spain Difficulty Level: Moderate Skill Level: Understand the Concepts

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22. Which building inspired Ottoman architects like Sinan? a. the Alhambra b. Dome of the Rock c. Great Mosque of Córdoba d. Hagia Sophia Answer: d Learning Objective: 8.2 Recognize later developments in the Islamic art and architecture of Persia, Spain, and Turkey.

Topic: The Ottomans in Turkey Difficulty Level: Moderate Skill Level: Understand the Concepts 23. Which of the following exemplifies the architectural style of the Ottomans? a. the Alhambra b. Sultan Selim Mosque c. Masjid-i Jami d. Great Mosque of Damascus Answer: b Learning Objective: 8.2 Recognize later developments in the Islamic art and architecture of Persia, Spain, and Turkey.

Topic: The Ottomans in Turkey Difficulty Level: Moderate Skill Level: Understand the Concepts 24. The monograms developed by the Ottomans to symbolize the authority of the sultan on official seals, coins, buildings, and documents are called __________. a. arabesques b. tugras c. muqarnas d. madrasas Answer: b Learning Objective: 8.2 Recognize later developments in the Islamic art and architecture of Persia, Spain, and Turkey.

Topic: The Ottomans in Turkey Difficulty Level: Easy Skill Level: Remember the Facts

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25. In Egypt and Syria, mosques were primarily illuminated with __________. a. enameled glass lamps b. elaborate tugras c. candle-lit mihrabs d. inlaid metal basins Answer: a Learning Objective: 8.3 Interpret the diverse forms of luxury art produced in the Islamic world.

Topic: Luxury Arts Difficulty Level: Moderate Skill Level: Understand the Concepts 26. The Baptistery of St. Louis features figural designs created by __________. a. inlaid brass b. enameled glass c. glazed tiles d. carved stucco Answer: a Learning Objective: 8.3 Interpret the diverse forms of luxury art produced in the Islamic world.

Topic: Luxury Arts Difficulty Level: Moderate Skill Level: Understand the Concepts 27. Which of the following is the Islamic art form best known in Europe and highly prized by Westerners? a. tugras b. carpets c. illuminated books d. enameled glass lamps Answer: b Learning Objective: 8.3 Interpret the diverse forms of luxury art produced in the Islamic world.

Topic: Luxury Arts Difficulty Level: Easy Skill Level: Remember the Facts 28. Islamic carpets, such as the Ardabil Carpet, were typically used for __________. a. decoration for homes b. trade with Europe c. social gatherings d. Muslim prayer Answer: d Learning Objective: 8.3 Interpret the diverse forms of luxury art produced in the Islamic world.

Topic: Luxury Arts Difficulty Level: Moderate Skill Level: Understand the Concepts

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29. The great royal center of book production at Herat was founded under the patronage of the __________. a. Persian Timurid dynasty b. Ottoman dynasty c. Nasrid dynasty d. Mamluk dynasty Answer: a Learning Objective: 8.3 Interpret the diverse forms of luxury art produced in the Islamic world.

Topic: Sumptuous Books Difficulty Level: Easy Skill Level: Remember the Facts 30. How is Bihzad’s Yusuf Fleeing Zulayhka different from The Court of Gayumars? a. It has gem-like colors and exquisite details. b. It depicts human figures and vegetation. c. It has three-dimensional architectural features. d. It includes calligraphic inscriptions.

Answer: c Learning Objective: 8.3 Interpret the diverse forms of luxury art produced in the Islamic world.

Topic: Sumptuous Books Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 31. Yusuf Fleeing Zulayhka and The Baptistery of St. Louis are similar because they feature __________. a. elaborate muqarnas b. inlaid ornament c. interlacing tugras d. narrative scenes Answer: d Learning Objective: 8.3 Interpret the diverse forms of luxury art produced in the Islamic world.

Topic: Sumptuous Books Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It 32. Sultan Muhammad’s The Court of Gayumars depicts __________. a. the idyllic reign of the first Shah b. scenes of horsemanship and hunting c. a mystical version of a Biblical story d. the Islamic vision of paradise as a garden Answer: a Learning Objective: 8.3 Interpret the diverse forms of luxury art produced in the Islamic world.

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33. Who was the intended audience for The Court of Gayumars? a. Persian artists b. the common people c. Europeans d. the Safavid court Answer: d Learning Objective: 8.3 Interpret the diverse forms of luxury art produced in the Islamic world.

Topic: Sumptuous Books Difficulty Level: Moderate Skill Level: Understand the Concepts 34. What current political structures exist in the Islamic world after the dissolution of the great Islamic empires in the twentieth century? a. monarchies b. autocracies c. nation-states d. democracies Answer: c Learning Objective: 8.4 Identify the extension of Islamic art into the modern period.

Topic: Modern Islam Difficulty Level: Easy Skill Level: Remember the Facts 35. At the Islamic Mosque and Cultural Center in Rome, the prayer hall references the prayer hall of the Sultan Selim Mosque in its __________. a. large dome b. simple columns c. mosaic mihrab d. hypostyle arcade Answer: a Learning Objective: 8.4 Identify the extension of Islamic art into the modern period.

Topic: Modern Islam Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It

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Essay Questions 36. How and why does the Dome of the Rock incorporate aspects of earlier artistic traditions?

Answer: The ideal answer should include: 1. The Dome of the Rock claimed a site holy to Jews and Christians and crowned it with an Islamic monument that incorporates aspects of these earlier artistic traditions in order to emphasize that Islam has superseded the prophesies of Judaism and Christianity.

2. Its centralized octagonal plan derives from Early Christian and Byzantine martyria.

3. The central space is covered by a dome and surrounded by two concentric aisles, or ambulators, that permit the visitor to circumambulate the rock.

4. It has mosaic friezes with inscriptions from the Qur’an and others that depicts thick, symmetrical vine scrolls and trees that can be interpreted as the gardens of Paradise.

Learning Objective: 8.1 Describe the early formulation of Islamic art and architecture.

Topic: Early Islamic Art Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 37. How does the Great Mosque of Damascus exemplify the typical plan of an early Islamic mosque?

Answer: The ideal answer should include: 1. Islamic mosques were modeled on Muhammad’s house with its courtyard and porticoes, where early followers gathered for worship and to hear the Prophet speak from his raised seat.

2. The Great Mosque of Damascus reflects this early form of the mosque because it is a large rectangular space with a courtyard.

3. The courtyard is surrounded by arcaded porticos on three sides and a broad hypostyle prayer hall oriented toward Mecca on the fourth side.

4. It also incorporates minarets to call the faithful to prayer and a qibla wall that intersects the prayer hall to mark the entrance to the mihrab, which signifies the direction toward Mecca.

Learning Objective: 8.1 Describe the early formulation of Islamic art and architecture.

Topic: The Great Mosques of Damascus and Córdoba Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It

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38. How does the Court of the Lions at the Alhambra correspond to the Islamic vision of Paradise?

Answer: The ideal answer should include: 1. The courtyard was originally a sunken garden with raised fountains and water channels.

2. Aromatic shrubs, flowers, and small citrus trees were planted between the four radiating channels—recalling the rivers of paradise—that divide the courtyard into quarters.

3. The lushly planted courtyard embodied the Islamic vision of paradise as a well-watered, walled garden.

4. The Persian term for paradise, pairidiz, accordingly referred to an enclosed park.

Learning Objective: 8.2 Recognize later developments in the Islamic art and architecture of Persia, Spain, and Turkey.

Topic: The Nasrids in Spain Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 39. How does Bihzad’s Yusuf Fleeing Zulayhka correspond to the style and function of the Persian narrative painting tradition?

Answer: The ideal answer should include: 1. Illuminated books were luxury items created in royal workshops as a collaboration between calligraphers, painters, and binders.

2. These books encompassed a wide range of secular and religious subjects and were illustrated with extraordinary detail and gem-like colors.

3. Bihzad’s Yusuf Fleeing Zulayhka is a scene from a mystical version of the story of the biblical story of Joseph and Potiphar’s wife.

4. The brilliant, jewel-like colors of the complex architectural forms, and the exquisite details with which the scene is rendered, is characteristic of the Persian narrative painting tradition.

Learning Objective: 8.3 Interpret the diverse forms of luxury art produced in the Islamic world.

Topic: Sumptuous Books Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It

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40. How does the design of the Islamic Mosque and Cultural Center in Rome demonstrate how twentieth-century architects reconciled modernity with Islamic cultural traditions?

Answer: The ideal answer should include: 1. Iraqi architect, Sami Mousawi, and the Italian firm of Portoghesi-Gigliotti used clean modern lines, exposing the structure while taking full advantage of opportunities for ornament.

2. The prayer hall’s columns are made of concrete with an aggregate of crushed Carrara marble.

3. The columns are topped with abstract capitals in the form of plain rings that support a dome of concentric circles.

4. There are references to the interlacing ribs of the mihrab dome in the Great Mosque of Córdoba, the great domed spans of Sinan’s prayer halls, and to the simple palm-tree trunks that supported the roof of the Mosque of the Prophet in Medina.

Learning Objective: 8.4 Identify the extension of Islamic art into the modern period.

Topic: Modern Islam Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It

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Revel Quizzes Quiz: Early Islamic Art EOM Q8.1.1 What event is believed to have taken place at the site of the Dome of the Rock? a. Muhammad ascended to God. b. God created the world.

Consider This: This is described in the Qu’ran. 8.1 Describe the early formulation of Islamic art and architecture. c. Islam was founded.

Consider This: This is described in the Qu’ran. 8.1 Describe the early formulation of Islamic art and architecture. d. Muhammad built his home.

Consider This: This is described in the Qu’ran. 8.1 Describe the early formulation of Islamic art and architecture.

Answer: a Learning Objective: 8.1 Describe the early formulation of Islamic art and architecture.

Topic: Early Islamic Art Difficulty Level: Easy Skill Level: Remember EOM Q8.1.2 What structure provided the model for the architecture of Islamic mosques? a. The Prophet Muhammad’s house b. The Dome of the Rock Consider This: Mosques include a courtyard. 8.1 Describe the early formulation of Islamic art and architecture. c. Egyptian peristyle courtyards Consider This: Mosques include a courtyard. 8.1 Describe the early formulation of Islamic art and architecture. d. Byzantine centrally-planned churches Consider This: Mosques include a courtyard. 8.1 Describe the early formulation of Islamic art and architecture.

Answer: a Learning Objective: 8.1 Describe the early formulation of Islamic art and architecture.

Topic: Early Islamic Art Difficulty Level: Easy Skill Level: Remember

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EOM Q8.1.3 The typical mosque has a __________. a. qibla wall and mihrab b. nave and apse Consider This: The mosque at Damascus is a good example. 8.1 Describe the early formulation of Islamic art and architecture. c. central plan Consider This: The mosque at Damascus is a good example. 8.1 Describe the early formulation of Islamic art and architecture. d. basilica plan Consider This: The mosque at Damascus is a good example. 8.1 Describe the early formulation of Islamic art and architecture.

Answer: a Learning Objective: 8.1 Describe the early formulation of Islamic art and architecture.

Topic: Early Islamic Art Difficulty Level: Moderate Skill Level: Understand EOM Q8.1.4 How does the Great Mosque at Damascus use spolia? a. It reuses Roman columns. b. It has geometric decoration.

Consider This: This also occurred in Cordoba, Spain. 8.1 Describe the early formulation of Islamic art and architecture. c. It employs a barrel vault.

Consider This: This also occurred in Cordoba, Spain. 8.1 Describe the early formulation of Islamic art and architecture. d. It adds a minaret.

Consider This: This also occurred in Cordoba, Spain. 8.1 Describe the early formulation of Islamic art and architecture.

Answer: a Learning Objective: 8.1 Describe the early formulation of Islamic art and architecture.

Topic: Early Islamic Art Difficulty Level: Moderate Skill Level: Understand

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EOM Q8.1.5 How does the Great Mosque at Cordoba reveal the advantage of hypostyle halls? a. Adding bays accommodates growing congregations. b. Columns hold more weight than arches.

Consider This: The same advantage was exploited in the ancient Near East. 8.1 Describe the early formulation of Islamic art and architecture. c. Opening aisles focuses attention on the minbar.

Consider This: The same advantage was exploited in the ancient Near East. 8.1 Describe the early formulation of Islamic art and architecture. d. Parallel bays permit processional entries.

Consider This: The same advantage was exploited in the ancient Near East. 8.1 Describe the early formulation of Islamic art and architecture.

Answer: a Learning Objective: 8.1 Describe the early formulation of Islamic art and architecture.

Topic: Early Islamic Art Difficulty Level: Difficult Skill Level: Apply Quiz: Later Islamic Art in Persia, Spain, and Turkey EOM Q8.2.1 The characteristic form of Persian Islamic architecture is the __________. a. vaulted iwan b. hypostyle iwan Consider This: These look like large niches. 8.2 Recognize later developments in the Islamic art and architecture of Persia, Spain, and Turkey. c. calligraphic iwan Consider This: These look like large niches. 8.2 Recognize later developments in the Islamic art and architecture of Persia, Spain, and Turkey. d. iwan staircase Consider This: These look like large niches. 8.2 Recognize later developments in the Islamic art and architecture of Persia, Spain, and Turkey.

Answer: a Learning Objective: 8.2 Recognize later developments in the Islamic art and architecture of Persia, Spain, and Turkey.

Topic: Later Islamic Art in Persia, Spain, and Turkey Difficulty Level: Easy Skill Level: Understand

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EOM Q8.2.2 Persian tilework is known for its __________. a. geometric designs in blue and turquoise b. representations of historical narratives Consider This: The mihrab from Isfahan is a good example. 8.2 Recognize later developments in the Islamic art and architecture of Persia, Spain, and Turkey. c. gold domes over red and black writing Consider This: The mihrab from Isfahan is a good example. 8.2 Recognize later developments in the Islamic art and architecture of Persia, Spain, and Turkey. d. kufic inscriptions in green and white Consider This: The mihrab from Isfahan is a good example. 8.2 Recognize later developments in the Islamic art and architecture of Persia, Spain, and Turkey.

Answer: a Learning Objective: 8.2 Recognize later developments in the Islamic art and architecture of Persia, Spain, and Turkey.

Topic: Later Islamic Art in Persia, Spain, and Turkey Difficulty Level: Moderate Skill Level: Understand EOM Q8.2.3 What ornamental elements are visible between the columns in the Court of the Lions in Granada? a. Muqarnas b. Mihrabs Consider This: These look like small niches. 8.2 Recognize later developments in the Islamic art and architecture of Persia, Spain, and Turkey. c. Madrasas Consider This: These look like small niches. 8.2 Recognize later developments in the Islamic art and architecture of Persia, Spain, and Turkey. d. Minbars Consider This: These look like small niches. 8.2 Recognize later developments in the Islamic art and architecture of Persia, Spain, and Turkey.

Answer: a Learning Objective: 8.2 Recognize later developments in the Islamic art and architecture of Persia, Spain, and Turkey.

Topic: Later Islamic Art in Persia, Spain, and Turkey Difficulty Level: Difficult Skill Level: Apply

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EOM Q8.2.4 Imperial Ottoman mosques recall Byzantine church plans thanks to their __________. a. domed central plans b. ambulatories for circulation Consider This: This was originally inspired by Early Christian martyria. 8.2 Recognize later developments in the Islamic art and architecture of Persia, Spain, and Turkey. c. apses following the crossing Consider This: This was originally inspired by Early Christian martyria. 8.2 Recognize later developments in the Islamic art and architecture of Persia, Spain, and Turkey. d. longitudinal naves Consider This: This was originally inspired by Early Christian martyria. 8.2 Recognize later developments in the Islamic art and architecture of Persia, Spain, and Turkey.

Answer: a Learning Objective: 8.2 Recognize later developments in the Islamic art and architecture of Persia, Spain, and Turkey.

Topic: Later Islamic Art in Persia, Spain, and Turkey Difficulty Level: Moderate Skill Level: Apply EOM Q8.2.5 An Ottoman tugra is __________. a. an imperial monogram, often combining the royal name and title with a motto b. a shallow basin used for ritual washing Consider This: Tugras are used by the court. 8.2 Recognize later developments in the Islamic art and architecture of Persia, Spain, and Turkey. c. an asymmetrical knot used by Iranian carpet makers Consider This: Tugras are used by the court. 8.2 Recognize later developments in the Islamic art and architecture of Persia, Spain, and Turkey. d. a stacked niche that forms decorative wall panels Consider This: Tugras are used by the court. 8.2 Recognize later developments in the Islamic art and architecture of Persia, Spain, and Turkey.

Answer: a Learning Objective: 8.2 Recognize later developments in the Islamic art and architecture of Persia, Spain, and Turkey.

Topic: Later Islamic Art in Persia, Spain, and Turkey Difficulty Level: Easy Skill Level: Remember

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Quiz: Luxury Arts EOM Q8.3.1 Evidence that carpet weaving was an esteemed art in Persia includes the fact that carpets were often __________. a. signed b. inlaid Consider This: This includes the Ardabil Carpet. 8.3 Interpret the diverse forms of luxury art produced in the Islamic world. c. hung Consider This: This includes the Ardabil Carpet. 8.3 Interpret the diverse forms of luxury art produced in the Islamic world. d. woven Consider This: This includes the Ardabil Carpet. 8.3 Interpret the diverse forms of luxury art produced in the Islamic world.

Answer: a Learning Objective: 8.3 Interpret the diverse forms of luxury art produced in the Islamic world.

Topic: Luxury Arts Difficulty Level: Moderate Skill Level: Understand EOM Q8.3.2 In what way is the Ardabil Carpet similar to Islamic mosque decoration? a. It employs geometric patterns. b. It displays muqarnas.

Consider This: It also has arabesques. 8.3 Interpret the diverse forms of luxury art produced in the Islamic world. c. It represents stories from the Qu’ran.

Consider This: It also has arabesques. 8.3 Interpret the diverse forms of luxury art produced in the Islamic world. d. It uses gold thread.

Consider This: It also has arabesques. 8.3 Interpret the diverse forms of luxury art produced in the Islamic world.

Answer: a Learning Objective: 8.3 Interpret the diverse forms of luxury art produced in the Islamic world.

Topic: Luxury Arts Difficulty Level: Difficult Skill Level: Apply

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EOM Q8.3.3 In what way is the illustration of Yusuf Fleeing Zulayhka from the Bustan typical of books produced in the Muslim world? a. Extensive detail and jewel-like colors b. Pictures of the stories of the Qur’an Consider This: Bihzad’s paintings were known for this. 8.3 Interpret the diverse forms of luxury art produced in the Islamic world. c. Absence of figural images Consider This: Bihzad’s paintings were known for this. 8.3 Interpret the diverse forms of luxury art produced in the Islamic world. d. Papyrus support and tempera paint Consider This: Bihzad’s paintings were known for this. 8.3 Interpret the diverse forms of luxury art produced in the Islamic world.

Answer: a Learning Objective: 8.3 Interpret the diverse forms of luxury art produced in the Islamic world.

Topic: Luxury Arts Difficulty Level: Moderate Skill Level: Apply Quiz: Modern Islam EOM Q8.4.1 The architecture of the Islamic Mosque and Cultural Center in Rome illustrates how some modern Muslim artists __________. a. reconcile international trends and Islamic tradition b. sweep away signs of cultural character and difference Consider This: The structure includes a dome with ribs. 8.4 Identify the extension of Islamic art into the modern period. c. reject outside influence to preserve tradition Consider This: The structure includes a dome with ribs. 8.4 Identify the extension of Islamic art into the modern period. d. opt to work only within the historical Islamic world Consider This: The structure includes a dome with ribs. 8.4 Identify the extension of Islamic art into the modern period.

Answer: a Learning Objective: 8.4 Identify the extension of Islamic art into the modern period.

Topic: Modern Islam Difficulty Level: Easy Skill Level: Understand

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EOM Q8.4.2 The architecture of the Islamic Mosque and Cultural Center in Rome is typical of mosques due to its lack of __________. a. figural ornamentation b. geometric designs Consider This: This is true of the Great Mosque at Damascus as well. 8.4 Identify the extension of Islamic art into the modern period. c. historical references Consider This: This is true of the Great Mosque at Damascus as well. 8.4 Identify the extension of Islamic art into the modern period. d. symbolic forms Consider This: This is true of the Great Mosque at Damascus as well. 8.4 Identify the extension of Islamic art into the modern period.

Answer: a Learning Objective: 8.4 Identify the extension of Islamic art into the modern period.

Topic: Modern Islam Difficulty Level: Difficult Skill Level: Apply EOM Q8.4.3 The Islamic Mosque and Cultural Center in Rome recalls the Great Mosque at Cordoba’s __________. a. mihrab dome b. kufic ornament Consider This: This has ribs. 8.4 Identify the extension of Islamic art into the modern period. c. minbar Consider This: This has ribs. 8.4 Identify the extension of Islamic art into the modern period. d. madrasa Consider This: This has ribs. 8.4 Identify the extension of Islamic art into the modern period.

Answer: a Learning Objective: 8.4 Identify the extension of Islamic art into the modern period.

Topic: Modern Islam Difficulty Level: Moderate Skill Level: Apply

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Chapter Quiz: Islamic Art (Num. items: 15) EOC Q8.1 The red mihrab shown in the center of Abu Zayd Preaching in a Mosque is located __________. a. on the qibla wall b. in the iwan Consider This: The minbar is next to it. 8.1 Describe the early formulation of Islamic art and architecture. c. under the minaret Consider This: The minbar is next to it. 8.1 Describe the early formulation of Islamic art and architecture. d. beside the muqarna Consider This: The minbar is next to it. 8.1 Describe the early formulation of Islamic art and architecture.

Answer: a Learning Objective: 8.1 Describe the early formulation of Islamic art and architecture.

Topic: Islamic Art Difficulty Level: Difficult Skill Level: Apply EOC Q8.2 Islamic ornament including scrolling vines are known as __________. a. arabesques b. acanthus Consider This: Islamic art is generally nonfigural, with lots of this pattern. 8.1 Describe the early formulation of Islamic art and architecture. c. anamorphs Consider This: Islamic art is generally nonfigural, with lots of this pattern. 8.1 Describe the early formulation of Islamic art and architecture. d. abacus Consider This: Islamic art is generally nonfigural, with lots of this pattern. 8.1 Describe the early formulation of Islamic art and architecture.

Answer: a Learning Objective: 8.1 Describe the early formulation of Islamic art and architecture.

Topic: Islamic Art Difficulty Level: Easy Skill Level: Remember

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EOC Q8.3 Lacking figural imagery, Islamic mosques are most commonly decorated with __________. a. inscriptions, geometric designs, and plant motifs b. narrative scenes, icons, and text from the Qu’ran Consider This: These ornamental motifs are made in mosaic, tile, and other materials. 8.1 Describe the early formulation of Islamic art and architecture. c. sculpture, portraits, and chinoiserie Consider This: These ornamental motifs are made in mosaic, tile, and other materials. 8.1 Describe the early formulation of Islamic art and architecture. d. floral designs, iconic imagery, and representations of paradise Consider This: These ornamental motifs are made in mosaic, tile, and other materials. 8.1 Describe the early formulation of Islamic art and architecture.

Answer: a Learning Objective: 8.1 Describe the early formulation of Islamic art and architecture.

Topic: Islamic Art Difficulty Level: Moderate Skill Level: Understand EOC Q8.4 What effect does the Muslim practice of congregational worship at a mosque have on architecture? a. Islamic mosques have to accommodate large numbers of worshippers. b. Islamic mosques require private rooms for individual prayers.

Consider This: Early Christian structures faced a similar design challenge. 8.1 Describe the early formulation of Islamic art and architecture. c. Islamic mosques are located along pilgrimage routes.

Consider This: Early Christian structures faced a similar design challenge. 8.1 Describe the early formulation of Islamic art and architecture. d. Islamic mosques employ Roman spolia and foundations.

Consider This: Early Christian structures faced a similar design challenge. 8.1 Describe the early formulation of Islamic art and architecture.

Answer: a Learning Objective: 8.1 Describe the early formulation of Islamic art and architecture.

Topic: Islamic Art Difficulty Level: Difficult Skill Level: Apply

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EOC Q8.5 An early form of Arabic writing is called __________. a. kufic b. Qu’ran Consider This: This is used as architectural ornamentation. 8.1 Describe the early formulation of Islamic art and architecture. c. minbar Consider This: This is used as architectural ornamentation. 8.1 Describe the early formulation of Islamic art and architecture. d. muqarna Consider This: This is used as architectural ornamentation. 8.1 Describe the early formulation of Islamic art and architecture.

Answer: a Learning Objective: 8.1 Describe the early formulation of Islamic art and architecture.

Topic: Islamic Art Difficulty Level: Easy Skill Level: Remember EOC Q8.6 A madrasa is a __________. a. school b. burial Consider This: The Saljuqs in Persia built many of these. 8.2 Recognize later developments in the Islamic art and architecture of Persia, Spain, and Turkey. c. palace Consider This: The Saljuqs in Persia built many of these. 8.2 Recognize later developments in the Islamic art and architecture of Persia, Spain, and Turkey. d. fountain Consider This: The Saljuqs in Persia built many of these. 8.2 Recognize later developments in the Islamic art and architecture of Persia, Spain, and Turkey.

Answer: a Learning Objective: 8.2 Recognize later developments in the Islamic art and architecture of Persia, Spain, and Turkey.

Topic: Islamic Art Difficulty Level: Easy Skill Level: Remember

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EOC Q8.7 What Islamic structure type is a vaulted hall with an arched opening? a. The iwan b. The minaret Consider This: Masjid-I Jami is a good example. 8.2 Recognize later developments in the Islamic art and architecture of Persia, Spain, and Turkey. c. The muqarna Consider This: Masjid-I Jami is a good example. 8.2 Recognize later developments in the Islamic art and architecture of Persia, Spain, and Turkey. d. The qibla Consider This: Masjid-I Jami is a good example. 8.2 Recognize later developments in the Islamic art and architecture of Persia, Spain, and Turkey.

Answer: a Learning Objective: 8.2 Recognize later developments in the Islamic art and architecture of Persia, Spain, and Turkey.

Topic: Islamic Art Difficulty Level: Easy Skill Level: Remember EOC Q8.8 The builders of the Alhambra used muqarnas to __________. a. give the appearance of dematerialized architecture b. support the weight of the wood inlay ceiling Consider This: Islamic architecture is frequently highly ornamented on the inside. 8.2 Recognize later developments in the Islamic art and architecture of Persia, Spain, and Turkey. c. provide a framed view of the surrounding countryside Consider This: Islamic architecture is frequently highly ornamented on the inside. 8.2 Recognize later developments in the Islamic art and architecture of Persia, Spain, and Turkey. d. suggest the presence of God within the mosque Consider This: Islamic architecture is frequently highly ornamented on the inside. 8.2 Recognize later developments in the Islamic art and architecture of Persia, Spain, and Turkey.

Answer: a Learning Objective: 8.2 Recognize later developments in the Islamic art and architecture of Persia, Spain, and Turkey.

Topic: Islamic Art Difficulty Level: Moderate Skill Level: Understand

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EOC Q8.9 The Alhambra in Granada was built as __________. a. a palace b. a mosque Consider This: This is where the Court of the Lions is located. 8.2 Recognize later developments in the Islamic art and architecture of Persia, Spain, and Turkey. c. a madrasa Consider This: This is where the Court of the Lions is located. 8.2 Recognize later developments in the Islamic art and architecture of Persia, Spain, and Turkey. d. an iwan Consider This: This is where the Court of the Lions is located. 8.2 Recognize later developments in the Islamic art and architecture of Persia, Spain, and Turkey.

Answer: a Learning Objective: 8.2 Recognize later developments in the Islamic art and architecture of Persia, Spain, and Turkey.

Topic: Islamic Art Difficulty Level: Easy Skill Level: Remember EOC Q8.10 What feature distinguishes Ottoman mosques from the Umayyad mosques in Damascus and Cordoba? a. Ottoman mosques have large domed spaces. b. Ottoman mosques have mihrabs oriented toward Mecca.

Consider This: The answer was employed by Roman builders as well. 8.2 Recognize later developments in the Islamic art and architecture of Persia, Spain, and Turkey. c. Ottoman mosques have hypostyle halls preceded by courtyards.

Consider This: The answer was employed by Roman builders as well. 8.2 Recognize later developments in the Islamic art and architecture of Persia, Spain, and Turkey. d. Ottoman mosques have large spaces for communal worship.

Consider This: The answer was employed by Roman builders as well. 8.2 Recognize later developments in the Islamic art and architecture of Persia, Spain, and Turkey.

Answer: a Learning Objective: 8.2 Recognize later developments in the Islamic art and architecture of Persia, Spain, and Turkey.

Topic: Islamic Art Difficulty Level: Difficult Skill Level: Apply

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EOC Q8.11 Persian Herat painting is described as __________. a. narrative b. abstract Consider This: Herat artists were favored by rulers for this approach. 8.3 Interpret the diverse forms of luxury art produced in the Islamic world. c. iconic Consider This: Herat artists were favored by rulers for this approach. 8.3 Interpret the diverse forms of luxury art produced in the Islamic world. d. veristic Consider This: Herat artists were favored by rulers for this approach. 8.3 Interpret the diverse forms of luxury art produced in the Islamic world.

Answer: a Learning Objective: 8.3 Interpret the diverse forms of luxury art produced in the Islamic world.

Topic: Islamic Art Difficulty Level: Easy Skill Level: Understand EOC Q8.12 Glass lamps in Mamluk mosques were often __________. a. enameled b. hung in pairs Consider This: These were donated to mosques by wealthy patrons. 8.3 Interpret the diverse forms of luxury art produced in the Islamic world. c. made in Venice Consider This: These were donated to mosques by wealthy patrons. 8.3 Interpret the diverse forms of luxury art produced in the Islamic world. d. inlaid Consider This: These were donated to mosques by wealthy patrons. 8.3 Interpret the diverse forms of luxury art produced in the Islamic world.

Answer: a Learning Objective: 8.3 Interpret the diverse forms of luxury art produced in the Islamic world.

Topic: Islamic Art Difficulty Level: Easy Skill Level: Remember

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EOC Q8.13 The Bustan of Sa’di is said to be illuminated because it __________. a. is illustrated b. teaches the Qur’an Consider This: This went along with the text. 8.3 Interpret the diverse forms of luxury art produced in the Islamic world. c. is made of paper Consider This: This went along with the text. 8.3 Interpret the diverse forms of luxury art produced in the Islamic world. d. Enlightens Consider This: This went along with the text. 8.3 Interpret the diverse forms of luxury art produced in the Islamic world.

Answer: a Learning Objective: 8.3 Interpret the diverse forms of luxury art produced in the Islamic world.

Topic: Islamic Art Difficulty Level: Easy Skill Level: Remember EOC Q8.14 Because it tells a story, the picture from the Shahnama of Shah Tahmasp is an example of __________. a. narrative b. iconoclasm Consider This: This tells a story. 8.3 Interpret the diverse forms of luxury art produced in the Islamic world. c. illumination Consider This: This tells a story. 8.3 Interpret the diverse forms of luxury art produced in the Islamic world. d. tugra Consider This: This tells a story. 8.3 Interpret the diverse forms of luxury art produced in the Islamic world.

Answer: a Learning Objective: 8.3 Interpret the diverse forms of luxury art produced in the Islamic world.

Topic: Islamic Art Difficulty Level: Easy Skill Level: Understand

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EOC Q8.15 Modern Islamic art is similar to early Islamic art because it incorporates __________. a. distinct cultural traditions b. crushed marble Consider This: This includes spolia and modern materials. 8.4 Identify the extension of Islamic art into the modern period. c. imperial symbolism Consider This: This includes spolia and modern materials. 8.4 Identify the extension of Islamic art into the modern period. d. representations of Muhammad Consider This: This includes spolia and modern materials. 8.4 Identify the extension of Islamic art into the modern period.

Answer: a Learning Objective: 8.4 Identify the extension of Islamic art into the modern period.

Topic: Islamic Art Difficulty Level: Difficult Skill Level: Apply

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Chapter 9: Later Asian Art Multiple-Choice Questions 1. Which of the following features of the Taj Mahal embodies the Islamic notion of paradise? a. the mosque b. the cenotaphs c. the iwan d. the garden Answer: d Learning Objective: None Topic: Introduction Difficulty Level: Moderate Skill Level: Understand the Concepts 2. During the period between c. 650 and 1526, the most prominent religion in India became __________. a. Islam b. Hinduism c. Buddhism d. Confucianism Answer: b Learning Objective: None Topic: Introduction Difficulty Level: Easy Skill Level: Remember the Facts 3. Which of the following artistic traditions developed rapidly due to the rise of Hinduism in India? a. manuscript illumination b. landscape painting c. temple architecture d. glazed ceramics Answer: c Learning Objective: None Topic: Introduction Difficulty Level: Moderate Skill Level: Understand the Concepts

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4. The series of three halls in a typical Hindu temple are known as __________. a. the shikhara b. iwans c. the bhakti d. mandapas Answer: d Learning Objective: 9.1 Discuss the effects of evolving Hindu traditions and the Mughal conquest on the later art of India and Southeast Asia.

Topic: India and Southeast Asia Difficulty Level: Easy Skill Level: Remember the Facts 5. At the Kandariya Mahadeva Temple, the decoration at the top of the temple that leads the eye to the point where earthly and cosmic worlds are thought to join is called __________. a. the axis-mundi b. a finial c. the shikhara d. a mandapa Answer: b Learning Objective: 9.1 Discuss the effects of evolving Hindu traditions and the Mughal conquest on the later art of India and Southeast Asia.

Topic: India and Southeast Asia Difficulty Level: Moderate Skill Level: Understand the Concepts 6. How does Shiva Nataraja exemplify the bhakti movement? a. Shiva displays his benevolent power to the believer. b. Shiva appears self-absorbed and introspective. c. Shiva emphasizes his heroic feats and important rituals. d. Shiva wears clothing that identifies his worldly life.

Answer: a Learning Objective: 9.1 Discuss the effects of evolving Hindu traditions and the Mughal conquest on the later art of India and Southeast Asia.

Topic: India and Southeast Asia Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It

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7. The first Mughal emperor, who conquered an empire stretching from Afghanistan to Delhi, was named __________. a. Suryavarman II b. Shah Abbas c. Jahangir d. Babur Answer: d Learning Objective: 9.1 Discuss the effects of evolving Hindu traditions and the Mughal conquest on the later art of India and Southeast Asia.

Topic: The Mughal Empire Difficulty Level: Easy Skill Level: Remember the Facts 8. What was the purpose of the painting Jahangir and Shah Abbas by Nadir al-Zaman? a. to educate the elite of the Mughal court b. to encourage trade with countries in East Asia c. to show Jahangir’s strength and superiority d. to portray the power of the Persian empire Answer: c Learning Objective: 9.1 Discuss the effects of evolving Hindu traditions and the Mughal conquest on the later art of India and Southeast Asia.

Topic: The Mughal Empire Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It 9. Which of the following aspects of Rama, Sita, and Lakshmana at the Hermitage of Bharadvaja gives the scene a dreamlike quality? a. the overlapping of flattened topographical features b. the naturalistic details of the trees and their leaves c. the arrangement of the Hindu sages in the composition d. the realistic colors of the landscape and the figures Answer: a Learning Objective: 9.1 Discuss the effects of evolving Hindu traditions and the Mughal conquest on the later art of India and Southeast Asia.

Topic: Rajput Patronage Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It

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10. The City Palace at Udaipur exemplifies the fortified architecture of the __________. a. Mughal Dynasty b. Rajput court c. Edo period d. Ming Dynasty Answer: b Learning Objective: 9.1 Discuss the effects of evolving Hindu traditions and the Mughal conquest on the later art of India and Southeast Asia.

Topic: Rajput Patronage Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It 11. Which of the following structures is both a temple dedicated to Vishnu and a symbolic mountain? a. Angkor Wat b. the Taj Mahal c. the Forbidden City d. Byodo-in Answer: a Learning Objective: 9.1 Discuss the effects of evolving Hindu traditions and the Mughal conquest on the later art of India and Southeast Asia.

Topic: Cambodia Difficulty Level: Moderate Skill Level: Understand the Concepts 12. The metaphysical belief system that developed during the Song dynasty is called __________. a. Daoism b. Zen Buddhism c. Neo-Confucianism d. Hinduism Answer: c Learning Objective: 9.2 Trace the evolution of painting and ceramics in the later art of China and Korea.

Topic: Song Dynasty Difficulty Level: Easy Skill Level: Remember the Facts

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13. In Neo-Confucianism, the li is the force in the universe that represents __________. a. objects or matter b. a principle or idea c. the middle path d. the Great Ultimate Answer: b Learning Objective: 9.2 Trace the evolution of painting and ceramics in the later art of China and Korea.

Topic: China and Korea Difficulty Level: Moderate Skill Level: Understand the Concepts 14. Neo-Confucian beliefs were expressed in __________. a. royal manuscripts b. ukiyo-e prints c. rock gardens d. landscape paintings Answer: d Learning Objective: 9.2 Trace the evolution of painting and ceramics in the later art of China and Korea.

Topic: Song Dynasty Difficulty Level: Moderate Skill Level: Understand the Concepts 15. Fan Kuan’s Travelers Among Mountains and Streams demonstrates the Neo-Confucian interest in the __________. a. concept of sudden enlightenment b. fleeting pleasures of life c. eternal essence of nature d. portrayal of actors and courtesans Answer: c Learning Objective: 9.2 Trace the evolution of painting and ceramics in the later art of China and Korea.

Topic: Song Dynasty Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It

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16. Late twelfth-century Song dynasty paintings incorporated the concept of sudden enlightenment from __________. a. Chan Buddhism b. Hinduism c. Daoism d. Pure Land Buddhism Answer: a Learning Objective: 9.2 Trace the evolution of painting and ceramics in the later art of China and Korea.

Topic: Song Dynasty Difficulty Level: Moderate Skill Level: Understand the Concepts 17. Which of the following elements of the Guan ware vase corresponds to the beliefs of the School of the Mind? a. graceful shape b. irregular cracks c. lustrous off-white glaze d. controlled form Answer: b Learning Objective: 9.2 Trace the evolution of painting and ceramics in the later art of China and Korea.

Topic: Song Dynasty Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It 18. During the Yuan dynasty, Chinese literati __________. a. took government positions b. created art for public display c. used their talents for the arts d. educated the Mongol court Answer: c Learning Objective: 9.2 Trace the evolution of painting and ceramics in the later art of China and Korea.

Topic: Yuan Dynasty Difficulty Level: Moderate Skill Level: Remember the Facts

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19. Unlike other literati of the Yuan dynasty, Zhao Mengfu __________. a. was a high official in the Yuan government b. combined poetry, calligraphy, and painting c. alienated himself from the Mongol court d. produced many artworks for public display Answer: a Learning Objective: 9.2 Trace the evolution of painting and ceramics in the later art of China and Korea.

Topic: Yuan Dynasty Difficulty Level: Moderate Skill Level: Understand the Concepts 20. Zhao Mengfu’s Sheep and Goat exemplifies the style of __________. a. Japanese ukiyo-e prints b. Mughal court painting c. Korean genre scenes d. Chinese literati painting Answer: d Learning Objective: 9.2 Trace the evolution of painting and ceramics in the later art of China and Korea.

Topic: Yuan Dynasty Difficulty Level: Moderate Skill Level: Understand the Concepts 21. A ceramic vessel made from kaolin is called __________. a. Guan ware b. ukiyo-e c. porcelain d. raku ware Answer: c Learning Objective: 9.2 Trace the evolution of painting and ceramics in the later art of China and Korea.

Topic: Ming Dynasty Difficulty Level: Easy Skill Level: Remember the Facts

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22. Ming Dynasty porcelain, such as Two Flasks, is characterized by __________. a. inlaid designs b. underglaze painting c. gilding d. block printing Answer: b Learning Objective: 9.2 Trace the evolution of painting and ceramics in the later art of China and Korea.

Topic: Ming Dynasty Difficulty Level: Moderate Skill Level: Understand the Concepts 23. Which of the following aspects of the Forbidden City correspond to the Chinese beliefs about the harmony of the universe? a. directional orientation and symmetrical arrangement b. terra-cotta-tile roofs and red lacquered columns c. thin columns and pair of phoenix images on the roof d. dry landscape gardens and series of stone mandapas Answer: a Learning Objective: 9.2 Trace the evolution of painting and ceramics in the later art of China and Korea.

Topic: Ming Dynasty Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 24. Kim Hongdo’s Roof Tiling exemplifies the style and iconography of __________. a. Japanese woodblock prints b. Chinese ink painting c. Korean genre painting d. Indian illuminated manuscripts Answer: c Learning Objective: 9.2 Trace the evolution of painting and ceramics in the later art of China and Korea.

Topic: Ming Dynasty Difficulty Level: Moderate Skill Level: Understand the Concepts

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25. During the Heian period, Japanese culture was influenced by __________. a. China and India b. India and Korea c. Cambodia and India d. China and Korea Answer: d Learning Objective: 9.3 Identify important monuments and developments in the later art of Japan.

Topic: Japan Difficulty Level: Easy Skill Level: Remember the Facts 26. The Byodo-in temple complex was designed to evoke the __________. a. symbolic mountain on the axis of the world b. palace of Amida in the Western Paradise c. the spiritual communion with nature d. gardens of the Islamic concept of Paradise Answer: b Learning Objective: 9.3 Identify important monuments and developments in the later art of Japan.

Topic: Japan Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 27. The Japanese construction method in which a large wooden sculpture is made from smaller carved blocks is called __________. a. kana b. fusuma c. joined-block d. collage Answer: c Learning Objective: 9.3 Identify important monuments and developments in the later art of Japan.

Topic: Japan Difficulty Level: Easy Skill Level: Remember the Facts

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28. The technique that uses pasted colored papers is called __________. a. gilding b. collage c. block printing d. fusuma Answer: b Learning Objective: 9.3 Identify important monuments and developments in the later art of Japan.

Topic: Heian Period Difficulty Level: Easy Skill Level: Remember the Facts 29. The Tale of Genji demonstrates the characteristics of the Japanese style called __________. a. ukiyo-e b. fusuma c. yamato-e d. Kangra Answer: c Learning Objective: 9.3 Identify important monuments and developments in the later art of Japan.

Topic: Heian Period Difficulty Level: Moderate Skill Level: Understand the Concepts 30. During which of the following periods was Zen Buddhism introduced to Japan? a. Heian b. Kamakura c. Momoyama d. Edo Answer: b Learning Objective: 9.3 Identify important monuments and developments in the later art of Japan.

Topic: Kamakura and Muromachi Periods Difficulty Level: Easy Skill Level: Remember the Facts

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31. Kao Ninga’s Monk Sewing embodies the spirit of __________. a. Zen Buddhism b. Pure Land Buddhism c. Neo-Confucianism d. Hinduism Answer: a Learning Objective: 9.3 Identify important monuments and developments in the later art of Japan.

Topic: Kamakura and Muromachi Periods Difficulty Level: Moderate Skill Level: Understand the Concepts 32. Japanese paper-covered sliding doors are called __________. a. ukiyo-e b. hanging scrolls c. fusuma d. shikharas Answer: c Learning Objective: 9.3 Identify important monuments and developments in the later art of Japan.

Topic: Momoyama Period Difficulty Level: Easy Skill Level: Remember the Facts 33. In Kano Tokinobu’s Appreciation of Painting, the drunken poet Li Bo symbolizes the __________. a. union of the li with the Great Ultimate b. fleeting pleasures of earthly life c. ritual drinking of tea, or chanoyu d. ideal of an unencumbered life Answer: d Learning Objective: 9.3 Identify important monuments and developments in the later art of Japan.

Topic: Momoyama Period Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It

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34. Woodblock prints depicting “pictures of the floating world” are called __________. a. fusuma b. ukiyo-e c. shikharas d. yamato-e Answer: b Learning Objective: 9.3 Identify important monuments and developments in the later art of Japan.

Topic: Ukiyo-e: Pictures of the Floating World Difficulty Level: Easy Skill Level: Remember the Facts 35. Toshusai Sharaku’s Otani Oniji in the Role of Yakko Edobe exemplifies the style and iconography of __________. a. ukiyo-e b. fusuma c. literati painting d. yamato-e Answer: a Learning Objective: 9.3 Identify important monuments and developments in the later art of Japan.

Topic: Ukiyo-e: Pictures of the Floating World Difficulty Level: Moderate Skill Level: Understand the Concepts Essay Questions 36. How does the Kandariya Mahadeva Temple exemplify the characteristic architecture of Hindu temples in India?

Answer: The ideal answer should include: 1. At the Kandariya Mahadeva Temple, an imaginary axis mundi (line connecting the center of the earth to the heavens) runs from the finial down the shikhara through the image of the deity into the ground below.

2. Porches surround the body of the temple, and, at the front, stairs leads into a series of three halls, called mandapas, where rituals, such as dances performed for the deity and the presentation of offerings, took place.

3. The surface of the temple is encrusted with decorative motifs (miniature shikharas) and about 600 sculpted figures of gods, goddesses, and erotic couples.

4. The sculptures symbolize Shiva’s divine bliss and his presence within the temple, and serves as a reminder that devotion to a god resembles the passion of love.

Learning Objective: 9.1 Discuss the effects of evolving Hindu traditions and the Mughal conquest on the later art of India and Southeast Asia.

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37. What was the bhakti movement and how does Shiva Nataraja embody its concepts?

Answer: The ideal answer should include: 1. The bronze figure embodies the bhakti movement, which emphasized seeking an ideal relationship between humans and deities, rooted in an intimate, personal, and loving connection to a god.

2. In the sculpture, Shiva displays himself to the believer in all his benevolent power.

3. Shiva dances within a ring of fire and his extended left hand holds flames that symbolize the destruction of the universe and of our ego-centeredness.

4. Shiva’s right front hand makes the “have no fear” gesture, and the hand of his left front arm points to his raised foot and leg to signify the promise of liberation.

Learning Objective: 9.1 Discuss the effects of evolving Hindu traditions and the Mughal conquest on the later art of India and Southeast Asia.

Topic: India and Southeast Asia Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 38. How did Song dynasty landscape painting express the fundamental beliefs of NeoConfucianism? Describe and analyze the style and iconography of Fan Kuan’s Travelers Among Mountains and Streams to support your statements.

Answer: The ideal answer should include: 1. Neo-Confucianism teaches that the li could achieve union with the Great Ultimate if the qi (matter) is purified through education and self-cultivation.

2. The study of nature was central to an artist’s self-cultivation because mastering outward forms in landscape painting demonstrated that the artist understood the eternal essence of nature.

3. The composition of Fan Kuan’s Travelers Among Mountains and Streams unfolds in three stages—foreground, middle ground, and background—comparable to the three acts of a drama as the viewer explores the world from front to back, bottom to top.

4. As the viewer’s eye wanders through the rocks, mist, and waterfall, the painting evokes the feeling of climbing a high mountain, of leaving the human world behind to come face to face with the Great ultimate in a spiritual communion with nature.

Learning Objective: 9.2 Trace the evolution of painting and ceramics in the later art of China and Korea.

Topic: Song Dynasty Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It

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39. How does the style and iconography of Shen Zhou’s Poet on a Mountaintop exemplify the aesthetic ideals of the literati during the Ming dynasty?

Answer: The ideal answer should include: 1. In Shen Zhou’s Poet on a Mountaintop, the figure is a poet that has climbed a mountain and dominates the landscape.

2. Before his gaze, a poem hangs in the air, like a projection of his thoughts.

3. Both the poem and the landscape painting are vehicles for Shen Zhou’s self-expression, having more to do with his response to nature than with the physical world itself.

4. Like Ming literati painting, it represents the harmony of mind and landscape through the combination of poetry, calligraphy, and landscape painting.

Learning Objective: 9.2 Trace the evolution of painting and ceramics in the later art of China and Korea.

Topic: Ming Dynasty Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 40. How does the style of Chojiro’s Teabowl, Called Yugure (“Twilight”) correspond to the conventions of Japanese tea ceremonies and the Japanese admiration for the natural and asymmetrical?

Answer: The ideal answer should include: 1. During the Momoyama period, there was interest in the quiet, the restrained, and the natural.

2. Sen no Rikyu conceived of chanoyu as an intimate gathering in which a few people entered a small, rustic room, drank tea carefully prepared in front of them by their host, and quietly discussed the tea utensils or a Zen scroll hanging on the wall.

3. A teabowl, like Yugure, would be judged by how well it fitted into the hands and how subtly its shape and texture appealed to the eye.

4. The texture and red color of Yugure evokes a gentle landscape illuminated by the setting sun, and irregular shape and crackled texture exemplified the aesthetics of tea at the beginning of its development.

Learning Objective: 9.3 Identify important monuments and developments in the later art of Japan.

Topic: Momoyama Period Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It

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Revel Quizzes Quiz: India and Southeast Asia EOM Q9.1.1 As a Hindu temple, the central tower at Kandariya Mahadeva Temple serves as a __________. a. conduit between celestial realms and the earth b. pathway to earth for the gods Consider This: Hindu temples include cosmic symbolism. 9.1 Discuss the effects of evolving Hindu traditions and the Mughal conquest on the later art of India and Southeast Asia. c. shelter for the god Shiva and his attendants Consider This: Hindu temples include cosmic symbolism. 9.1 Discuss the effects of evolving Hindu traditions and the Mughal conquest on the later art of India and Southeast Asia. d. home for the sacred relics of the Buddha Consider This: Hindu temples include cosmic symbolism. 9.1 Discuss the effects of evolving Hindu traditions and the Mughal conquest on the later art of India and Southeast Asia.

Answer: a Learning Objective: 9.1 Discuss the effects of evolving Hindu traditions and the Mughal conquest on the later art of India and Southeast Asia.

Topic: India and Southeast Asia Difficulty Level: Moderate Skill Level: Understand

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EOM Q9.1.2 The Shiva Nataraja illustrates the principles of Hinduism’s __________. a. bhakti movement and its loving connection between gods and humans b. polytheism and its pursuit of wealth Consider This: This involves complete devotion and surrender. 9.1 Discuss the effects of evolving Hindu traditions and the Mughal conquest on the later art of India and Southeast Asia. c. shikhara devotion and its sensual depiction of the human body Consider This: This involves complete devotion and surrender. 9.1 Discuss the effects of evolving Hindu traditions and the Mughal conquest on the later art of India and Southeast Asia. d. ushnisha form and its representation of enlightenment Consider This: This involves complete devotion and surrender. 9.1 Discuss the effects of evolving Hindu traditions and the Mughal conquest on the later art of India and Southeast Asia.

Answer: a Learning Objective: 9.1 Discuss the effects of evolving Hindu traditions and the Mughal conquest on the later art of India and Southeast Asia.

Topic: India and Southeast Asia Difficulty Level: Moderate Skill Level: Understand EOM Q9.1.3 Mughal painting was influenced by art from __________. a. Persia b. Egypt Consider This: Akbar hires two artists from this location. 9.1 Discuss the effects of evolving Hindu traditions and the Mughal conquest on the later art of India and Southeast Asia. c. Rome Consider This: Akbar hires two artists from this location. 9.1 Discuss the effects of evolving Hindu traditions and the Mughal conquest on the later art of India and Southeast Asia. d. Byzantium Consider This: Akbar hires two artists from this location. 9.1 Discuss the effects of evolving Hindu traditions and the Mughal conquest on the later art of India and Southeast Asia.

Answer: a Learning Objective: 9.1 Discuss the effects of evolving Hindu traditions and the Mughal conquest on the later art of India and Southeast Asia.

Topic: India and Southeast Asia Difficulty Level: Easy Skill Level: Understand

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EOM Q9.1.4 Where is the iwan visible at the Taj Mahal? a. At the entrance b. On the dome Consider This: This is from Persian Islamic architecture. 9.1 Discuss the effects of evolving Hindu traditions and the Mughal conquest on the later art of India and Southeast Asia. c. Atop the minarets Consider This: This is from Persian Islamic architecture. 9.1 Discuss the effects of evolving Hindu traditions and the Mughal conquest on the later art of India and Southeast Asia. d. In the pavilions Consider This: This is from Persian Islamic architecture. 9.1 Discuss the effects of evolving Hindu traditions and the Mughal conquest on the later art of India and Southeast Asia.

Answer: a Learning Objective: 9.1 Discuss the effects of evolving Hindu traditions and the Mughal conquest on the later art of India and Southeast Asia.

Topic: India and Southeast Asia Difficulty Level: Difficult Skill Level: Apply EOM Q9.1.5 The Rajput painting seen here is similar to Mughal painting in its __________. a. naturalistic plants b. dream-like quality Consider This: This contrasts the flattened landscape. 9.1 Discuss the effects of evolving Hindu traditions and the Mughal conquest on the later art of India and Southeast Asia. c. Muslim theme Consider This: This contrasts the flattened landscape. 9.1 Discuss the effects of evolving Hindu traditions and the Mughal conquest on the later art of India and Southeast Asia. d. royal symbolism Consider This: This contrasts the flattened landscape. 9.1 Discuss the effects of evolving Hindu traditions and the Mughal conquest on the later art of India and Southeast Asia.

Answer: a Learning Objective: 9.1 Discuss the effects of evolving Hindu traditions and the Mughal conquest on the later art of India and Southeast Asia.

Topic: India and Southeast Asia Difficulty Level: Difficult Skill Level: Apply

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Quiz: China and Korea EOM Q9.2.1 Neo-Confucianism’s influence on Chinese landscape painting led to the __________. a. study of nature b. inclusion of Buddhist figures Consider This: Neo-Confucianism combines ideas from Confucianism, Buddhism, and Daoism. 9.2 Trace the evolution of painting and ceramics in the later art of China and Korea. c. representation of ancestors Consider This: Neo-Confucianism combines ideas from Confucianism, Buddhism, and Daoism. 9.2 Trace the evolution of painting and ceramics in the later art of China and Korea. d. depiction of local landmarks Consider This: Neo-Confucianism combines ideas from Confucianism, Buddhism, and Daoism. 9.2 Trace the evolution of painting and ceramics in the later art of China and Korea.

Answer: a Learning Objective: 9.2 Trace the evolution of painting and ceramics in the later art of China and Korea.

Topic: China and Korea Difficulty Level: Moderate Skill Level: Understand EOM Q9.2.2 Song dynasty painters create space that is meant to be seen __________. a. from multiple vantage points b. all at once Consider This: The viewer’s eye is meant to meander through a Song dynasty landscape.

9.2 Trace the evolution of painting and ceramics in the later art of China and Korea. c. from a fixed point Consider This: The viewer’s eye is meant to meander through a Song dynasty landscape.

9.2 Trace the evolution of painting and ceramics in the later art of China and Korea. d. from below Consider This: The viewer’s eye is meant to meander through a Song dynasty landscape.

9.2 Trace the evolution of painting and ceramics in the later art of China and Korea.

Answer: a Learning Objective: 9.2 Trace the evolution of painting and ceramics in the later art of China and Korea.

Topic: China and Korea Difficulty Level: Moderate Skill Level: Understand

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EOM Q9.2.3 What characterizes Chinese painting during the Ming Dynasty? a. Disjunction between court and literati painting styles b. Exclusive focus on the imperial court and its propaganda Consider This: This had its roots in earlier dynasties. 9.2 Trace the evolution of painting and ceramics in the later art of China and Korea. c. Landscapes and portraits used to embody Buddhist principles Consider This: This had its roots in earlier dynasties. 9.2 Trace the evolution of painting and ceramics in the later art of China and Korea. d. Return to styles and themes influenced by foreign sources Consider This: This had its roots in earlier dynasties. 9.2 Trace the evolution of painting and ceramics in the later art of China and Korea.

Answer: a Learning Objective: 9.2 Trace the evolution of painting and ceramics in the later art of China and Korea.

Topic: China and Korea Difficulty Level: Moderate Skill Level: Understand EOM Q9.2.4 The plan of the Forbidden City symbolizes __________. a. the cosmic order maintained by the emperor b. the human body with the emperor as its head Consider This: This symbolism is embodied in its symmetry. 9.2 Trace the evolution of painting and ceramics in the later art of China and Korea. c. Confucian ideals that promoted harmony with nature Consider This: This symbolism is embodied in its symmetry. 9.2 Trace the evolution of painting and ceramics in the later art of China and Korea. d. Daoist principles that promoted respect for authority Consider This: This symbolism is embodied in its symmetry. 9.2 Trace the evolution of painting and ceramics in the later art of China and Korea.

Answer: a Learning Objective: 9.2 Trace the evolution of painting and ceramics in the later art of China and Korea.

Topic: China and Korea Difficulty Level: Difficult Skill Level: Apply

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EOM Q9.2.5 Roof Tiling is an example of Korean genre painting because it __________. a. shows a scene of daily life b. includes human figures Consider This: This was also common in literature. 9.2 Trace the evolution of painting and ceramics in the later art of China and Korea. c. has compressed space Consider This: This was also common in literature. 9.2 Trace the evolution of painting and ceramics in the later art of China and Korea. d. represents a general theme Consider This: This was also common in literature. 9.2 Trace the evolution of painting and ceramics in the later art of China and Korea.

Answer: a Learning Objective: 9.2 Trace the evolution of painting and ceramics in the later art of China and Korea.

Topic: China and Korea Difficulty Level: Easy Skill Level: Understand Quiz: Japan EOM Q9.3.1 The Japanese Heian period Byodo-in temple complex reflects Pure Land Buddhism in its __________. a. paradise-like appearance b. elaborate network of deities Consider This: Pure Land Buddhism promoted a specific vision of enlightenment. 9.3 Identify important monuments and developments in the later art of Japan. c. plan based on the mandala Consider This: Pure Land Buddhism promoted a specific vision of enlightenment. 9.3 Identify important monuments and developments in the later art of Japan. d. structures rebuilt with the seasons Consider This: Pure Land Buddhism promoted a specific vision of enlightenment. 9.3 Identify important monuments and developments in the later art of Japan.

Answer: a Learning Objective: 9.3 Identify important monuments and developments in the later art of Japan.

Topic: Japan Difficulty Level: Moderate Skill Level: Understand

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EOM Q9.3.2 Wooden sculpture made using the joined-block technique allows __________. a. lighter sculpture b. assembly at different locations Consider This: This process also allowed for larger sculpture. 9.3 Identify important monuments and developments in the later art of Japan. c. paint to dry faster Consider This: This process also allowed for larger sculpture. 9.3 Identify important monuments and developments in the later art of Japan. d. continuity of carved forms Consider This: This process also allowed for larger sculpture. 9.3 Identify important monuments and developments in the later art of Japan.

Answer: a Learning Objective: 9.3 Identify important monuments and developments in the later art of Japan.

Topic: Japan Difficulty Level: Easy Skill Level: Remember EOM Q9.3.3 The yamato-e style of painting of the Heian period, as embodied by The Tale of Genji, is characterized by __________. a. thin lines and asymmetry b. multiple vantage points and bold color Consider This: It is also characterized by simply delineated faces. 9.3 Identify important monuments and developments in the later art of Japan. c. modelling and foreshortening Consider This: It is also characterized by simply delineated faces. 9.3 Identify important monuments and developments in the later art of Japan. d. descriptive detail and naturalism Consider This: It is also characterized by simply delineated faces. 9.3 Identify important monuments and developments in the later art of Japan.

Answer: a Learning Objective: 9.3 Identify important monuments and developments in the later art of Japan.

Topic: Japan Difficulty Level: Moderate Skill Level: Understand

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EOM Q9.3.4 The Muromachi period rock garden represents the principles of __________. a. Zen Buddhism b. Pure Land Buddhism Consider This: This movement promoted meditation. 9.3 Identify important monuments and developments in the later art of Japan. c. Shinto Consider This: This movement promoted meditation. 9.3 Identify important monuments and developments in the later art of Japan. d. Daoism Consider This: This movement promoted meditation. 9.3 Identify important monuments and developments in the later art of Japan.

Answer: a Learning Objective: 9.3 Identify important monuments and developments in the later art of Japan.

Topic: Japan Difficulty Level: Moderate Skill Level: Understand EOM Q9.3.5 How does the famous print “The Great Wave” embody the spirit of Japanese ukiyo culture? a. It reminds one of the transience of life. b. It reflects the influence of Chinese literati painting.

Consider This: The print represents imminent disaster. 9.3 Identify important monuments and developments in the later art of Japan. c. It employs a rustic aesthetic of simple elegance.

Consider This: The print represents imminent disaster. 9.3 Identify important monuments and developments in the later art of Japan. d. It focuses on pleasure.

Consider This: The print represents imminent disaster. 9.3 Identify important monuments and developments in the later art of Japan.

Answer: a Learning Objective: 9.3 Identify important monuments and developments in the later art of Japan.

Topic: Japan Difficulty Level: Difficult Skill Level: Apply

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Chapter Quiz: Later Asian Art EOC Q9.1 The central chamber in South Asian Hindu temples contains __________. a. an image of the deity b. a relic of Shiva Consider This: This is in a sanctuary. 9.1 Discuss the effects of evolving Hindu traditions and the Mughal conquest on the later art of India and Southeast Asia. c. a sacred Hindu text Consider This: This is in a sanctuary. 9.1 Discuss the effects of evolving Hindu traditions and the Mughal conquest on the later art of India and Southeast Asia. d. an opening to the underworld Consider This: This is in a sanctuary. 9.1 Discuss the effects of evolving Hindu traditions and the Mughal conquest on the later art of India and Southeast Asia.

Answer: a Learning Objective: 9.1 Discuss the effects of evolving Hindu traditions and the Mughal conquest on the later art of India and Southeast Asia.

Topic: Later Asian Art Difficulty Level: Moderate Skill Level: Understand EOC Q9.2 The Taj Mahal was constructed as a __________. a. mausoleum b. palace Consider This: Shah Jahan built it for his wife. 9.1 Discuss the effects of evolving Hindu traditions and the Mughal conquest on the later art of India and Southeast Asia. c. market Consider This: Shah Jahan built it for his wife. 9.1 Discuss the effects of evolving Hindu traditions and the Mughal conquest on the later art of India and Southeast Asia. d. temple Consider This: Shah Jahan built it for his wife. 9.1 Discuss the effects of evolving Hindu traditions and the Mughal conquest on the later art of India and Southeast Asia.

Answer: a Learning Objective: 9.1 Discuss the effects of evolving Hindu traditions and the Mughal conquest on the later art of India and Southeast Asia.

Topic: Later Asian Art Difficulty Level: Easy Skill Level: Remember

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EOC Q9.3 The South Asian Rajput painting discussed in the text represents __________. a. Hindu themes b. Muslim topics Consider This: Rajputs did not belong to the Mughal courts. 9.1 Discuss the effects of evolving Hindu traditions and the Mughal conquest on the later art of India and Southeast Asia. c. Buddhist subjects Consider This: Rajputs did not belong to the Mughal courts. 9.1 Discuss the effects of evolving Hindu traditions and the Mughal conquest on the later art of India and Southeast Asia. d. Mughal stories Consider This: Rajputs did not belong to the Mughal courts. 9.1 Discuss the effects of evolving Hindu traditions and the Mughal conquest on the later art of India and Southeast Asia.

Answer: a Learning Objective: 9.1 Discuss the effects of evolving Hindu traditions and the Mughal conquest on the later art of India and Southeast Asia.

Topic: Later Asian Art Difficulty Level: Moderate Skill Level: Understand EOC Q9.4 Angkor Wat in Cambodia symbolizes the __________. a. axis of the world b. rise of Islam Consider This: This is common in Hindu temples. 9.1 Discuss the effects of evolving Hindu traditions and the Mughal conquest on the later art of India and Southeast Asia. c. defeat of the Khmer kings Consider This: This is common in Hindu temples. 9.1 Discuss the effects of evolving Hindu traditions and the Mughal conquest on the later art of India and Southeast Asia. d. divine symmetry Consider This: This is common in Hindu temples. 9.1 Discuss the effects of evolving Hindu traditions and the Mughal conquest on the later art of India and Southeast Asia.

Answer: a Learning Objective: 9.1 Discuss the effects of evolving Hindu traditions and the Mughal conquest on the later art of India and Southeast Asia.

Topic: Later Asian Art Difficulty Level: Moderate Skill Level: Understand

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EOC Q9.5 The iconography of a bodhisattva includes __________. a. rich clothes b. multiple arms Consider This: Bodhisattvas remain on earth rather than entering nirvana. 9.2 Trace the evolution of painting and ceramics in the later art of China and Korea. c. stylized forms Consider This: Bodhisattvas remain on earth rather than entering nirvana. 9.2 Trace the evolution of painting and ceramics in the later art of China and Korea. d. Monks’ robes Consider This: Bodhisattvas remain on earth rather than entering nirvana. 9.2 Trace the evolution of painting and ceramics in the later art of China and Korea.

Answer: a Learning Objective: 9.2 Trace the evolution of painting and ceramics in the later art of China and Korea.

Topic: Later Asian Art Difficulty Level: Easy Skill Level: Understand EOC Q9.6 The three beliefs that are reflected in Chinese art are __________. a. Daoism, Confucianism, and Buddhism b. Islam, Daoism, and Hinduism Consider This: Two of these beliefs are native to China. 9.2 Trace the evolution of painting and ceramics in the later art of China and Korea. c. Confucianism, Buddhism, and Islam Consider This: Two of these beliefs are native to China. 9.2 Trace the evolution of painting and ceramics in the later art of China and Korea. d. Buddhism, Hinduism, and Jainism Consider This: Two of these beliefs are native to China. 9.2 Trace the evolution of painting and ceramics in the later art of China and Korea.

Answer: a Learning Objective: 9.2 Trace the evolution of painting and ceramics in the later art of China and Korea.

Topic: Later Asian Art Difficulty Level: Easy Skill Level: Understand

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EOC Q9.7 The trio of accomplishments suited to members of the Chinese cultural elite included __________. a. calligraphy, poetry, and painting b. singing, painting, and calligraphy Consider This: These were promoted by the literati. 9.2 Trace the evolution of painting and ceramics in the later art of China and Korea. c. calligraphy, philosophy, and poetry Consider This: These were promoted by the literati. 9.2 Trace the evolution of painting and ceramics in the later art of China and Korea. d. music, poetry, and philosophy Consider This: These were promoted by the literati. 9.2 Trace the evolution of painting and ceramics in the later art of China and Korea.

Answer: a Learning Objective: 9.2 Trace the evolution of painting and ceramics in the later art of China and Korea.

Topic: Later Asian Art Difficulty Level: Moderate Skill Level: Understand EOC Q9.8 Chinese literati painting is characterized by __________. a. subtle color b. identifiable landscapes Consider This: A restricted audience is another characteristic. 9.2 Trace the evolution of painting and ceramics in the later art of China and Korea. c. descriptive detail Consider This: A restricted audience is another characteristic. 9.2 Trace the evolution of painting and ceramics in the later art of China and Korea. d. Confucian themes Consider This: A restricted audience is another characteristic. 9.2 Trace the evolution of painting and ceramics in the later art of China and Korea.

Answer: a Learning Objective: 9.2 Trace the evolution of painting and ceramics in the later art of China and Korea.

Topic: Later Asian Art Difficulty Level: Moderate Skill Level: Understand

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EOC Q9.9 Chinese palace architecture as exemplified by the Forbidden City is characterized by __________. a. terra-cotta-tile roofs and red lacquered columns b. asymmetrical plans and strategic locations Consider This: The Hall of Supreme Harmony displays these characteristics. 9.2 Trace the evolution of painting and ceramics in the later art of China and Korea. c. complicated arrangements of chambers and hallways Consider This: The Hall of Supreme Harmony displays these characteristics. 9.2 Trace the evolution of painting and ceramics in the later art of China and Korea. d. iwans and floral arabesques in semiprecious stones Consider This: The Hall of Supreme Harmony displays these characteristics. 9.2 Trace the evolution of painting and ceramics in the later art of China and Korea.

Answer: a Learning Objective: 9.2 Trace the evolution of painting and ceramics in the later art of China and Korea.

Topic: Later Asian Art Difficulty Level: Moderate Skill Level: Understand EOC Q9.10 The Zen dry garden of the Ryoanji temple in Kyoto is celebrated for its __________. a. severity and emptiness b. representation of famous landscapes Consider This: This promotes meditation. 9.3 Identify important monuments and developments in the later art of Japan. c. complexity and sound Consider This: This promotes meditation. 9.3 Identify important monuments and developments in the later art of Japan. d. borrowed scenery and views Consider This: This promotes meditation. 9.3 Identify important monuments and developments in the later art of Japan.

Answer: a Learning Objective: 9.3 Identify important monuments and developments in the later art of Japan.

Topic: Later Asian Art Difficulty Level: Moderate Skill Level: Understand

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EOC Q9.11 Which traditional characteristic of Japanese art is seen in Tale of Genji? a. asymmetry b. humor Consider This: This reflects the Japanese appreciation for natural forms. LO 9.3 Identify important monuments and developments in the later art of Japan. c. realism Consider This: This reflects the Japanese appreciation for natural forms. LO 9.3 Identify important monuments and developments in the later art of Japan. d. illusionism Consider This: This reflects the Japanese appreciation for natural forms. LO 9.3 Identify important monuments and developments in the later art of Japan.

Answer: a Learning Objective: 9.3 Identify important monuments and developments in the later art of Japan.

Topic: Later Asian Art Difficulty Level: Moderate Skill Level: Apply EOC Q9.12 Japanese fusuma are __________. a. paper-covered sliding doors b. free-standing folding screens Consider This: These are sometimes painted. 9.3 Identify important monuments and developments in the later art of Japan. c. long, vertical art scrolls Consider This: These are sometimes painted. 9.3 Identify important monuments and developments in the later art of Japan. d. long, horizontal art scrolls Consider This: These are sometimes painted. 9.3 Identify important monuments and developments in the later art of Japan.

Answer: a Learning Objective: 9.3 Identify important monuments and developments in the later art of Japan.

Topic: Later Asian Art Difficulty Level: Easy Skill Level: Remember

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EOC Q9.13 The Chojiro Teabowl reflects the Japanese taste for __________. a. natural forms b. perfect objects Consider This: This is a common feature in traditional Japanese art. 9.3 Identify important monuments and developments in the later art of Japan. c. sumptuous decoration Consider This: This is a common feature in traditional Japanese art. 9.3 Identify important monuments and developments in the later art of Japan. d. underglaze designs Consider This: This is a common feature in traditional Japanese art. 9.3 Identify important monuments and developments in the later art of Japan.

Answer: a Learning Objective: 9.3 Identify important monuments and developments in the later art of Japan.

Topic: Later Asian Art Difficulty Level: Moderate Skill Level: Understand EOC Q9.14 What are common themes of Japanese woodblock prints? a. Actors and courtesans b. Historical events Consider This: This reflects the escapist quality of ukiyo culture. 9.3 Identify important monuments and developments in the later art of Japan. c. Anatomical studies Consider This: This reflects the escapist quality of ukiyo culture. 9.3 Identify important monuments and developments in the later art of Japan. d. Buddhist teachings Consider This: This reflects the escapist quality of ukiyo culture. 9.3 Identify important monuments and developments in the later art of Japan.

Answer: a Learning Objective: 9.3 Identify important monuments and developments in the later art of Japan.

Topic: Later Asian Art Difficulty Level: Easy Skill Level: Understand

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EOC Q9.15 Contour lines in Japanese woodblock prints are found on the ________. a. key block b. color blocks Consider This: This reproduces the master drawing. 9.3 Identify important monuments and developments in the later art of Japan. c. registration Consider This: This reproduces the master drawing. 9.3 Identify important monuments and developments in the later art of Japan. d. frame line Consider This: This reproduces the master drawing. 9.3 Identify important monuments and developments in the later art of Japan.

Answer: a Learning Objective: 9.3 Identify important monuments and developments in the later art of Japan.

Topic: Later Asian Art Difficulty Level: Easy Skill Level: Remember

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Chapter 10: Early Medieval and Romanesque Art Multiple-Choice Questions 1. Stylistically, early medieval art is characterized by its __________. a. humanistic qualities b. multiculturalism c. naturalism d. idealization Answer: b Learning Objective: None Topic: Introduction Difficulty Level: Easy Skill Level: Remember the Facts 2. The Hinged Clasp was found in __________. a. an Anglo-Saxon burial mound b. a Carolingian church c. a Romanesque cathedral d. an Ottonian palace Answer: a Learning Objective: 10.1 Characterize the early medieval art of the British Isles and Scandinavia.

Topic: The British Isles and Scandinavia Difficulty Level: Moderate Skill Level: Understand the Concepts 3. The Hinged Clasp exemplifies Anglo-Saxon art because of its __________. a. stylized depictions of biblical figures b. use during religious processions and rituals c. geometric and interlacing animal designs d. function as a reliquary for sacred relics Answer: c Learning Objective: 10.1 Characterize the early medieval art of the British Isles and Scandinavia.

Topic: The British Isles and Scandinavia Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It

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4. A monastic workshop in which manuscripts were produced is called a __________. a. scriptorium b. tribune c. gallery d. tympanum Answer: a Learning Objective: 10.1 Characterize the early medieval art of the British Isles and Scandinavia.

Topic: The British Isles and Scandinavia Difficulty Level: Easy Skill Level: Remember the Facts 5. At the end of a manuscript, the signature of the scribes and painters and information about the book’s production is called a __________. a. scriptorium b. millefiori c. colophon d. tympanum Answer: c Learning Objective: 10.1 Characterize the early medieval art of the British Isles and Scandinavia.

Topic: The British Isles and Scandinavia Difficulty Level: Easy Skill Level: Remember the Facts 6. How does Man (Symbol of Matthew) from the Book of Durrow correspond to Roman Christian models? a. The portrait of the evangelist represents the revival of Greco-Roman naturalism. b. It is part of a three-part decorative sequence that introduced the Gospel of Matthew. c. The image of the author is accompanied by narratives from the other Gospels. d. The manuscript page demonstrates the influence of Byzantine artistic conventions.

Answer: b Learning Objective: 10.1 Characterize the early medieval art of the British Isles and Scandinavia.

Topic: The British Isles and Scandinavia Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 7. Which of the following aspects of the Chi Rho page from the Book of Kells demonstrates the influence of Anglo-Saxon metalwork? a. the Classicizing depiction of Christ and the angels b. the Greek letters that abbreviate Christ’s name c. the use of millefiori and foreshortening d. the geometric and interlacing animal designs Answer: d Learning Objective: 10.1 Characterize the early medieval art of the British Isles and Scandinavia.

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8. Which of the following is a characteristic of the Gummersmark Brooch? a. asymmetrical designs b. realistic human forms c. animal style d. millefiori decoration Answer: c Learning Objective: 10.1 Characterize the early medieval art of the British Isles and Scandinavia.

Topic: Scandinavia Difficulty Level: Moderate Skill Level: Understand the Concepts 9. Which of the following is an example of a stave church? a. Borgund church b. Church of St. Cyriakus c. Palace Chapel of Charlemagne d. Durham Cathedral Answer: a Learning Objective: 10.1 Characterize the early medieval art of the British Isles and Scandinavia.

Topic: Scandinavia Difficulty Level: Moderate Skill Level: Understand the Concepts 10. Which of the following aspects of the Palace Chapel of Charlemagne demonstrates the influence of Byzantine architecture on Carolingian churches? a. the clarity and planar geometry of the chapel’s design b. the sculpted portal at the western entrance to the church c. the cruciform plan and chapels surrounding the apse d. the mosaics and multicolored stone patterns on the walls Answer: d Learning Objective: 10.2 Define the Carolingian revival in architecture and the visual arts.

Topic: The Carolingian Revival Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 11. At the Palace Chapel of Charlemagne, the monumental entrance block that forms an imposing façade is called a __________. a. transept b. tribune c. westwork d. gallery Answer: c Learning Objective: 10.2 Define the Carolingian revival in architecture and the visual arts.

Topic: The Carolingian Revival Difficulty Level: Easy Skill Level: Remember the Facts

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12. What is the significance of the St. Gall Plan? a. The functional arrangement of buildings corresponds to the layout of medieval monasteries. b. It depicts the ideal organization of buildings in cities across the Carolingian empire. c. The plan’s style demonstrates how Carolingian painters followed Roman artistic conventions. d. It represents a complex and dramatic allegory of the triumph of the Church over its enemies.

Answer: a Learning Objective: 10.2 Define the Carolingian revival in architecture and the visual arts.

Topic: The Carolingian Revival Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 13. How does the Matthew the Evangelist page from the Coronation Gospels demonstrate how Carolingian artists revived Roman traditions? a. It portrays a symbol that represents Matthew. b. It includes stylized, abstract ornamentation. c. It depicts a portrait of the evangelist writing. d. It features a sharply outlined and frontal figure.

Answer: c Learning Objective: 10.2 Define the Carolingian revival in architecture and the visual arts.

Topic: Book Arts Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 14. The cover of the Lindau Gospels depicts __________. a. Christ in Majesty b. the Crucifixion c. the Last Judgment d. the Resurrection Answer: b Learning Objective: 10.2 Define the Carolingian revival in architecture and the visual arts.

Topic: Book Arts Difficulty Level: Moderate Skill Level: Understand the Concepts 15. Which of the following best describes the depiction of Jesus on the outer cover of the Lindau Gospels? a. calm and Classical b. turbulent and agitated c. expressive and stylized d. abstract and ornamental Answer: a Learning Objective: 10.2 Define the Carolingian revival in architecture and the visual arts.

Topic: Book Arts Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It

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16. Christian artists in Spain created the Mozarabic style by incorporating aspects of __________. a. Islamic art b. Roman art c. Byzantine art d. Ottonian art Answer: a Learning Objective: 10.3 Identify tenth-century developments in the art of Spain and the Ottonian Empire.

Topic: The Tenth-Century Art of Spain and the Ottonian Empire Difficulty Level: Moderate Skill Level: Understand the Concepts 17. Maius’s Seven-Headed Dragon and Woman Clothed with the Sun from the Morgan Beatus exemplifies the style of __________. a. Ottonian art b. Anglo-Saxon art c. Romanesque art d. Mozarabic art Answer: d Learning Objective: 10.3 Identify tenth-century developments in the art of Spain and the Ottonian Empire.

Topic: The Tenth-Century Art of Spain and the Ottonian Empire Difficulty Level: Moderate Skill Level: Understand the Concepts 18. In the Gero Crucifix, Christ’s body and pose were meant to inspire __________. a. fear b. pity c. confidence d. anger Answer: b Learning Objective: 10.3 Identify tenth-century developments in the art of Spain and the Ottonian Empire.

Topic: The Ottonian Empire Difficulty Level: Moderate Skill Level: Understand the Concepts

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19. Who revived complex bronze casting during the Ottonian period? a. Gislebertus b. Bishop Odo c. Abbess Hitda d. Bishop Bernward Answer: d Learning Objective: 10.3 Identify tenth-century developments in the art of Spain and the Ottonian Empire.

Topic: The Ottonian Empire Difficulty Level: Easy Skill Level: Remember the Facts 20. Which of the following describes the organization of Bishop Bernward’s doors at the abbey church of St. Michael in Hildesheim? a. The left side depicts salvation and right side portrays the damned. b. The left side depicts Old Testament scenes that prefigure the New Testament scenes on the right. c. The left side portrays hell and the right side depicts heaven. d. The left side depicts Christ in Majesty and the right side portrays the Last Judgment.

Answer: b Learning Objective: 10.3 Identify tenth-century developments in the art of Spain and the Ottonian Empire.

Topic: The Ottonian Empire Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 21. The Church of St. Cyriakus in Germany exemplifies the style of __________. a. Ottonian architecture b. early medieval stave churches c. Romanesque pilgrimage churches d. Carolingian architecture Answer: a Learning Objective: 10.3 Identify tenth-century developments in the art of Spain and the Ottonian Empire.

Topic: The Ottonian Empire Difficulty Level: Moderate Skill Level: Understand the Concepts

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22. In the interior of the Church of St. Cyriakus, the square piers and round columns form the __________. a. clerestory b. nave arcade c. tympanum d. ambulatory Answer: b Learning Objective: 10.3 Identify tenth-century developments in the art of Spain and the Ottonian Empire.

Topic: The Ottonian Empire Difficulty Level: Moderate Skill Level: Understand the Concepts 23. Which of the following characteristics of the illuminations of the Gospels of Otto III were inspired by Byzantine painting conventions? a. abstract design b. naturalistic figures c. lavish fields of gold d. prefiguration Answer: c Learning Objective: 10.3 Identify tenth-century developments in the art of Spain and the Ottonian Empire.

Topic: The Ottonian Empire Difficulty Level: Moderate Skill Level: Understand the Concepts 24. In Romanesque architecture, the thick masses of masonry that counter the thrust of vaults are called __________. a. transepts b. jambs c. buttresses d. archivolts Answer: c Learning Objective: 10.4 Interpret the changes in art and architecture that took place in the Romanesque period.

Topic: Architecture Difficulty Level: Easy Skill Level: Remember the Facts

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25. In a typical Romanesque church, the nave and the transept intersect at the __________. a. ambulatory b. buttress c. crossing d. tympanum Answer: c Learning Objective: 10.4 Interpret the changes in art and architecture that took place in the Romanesque period.

Topic: Architecture Difficulty Level: Easy Skill Level: Remember the Facts 26. The plan of Romanesque churches developed __________. a. as a result of the Norman Conquest b. to accommodate pilgrims c. according to the rules of St. Benedict d. in response to the crusades Answer: b Learning Objective: 10.4 Interpret the changes in art and architecture that took place in the Romanesque period.

Topic: Architecture Difficulty Level: Moderate Skill Level: Understand the Concepts 27. Which of the following describes the nave ceiling of Santiago de Compostela? a. marble arcades b. groin vaults c. chevrons d. barrel vaults Answer: d Learning Objective: 10.4 Interpret the changes in art and architecture that took place in the Romanesque period.

Topic: Architecture Difficulty Level: Moderate Skill Level: Understand the Concepts

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28. What did the masons include at Durham Cathedral that would later become a hallmark of Gothic architecture? a. ribbed groin vaulting b. a westwork c. chevron ornamentation d. two-story elevation Answer: a Learning Objective: 10.4 Interpret the changes in art and architecture that took place in the Romanesque period.

Topic: Architecture Difficulty Level: Moderate Skill Level: Understand the Concepts 29. The semicircular area above the door lintel of a church is called the __________. a. archivolt b. trumeau c. jamb d. tympanum Answer: d Learning Objective: 10.4 Interpret the changes in art and architecture that took place in the Romanesque period.

Topic: Architectural Sculpture Difficulty Level: Easy Skill Level: Remember the Facts 30. The central supporting post of a Romanesque church portal is known as the __________. a. archivolt b. trumeau c. jamb d. tympanum Answer: b Learning Objective: 10.4 Interpret the changes in art and architecture that took place in the Romanesque period.

Topic: Architectural Sculpture Difficulty Level: Easy Skill Level: Remember the Facts

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31. Portals featuring monumental stone sculptures are a characteristic of __________. a. Carolingian architecture b. Ottonian architecture c. Romanesque architecture d. Early medieval architecture Answer: c Learning Objective: 10.4 Interpret the changes in art and architecture that took place in the Romanesque period.

Topic: Architectural Sculpture Difficulty Level: Moderate Skill Level: Understand the Concepts 32. The tympanum of the church of Saint-Lazare at Autun depicts __________. a. the Crucifixion b. Christ in Majesty c. the Last Judgment d. the Resurrection Answer: c Learning Objective: 10.4 Interpret the changes in art and architecture that took place in the Romanesque period.

Topic: Architectural Sculpture Difficulty Level: Moderate Skill Level: Understand the Concepts 33. The Bayeux Embroidery was __________. a. hung on the wall of a castle or palace b. displayed in the nave of a church c. commissioned by monks for a monastery d. found in an Anglo-Saxon burial mound Answer: a Learning Objective: 10.4 Interpret the changes in art and architecture that took place in the Romanesque period.

Topic: Wall Paintings, Textiles, and Wood Carving Difficulty Level: Moderate Skill Level: Remember the Facts

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34. What is the subject of a Throne of Wisdom sculpture? a. Solomon seated on a throne b. Christ presiding in judgment c. the Virgin Mary holding the Christ child on her lap d. Christ in Majesty Answer: c Learning Objective: 10.4 Interpret the changes in art and architecture that took place in the Romanesque period.

Topic: Wall Paintings, Textiles, and Wood Carving Difficulty Level: Moderate Skill Level: Understand the Concepts 35. In the portrait of St. Matthew from the Codex Colbertinus, the figure of the evangelist is most similar to __________. a. a sculpted pier figure from a Romanesque portal b. a stylized figure from a Hiberno-Saxon manuscript c. a naturalistic figure from a Carolingian manuscript d. an expressionistic figure from Ottonian sculpture Answer: a Learning Objective: 10.4 Interpret the changes in art and architecture that took place in the Romanesque period.

Topic: Book Painting Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It Essay Questions 36. How does the Book of Durrow exemplify the multiculturalism of early medieval art?

Answer: The ideal answer should include: 1. The format of the Book of Durrow reflects Roman Christian models, but its paintings correspond to Hiberno-Saxon design.

2. Like Roman manuscripts, each Gospel is introduced by a three-part decorative sequence: a page with the symbol of its evangelist author, followed by a page of pure ornament, and finally elaborate decoration highlighting the initial words of the text.

3. In Man (Symbol of St. Matthew), the symbol of the evangelist has an armless body that is formed by a colorful checkered pattern that recalls the geometric designs of Anglo-Saxon metalworking.

4. The bold band of interlacing ornament that borders the figure’s field also recalls the designs of Anglo-Saxon jewelry.

Learning Objective: 10.1 Characterize the early medieval art of the British Isles and Scandinavia.

Topic: The British Isles and Scandinavia Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It

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37. How did Carolingian painters revive and innovate upon Roman artistic conventions? To explain your answer, compare and contrast the page with Matthew the Evangelist from the Coronation Gospels and the page with Matthew the Evangelist from the Ebbo Gospels.

Answer: The ideal answer should include: 1. The portrait of Matthew from the Coronation Gospels depicts an idealized, lifelike representation consistent with the Greco-Roman Classical tradition.

2. The full-bodied, robed figure is modeled in white and subtle shading and the way his foot lifts up to rest on the solid base of his writing desk emphasizes his three-dimensional placement within an outdoor setting.

3. Unlike the calm grandeur of the portrait in the Coronation Gospels, the portrait of Matthew in the Ebbo Gospels is a spontaneous, calligraphic painting.

4. The expressionism of Matthew’s intense gaze, wiry hairdo, rippling drapery, and sketchy background evokes the evangelist’s spiritual excitement as he hastens to transcribe the Word of God delivered by the angel in the upper-right corner.

Learning Objective: 10.2 Define the Carolingian revival in architecture and the visual arts.

Topic: Book Arts Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 38. Discuss the style and iconography of Christ Washing the Feet of His Disciples from the Gospels of Otto III. Answer: the ideal answer should include: 1. The sharply outlined drawing and a lavish field of gold demonstrates how Ottonian artists were inspired by Byzantine art.

2. The illumination depicts the moment when Jesus washes the feet of his disciples during their final meal together.

3. Peter appears on the left looking reluctant, symbolizing his opposition to the ritual; in the center of the composition, Jesus appears larger and gestures emphatically to underscore the necessity and significance of the act.

4. The figures’ bodies are tall and slender, and the selective stylization of illumination allowed the artist to transform the Classical tradition into a style of expressiveness and narrative power.

Learning Objective: 10.3 Identify tenth-century developments in the art of Spain and the Ottonian Empire.

Topic: The Ottonian Empire Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It

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39. How and why did the plan of medieval churches change during the Romanesque period?

Answer: The ideal answer should include: 1. In response to the ever-growing collections of relics, Romanesque churches needed additional chapels.

2. Large interior spaces were necessary to accommodate the crowds of pilgrims who visited churches to venerate these relics.

3. To accommodate the movement of large crowds of pilgrims from shrine to shrine, Romanesque builders added an ambulator around the apse encircled by a string of chapels with altars and relics.

4. This permitted pilgrims to circulate freely from chapel to chapel without disrupting regular church services in the main apse.

Learning Objective: 10.4 Interpret the changes in art and architecture that took place in the Romanesque period.

Topic: Architecture Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 40. Discuss the style and iconography of Creation and Fall of Adam and Eve by Wiligelmo.

Answer: The ideal answer should include: 1. On the far left of the sculpted panel, God appears in a mandorla supported by angels as both creator and Christ (indicated by the cruciform halo).

2. The narrative develops in three scenes from left to right: God creates Adam, then brings Eve from Adam’s side, and Adam and Eve cover themselves in shame as they eat the fruit from the forbidden tree, around which the serpent twists.

3. Smooth modeling and sharp undercutting give the figures a strong sense of threedimensionality, and a framing arcade establishes a stagelike setting, with rock and tree serving as scenery.

4. The figures exude life and personality, conveying the emotional depth of the narrative they enact, and bright paint, now almost totally lost, must have increased their impact.

Learning Objective: 10.4 Interpret the changes in art and architecture that took place in the Romanesque period.

Topic: Architectural Sculpture Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It

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Revel Quizzes Quiz: The British Isles and Scandinavia EOM Q10.1.1 Anglo-Saxon art is known for its __________. a. jewelry b. weaponry Consider This: New artistic styles were born across Europe as people migrated from the east to settle within the former Western Roman Empire. 10.1 Characterize the early medieval art of the British Isles and Scandinavia. c. manuscripts Consider This: New artistic styles were born across Europe as people migrated from the east to settle within the former Western Roman Empire. 10.1 Characterize the early medieval art of the British Isles and Scandinavia. d. sarcophagi Consider This: New artistic styles were born across Europe as people migrated from the east to settle within the former Western Roman Empire. 10.1 Characterize the early medieval art of the British Isles and Scandinavia.

Answer: a Learning Objective: 10.1 Characterize the early medieval art of the British Isles and Scandinavia.

Topic: The British Isles and Scandinavia Difficulty Level: Easy Skill Level: Understand EOM Q10.1.2 The objects from Sutton Hoo demonstrate the practice of __________. a. exchange with continental Europe and beyond b. ritual sacrifice to ensure agricultural success Consider This: Sutton Hoo includes a ship burial. 10.1 Characterize the early medieval art of the British Isles and Scandinavia. c. royal coronation characterized by lavish ornamentation Consider This: Sutton Hoo includes a ship burial. 10.1 Characterize the early medieval art of the British Isles and Scandinavia. d. warfare to determine political boundaries Consider This: Sutton Hoo includes a ship burial. 10.1 Characterize the early medieval art of the British Isles and Scandinavia.

Answer: a Learning Objective: 10.1 Characterize the early medieval art of the British Isles and Scandinavia.

Topic: The British Isles and Scandinavia Difficulty Level: Difficult Skill Level: Apply

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EOM Q10.1.3 Anglo-Saxon art is characterized by __________. a. geometric and interlacing designs b. naturalistic and stylized patterns Consider This: This is visible in books. 10.1 Characterize the early medieval art of the British Isles and Scandinavia. c. iconic representations of animal deities Consider This: This is visible in books. 10.1 Characterize the early medieval art of the British Isles and Scandinavia. d. narrative images of animals Consider This: This is visible in books. 10.1 Characterize the early medieval art of the British Isles and Scandinavia.

Answer: a Learning Objective: 10.1 Characterize the early medieval art of the British Isles and Scandinavia.

Topic: The British Isles and Scandinavia Difficulty Level: Moderate Skill Level: Understand EOM Q10.1.4 How is this page from the Book of Kells typical of Anglo-Saxon art? a. It recalls pieces of jewelry. b. It pictures pagan imagery.

Consider This: The Book of Kells contains the four biblical accounts of Christ’s life. 10.1 Characterize the early medieval art of the British Isles and Scandinavia. c. It is made at a palace workshop.

Consider This: The Book of Kells contains the four biblical accounts of Christ’s life. 10.1 Characterize the early medieval art of the British Isles and Scandinavia. d. It symbolizes the cosmos.

Consider This: The Book of Kells contains the four biblical accounts of Christ’s life. 10.1 Characterize the early medieval art of the British Isles and Scandinavia.

Answer: a Learning Objective: 10.1 Characterize the early medieval art of the British Isles and Scandinavia.

Topic: The British Isles and Scandinavia Difficulty Level: Moderate Skill Level: Apply

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EOM Q10.1.5 Scandinavian animal-style designs generally __________. a. show ribs and spinal columns b. have asymmetrical compositions Consider This: Metalwork examples illustrate this characteristic. 10.1 Characterize the early medieval art of the British Isles and Scandinavia. c. feature long, straight tongues Consider This: Metalwork examples illustrate this characteristic. 10.1 Characterize the early medieval art of the British Isles and Scandinavia. d. depict only part of many animals Consider This: Metalwork examples illustrate this characteristic. 10.1 Characterize the early medieval art of the British Isles and Scandinavia.

Answer: a Learning Objective: 10.1 Characterize the early medieval art of the British Isles and Scandinavia.

Topic: The British Isles and Scandinavia Difficulty Level: Easy Skill Level: Understand Quiz: The Carolingian Revival EOM Q10.2.1 The Equestrian Portrait of Charles the Bald signals the Carolingian revival and adaptation of the politics and art of the __________. a. Roman Empire b. Greek city-states Consider This: It is similar to the portrait of Marcus Aurelius. 10.2 Define the Carolingian revival in architecture and the visual arts. c. Ottoman Empire Consider This: It is similar to the portrait of Marcus Aurelius. 10.2 Define the Carolingian revival in architecture and the visual arts. d. Constantinian Tetrarchy Consider This: It is similar to the portrait of Marcus Aurelius. 10.2 Define the Carolingian revival in architecture and the visual arts.

Answer: a Learning Objective: 10.2 Define the Carolingian revival in architecture and the visual arts.

Topic: The Carolingian Revival Difficulty Level: Moderate Skill Level: Understand

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EOM Q10.2.2 The palace chapel of Charlemagne recalls the architecture of the __________. a. central plan churches in Ravenna b. longitudinal basilicas in Rome Consider This: Charlemagne may have personally seen these sources of inspiration. 10.2 Define the Carolingian revival in architecture and the visual arts. c. martyria in Constantinople Consider This: Charlemagne may have personally seen these sources of inspiration. 10.2 Define the Carolingian revival in architecture and the visual arts. d. shrines in Byzantium Consider This: Charlemagne may have personally seen these sources of inspiration. 10.2 Define the Carolingian revival in architecture and the visual arts.

Answer: a Learning Objective: 10.2 Define the Carolingian revival in architecture and the visual arts.

Topic: The Carolingian Revival Difficulty Level: Moderate Skill Level: Understand EOM Q10.2.3 What distinctly Carolingian element did Charlemagne’s builders use for his palace chapel? a. Westwork b. Apse Consider This: It has two levels. 10.2 Define the Carolingian revival in architecture and the visual arts. c. Aisle Consider This: It has two levels. 10.2 Define the Carolingian revival in architecture and the visual arts. d. Narthex Consider This: It has two levels. 10.2 Define the Carolingian revival in architecture and the visual arts.

Answer: a Learning Objective: 10.2 Define the Carolingian revival in architecture and the visual arts.

Topic: The Carolingian Revival Difficulty Level: Moderate Skill Level: Remember

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EOM Q10.2.4 Which statement explains how the rules of St. Benedict are visible in the plan of St. Gall? a. The plan includes spaces for work and prayer. b. The plan includes housing for monks and laymen.

Consider This: The plan is for an ideal monastery. 10.2 Define the Carolingian revival in architecture and the visual arts. c. The plan addresses the need for protection and display.

Consider This: The plan is for an ideal monastery. 10.2 Define the Carolingian revival in architecture and the visual arts. d. The plan includes a church with a westwork and towers.

Consider This: The plan is for an ideal monastery. 10.2 Define the Carolingian revival in architecture and the visual arts.

Answer: a Learning Objective: 10.2 Define the Carolingian revival in architecture and the visual arts.

Topic: The Carolingian Revival Difficulty Level: Difficult Skill Level: Apply EOM Q10.2.5 Which answer best describes the painting style of the Carolingian Coronation Gospels? a. Naturalistic b. Abstract Consider This: Charlemagne revives the Roman style. 10.2 Define the Carolingian revival in architecture and the visual arts. c. Stylized Consider This: Charlemagne revives the Roman style. 10.2 Define the Carolingian revival in architecture and the visual arts. d. Expressionistic Consider This: Charlemagne revives the Roman style. 10.2 Define the Carolingian revival in architecture and the visual arts.

Answer: a Learning Objective: 10.2 Define the Carolingian revival in architecture and the visual arts.

Topic: The Carolingian Revival Difficulty Level: Moderate Skill Level: Apply

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Quiz: The Tenth-Century Art of Spain and the Ottonian Empire EOM Q10.3.1 The Mozarabic style incorporated what cultural influence in representations of Christian subject matter? a. Islamic b. Nordic Consider This: The Mozarabic style reflects Spain’s diversity. 10.3 Identify tenth-century developments in the art of Spain and the Ottonian Empire. c. French Consider This: The Mozarabic style reflects Spain’s diversity. 10.3 Identify tenth-century developments in the art of Spain and the Ottonian Empire. d. Celtic Consider This: The Mozarabic style reflects Spain’s diversity. 10.3 Identify tenth-century developments in the art of Spain and the Ottonian Empire.

Answer: a Learning Objective: 10.3 Identify tenth-century developments in the art of Spain and the Ottonian Empire.

Topic: The Tenth-Century Art of Spain and the Ottonian Empire Difficulty Level: Easy Skill Level: Remember EOM Q10.3.2 The Morgan Beatus, produced by the artist Maius, depicts commentary on the __________. a. Apocalypse b. Life of Christ Consider This: The manuscript’s author, Beatus, was abbot of the monastery of San Martín at Liébana in the northern Spanish kingdom of Asturias. 10.3 Identify tenthcentury developments in the art of Spain and the Ottonian Empire. c. Gospels Consider This: The manuscript’s author, Beatus, was abbot of the monastery of San Martín at Liébana in the northern Spanish kingdom of Asturias. 10.3 Identify tenthcentury developments in the art of Spain and the Ottonian Empire. d. Life of the Virgin Mary Consider This: The manuscript’s author, Beatus, was abbot of the monastery of San Martín at Liébana in the northern Spanish kingdom of Asturias. 10.3 Identify tenthcentury developments in the art of Spain and the Ottonian Empire.

Answer: a Learning Objective: 10.3 Identify tenth-century developments in the art of Spain and the Ottonian Empire.

Topic: The Tenth-Century Art of Spain and the Ottonian Empire Difficulty Level: Easy Skill Level: Remember

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EOM Q10.3.3 Which term best describes the Ottonian Gero Crucifix? a. Expressive b. Classical Consider This: The pose reveals this. 10.3 Identify tenth-century developments in the art of Spain and the Ottonian Empire. c. Idealized Consider This: The pose reveals this. 10.3 Identify tenth-century developments in the art of Spain and the Ottonian Empire. d. Static Consider This: The pose reveals this. 10.3 Identify tenth-century developments in the art of Spain and the Ottonian Empire.

Answer: a Learning Objective: 10.3 Identify tenth-century developments in the art of Spain and the Ottonian Empire.

Topic: The Tenth-Century Art of Spain and the Ottonian Empire Difficulty Level: Difficult Skill Level: Apply EOM Q10.3.4 The Doors of Bishop Bernward use the narrative strategy called __________. a. prefiguration or complement b. prose Consider This: The doors pair scenes from the Old and New Testaments. 10.3 Identify tenth-century developments in the art of Spain and the Ottonian Empire. c. allegory Consider This: The doors pair scenes from the Old and New Testaments. 10.3 Identify tenth-century developments in the art of Spain and the Ottonian Empire. d. characterization Consider This: The doors pair scenes from the Old and New Testaments. 10.3 Identify tenth-century developments in the art of Spain and the Ottonian Empire.

Answer: a Learning Objective: 10.3 Identify tenth-century developments in the art of Spain and the Ottonian Empire.

Topic: The Tenth-Century Art of Spain and the Ottonian Empire Difficulty Level: Moderate Skill Level: Understand

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EOM Q10.3.5 The Ottonian basilica of St. Cyriakus offers a rhythmic wall elevation inside thanks to the __________. a. nave arcade, gallery, and clerestory b. apse, piers, and aisles Consider This: These provide vertical and horizontal rhythms. 10.3 Identify tenth-century developments in the art of Spain and the Ottonian Empire. c. arches with voussoirs of alternating colors Consider This: These provide vertical and horizontal rhythms. 10.3 Identify tenth-century developments in the art of Spain and the Ottonian Empire. d. relief sculpture that lined the nave Consider This: These provide vertical and horizontal rhythms. 10.3 Identify tenth-century developments in the art of Spain and the Ottonian Empire.

Answer: a Learning Objective: 10.3 Identify tenth-century developments in the art of Spain and the Ottonian Empire.

Topic: The Tenth-Century Art of Spain and the Ottonian Empire Difficulty Level: Moderate Skill Level: Understand Quiz: Romanesque Art EOM Q10.4.1 Large crowds of pilgrims are accommodated architecturally in Romanesque churches by the addition of __________. a. a passageway around the apse b. a pilgrim’s nave Consider This: This allowed visits to chapels. 10.4 Interpret the changes in art and architecture that took place in the Romanesque period. c. a clerestory Consider This: This allowed visits to chapels. 10.4 Interpret the changes in art and architecture that took place in the Romanesque period. d. an upper-level gallery Consider This: This allowed visits to chapels. 10.4 Interpret the changes in art and architecture that took place in the Romanesque period.

Answer: a Learning Objective: 10.4 Interpret the changes in art and architecture that took place in the Romanesque period.

Topic: The Tenth-Century Art of Spain and the Ottonian Empire Difficulty Level: Moderate Skill Level: Understand

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EOM Q10.4.2 The Tuscan regional variation of Romanesque architecture uses __________. a. marble arcades b. Mozarabic-style painting Consider This: Regions reflect local traditions in their interpretation of the Romanesque style. 10.4 Interpret the changes in art and architecture that took place in the Romanesque period. c. Ottonian and Carolingian forms Consider This: Regions reflect local traditions in their interpretation of the Romanesque style. 10.4 Interpret the changes in art and architecture that took place in the Romanesque period. d. ribbed groin vaults Consider This: Regions reflect local traditions in their interpretation of the Romanesque style. 10.4 Interpret the changes in art and architecture that took place in the Romanesque period.

Answer: a Learning Objective: 10.4 Interpret the changes in art and architecture that took place in the Romanesque period.

Topic: The Tenth-Century Art of Spain and the Ottonian Empire Difficulty Level: Moderate Skill Level: Understand EOM Q10.4.3 How do the figures in the Last Judgment at Saint-Lazare, Autun embody the style of Romanesque architectural stone sculpture? a. They are expressive. b. They are naturalistic.

Consider This: This visual hallmark of Romanesque art also appears in painting. 10.4 Interpret the changes in art and architecture that took place in the Romanesque period. c. They are classicizing.

Consider This: This visual hallmark of Romanesque art also appears in painting. 10.4 Interpret the changes in art and architecture that took place in the Romanesque period. d. They are illusionistic.

Consider This: This visual hallmark of Romanesque art also appears in painting. 10.4 Interpret the changes in art and architecture that took place in the Romanesque period.

Answer: a Learning Objective: 10.4 Interpret the changes in art and architecture that took place in the Romanesque period.

Topic: The Tenth-Century Art of Spain and the Ottonian Empire Difficulty Level: Difficult Skill Level: Apply

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EOM Q10.4.4 A historiated capital is a column capital that __________. a. depicts a narrative subject b. makes historical references Consider This: The Flight into Egypt is an example. 10.4 Interpret the changes in art and architecture that took place in the Romanesque period. c. is elaborately painted Consider This: The Flight into Egypt is an example. 10.4 Interpret the changes in art and architecture that took place in the Romanesque period. d. was taken from an older building Consider This: The Flight into Egypt is an example. 10.4 Interpret the changes in art and architecture that took place in the Romanesque period.

Answer: a Learning Objective: 10.4 Interpret the changes in art and architecture that took place in the Romanesque period.

Topic: The Tenth-Century Art of Spain and the Ottonian Empire Difficulty Level: Easy Skill Level: Remember EOM Q10.4.5 The painting Christ in Majesty in San Climent in Taull demonstrates Byzantine influence in its __________. a. modeling with colored lines b. use of the mosaic technique Consider This: Artists in Catalunya adapted for local tastes as well. 10.4 Interpret the changes in art and architecture that took place in the Romanesque period. c. geometric facial features Consider This: Artists in Catalunya adapted for local tastes as well. 10.4 Interpret the changes in art and architecture that took place in the Romanesque period. d. naturalistic figure types Consider This: Artists in Catalunya adapted for local tastes as well. 10.4 Interpret the changes in art and architecture that took place in the Romanesque period.

Answer: a Learning Objective: 10.4 Interpret the changes in art and architecture that took place in the Romanesque period.

Topic: The Tenth-Century Art of Spain and the Ottonian Empire Difficulty Level: Moderate Skill Level: Understand

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Chapter Quiz: Early Medieval and Romanesque Art EOC Q10.1 Which term refers to patterns that recall fields of flowers? a. Millefiori b. Illumination Consider This: These patterns were used in metalwork. 10.1 Characterize the early medieval art of the British Isles and Scandinavia. c. Chasing Consider This: These patterns were used in metalwork. 10.1 Characterize the early medieval art of the British Isles and Scandinavia. d. Cloister Consider This: These patterns were used in metalwork. 10.1 Characterize the early medieval art of the British Isles and Scandinavia.

Answer: a Learning Objective: 10.1 Characterize the early medieval art of the British Isles and Scandinavia.

Topic: Early Medieval and Romanesque Art Difficulty Level: Easy Skill Level: Remember EOC Q10.2 How does the Book of Kells illustrate the persistence of stylistic aspects of “barbarian” metalworking traditions in the early Christian art of the British Isles? a. Abstract interlace patterns persist. b. It includes a portrait of the Gospel writer.

Consider This: This appears in the Book of Durrow as well. 10.1 Characterize the early medieval art of the British Isles and Scandinavia. c. Greco-Roman illusionism continues.

Consider This: This appears in the Book of Durrow as well. 10.1 Characterize the early medieval art of the British Isles and Scandinavia. d. It pictures Matthew as a man.

Consider This: This appears in the Book of Durrow as well. 10.1 Characterize the early medieval art of the British Isles and Scandinavia.

Answer: a Learning Objective: 10.1 Characterize the early medieval art of the British Isles and Scandinavia.

Topic: Early Medieval and Romanesque Art Difficulty Level: Moderate Skill Level: Apply

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EOC Q10.3 Which culture is known for its animal style art? a. Scandinavian b. Carolingian Consider This: This art featured a variety of animals. 10.1 Characterize the early medieval art of the British Isles and Scandinavia. c. Ottonian Consider This: This art featured a variety of animals. 10.1 Characterize the early medieval art of the British Isles and Scandinavia. d. Romanesque Consider This: This art featured a variety of animals. 10.1 Characterize the early medieval art of the British Isles and Scandinavia.

Answer: a Learning Objective: 10.1 Characterize the early medieval art of the British Isles and Scandinavia.

Topic: Early Medieval and Romanesque Art Difficulty Level: Easy Skill Level: Understand EOC Q10.4 Timber posts, steeply pitched roofs, and gables with protective decorations are characteristic of __________. a. Scandinavian stave churches b. Carolingian palace chapels Consider This: These were built of ephemeral material. 10.1 Characterize the early medieval art of the British Isles and Scandinavia. c. Ottonian churches Consider This: These were built of ephemeral material. 10.1 Characterize the early medieval art of the British Isles and Scandinavia. d. German abbey churches Consider This: These were built of ephemeral material. 10.1 Characterize the early medieval art of the British Isles and Scandinavia.

Answer: a Learning Objective: 10.1 Characterize the early medieval art of the British Isles and Scandinavia.

Topic: Early Medieval and Romanesque Art Difficulty Level: Moderate Skill Level: Understand

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EOC Q10.5 The Carolingian Palace Chapel at Aachen had an octagonal plan recalling the church of San Vitale in Ravenna. Based on what you have learned, which statement best explains the similarity? a. The plan symbolized Charlemagne’s renewal of the Roman Empire. b. Ravenna is near Aachen, and Charlemagne was influenced by its architecture.

Consider This: The Palace Chapel added a westwork. 10.2 Define the Carolingian revival in architecture and the visual arts. c. Charlemagne sought the structural solidity of a central plan.

Consider This: The Palace Chapel added a westwork. 10.2 Define the Carolingian revival in architecture and the visual arts. d. The basilican plan accommodated large congregations.

Consider This: The Palace Chapel added a westwork. 10.2 Define the Carolingian revival in architecture and the visual arts.

Answer: a Learning Objective: 10.1 Characterize the early medieval art of the British Isles and Scandinavia.

Topic: Early Medieval and Romanesque Art Difficulty Level: Difficult Skill Level: Apply EOC Q10.6 What type of plan had fallen out of favor until Charlemagne revived it for large churches? a. Basilica b. Central Consider This: St. Gall is an example. 10.2 Define the Carolingian revival in architecture and the visual arts. c. Complex Consider This: St. Gall is an example. 10.2 Define the Carolingian revival in architecture and the visual arts. d. Domed Consider This: St. Gall is an example. 10.2 Define the Carolingian revival in architecture and the visual arts.

Answer: a Learning Objective: 10.2 Define the Carolingian revival in architecture and the visual arts.

Topic: Early Medieval and Romanesque Art Difficulty Level: Moderate Skill Level: Understand

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EOC Q10.7 The cover of the Lindau Gospels was created using a metalwork technique known as __________. a. repoussé b. interlace Consider This: This requires pushing or hammering. 10.2 Define the Carolingian revival in architecture and the visual arts. c. Enamel Consider This: This requires pushing or hammering. 10.2 Define the Carolingian revival in architecture and the visual arts. d. lost-wax casting Consider This: This requires pushing or hammering. 10.2 Define the Carolingian revival in architecture and the visual arts.

Answer: a Learning Objective: 10.2 Define the Carolingian revival in architecture and the visual arts.

Topic: Early Medieval and Romanesque Art Difficulty Level: Easy Skill Level: Remember EOC Q10.8 Spain’s Mozarabic style is the result of __________. a. Islamic influence b. Roman conquest Consider This: The Iberian peninsula became a melting pot of cultures. 10.3 Identify tenth-century developments in the art of Spain and the Ottonian Empire. c. discovery of the Americas Consider This: The Iberian peninsula became a melting pot of cultures. 10.3 Identify tenth-century developments in the art of Spain and the Ottonian Empire. d. pilgrimages to Compostela Consider This: The Iberian peninsula became a melting pot of cultures. 10.3 Identify tenth-century developments in the art of Spain and the Ottonian Empire.

Answer: a Learning Objective: 10.3 Identify tenth-century developments in the art of Spain and the Ottonian Empire.

Topic: Early Medieval and Romanesque Art Difficulty Level: Moderate Skill Level: Understand

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EOC Q10.9 Which term best describes the figures on the Doors of Bishop Bernward? a. Expressive b. Classical Consider This: The doors’ narrative panels help this effect. 10.3 Identify tenth-century developments in the art of Spain and the Ottonian Empire. c. Idealized Consider This: The doors’ narrative panels help this effect. 10.3 Identify tenth-century developments in the art of Spain and the Ottonian Empire. d. Static Consider This: The doors’ narrative panels help this effect. 10.3 Identify tenth-century developments in the art of Spain and the Ottonian Empire.

Answer: a Learning Objective: 10.3 Identify tenth-century developments in the art of Spain and the Ottonian Empire.

Topic: Early Medieval and Romanesque Art Difficulty Level: Difficult Skill Level: Apply EOC Q10.10 Romanesque churches in northern Europe are typically __________. a. tall masonry basilicas with buttressing and barrel vaults b. tall central plan wood structures with crossings Consider This: Romanesque architecture was seen to be Roman-like, but it is not Roman.

10.4 Interpret the changes in art and architecture that took place in the Romanesque period. c. cruciform basilicas covered in Classical arcades Consider This: Romanesque architecture was seen to be Roman-like, but it is not Roman.

10.4 Interpret the changes in art and architecture that took place in the Romanesque period. d. baptisteries with long naves and sculpted portals Consider This: Romanesque architecture was seen to be Roman-like, but it is not Roman.

10.4 Interpret the changes in art and architecture that took place in the Romanesque period.

Answer: a Learning Objective: 10.4 Interpret the changes in art and architecture that took place in the Romanesque period.

Topic: Early Medieval and Romanesque Art Difficulty Level: Moderate Skill Level: Understand

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EOC Q10.11 What decorative feature distinguishes the cathedral at Pisa from Romanesque churches in northern Europe? a. Richly colored marble facing b. Moralizing portal sculpture Consider This: This reflects local tastes. 10.4 Interpret the changes in art and architecture that took place in the Romanesque period. c. Historiated capitals Consider This: This reflects local tastes. 10.4 Interpret the changes in art and architecture that took place in the Romanesque period. d. Engaged and free-standing columns Consider This: This reflects local tastes. 10.4 Interpret the changes in art and architecture that took place in the Romanesque period.

Answer: a Learning Objective: 10.4 Interpret the changes in art and architecture that took place in the Romanesque period.

Topic: Early Medieval and Romanesque Art Difficulty Level: Moderate Skill Level: Understand EOC Q10.12 Romanesque church plans are divided into spatial units called __________. a. bays b. elevations Consider This: These divisions give Romanesque churches a modular appearance. 10.4 Interpret the changes in art and architecture that took place in the Romanesque period. c. transepts Consider This: These divisions give Romanesque churches a modular appearance. 10.4 Interpret the changes in art and architecture that took place in the Romanesque period. d. vaults Consider This: These divisions give Romanesque churches a modular appearance. 10.4 Interpret the changes in art and architecture that took place in the Romanesque period.

Answer: a Learning Objective: 10.4 Interpret the changes in art and architecture that took place in the Romanesque period.

Topic: Early Medieval and Romanesque Art Difficulty Level: Easy Skill Level: Remember

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EOC Q10.13 Romanesque monumental stone sculpture appears on __________. a. portals and capitals b. walls and vaults Consider This: Saint-Pierre in Moissac is a good example. 10.4 Interpret the changes in art and architecture that took place in the Romanesque period. c. apses and galleries Consider This: Saint-Pierre in Moissac is a good example. 10.4 Interpret the changes in art and architecture that took place in the Romanesque period. d. ribs and crossings Consider This: Saint-Pierre in Moissac is a good example. 10.4 Interpret the changes in art and architecture that took place in the Romanesque period.

Answer: a Learning Objective: 10.4 Interpret the changes in art and architecture that took place in the Romanesque period.

Topic: Early Medieval and Romanesque Art Difficulty Level: Easy Skill Level: Remember EOC Q10.14 The Bayeux Embroidery depicts the __________. a. conquest of England by Normans b. Muslim invasion of Spain Consider This: This occurred in 1066. 10.4 Interpret the changes in art and architecture that took place in the Romanesque period. c. Frankish conquest of Normandy Consider This: This occurred in 1066. 10.4 Interpret the changes in art and architecture that took place in the Romanesque period. d. Scottish rebellion against England Consider This: This occurred in 1066. 10.4 Interpret the changes in art and architecture that took place in the Romanesque period.

Answer: a Learning Objective: 10.4 Interpret the changes in art and architecture that took place in the Romanesque period.

Topic: Early Medieval and Romanesque Art Difficulty Level: Easy Skill Level: Remember

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EOC Q10.15 In manuscript painting, a letter filled with decorative imagery is called __________. a. a historiated initial b. an illustrative letter Consider This: The Codex Colbertinus contains this. 10.4 Interpret the changes in art and architecture that took place in the Romanesque period. c. a narrative text Consider This: The Codex Colbertinus contains this. 10.4 Interpret the changes in art and architecture that took place in the Romanesque period. d. a storytelling capital Consider This: The Codex Colbertinus contains this. 10.4 Interpret the changes in art and architecture that took place in the Romanesque period.

Answer: a Learning Objective: 10.4 Interpret the changes in art and architecture that took place in the Romanesque period.

Topic: Early Medieval and Romanesque Art Difficulty Level: Moderate Skill Level: Understand

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Chapter 11: Gothic Art Multiple-Choice Questions 1. Gothic architecture was originally called __________. a. the “French style” b. crusader art c. old-fashioned d. Italian antiquity Answer: a Learning Objective: None Topic: Introduction Difficulty Level: Easy Skill Level: Remember the Facts 2. The rapid development of the Gothic style was facilitated by the __________. a. crusades in Byzantine in Islamic worlds b. economic prosperity of towns c. Germanic invasion of Europe d. destruction of Romanesque cathedrals Answer: b Learning Objective: 11.1 Recognize the twelfth-century origins of the Gothic style at the abbey church of Saint-Denis.

Topic: Introduction Difficulty Level: Moderate Skill Level: Remember the Facts 3. The first Gothic building was __________. a. Reims Cathedral b. Chartres Cathedral c. the Sainte-Chapelle d. the abbey church of Saint-Denis Answer: d Learning Objective: None Topic: The Origins of Gothic at Saint-Denis Difficulty Level: Easy Skill Level: Remember the Facts

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4. Which of the following characteristics of the choir at Saint-Denis represents the key concepts of Neoplatonism? a. the semicircular apse and carved capitals b. sculptures depicting biblical kings and queens c. walls composed of stained-glass windows d. Purbeck marble column shafts Answer: c Learning Objective: 11.1 Recognize the twelfth-century origins of the Gothic style at the abbey church of Saint-Denis.

Topic: The Origins of Gothic at Saint-Denis Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It 5. In the choir at Saint-Denis, Abbot Suger’s builders achieved an open, flowing space surrounded by walls of stained glass by __________. a. using pointed arches, ribbed groin vaults, and external buttressing b. creating a short triforium supported by exterior flying buttresses c. enclosing the choir with a flat expanse of load-bearing stone walls d. constructing a tall nave arcade supported by heavy compound piers Answer: a Learning Objective: 11.1 Recognize the twelfth-century origins of the Gothic style at the abbey church of Saint-Denis.

Topic: The Origins of Gothic at Saint-Denis Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 6. Which of the following innovations of Gothic architecture originated at Saint-Denis? a. flying buttresses b. portal sculpture c. ribbed groin vaults d. stained-glass windows Answer: d Learning Objective: 11.1 Recognize the twelfth-century origins of the Gothic style at the abbey church of Saint-Denis.

Topic: Stained Glass Difficulty Level: Moderate Skill Level: Understand the Concepts

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7. In a stained-glass window, the pieces of colored glass are assembled using strips of lead called __________. a. stringcourses b. cames c. jambs d. lancets Answer: b Learning Objective: 11.1 Recognize the twelfth-century origins of the Gothic style at the abbey church of Saint-Denis.

Topic: Stained Glass Difficulty Level: Easy Skill Level: Remember the Facts 8. In Flight into Egypt from Saint-Denis, the artists created the details of the faces, foliage, and drapery using __________. a. gesso and tempera b. vitreous enamel paint c. a technique called grisaille d. colored silk and gold ink Answer: b Learning Objective: 11.1 Recognize the twelfth-century origins of the Gothic style at the abbey church of Saint-Denis.

Topic: Stained Glass Difficulty Level: Moderate Skill Level: Understand the Concepts 9. The skeletal framework that produced taller and broader interior spaces in French Gothic churches was made possible by __________. a. stringcourses and pinnacles b. wide projecting transepts c. the heavy walls of the nave arcade d. rib vaulting and flying buttresses Answer: d Learning Objective: 11.2 Trace the development of Gothic art and architecture in France from the twelfth through the fourteenth centuries.

Topic: Gothic Art in France Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It

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10. The architecture of French Gothic churches, such as Chartres Cathedral, are characterized by their emphasis on __________. a. the height of the interior elevation b. nave vaults and aisle vaults of equal height c. unobstructed views of the apse and choir d. heavy masonry walls and dimly lit interiors Answer: a Learning Objective: 11.2 Trace the development of Gothic art and architecture in France from the twelfth through the fourteenth centuries.

Topic: Chartres Difficulty Level: Moderate Skill Level: Understand the Concepts 11. Which of the following is considered the centerpiece of the façade of a French Gothic church? a. lancet windows b. apsidal chapels c. rose window d. flying buttresses Answer: c Learning Objective: 11.2 Trace the development of Gothic art and architecture in France from the twelfth through the fourteenth centuries.

Topic: Chartres Difficulty Level: Moderate Skill Level: Understand the Concepts 12. The triforium is __________. a. the semicircular space surrounding the altar b. the layout of each page of a medieval manuscript c. a mid-level wall passageway with an arcaded screen d. a church with nave vaults and aisle vaults of equal height Answer: c Learning Objective: 11.2 Trace the development of Gothic art and architecture in France from the twelfth through the fourteenth centuries.

Topic: Chartres Difficulty Level: Moderate Skill Level: Remember the Facts

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13. At Reims Cathedral, the lacy framework for the glass of the rose windows is called __________. a. bar tracery b. grisaille c. plate tracery d. hemicycles Answer: a Learning Objective: 11.2 Trace the development of Gothic art and architecture in France from the twelfth through the fourteenth centuries.

Topic: Paris and Reims Difficulty Level: Easy Skill Level: Remember the Facts 14. The Sainte-Chapelle exemplifies the refinement of Gothic architecture in the thirteenth century because of its __________. a. elaborate and diverse portal sculptures b. creative use of Purbeck marble columns c. tall and attenuated nave elevation d. expansive walls of stained glass Answer: d Learning Objective: 11.2 Trace the development of Gothic art and architecture in France from the twelfth through the fourteenth centuries.

Topic: Art in the Age of St. Louis Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It 15. In the Moralized Bible, the design of stacked medallions that formed the layout of each page of the manuscript derives from __________. a. stained-glass lancets b. altarpiece panels c. portal sculpture d. Italian frescos Answer: a Learning Objective: 11.2 Trace the development of Gothic art and architecture in France from the twelfth through the fourteenth centuries.

Topic: Art in the Age of St. Louis Difficulty Level: Moderate Skill Level: Understand the Concepts

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16. Books of Hours are __________. a. manuscripts for private devotional practices b. books that include the penitential psalms c. lists of the dead from the crusades d. textbooks for medieval universities Answer: a Learning Objective: 11.2 Trace the development of Gothic art and architecture in France from the twelfth through the fourteenth centuries.

Topic: Fourteenth-Century Manuscripts and Metalworks Difficulty Level: Moderate Skill Level: Remember the Facts 17. In the two-page opening with the Kiss of Judas and the Annunciation from the Hours of Jeanne d’Evreux, what indicates that the story is drawn from the donor’s personal visions? a. It depicts scenes from the New Testament. b. It includes a portrait of Queen Jeanne praying. c. It portrays a spoof of military training. d. It illustrates the first letter of Psalm 1.

Answer: b Learning Objective: 11.2 Trace the development of Gothic art and architecture in France from the twelfth through the fourteenth centuries.

Topic: Fourteenth-Century Manuscripts and Metalworks Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 18. Which of the following best describes the pose that was a stylistic signature of thirteenth- and fourteenth-century Gothic art in France? a. contrapposto b. fresco c. column-like d. graceful S-curve Answer: d Learning Objective: 11.2 Trace the development of Gothic art and architecture in France from the twelfth through the fourteenth centuries.

Topic: Fourteenth-Century Manuscripts and Metalworks Difficulty Level: Moderate Skill Level: Understand the Concepts

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19. Typical English Gothic churches have __________. a. an aron and a bimah b. wide projecting transepts c. short, narrow naves d. unadorned facades Answer: b Learning Objective: 11.3 Compare the Gothic art and architecture of England and Germanic lands during the thirteenth and fourteenth centuries with the foundational monuments in France.

Topic: Gothic Art in England and Germanic Lands Difficulty Level: Moderate Skill Level: Understand the Concepts 20. Which of the following aspects of Salisbury Cathedral distinguishes it from the style of Gothic churches in France? a. rib vaulting b. flying buttresses c. emphasis on height d. Purbeck marble shafts Answer: d Learning Objective: 11.3 Compare the Gothic art and architecture of England and Germanic lands during the thirteenth and fourteenth centuries with the foundational monuments in France.

Topic: Gothic Art in England and Germanic Lands Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It 21. The interior of Salisbury Cathedral reflects Romanesque traditions in its __________. a. semicircular apse b. slender colonnettes c. heavy walls d. stained-glass windows Answer: c Learning Objective: 11.3 Compare the Gothic art and architecture of England and Germanic lands during the thirteenth and fourteenth centuries with the foundational monuments in France.

Topic: Gothic Art in England and Germanic Lands Difficulty Level: Moderate Skill Level: Understand the Concepts

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22. In the opening of Psalm 1 in the Windmill Psalter, Christ’s royal and spiritual heritage is symbolized by the __________. a. letter B b. Tree of Jesse c. Judgment of Solomon d. large windmill Answer: b Learning Objective: 11.3 Compare the Gothic art and architecture of England and Germanic lands during the thirteenth and fourteenth centuries with the foundational monuments in France.

Topic: English Manuscripts and Textiles Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It 23. English pictorial needlework was called __________. a. opus anglicanum b. grisaille c. punchwork d. tempera Answer: a Learning Objective: 11.3 Compare the Gothic art and architecture of England and Germanic lands during the thirteenth and fourteenth centuries with the foundational monuments in France.

Topic: English Manuscripts and Textiles Difficulty Level: Easy Skill Level: Remember the Facts 24. Which of the following is an example of opus anglicanum? a. Windmill Psalter b. Sainte-Chapelle c. Virgin and Child from Saint-Denis d. Chichester-Constable Chasuble Answer: d Learning Objective: 11.3 Compare the Gothic art and architecture of England and Germanic lands during the thirteenth and fourteenth centuries with the foundational monuments in France.

Topic: English Manuscripts and Textiles Difficulty Level: Moderate Skill Level: Understand the Concepts

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25. The type of Gothic architecture that developed in thirteenth-century Germanic lands in response to the increasing importance of sermons is called a __________. a. synagogue b. cathedral c. hall church d. pilgrimage church Answer: c Learning Objective: 11.3 Compare the Gothic art and architecture of England and Germanic lands during the thirteenth and fourteenth centuries with the foundational monuments in France.

Topic: Germanic Lands Difficulty Level: Easy Skill Level: Remember the Facts 26. Hall churches featured __________. a. a dome over the crossing and the apse b. nave vaults and side aisles with vaults of equal height c. a shorter triforium and clerestory level d. barrel vaulting instead of rib vaulting Answer: b Learning Objective: 11.3 Compare the Gothic art and architecture of England and Germanic lands during the thirteenth and fourteenth centuries with the foundational monuments in France.

Topic: Germanic Lands Difficulty Level: Moderate Skill Level: Understand the Concepts 27. Which of the following buildings is an example of a Gothic hall church? a. Church of the Holy Cross b. Sainte-Chapelle c. Chartres Cathedral d. abbey church of Saint-Denis Answer: a Learning Objective: 11.3 Compare the Gothic art and architecture of England and Germanic lands during the thirteenth and fourteenth centuries with the foundational monuments in France.

Topic: Germanic Lands Difficulty Level: Moderate Skill Level: Understand the Concepts

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28. In 1309, the pope moved the papal court to __________. a. Rome b. Constantinople c. Avignon d. Paris Answer: c Learning Objective: 11.4 Discuss late medieval Italian sculpture and painting.

Topic: Late Medieval Art in Italy Difficulty Level: Easy Skill Level: Remember the Facts 29. Ambrogio Lorenzetti’s Effects of Good Government in the City is painted on a wall in __________. a. Siena cathedral b. the papal palace c. Siena’s city hall d. the Arena Chapel Answer: c Learning Objective: 11.4 Discuss late medieval Italian sculpture and painting.

Topic: Late Medieval Art in Italy Difficulty Level: Easy Skill Level: Remember the Facts 30. Powdered pigments mixed with egg yolk, water, and occasionally glue is called __________. a. gesso b. fresco c. vitreous enamel paint d. tempera paint Answer: d Learning Objective: 11.4 Discuss late medieval Italian sculpture and painting.

Topic: Painting in Siena Difficulty Level: Easy Skill Level: Remember the Facts 31. The two important centers of Italian Gothic painting developed in __________. a. Rome and Naples b. Venice and Ravenna c. Milan and Bologna d. Siena and Florence Answer: d Learning Objective: 11.4 Discuss late medieval Italian sculpture and painting.

Topic: Painting in Siena Difficulty Level: Easy Skill Level: Remember the Facts

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32. In the Betrayal of Jesus from the back of the Maestà altarpiece, Duccio expresses the emotional content of the scene through __________. a. a sense of three-dimensional space b. postures and facial expressions c. rich colors and a realistic landscape d. Classicizing forms and symmetry Answer: b Learning Objective: 11.4 Discuss late medieval Italian sculpture and painting.

Topic: Painting in Siena Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It 33. To whom did Giorgio Vasari give the credit for “[having] revived the modern and excellent art of painting, introducing good drawing from live natural models, something which had not been done for more than two hundred years”? a. Giotto di Bondone b. Cimabue c. Duccio di Buoninsegna d. Ambrogio Lorenzetti Answer: a Learning Objective: 11.4 Discuss late medieval Italian sculpture and painting.

Topic: Painting in Florence Difficulty Level: Easy Skill Level: Remember the Facts 34. Which of the following artworks was created with tempera paint? a. Lorenzetti’s Effects of Good Government in the City b. Windmill Psalter c. Giotto’s Virgin and Child Enthroned d. Flight into Egypt, Saint-Denis Answer: c Learning Objective: 11.4 Discuss late medieval Italian sculpture and painting.

Topic: Painting in Florence Difficulty Level: Moderate Skill Level: Understand the Concepts

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35. Giotto’s frescoes in the Arena Chapel evoke an empathetic response in the viewer by __________, a. representing scenes from everyday life b. painting the figures against fields of gold c. portraying complex and long narratives d. depicting a series of compelling moments Answer: d Learning Objective: 11.4 Discuss late medieval Italian sculpture and painting.

Topic: Painting in Florence Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It Essay Questions 36. What is Neoplatonic philosophy and how did Abbot Suger design the choir at Saint-Denis to embody its concepts?

Answer: The ideal answer should include: 1. Neoplatonic philosophy considered radiant light a physical manifestation of God. 2. Suger used the concept of divine luminosity as the basis for the design of the new abbey church with walls composed largely of stained-glass windows.

3. Although the choir retains key features of Romanesque architecture, such as pointed arches, ribbed groin vaults, and external buttressing, the builders’ coordinated use of these features created an architecture that emphasized open, flowing space, enclosed by non-load-bearing walls of colorful stained glass.

4. Suger believed that the contemplation of light was a means of illuminating the soul and uniting it with God, and the design of Saint-Denis provided his monks with an environment suitable for their lives of prayer and meditation.

Learning Objective: 11.1 Recognize the twelfth-century origins of the Gothic style at the abbey church of Saint-Denis.

Topic: The Origins of Gothic at Saint-Denis Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It

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37. What was the goal of Gothic architecture and how did masons achieve this? Describe and analyze the architecture of Chartres Cathedral to support your statements.

Answer: The ideal answer should include: 1. The Gothic style was an architecture of space and light and Gothic churches sought to draw the worshipers’ eyes upward through taller interior spaces and greater expanses of stained glass.

2. Gothic churches, like Chartres Cathedral, made this possible by adapting a skeletal framework of pointed arches and ribbed groin vaults rising from piers, rather than massive walls, that was supported by external flying buttresses.

3. This system permitted masons to leave huge openings in high walls for stained-glass windows and reduce the area between clerestory and nave arcade to a short triforium rather than an expanse of flat wall.

4. This glass-and-masonry shell encloses an enormous open space, with vaults rising 118– 120 feet above the floor.

Learning Objective: 11.2 Trace the development of Gothic art and architecture in France from the twelfth through the fourteenth centuries.

Topic: Gothic Art in France Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 38. What do the jamb sculptures from the central portal of the west façade of Reims Cathedral depict and how are they stylistically diverse?

Answer: The ideal answer should include: 1. The pair on the right portrays the Visitation in which Mary (left), pregnant with Jesus, visits her older cousin Elizabeth (right), who is pregnant with St. John the Baptist.

2. The sculptor drew heavily on ancient Roman sources, which is evident in the solidity of the bulky, heavily draped bodies, the contrapposto pose, and the full faces and wavy hair that recall Roman statues.

3. The pair to the left enacts the Annunciation, in which the archangel Gabriel announces to Mary that she will bear Jesus.

4. Mary’s slight body, broad planes of simple drapery, and restrained gesture contrast with the tangibility of the figures in the Visitation, and the figure of Gabriel, whose tall, gracefully swaying body, small fine-featured head, precious expressions, and mannered pose of aristocratic refinement would become the fashionable International Gothic Style.

Learning Objective: 11.2 Trace the development of Gothic art and architecture in France from the twelfth through the fourteenth centuries.

Topic: Paris and Reims Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It

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39. How is the regional style of Gothic architecture in England different from the French style of Gothic architecture? Use Salisbury Cathedral as an example.

Answer: The ideal answer should include: 1. Unlike French Gothic cathedrals, Gothic churches in England placed less emphasis on height due to their long, broad naves and wide projecting transepts.

2. At Salisbury Cathedral, for example, the church has two wide projecting transepts and a square east end.

3. The heavy walls and tall nave arcade are surmounted by a gallery and a clerestory but place a strong emphasize on the horizontal movement of the arcades to direct attention to the altar rather than upward into the vaults.

4. The shafts supporting the four-part rib vaults are also made of a darker stone called Purbeck marble that contrasts with the lighter stone of the rest of the interior.

Learning Objective: 11.3 Compare the Gothic art and architecture of England and Germanic lands during the thirteenth and fourteenth centuries with the foundational monuments in France.

Topic: Gothic Art in England and Germanic Lands Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 40. Compare and contrast Cimabue’s Virgin and Child Enthroned and Giotto’s Virgin and Child Enthroned. What are their similarities and differences? Which artist had an impact on painting in the Renaissance and why?

Answer: The ideal answer should include: 1. In both paintings, Mary is depicted in the center of the composition against a gold background and her larger scale distinguishes her from the surrounding angels.

2. In Cimabue’s painting, the influence of Byzantine painting traditions is evident in the linear golden highlights on Mary’s drapery, and the artist represents space ambiguously.

3. Giotto’s painting is more realistic because the figures are three-dimensional beings—their plainly draped, bulky bodies appear to inhabit real space because Giotto has used light and shadow to model their bodies and the folds of their drapery.

4. According to Vasari, Giotto was much more influential on future artistic traditions. because he replaced the Byzantine style with naturalism by using live models and employing good drawing techniques.

Learning Objective: 11.4 Discuss late medieval Italian sculpture and painting.

Topic: Painting in Florence Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It

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Revel Quizzes Quiz: The Origins of Gothic at Saint-Denis EOM Q11.1.1 Abbot Suger believed that light was __________. a. the physical manifestation of God b. healthy for pilgrims visiting the church Consider This: This idea was thought to come from the martyr Denis. 11.1 Recognize the twelfth-century origins of the Gothic style at the abbey church of Saint-Denis. c. the embodiment of Christian virtue Consider This: This idea was thought to come from the martyr Denis. 11.1 Recognize the twelfth-century origins of the Gothic style at the abbey church of Saint-Denis. d. essential to personal reflection Consider This: This idea was thought to come from the martyr Denis. 11.1 Recognize the twelfth-century origins of the Gothic style at the abbey church of Saint-Denis.

Answer: a Learning Objective: 11.1 Recognize the twelfth-century origins of the Gothic style at the abbey church of Saint-Denis.

Topic: The Origins of Gothic at Saint-Denis Difficulty Level: Moderate Skill Level: Understand EOM Q11.1.2 Which aspect of Abbot Suger’s Church at Saint-Denis represented the new Gothic style? a. Flowing space b. Lavish materials Consider This: Suger is credited with creating the French Gothic architectural style. 11.1 Recognize the twelfth-century origins of the Gothic style at the abbey church of SaintDenis. c. Ambulatory Consider This: Suger is credited with creating the French Gothic architectural style. 11.1 Recognize the twelfth-century origins of the Gothic style at the abbey church of SaintDenis. d. Groin vaults Consider This: Suger is credited with creating the French Gothic architectural style. 11.1 Recognize the twelfth-century origins of the Gothic style at the abbey church of SaintDenis.

Answer: a Learning Objective: 11.1 Recognize the twelfth-century origins of the Gothic style at the abbey church of Saint-Denis.

Topic: The Origins of Gothic at Saint-Denis Difficulty Level: Moderate Skill Level: Understand

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EOM Q11.1.3 What aspect of Saint-Denis is distinct from Romanesque churches? a. Walls of stained glass b. Ambulatory for pilgrims Consider This: The rest of the church followed a Romanesque plan. 11.1 Recognize the twelfth-century origins of the Gothic style at the abbey church of Saint-Denis. c. Ribbed groin vaults Consider This: The rest of the church followed a Romanesque plan. 11.1 Recognize the twelfth-century origins of the Gothic style at the abbey church of Saint-Denis. d. External buttressing Consider This: The rest of the church followed a Romanesque plan. 11.1 Recognize the twelfth-century origins of the Gothic style at the abbey church of Saint-Denis.

Answer: a Learning Objective: 11.1 Recognize the twelfth-century origins of the Gothic style at the abbey church of Saint-Denis.

Topic: The Origins of Gothic at Saint-Denis Difficulty Level: Moderate Skill Level: Apply Quiz: Gothic Art in France EOM Q11.2.1 Which term best describes French Gothic architecture? a. Skeletal b. Classical Consider This: Gothic architecture solves some of the problems associated with Romanesque building. 11.2 Trace the development of Gothic art and architecture in France from the twelfth through the fourteenth centuries. c. Modulated Consider This: Gothic architecture solves some of the problems associated with Romanesque building. 11.2 Trace the development of Gothic art and architecture in France from the twelfth through the fourteenth centuries. d. Humanistic Consider This: Gothic architecture solves some of the problems associated with Romanesque building. 11.2 Trace the development of Gothic art and architecture in France from the twelfth through the fourteenth centuries.

Answer: a Learning Objective: 11.2 Trace the development of Gothic art and architecture in France from the twelfth through the fourteenth centuries.

Topic: Gothic Art in France Difficulty Level: Moderate Skill Level: Understand

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EOM Q11.2.2 What was used to illustrate royal power in the stained glass windows of the Cathedral of NotreDame, Chartres? a. Fleurs-de-lis b. Triforium Consider This: The Gothic style is associated with the rise of monarchic power. 11.2 Trace the development of Gothic art and architecture in France from the twelfth through the fourteenth centuries. c. Pinnacles Consider This: The Gothic style is associated with the rise of monarchic power. 11.2 Trace the development of Gothic art and architecture in France from the twelfth through the fourteenth centuries. d. Jambs Consider This: The Gothic style is associated with the rise of monarchic power. 11.2 Trace the development of Gothic art and architecture in France from the twelfth through the fourteenth centuries.

Answer: a Learning Objective: 11.2 Trace the development of Gothic art and architecture in France from the twelfth through the fourteenth centuries.

Topic: Gothic Art in France Difficulty Level: Moderate Skill Level: Understand EOM Q11.2.3 The purpose of a flying buttress was to __________. a. support the stone vaults b. make the structure more ornate Consider This: Flying buttresses use arches to perform this function. 11.2 Trace the development of Gothic art and architecture in France from the twelfth through the fourteenth centuries. c. clarify the relationship of walls and windows Consider This: Flying buttresses use arches to perform this function. 11.2 Trace the development of Gothic art and architecture in France from the twelfth through the fourteenth centuries. d. make the church look more like a fortress Consider This: Flying buttresses use arches to perform this function. 11.2 Trace the development of Gothic art and architecture in France from the twelfth through the fourteenth centuries.

Answer: a Learning Objective: 11.2 Trace the development of Gothic art and architecture in France from the twelfth through the fourteenth centuries.

Topic: Gothic Art in France Difficulty Level: Easy Skill Level: Understand

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EOM Q11.2.4 The thirteenth-century sculptural scene of the Visitation from the Cathedral of Notre-Dame in Reims reveals the __________. a. study of Classical sources b. presence of German sculptors Consider This: This distinguishes this scene from the Annunciation next to it. 11.2 Trace the development of Gothic art and architecture in France from the twelfth through the fourteenth centuries. c. abstraction of French Gothic art Consider This: This distinguishes this scene from the Annunciation next to it. 11.2 Trace the development of Gothic art and architecture in France from the twelfth through the fourteenth centuries. d. ease of sculpting in plaster Consider This: This distinguishes this scene from the Annunciation next to it. 11.2 Trace the development of Gothic art and architecture in France from the twelfth through the fourteenth centuries.

Answer: a Learning Objective: 11.2 Trace the development of Gothic art and architecture in France from the twelfth through the fourteenth centuries.

Topic: Gothic Art in France Difficulty Level: Moderate Skill Level: Apply EOM Q11.2.5 French Gothic figural arts of the fourteenth century typically feature figures __________. a. posed in a swaying S-curve b. based on English models Consider This: The silver-gilt Virgin and Child is a good example. 11.2 Trace the development of Gothic art and architecture in France from the twelfth through the fourteenth centuries. c. with elongated bodies and large eyes Consider This: The silver-gilt Virgin and Child is a good example. 11.2 Trace the development of Gothic art and architecture in France from the twelfth through the fourteenth centuries. d. with expressive facial features Consider This: The silver-gilt Virgin and Child is a good example. 11.2 Trace the development of Gothic art and architecture in France from the twelfth through the fourteenth centuries.

Answer: a Learning Objective: 11.2 Trace the development of Gothic art and architecture in France from the twelfth through the fourteenth centuries.

Topic: Gothic Art in France Difficulty Level: Moderate Skill Level: Apply

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Quiz: Gothic Art in England and German Lands EOM Q11.3.1 Which of these features distinguishes English Gothic architecture? a. Long nave b. Extended choir Consider This: English Gothic architecture reflects Norman traditions. 11.3 Compare the Gothic art and architecture of England and Germanic lands during the thirteenth and fourteenth centuries with the foundational monuments in France. c. Extreme height Consider This: English Gothic architecture reflects Norman traditions. 11.3 Compare the Gothic art and architecture of England and Germanic lands during the thirteenth and fourteenth centuries with the foundational monuments in France. d. Hall church Consider This: English Gothic architecture reflects Norman traditions. 11.3 Compare the Gothic art and architecture of England and Germanic lands during the thirteenth and fourteenth centuries with the foundational monuments in France.

Answer: a Learning Objective: 11.3 Compare the Gothic art and architecture of England and Germanic lands during the thirteenth and fourteenth centuries with the foundational monuments in France.

Topic: Gothic Art in England and German Lands Difficulty Level: Moderate Skill Level: Understand

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EOM Q11.3.2 Salisbury Cathedral is unlike French Gothic architecture due to its __________. a. two transepts b. screen-like façade Consider This: This feature is, in fact, not found in any other church examined in this book. 11.3 Compare the Gothic art and architecture of England and Germanic lands during the thirteenth and fourteenth centuries with the foundational monuments in France. c. broad nave Consider This: This feature is, in fact, not found in any other church examined in this book. 11.3 Compare the Gothic art and architecture of England and Germanic lands during the thirteenth and fourteenth centuries with the foundational monuments in France. d. emphasis on height Consider This: This feature is, in fact, not found in any other church examined in this book. 11.3 Compare the Gothic art and architecture of England and Germanic lands during the thirteenth and fourteenth centuries with the foundational monuments in France.

Answer: a Learning Objective: 11.3 Compare the Gothic art and architecture of England and Germanic lands during the thirteenth and fourteenth centuries with the foundational monuments in France.

Topic: Gothic Art in England and German Lands Difficulty Level: Moderate Skill Level: Understand

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EOM Q11.3.3 Which characteristic of early medieval art in the British Isles appears in English Gothic manuscript painting? a. Interlaced designs b. Rich colors Consider This: The French Gothic style influenced English architecture and manuscript illumination, but these influences were tempered by local materials, methods, traditions, and tastes. 11.3 Compare the Gothic art and architecture of England and Germanic lands during the thirteenth and fourteenth centuries with the foundational monuments in France. c. Animal style Consider This: The French Gothic style influenced English architecture and manuscript illumination, but these influences were tempered by local materials, methods, traditions, and tastes. 11.3 Compare the Gothic art and architecture of England and Germanic lands during the thirteenth and fourteenth centuries with the foundational monuments in France. d. Classical influence Consider This: The French Gothic style influenced English architecture and manuscript illumination, but these influences were tempered by local materials, methods, traditions, and tastes. 11.3 Compare the Gothic art and architecture of England and Germanic lands during the thirteenth and fourteenth centuries with the foundational monuments in France.

Answer: a Learning Objective: 11.3 Compare the Gothic art and architecture of England and Germanic lands during the thirteenth and fourteenth centuries with the foundational monuments in France.

Topic: Gothic Art in England and German Lands Difficulty Level: Difficult Skill Level: Understand

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EOM Q11.3.4 What feature distinguishes a German hall church from a French Gothic basilica? a. The vaults are all the same height. b. The plan does not include aisles.

Consider This: This also applies to the Old-New Synagogue in Prague. 11.3 Compare the Gothic art and architecture of England and Germanic lands during the thirteenth and fourteenth centuries with the foundational monuments in France. c. There are no piers.

Consider This: This also applies to the Old-New Synagogue in Prague. 11.3 Compare the Gothic art and architecture of England and Germanic lands during the thirteenth and fourteenth centuries with the foundational monuments in France. d. The ribs intersect.

Consider This: This also applies to the Old-New Synagogue in Prague. 11.3 Compare the Gothic art and architecture of England and Germanic lands during the thirteenth and fourteenth centuries with the foundational monuments in France.

Answer: a Learning Objective: 11.3 Compare the Gothic art and architecture of England and Germanic lands during the thirteenth and fourteenth centuries with the foundational monuments in France.

Topic: Gothic Art in England and German Lands Difficulty Level: Moderate Skill Level: Understand Quiz: Late Medieval Art in Italy EOM Q11.4.1 Frederick II encouraged artists to __________. a. revive Classical forms b. abandon naturalism Consider This: This is seen in the work of Nicola Pisano. 11.4 Discuss late medieval Italian sculpture and painting. c. establish large workshops Consider This: This is seen in the work of Nicola Pisano. 11.4 Discuss late medieval Italian sculpture and painting. d. break away from the Church Consider This: This is seen in the work of Nicola Pisano. 11.4 Discuss late medieval Italian sculpture and painting.

Answer: a Learning Objective: 11.4 Discuss late medieval Italian sculpture and painting.

Topic: Late Medieval Art in Italy Difficulty Level: Moderate Skill Level: Understand

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EOM Q11.4.2 What artistic tradition is evident in Sienese painting of the early fourteenth century? a. Byzantine b. Greek Consider This: Sienna retains this tradition longer than Florence 11.4 Discuss late medieval Italian sculpture and painting. c. Roman Consider This: Sienna retains this tradition longer than Florence 11.4 Discuss late medieval Italian sculpture and painting. d. Romanesque Consider This: Sienna retains this tradition longer than Florence 11.4 Discuss late medieval Italian sculpture and painting.

Answer: a Learning Objective: 11.4 Discuss late medieval Italian sculpture and painting.

Topic: Late Medieval Art in Italy Difficulty Level: Moderate Skill Level: Understand EOM Q11.4.3 The scene of the Betrayal of Christ from the Maestà altarpiece is best described as __________. a. expressive b. naturalistic Consider This: This is seen in the figure of Peter. 11.4 Discuss late medieval Italian sculpture and painting. c. an icon Consider This: This is seen in the figure of Peter. 11.4 Discuss late medieval Italian sculpture and painting. d. calm Consider This: This is seen in the figure of Peter. 11.4 Discuss late medieval Italian sculpture and painting.

Answer: a Learning Objective: 11.4 Discuss late medieval Italian sculpture and painting.

Topic: Late Medieval Art in Italy Difficulty Level: Difficult Skill Level: Apply

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EOM Q11.4.4 Cimabue’s influence can be seen in Giotto’s Virgin and Child Enthroned in the __________. a. symmetrical composition b. spatial consistency Consider This: Giotto only retains a few characteristics from Cimabue. 11.4 Discuss late medieval Italian sculpture and painting. c. sculptural solidity Consider This: Giotto only retains a few characteristics from Cimabue. 11.4 Discuss late medieval Italian sculpture and painting. d. gold drapery folds Consider This: Giotto only retains a few characteristics from Cimabue. 11.4 Discuss late medieval Italian sculpture and painting.

Answer: a Learning Objective: 11.4 Discuss late medieval Italian sculpture and painting.

Topic: Late Medieval Art in Italy Difficulty Level: Moderate Skill Level: Apply EOM Q11.4.5 The narrative program of Giotto’s Scrovegni Chapel represents the __________. a. lives of Christ and the Virgin b. lives of the Saints Consider This: The Scrovegni Chapel paired these themes to teach lessons. 11.4 Discuss late medieval Italian sculpture and painting. c. parables of Jesus Consider This: The Scrovegni Chapel paired these themes to teach lessons. 11.4 Discuss late medieval Italian sculpture and painting. d. heroic deeds of Enrico Scrovegni Consider This: The Scrovegni Chapel paired these themes to teach lessons. 11.4 Discuss late medieval Italian sculpture and painting.

Answer: a Learning Objective: 11.4 Discuss late medieval Italian sculpture and painting.

Topic: Late Medieval Art in Italy Difficulty Level: Easy Skill Level: Understand

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Chapter Quiz: Gothic Art EOC Q11.1 The Church of Saint-Denis is significant as the __________. a. originator of the Gothic style b. first pilgrimage church in France Consider This: This was the work of Abbott Suger. 11.1 Recognize the twelfth-century origins of the Gothic style at the abbey church of Saint-Denis. c. coronation church of the French monarchy Consider This: This was the work of Abbott Suger. 11.1 Recognize the twelfth-century origins of the Gothic style at the abbey church of Saint-Denis. d. site where Classical forms were revived Consider This: This was the work of Abbott Suger. 11.1 Recognize the twelfth-century origins of the Gothic style at the abbey church of Saint-Denis.

Answer: a Learning Objective: 11.1 Recognize the twelfth-century origins of the Gothic style at the abbey church of Saint-Denis.

Topic: Gothic Art Difficulty Level: Moderate Skill Level: Understand EOC Q11.2 Two of the visual hallmarks of French Gothic architecture are __________. a. stained-glass windows and flowing spaces b. thick walls and barrel vaults Consider This: These elements appeared first in Romanesque architecture. 11.2 Trace the development of Gothic art and architecture in France from the twelfth through the fourteenth centuries. c. patterned marble and tall ceilings Consider This: These elements appeared first in Romanesque architecture. 11.2 Trace the development of Gothic art and architecture in France from the twelfth through the fourteenth centuries. d. domes and modular bay divisions Consider This: These elements appeared first in Romanesque architecture. 11.2 Trace the development of Gothic art and architecture in France from the twelfth through the fourteenth centuries.

Answer: a Learning Objective: 11.2 Trace the development of Gothic art and architecture in France from the twelfth through the fourteenth centuries.

Topic: Gothic Art Difficulty Level: Moderate Skill Level: Understand

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EOC Q11.3 Gothic flying buttresses permitted larger __________. a. windows b. chapels Consider This: Flying buttresses principally support vaults. 11.2 Trace the development of Gothic art and architecture in France from the twelfth through the fourteenth centuries. c. processions Consider This: Flying buttresses principally support vaults. 11.2 Trace the development of Gothic art and architecture in France from the twelfth through the fourteenth centuries. d. congregations Consider This: Flying buttresses principally support vaults. 11.2 Trace the development of Gothic art and architecture in France from the twelfth through the fourteenth centuries.

Answer: a Learning Objective: 11.2 Trace the development of Gothic art and architecture in France from the twelfth through the fourteenth centuries.

Topic: Gothic Art Difficulty Level: Moderate Skill Level: Understand EOC Q11.4 What aspect of the sculptures of Mary and Elizabeth on the façade of Reims Cathedral reveal their likely Classical sources of inspiration? a. Pose b. Theme Consider This: This was first seen in Greek art. 11.2 Trace the development of Gothic art and architecture in France from the twelfth through the fourteenth centuries. c. Material Consider This: This was first seen in Greek art. 11.2 Trace the development of Gothic art and architecture in France from the twelfth through the fourteenth centuries. d. Expression Consider This: This was first seen in Greek art. 11.2 Trace the development of Gothic art and architecture in France from the twelfth through the fourteenth centuries.

Answer: a Learning Objective: 11.2 Trace the development of Gothic art and architecture in France from the twelfth through the fourteenth centuries.

Topic: Gothic Art Difficulty Level: Moderate Skill Level: Apply

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EOC Q11.5 Which formal approach dominated later French Gothic figural arts? a. Aristocratic refinement b. Classical balance Consider This: The Gothic style in France was centered around the court. 11.2 Trace the development of Gothic art and architecture in France from the twelfth through the fourteenth centuries. c. Byzantine hierarchy Consider This: The Gothic style in France was centered around the court. 11.2 Trace the development of Gothic art and architecture in France from the twelfth through the fourteenth centuries. d. Humanistic expressionism Consider This: The Gothic style in France was centered around the court. 11.2 Trace the development of Gothic art and architecture in France from the twelfth through the fourteenth centuries.

Answer: a Learning Objective: 11.2 Trace the development of Gothic art and architecture in France from the twelfth through the fourteenth centuries.

Topic: Gothic Art Difficulty Level: Moderate Skill Level: Understand EOC Q11.6 Why can Sainte-Chapelle in Paris be seen as the embodiment of Abbot Suger’s vision for architecture? a. Its walls are almost entirely stained glass. b. It contains relics of Christ’s Passion.

Consider This: Abbot Suger sought this at Saint-Denis. 11.2 Trace the development of Gothic art and architecture in France from the twelfth through the fourteenth centuries. c. It is built in the Parisian court style.

Consider This: Abbot Suger sought this at Saint-Denis. 11.2 Trace the development of Gothic art and architecture in France from the twelfth through the fourteenth centuries. d. Its windows depict scenes of sacred kingship.

Consider This: Abbot Suger sought this at Saint-Denis. 11.2 Trace the development of Gothic art and architecture in France from the twelfth through the fourteenth centuries.

Answer: a Learning Objective: 11.2 Trace the development of Gothic art and architecture in France from the twelfth through the fourteenth centuries.

Topic: Gothic Art Difficulty Level: Difficult Skill Level: Apply

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EOC Q11.7 Compared with French Gothic architecture, English churches placed less emphasis on __________. a. height b. light Consider This: Salisbury Cathedral is a good example of this. 11.3 Compare the Gothic art and architecture of England and Germanic lands during the thirteenth and fourteenth centuries with the foundational monuments in France. c. ornamentation Consider This: Salisbury Cathedral is a good example of this. 11.3 Compare the Gothic art and architecture of England and Germanic lands during the thirteenth and fourteenth centuries with the foundational monuments in France. d. symmetry Consider This: Salisbury Cathedral is a good example of this. 11.3 Compare the Gothic art and architecture of England and Germanic lands during the thirteenth and fourteenth centuries with the foundational monuments in France.

Answer: a Learning Objective: 11.3 Compare the Gothic art and architecture of England and Germanic lands during the thirteenth and fourteenth centuries with the foundational monuments in France.

Topic: Gothic Art Difficulty Level: Moderate Skill Level: Apply EOC Q11.8 The Chichester-Constable Chasuble is an example of __________. a. opus anglicanum b. fleurs-de-lis Consider This: Mabel of Bury St. Edmunds was a well-known practitioner. 11.3 Compare the Gothic art and architecture of England and Germanic lands during the thirteenth and fourteenth centuries with the foundational monuments in France. c. plate tracery Consider This: Mabel of Bury St. Edmunds was a well-known practitioner. 11.3 Compare the Gothic art and architecture of England and Germanic lands during the thirteenth and fourteenth centuries with the foundational monuments in France. d. a hemicycle Consider This: Mabel of Bury St. Edmunds was a well-known practitioner. 11.3 Compare the Gothic art and architecture of England and Germanic lands during the thirteenth and fourteenth centuries with the foundational monuments in France.

Answer: a Learning Objective: 11.3 Compare the Gothic art and architecture of England and Germanic lands during the thirteenth and fourteenth centuries with the foundational monuments in France.

Topic: Gothic Art Difficulty Level: Easy Skill Level: Remember

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EOC Q11.9 The Old-New Synagogue in Prague differs from contemporary German Gothic churches in its __________. a. two-aisle plan b. masonry construction Consider This: The Prague synagogue is three bays long. 11.3 Compare the Gothic art and architecture of England and Germanic lands during the thirteenth and fourteenth centuries with the foundational monuments in France. c. inclusion of piers Consider This: The Prague synagogue is three bays long. 11.3 Compare the Gothic art and architecture of England and Germanic lands during the thirteenth and fourteenth centuries with the foundational monuments in France. d. use of rib vaults Consider This: The Prague synagogue is three bays long. 11.3 Compare the Gothic art and architecture of England and Germanic lands during the thirteenth and fourteenth centuries with the foundational monuments in France.

Answer: a Learning Objective: 11.3 Compare the Gothic art and architecture of England and Germanic lands during the thirteenth and fourteenth centuries with the foundational monuments in France.

Topic: Gothic Art Difficulty Level: Moderate Skill Level: Understand

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EOC Q11.10 Hall churches were common in the Gothic period in __________. a. Germany b. France Consider This: The hall church’s profile distinguishes it from a basilica, which dominates most of Europe. 11.3 Compare the Gothic art and architecture of England and Germanic lands during the thirteenth and fourteenth centuries with the foundational monuments in France. c. England Consider This: The hall church’s profile distinguishes it from a basilica, which dominates most of Europe. 11.3 Compare the Gothic art and architecture of England and Germanic lands during the thirteenth and fourteenth centuries with the foundational monuments in France. d. Italy Consider This: The hall church’s profile distinguishes it from a basilica, which dominates most of Europe. 11.3 Compare the Gothic art and architecture of England and Germanic lands during the thirteenth and fourteenth centuries with the foundational monuments in France.

Answer: a Learning Objective: 11.3 Compare the Gothic art and architecture of England and Germanic lands during the thirteenth and fourteenth centuries with the foundational monuments in France.

Topic: Gothic Art Difficulty Level: Moderate Skill Level: Understand EOC Q11.11 Ambrogio Lorenzetti’s murals Effects of Good Government in the City and Effects of Good Government in the Country illustrate the __________. a. patronage of civic institutions b. power of the papal court Consider This: The murals are located in Siena’s city hall. 11.4 Discuss late medieval Italian sculpture and painting. c. growing power of the king of France Consider This: The murals are located in Siena’s city hall. 11.4 Discuss late medieval Italian sculpture and painting. d. artist’s economic and social constraints Consider This: The murals are located in Siena’s city hall. 11.4 Discuss late medieval Italian sculpture and painting.

Answer: a Learning Objective: 11.4 Discuss late medieval Italian sculpture and painting.

Topic: Gothic Art Difficulty Level: Difficult Skill Level: Apply

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EOC Q11.12 Italian late medieval sculpture is best described as __________. a. classicizing b. moralizing Consider This: The sculpture of Pisano is a good example. 11.4 Discuss late medieval Italian sculpture and painting. c. expressive Consider This: The sculpture of Pisano is a good example. 11.4 Discuss late medieval Italian sculpture and painting. d. stylized Consider This: The sculpture of Pisano is a good example. 11.4 Discuss late medieval Italian sculpture and painting.

Answer: a Learning Objective: 11.4 Discuss late medieval Italian sculpture and painting.

Topic: Gothic Art Difficulty Level: Moderate Skill Level: Apply EOC Q11.13 The gold lines on drapery folds in Italian fourteenth-century painting reveal the influence of __________. a. Byzantine art b. French art Consider This: The pose of Cimabue’s Madonna does as well. 11.4 Discuss late medieval Italian sculpture and painting. c. artist guilds Consider This: The pose of Cimabue’s Madonna does as well. 11.4 Discuss late medieval Italian sculpture and painting. d. powerful patrons Consider This: The pose of Cimabue’s Madonna does as well. 11.4 Discuss late medieval Italian sculpture and painting.

Answer: a Learning Objective: 11.4 Discuss late medieval Italian sculpture and painting.

Topic: Gothic Art Difficulty Level: Difficult Skill Level: Apply

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EOC Q11.14 What artistic convention makes Mary larger than other figures in Cimabue’s Virgin and Child Enthroned? a. Hierarchical scale b. Composite pose Consider This: This relates to her importance. 11.4 Discuss late medieval Italian sculpture and painting. c. Canon of proportion Consider This: This relates to her importance. 11.4 Discuss late medieval Italian sculpture and painting. d. Golden mean Consider This: This relates to her importance. 11.4 Discuss late medieval Italian sculpture and painting.

Answer: a Learning Objective: 11.4 Discuss late medieval Italian sculpture and painting.

Topic: Gothic Art Difficulty Level: Moderate Skill Level: Apply EOC Q11.15 The Florentine painter Giotto models the figures in the Scrovegni Chapel to look more __________. a. three-dimensional b. stylized Consider This: The Raising of Lazarus is a good example. 11.4 Discuss late medieval Italian sculpture and painting. c. expressive Consider This: The Raising of Lazarus is a good example. 11.4 Discuss late medieval Italian sculpture and painting. d. active Consider This: The Raising of Lazarus is a good example. 11.4 Discuss late medieval Italian sculpture and painting.

Answer: a Learning Objective: 11.4 Discuss late medieval Italian sculpture and painting.

Topic: Gothic Art Difficulty Level: Difficult Skill Level: Apply

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Chapter 12: Early Renaissance Art Multiple-Choice Questions 1. Northern Renaissance art demonstrates an interest in __________. a. the achievements of the Middle Ages b. the revival of ancient Roman classicism c. capturing the appearance of the natural world d. representing the beliefs of Italian humanists Answer: c Learning Objective: 12.1 Define the nature of the Northern Renaissance in Flanders.

Topic: Northern Renaissance Art Difficulty Level: Moderate Skill Level: Understand the Concepts 2. In the illumination of February from the Très Riches Heures, the cutaway view of the house that shows both the interior and exterior illustrates how early Northern Renaissance art __________. a. was highly naturalistic b. maintained Gothic conventions c. employed linear perspective d. imitated the Italian Renaissance style Answer: b Learning Objective: 12.1 Define the nature of the Northern Renaissance in Flanders.

Topic: The Limbourg Brothers Difficulty Level: Moderate Skill Level: Understand the Concepts 3. During the fifteenth century, the present-day lands of western Belgium, the southwestern Netherlands, and a small part of northern France were called __________. a. Florence b. Nuremberg c. Flanders d. Tournai Answer: c Learning Objective: 12.1 Define the nature of the Northern Renaissance in Flanders.

Topic: Painting in Flanders Difficulty Level: Easy Skill Level: Remember the Facts

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4. The Flemish style of painting became influential due to the patronage of __________. a. wealthy merchants and bankers b. the pope and the papal court c. the average European citizen d. Italian civic leaders Answer: a Learning Objective: 12.1 Define the nature of the Northern Renaissance in Flanders.

Topic: Painting in Flanders Difficulty Level: Easy Skill Level: Remember the Facts 5. Which of the following is an advantage of using oil paint? a. It dries very quickly. b. It produces a matte surface. c. It creates jewel-like colors. d. It features opaque tones.

Answer: c Learning Objective: 12.1 Define the nature of the Northern Renaissance in Flanders.

Topic: Painting in Flanders Difficulty Level: Moderate Skill Level: Understand the Concepts 6. What is the setting for Robert Campin’s Mérode Altarpiece? a. a Classical basilica in Rome b. a fifteenth-century Flemish home c. a Gothic church in France d. a landscape in Italy Answer: b Learning Objective: 12.1 Define the nature of the Northern Renaissance in Flanders.

Topic: Painting in Flanders Difficulty Level: Moderate Skill Level: Understand the Concepts 7. Which of the following characteristics of Northern Renaissance art is embodied by the portrait-like faces and scrupulously described contemporary dress of the figures in Rogier van der Weyden’s Deposition? a. disguised symbolism b. calm Classicism c. detailed realism d. rational space Answer: c Learning Objective: 12.1 Define the nature of the Northern Renaissance in Flanders.

Topic: Painting in Flanders Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It

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8. In A Goldsmith in His Shop by Petrus Christus, the belt curling across the counter may symbolize the __________. a. success of the couple’s business b. upcoming marriage of the couple c. wealth and skill of the goldsmith d. vocation of the shop owner Answer: b Learning Objective: 12.1 Define the nature of the Northern Renaissance in Flanders.

Topic: Painting in Flanders Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 9. The style of Hugo van der Goes’s artworks demonstrates the influence of __________. a. Jan van Eyck and Rogier van der Weyden b. Petrus Christus and the Limbourg brothers c. Martin Schongauer and Antonio del Pollaiuolo d. Masaccio and Fra Angelico Answer: a Learning Objective: 12.1 Define the nature of the Northern Renaissance in Flanders.

Topic: Painting in Flanders Difficulty Level: Moderate Skill Level: Understand the Concepts 10. The Unicorn is Found is an example of __________. a. a tapestry b. a woodblock print c. an oil painting d. a fresco Answer: a Learning Objective: 12.1 Define the nature of the Northern Renaissance in Flanders.

Topic: Tapestries Difficulty Level: Moderate Skill Level: Understand the Concepts 11. The printmaking technique in which a gouge is used to create a high relief design that is then inked to transfer the image onto paper is called __________. a. intaglio b. fresco c. engraving d. woodcut Answer: d Learning Objective: 12.2 Explain the growth of printmaking in fifteenth-century Europe.

Topic: The Graphic Arts Difficulty Level: Easy Skill Level: Remember the Facts

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12. The printmaking technique in which lines are cut into a plate with a burin and the low areas are inked is called __________. a. majolica b. engraving c. woodcut d. fresco Answer: b Learning Objective: 12.2 Explain the growth of printmaking in fifteenth-century Europe.

Topic: The Graphic Arts Difficulty Level: Easy Skill Level: Remember the Facts 13. Michael Wolgemut’s and Wilhelm Pleydenwurff’s The City of Nuremberg is an example of __________. a. an engraving b. an illumination c. a woodcut d. an intaglio Answer: c Learning Objective: 12.2 Explain the growth of printmaking in fifteenth-century Europe.

Topic: The Graphic Arts Difficulty Level: Moderate Skill Level: Understand the Concepts 14. The intaglio technique of engraving may have developed from the techniques used in __________. a. sculpture b. manuscript illumination c. oil painting d. metalworking Answer: d Learning Objective: 12.2 Explain the growth of printmaking in fifteenth-century Europe.

Topic: The Graphic Arts Difficulty Level: Easy Skill Level: Remember the Facts 15. Martin Schongauer’s Temptation of St. Anthony demonstrates how __________. a. engraving can achieve finer lines and sharper details than woodcutting b. woodcuts can be painted by hand with color to enhance the appearance c. Northern Renaissance artists adopted poses from Classical sources d. Italian Renaissance artists set figures within rationally ordered space Answer: a Learning Objective: 12.2 Explain the growth of printmaking in fifteenth-century Europe.

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16. Antonio del Pollaiuolo’s Battle of the Nudes is an example of __________. a. a tapestry b. a woodcut c. a fresco d. an engraving Answer: d Learning Objective: 12.2 Explain the growth of printmaking in fifteenth-century Europe.

Topic: The Graphic Arts Difficulty Level: Moderate Skill Level: Understand the Concepts 17. The birthplace of the ideas that blossomed into the Italian Renaissance was __________. a. Rome b. Siena c. Venice d. Florence Answer: d Learning Objective: 12.3 Discuss the development of Italian Renaissance art and architecture in Florence.

Topic: Italian Renaissance Art in Florence Difficulty Level: Easy Skill Level: Remember the Facts 18. How is Ghiberti’s Sacrifice of Isaac different from Brunelleschi’s Sacrifice of Isaac? a. It depicts Isaac as an idealized Classical figure. b. Isaac’s awkward pose conveys his fear. c. It was cast using multiple pieces of bronze. d. The composition depicts a wrenching struggle.

Answer: a Learning Objective: 12.3 Discuss the development of Italian Renaissance art and architecture in Florence.

Topic: The Competition Reliefs Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 19. In the church of San Lorenzo, each nave arch springs from __________. a. an aedicula b. a loggia c. an impost block d. a balustrade Answer: c Learning Objective: 12.3 Discuss the development of Italian Renaissance art and architecture in Florence.

Topic: Architecture Difficulty Level: Moderate Skill Level: Understand the Concepts 5 Copyright © 2020, 2016, 2012 Pearson Education, Inc. All rights reserved.

20. At the Palazzo Medici-Riccardi, the first story is distinguished from the two upper stories by the __________. a. rusticated stone blocks b. sgraffito decoration c. pilasters of pietra serena d. rounded aedicula Answer: a Learning Objective: 12.3 Discuss the development of Italian Renaissance art and architecture in Florence.

Topic: Architecture Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It 21. Which of the following is considered a classicizing element that gave the Palazzo MediciRiccardi an aura of dignity and stability? a. the sgraffito frieze b. the rusticated stone facade c. the octagonal dome d. the fresco wall paintings Answer: a Learning Objective: 12.3 Discuss the development of Italian Renaissance art and architecture in Florence.

Topic: Architecture Difficulty Level: Moderate Skill Level: Understand the Concepts 22. Which of the following draws on the Classical tradition of heroic nudity? a. Brunelleschi’s Sacrifice of Isaac b. Bellini’s St. Francis in Ecstasy c. Donatello’s David d. van der Weyden’s Deposition Answer: c Learning Objective: 12.3 Discuss the development of Italian Renaissance art and architecture in Florence.

Topic: Sculpture Difficulty Level: Moderate Skill Level: Understand the Concepts

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23. Which of the following characteristics of Italian Renaissance art is evident in the panels of Ghiberti’s Gates of Paradise? a. rationally organized space b. disguised symbolism c. detailed surface realism d. sgraffito decoration Answer: a Learning Objective: 12.3 Discuss the development of Italian Renaissance art and architecture in Florence.

Topic: Sculpture Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It 24. Who established a new direction in Florentine painting in the fifteenth century? a. Jan van Eyck b. Paolo Uccello c. Lorenzo Ghiberti d. Masaccio Answer: d Learning Objective: 12.3 Discuss the development of Italian Renaissance art and architecture in Florence.

Topic: Painting Difficulty Level: Easy Skill Level: Remember the Facts 25. A framed niche in a wall is called __________. a. a loggia b. an impost block c. a balustrade d. an aedicula Answer: d Learning Objective: 12.3 Discuss the development of Italian Renaissance art and architecture in Florence.

Topic: Painting Difficulty Level: Easy Skill Level: Remember the Facts

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26. Which of the following is an early example of the use of linear perspective in Italian painting? a. Masaccio’s Trinity with the Virgin, St. John the Evangelist, and Donors b. Workshop of the Master of Flémalle’s Mérode Altarpiece c. Hugo van der Goes’s Portinari Altarpiece d. Giovanni Bellini’s St. Francis in Ecstasy Answer: a Learning Objective: 12.3 Discuss the development of Italian Renaissance art and architecture in Florence.

Topic: Painting Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It 27. A section of fresh plaster that could be prepared and painted in one day is called __________. a. pietra serena b. an aedicula c. sgraffito d. a giornata Answer: d Learning Objective: 12.3 Discuss the development of Italian Renaissance art and architecture in Florence.

Topic: Painting Difficulty Level: Easy Skill Level: Remember the Facts 28. Which of the following artworks was painted in the corridor of a monastery to inspire private meditation? a. Masaccio’s The Tribute Money b. Fra Angelico’s Annunciation c. Rogier van der Weyden’s Deposition d. Andrea Mantegna’s Camera Picta Answer: b Learning Objective: 12.3 Discuss the development of Italian Renaissance art and architecture in Florence.

Topic: Painting Difficulty Level: Moderate Skill Level: Understand the Concepts

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29. The central image of Botticelli’s Birth of Venus is derived from __________. a. Masaccio’s The Expulsion b. a Classical Greek statue c. the iconography of the Virgin Mary d. Pollaiuolo’s Battle of the Nudes Answer: b Learning Objective: 12.3 Discuss the development of Italian Renaissance art and architecture in Florence.

Topic: Painting Difficulty Level: Moderate Skill Level: Understand the Concepts 30. Which of the following artists studied Alberti’s theoretical treatises and wrote his own on mathematics and perspective? a. Sandro Botticelli b. Andrea Mantegna c. Rogier van der Weyden d. Piero della Francesca Answer: d Learning Objective: 12.4 Trace the spread of the Renaissance from Florence to other Italian cities.

Topic: Urbino Difficulty Level: Easy Skill Level: Remember the Facts 31. Which of the following aspects of Piero della Francesca’s Battista Sforza and Federico Da Montefeltro demonstrates the influence of Flemish painting? a. the profile view of the figures b. the figures’ psychological disengagement c. the luminous and vast landscape d. the underlying geometry of the forms Answer: c Learning Objective: 12.4 Trace the spread of the Renaissance from Florence to other Italian cities.

Topic: Urbino Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It

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32. Which of the following artists began a long tradition of illusionistic ceiling painting? a. Masaccio b. Andrea Mantegna c. Jan van Eyck d. Piero della Francesca Answer: b Learning Objective: 12.4 Trace the spread of the Renaissance from Florence to other Italian cities.

Topic: Mantua Difficulty Level: Easy Skill Level: Remember the Facts 33. In the Camera Picta, Mantegna created the illusion of figures projecting into space by using __________. a. foreshortening b. linear perspective c. pietra serena d. atmospheric perspective Answer: a Learning Objective: 12.4 Trace the spread of the Renaissance from Florence to other Italian cities.

Topic: Mantua Difficulty Level: Moderate Skill Level: Understand the Concepts 34. Little boys that are often shown naked and winged are called __________. a. giornata b. sgraffito c. doges d. putti Answer: d Learning Objective: 12.4 Trace the spread of the Renaissance from Florence to other Italian cities.

Topic: Mantua Difficulty Level: Easy Skill Level: Remember the Facts

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35. The center of Italian art shifted from Florence to Rome because of __________. a. the patronage of merchants b. papal commissions c. the commercial seaport d. the invention of the printing press Answer: b Learning Objective: 12.4 Trace the spread of the Renaissance from Florence to other Italian cities.

Topic: Venice and Rome Difficulty Level: Moderate Skill Level: Remember the Facts Essay Questions 36. How does the Master of Flémalle’s Mérode Altarpiece incorporate the “disguised” symbolism that was characteristic of Northern Renaissance art?

Answer: The ideal answer should include: 1. The Annunciation is set in a contemporary Flemish home and incorporates common household objects that were invested with religious meaning.

2. The lilies on the table appear in Annunciations to symbolize Mary’s virginity and the hanging water pot in the background niche also refers to Mary’s purity and her role as the vessel for the Incarnation of Christ.

3. The mousetraps on the workbench refer to Christ as the bait in a trap set by God to catch Satan.

4. Joseph is also drilling holes in a small plank used as a drainboard in winemaking, calling to mind the wine of the Eucharist and its association with Christ’s passion.

Learning Objective: 12.1 Define the nature of the Northern Renaissance in Flanders.

Topic: Painting in Flanders Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It

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37. How is the style and iconography of The Unicorn Is Found characteristic of Northern Renaissance art?

Answer: The ideal answer should include: 1. Tapestries, like The Unicorn Is Found, provided both insulation and sumptuous decoration of the stone walls of castles, churches, and municipal buildings and they displayed their owners’ wealth.

2. Like many examples of Northern Renaissance art, The Unicorn Is Found includes plants and animals from the natural world that have symbolic meaning.

3. The unicorn represented the Incarnation and was a metaphor for romantic love.

4. The lions and the stag symbolize the Resurrection of Christ, the rabbits represent fertility, and the dogs are associated with fidelity.

5. Many of the identifiable plants described with detail precision also carry religious and secular meaning, such as the strawberry representing sexual love.

Learning Objective: 12.1 Define the nature of the Northern Renaissance in Flanders.

Topic: Tapestries Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 38. What was the significance of printmaking in the fifteenth century? Describe and analyze Michael Wolgemut’s and Wilhelm Pleydenwurff’s The City of Nuremberg as an example to support your statements.

Answer: The ideal answer should include: 1. Because the printing press was developed at the end of the fourteenth century, during the fifteenth century, the use of woodcuts to print books on paper in multiple copies began to replace the copying of books individually by hand.

2. The City of Nuremberg is a woodcut illustration from one of the 2,500 editions of The Nuremberg Chronicle, each of which had over 1,800 illustrations dispersed throughout the text.

3. Those interested in purchasing the book could obtain it in Latin or German, on parchment or on paper, bound or unbound, as it came from the press or tinted with color.

4. The City of Nuremberg is a double-page picture and the owner of the book could afford to have the woodcuts painted by hand with color to enhance the appearance of the panoramic view of the city.

Learning Objective: 12.2 Explain the growth of printmaking in fifteenth-century Europe.

Topic: The Graphic Arts Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It

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39. How does Masaccio’s The Tribute Money demonstrate the characteristics of Italian Renaissance art?

Answer: The ideal answer should include: 1. Masaccio used linear perspective and atmospheric perspective to integrate figures, architecture, and landscape into a consistent space that recedes logically into the far distance.

2. Masaccio used linear perspective in the depiction of the house and then reinforced it by diminishing the sizes of the barren trees and reducing the size of the crouching Peter at far left.

3. Jesus’s head aligns with the vanishing point established by the orthogonals of the house, and Masaccio used color to create atmospheric perspective in the distant landscape.

4. Masaccio also modeled the figures with bold highlights, shadows, and contrasting colors to create a sense of volumetric solidity, and used foreshortening to create the illusion that the figures’ haloes are hovering in space.

Learning Objective: 12.3 Discuss the development of Italian Renaissance art and architecture in Florence.

Topic: Painting Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 40. How does Piero della Francesca’s Battista Sforza and Federico Da Montefeltro integrate the traditions of the Northern and Italian Renaissance?

Answer: The ideal answer should include: 1. The small panels resemble Flemish painting in their detail and luminosity, their record of surfaces and textures, and their vast landscapes.

2. In the traditional Italian fashion, the figures are posed in strict profile, disengaged psychologically from the viewer.

3. The profile format also allowed for an accurate recording of Frederico’s likeness, the emphasis on his nose, which might be a distinctive family trait, and the underlying geometry of the forms.

4. Piero depicts the hills surrounding Urbino using atmospheric perspective, but the luminous nature of the landscape recalls Flemish panel painting.

Learning Objective: 12.4 Trace the spread of the Renaissance from Florence to other Italian cities.

Topic: Urbina Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It

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Revel Quizzes Quiz: Northern Renaissance Art EOM Q12.1.1 What Renaissance interest led northern European artists to create illusionistic images? a. Curiosity about the natural world b. Status of the artist as intellectual Consider This: The Renaissance in northern Europe differed from the Italian Renaissance. 12.1 Define the nature of the Northern Renaissance in Flanders. c. Revival of Greek and Roman classicism Consider This: The Renaissance in northern Europe differed from the Italian Renaissance. 12.1 Define the nature of the Northern Renaissance in Flanders. d. Concerns with religious devotion Consider This: The Renaissance in northern Europe differed from the Italian Renaissance. 12.1 Define the nature of the Northern Renaissance in Flanders.

Answer: a Learning Objective: 12.1 Define the nature of the Northern Renaissance in Flanders.

Topic: Northern Renaissance Art Difficulty Level: Moderate Skill Level: Understand EOM Q12.1.2 Which characteristic in the Très Riches Heures is a leftover Gothic convention? a. Cutaway architectural view b. Scale relationships Consider This: The Très Riches Heures is not entirely naturalistic in its treatment of space. 12.1 Define the nature of the Northern Renaissance in Flanders. c. Opus anglicanum Consider This: The Très Riches Heures is not entirely naturalistic in its treatment of space. 12.1 Define the nature of the Northern Renaissance in Flanders. d. Interlace designs Consider This: The Très Riches Heures is not entirely naturalistic in its treatment of space. 12.1 Define the nature of the Northern Renaissance in Flanders.

Answer: a Learning Objective: 12.1 Define the nature of the Northern Renaissance in Flanders.

Topic: Northern Renaissance Art Difficulty Level: Moderate Skill Level: Understand

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EOM Q12.1.3 Northern Renaissance art is known for its __________. a. surface description b. linear perspective Consider This: Northern Gothic artists already show evidence of this interest. 12.1 Define the nature of the Northern Renaissance in Flanders. c. Classical inspiration Consider This: Northern Gothic artists already show evidence of this interest. 12.1 Define the nature of the Northern Renaissance in Flanders. d. courtly elegance Consider This: Northern Gothic artists already show evidence of this interest. 12.1 Define the nature of the Northern Renaissance in Flanders.

Answer: a Learning Objective: 12.1 Define the nature of the Northern Renaissance in Flanders.

Topic: Northern Renaissance Art Difficulty Level: Moderate Skill Level: Understand EOM Q12.1.4 Jan van Eyck created the illusion of three-dimensional forms in the Ghent Altarpiece using __________. a. modeling b. color contrast Consider This: This strategy was used by Giotto in the fourteenth century. 12.1 Define the nature of the Northern Renaissance in Flanders. c. hierarchical scale Consider This: This strategy was used by Giotto in the fourteenth century. 12.1 Define the nature of the Northern Renaissance in Flanders. d. patterning Consider This: This strategy was used by Giotto in the fourteenth century. 12.1 Define the nature of the Northern Renaissance in Flanders.

Answer: a Learning Objective: 12.1 Define the nature of the Northern Renaissance in Flanders.

Topic: Northern Renaissance Art Difficulty Level: Difficult Skill Level: Apply

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EOM Q12.1.5 How is the representation of the natural world in the Hunt of the Unicorn tapestry series typical of northern European fifteenth-century art? a. Plants and animals have symbolic meanings. b. Linear perspective provides an illusionistic space.

Consider This: This is also seen in religious paintings. 12.1 Define the nature of the Northern Renaissance in Flanders. c. Details describe the life of the merchant class.

Consider This: This is also seen in religious paintings. 12.1 Define the nature of the Northern Renaissance in Flanders. d. The landscape depicts the owner’s landholdings and palace.

Consider This: This is also seen in religious paintings. 12.1 Define the nature of the Northern Renaissance in Flanders.

Answer: a Learning Objective: 12.1 Define the nature of the Northern Renaissance in Flanders.

Topic: Northern Renaissance Art Difficulty Level: Difficult Skill Level: Apply Quiz: The Graphic Arts EOM Q12.2.1 Printmaking thrived thanks to the availability of printing presses and __________. a. paper b. guilds Consider This: The growth of printing required several technological changes. 12.2 Explain the growth of printmaking in fifteenth-century Europe. c. graphics Consider This: The growth of printing required several technological changes. 12.2 Explain the growth of printmaking in fifteenth-century Europe. d. illustrations Consider This: The growth of printing required several technological changes. 12.2 Explain the growth of printmaking in fifteenth-century Europe.

Answer: a Learning Objective: 12.2 Explain the growth of printmaking in fifteenth-century Europe.

Topic: The Graphic Arts Difficulty Level: Easy Skill Level: Understand

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EOM Q12.2.2 Woodcut book illustrations took the place of __________. a. illuminations b. books Consider This: This allowed multiple copies. 12.2 Explain the growth of printmaking in fifteenth-century Europe. c. engravings Consider This: This allowed multiple copies. 12.2 Explain the growth of printmaking in fifteenth-century Europe. d. scrolls Consider This: This allowed multiple copies. 12.2 Explain the growth of printmaking in fifteenth-century Europe.

Answer: a Learning Objective: 12.2 Explain the growth of printmaking in fifteenth-century Europe.

Topic: The Graphic Arts Difficulty Level: Difficult Skill Level: Apply EOM Q12.2.3 Engraved prints were made by cutting lines into __________. a. sheets of metal b. blocks of wood Consider This: This is an intaglio process. 12.2 Explain the growth of printmaking in fifteenth-century Europe. c. slabs of limestone Consider This: This is an intaglio process. 12.2 Explain the growth of printmaking in fifteenth-century Europe. d. pieces of paper Consider This: This is an intaglio process. 12.2 Explain the growth of printmaking in fifteenth-century Europe.

Answer: a Learning Objective: 12.2 Explain the growth of printmaking in fifteenth-century Europe.

Topic: The Graphic Arts Difficulty Level: Easy Skill Level: Remember

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EOM Q12.2.4 Schongauer’s engraving of the Temptation of St. Anthony displays the typical Northern Renaissance __________. a. description of textures b. anatomical research Consider This: This is similar to paintings by Jan van Eyck. 12.2 Explain the growth of printmaking in fifteenth-century Europe. c. emphasis on the figure Consider This: This is similar to paintings by Jan van Eyck. 12.2 Explain the growth of printmaking in fifteenth-century Europe. d. interest in Classical sculpture Consider This: This is similar to paintings by Jan van Eyck. 12.2 Explain the growth of printmaking in fifteenth-century Europe.

Answer: a Learning Objective: 12.2 Explain the growth of printmaking in fifteenth-century Europe.

Topic: The Graphic Arts Difficulty Level: Difficult Skill Level: Apply Quiz: Italian Renaissance Art in Florence EOM Q12.3.1 Unlike their northern European counterparts, Italian painters sought to render the illusion of a physical reality through __________. a. rationally configured space b. aerial perspective Consider This: This made paintings look like a window onto the world. 12.3 Discuss the development of Italian Renaissance art and architecture in Florence. c. differentiation of surfaces Consider This: This made paintings look like a window onto the world. 12.3 Discuss the development of Italian Renaissance art and architecture in Florence. d. detailed visual appearance Consider This: This made paintings look like a window onto the world. 12.3 Discuss the development of Italian Renaissance art and architecture in Florence.

Answer: a Learning Objective: 12.3 Discuss the development of Italian Renaissance art and architecture in Florence.

Topic: Italian Renaissance Art in Florence Difficulty Level: Moderate Skill Level: Understand

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EOM Q12.3.2 Ghiberti’s 1401 competition panel for the Florence Baptistery door featured __________. a. a Classical figure b. emotional intensity Consider This: Ghiberti’s panel may have appealed more to the cloth merchants’ guild.

12.3 Discuss the development of Italian Renaissance art and architecture in Florence. c. narrative Consider This: Ghiberti’s panel may have appealed more to the cloth merchants’ guild.

12.3 Discuss the development of Italian Renaissance art and architecture in Florence. d. a Roman theme Consider This: Ghiberti’s panel may have appealed more to the cloth merchants’ guild.

12.3 Discuss the development of Italian Renaissance art and architecture in Florence.

Answer: a Learning Objective: 12.3 Discuss the development of Italian Renaissance art and architecture in Florence.

Topic: Italian Renaissance Art in Florence Difficulty Level: Moderate Skill Level: Understand EOM Q12.3.3 Brunelleschi’s Early Renaissance architecture in Florence is known for __________. a. modules and pietra serena b. ribbed domes and references to the Gothic style Consider This: Brunelleschi uses these features at San Lorenzo. 12.3 Discuss the development of Italian Renaissance art and architecture in Florence. c. relief sculpture and idealization Consider This: Brunelleschi uses these features at San Lorenzo. 12.3 Discuss the development of Italian Renaissance art and architecture in Florence. d. barrel vaults and symbolism Consider This: Brunelleschi uses these features at San Lorenzo. 12.3 Discuss the development of Italian Renaissance art and architecture in Florence.

Answer: a Learning Objective: 12.3 Discuss the development of Italian Renaissance art and architecture in Florence.

Topic: Italian Renaissance Art in Florence Difficulty Level: Moderate Skill Level: Understand

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EOM Q12.3.4 How does Donatello’s David embody the principles of Renaissance art in Florence? a. It is the first life-size, free-standing nude since antiquity. b. It is entirely carved out of marble.

Consider This: Donatello’s David may celebrate a Florentine victory. 12.3 Discuss the development of Italian Renaissance art and architecture in Florence. c. It revives the ancient Roman equestrian portrait type.

Consider This: Donatello’s David may celebrate a Florentine victory. 12.3 Discuss the development of Italian Renaissance art and architecture in Florence. d. It represents the humanist interest in biblical allegory.

Consider This: Donatello’s David may celebrate a Florentine victory. 12.3 Discuss the development of Italian Renaissance art and architecture in Florence.

Answer: a Learning Objective: 12.3 Discuss the development of Italian Renaissance art and architecture in Florence.

Topic: Italian Renaissance Art in Florence Difficulty Level: Easy Skill Level: Understand EOM Q12.3.5 The atmospheric perspective in Masaccio’s The Tribute Money __________. a. decreases color saturation and detail to suggest distance b. uses the horizon line to construct space Consider This: Aerial perspective is another name for atmospheric perspective. 12.3 Discuss the development of Italian Renaissance art and architecture in Florence. c. relies on the artist’s intuition to suggest three-dimensional space Consider This: Aerial perspective is another name for atmospheric perspective. 12.3 Discuss the development of Italian Renaissance art and architecture in Florence. d. places two vanishing points at either side of the painting Consider This: Aerial perspective is another name for atmospheric perspective. 12.3 Discuss the development of Italian Renaissance art and architecture in Florence.

Answer: a Learning Objective: 12.3 Discuss the development of Italian Renaissance art and architecture in Florence.

Topic: Italian Renaissance Art in Florence Difficulty Level: Moderate Skill Level: Understand

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Quiz: Urbino, Mantua, Venice, and Rome EOM Q12.4.1 How did the Renaissance style spread from Florence to other Italian cities? a. Wealthy patrons in other cities hired Florentine artists. b. Regional artists traveled to Rome to learn the new style.

Consider This: Florence was recognized for its achievement and copied. 12.4 Trace the spread of the Renaissance from Florence to other Italian cities. c. Taste for the Florentine style spread among the monastic communities.

Consider This: Florence was recognized for its achievement and copied. 12.4 Trace the spread of the Renaissance from Florence to other Italian cities. d. Guilds in other cities adopted Florentine rules.

Consider This: Florence was recognized for its achievement and copied. 12.4 Trace the spread of the Renaissance from Florence to other Italian cities.

Answer: a Learning Objective: 12.4 Trace the spread of the Renaissance from Florence to other Italian cities.

Topic: Urbino, Mantua, Venice, and Rome Difficulty Level: Moderate Skill Level: Understand EOM Q12.4.2 Piero della Francesca is known for his __________. a. geometric figures and spaces b. psychological portraits Consider This: Piero wrote a treatise on perspective. 12.4 Trace the spread of the Renaissance from Florence to other Italian cities. c. experimental space and theme Consider This: Piero wrote a treatise on perspective. 12.4 Trace the spread of the Renaissance from Florence to other Italian cities. d. sensuous colorism Consider This: Piero wrote a treatise on perspective. 12.4 Trace the spread of the Renaissance from Florence to other Italian cities.

Answer: a Learning Objective: 12.4 Trace the spread of the Renaissance from Florence to other Italian cities.

Topic: Urbino, Mantua, Venice, and Rome Difficulty Level: Moderate Skill Level: Understand

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EOM Q12.4.3 The di sotto in su viewpoint of the oculus in Andrea Mantegna’s paintings in the Camera Picta in Mantua is made fully convincing through __________. a. foreshortening b. atmospheric perspective Consider This: The putti best demonstrate this. 12.4 Trace the spread of the Renaissance from Florence to other Italian cities. c. Classical sources Consider This: The putti best demonstrate this. 12.4 Trace the spread of the Renaissance from Florence to other Italian cities. d. idealized proportions Consider This: The putti best demonstrate this. 12.4 Trace the spread of the Renaissance from Florence to other Italian cities.

Answer: a Learning Objective: 12.4 Trace the spread of the Renaissance from Florence to other Italian cities.

Topic: Urbino, Mantua, Venice, and Rome Difficulty Level: Moderate Skill Level: Apply EOM Q12.4.4 The Venetian painting of Bellini differs from Florentine painting in its __________. a. attention to natural details and lighting effects b. application of spatial techniques Consider This: Venetian artists responded to their location. 12.4 Trace the spread of the Renaissance from Florence to other Italian cities. c. emphasis on geometry and mathematical relationships Consider This: Venetian artists responded to their location. 12.4 Trace the spread of the Renaissance from Florence to other Italian cities. d. adherence to Greek and Roman classicism Consider This: Venetian artists responded to their location. 12.4 Trace the spread of the Renaissance from Florence to other Italian cities.

Answer: a Learning Objective: 12.4 Trace the spread of the Renaissance from Florence to other Italian cities.

Topic: Urbino, Mantua, Venice, and Rome Difficulty Level: Moderate Skill Level: Apply

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EOM Q12.4.5 Perugino’s Delivery of the Keys to Peter symbolizes __________. a. the power of the pope b. the rise of merchants Consider This: The center of Italian art was shifting to Rome. 12.4 Trace the spread of the Renaissance from Florence to other Italian cities. c. the relationship between Rome and Venice Consider This: The center of Italian art was shifting to Rome. 12.4 Trace the spread of the Renaissance from Florence to other Italian cities. d. papal authority in the New World Consider This: The center of Italian art was shifting to Rome. 12.4 Trace the spread of the Renaissance from Florence to other Italian cities.

Answer: a Learning Objective: 12.4 Trace the spread of the Renaissance from Florence to other Italian cities.

Topic: Urbino, Mantua, Venice, and Rome Difficulty Level: Moderate Skill Level: Understand Chapter Quiz: Early Renaissance Art EOC Q12.1 Personal devotion was pictured in fifteenth-century Flemish paintings through __________. a. depictions of meditating patrons within holy scenes b. images of patrons performing sacraments Consider This: Personal devotion had only rarely been pictured before. 12.1 Define the nature of the Northern Renaissance in Flanders. c. representations of the rewards for piety Consider This: Personal devotion had only rarely been pictured before. 12.1 Define the nature of the Northern Renaissance in Flanders. d. pictures of donors ascending to Heaven Consider This: Personal devotion had only rarely been pictured before. 12.1 Define the nature of the Northern Renaissance in Flanders.

Answer: a Learning Objective: 12.1 Define the nature of the Northern Renaissance in Flanders.

Topic: Early Renaissance Art Difficulty Level: Difficult Skill Level: Understand

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EOC Q12.2 What does the text mean when it says that fifteenth-century Flemish paintings employ a consistent treatment of light? a. The painting represents light as it falls naturally. b. A lantern is included within the image.

Consider This: This recalls light as seen by the human eye. 12.1 Define the nature of the Northern Renaissance in Flanders. c. The light is painted with few shadows or dark areas.

Consider This: This recalls light as seen by the human eye. 12.1 Define the nature of the Northern Renaissance in Flanders. d. The light is painted to emphasize symbolic elements.

Consider This: This recalls light as seen by the human eye. 12.1 Define the nature of the Northern Renaissance in Flanders.

Answer: a Learning Objective: 12.1 Define the nature of the Northern Renaissance in Flanders.

Topic: Early Renaissance Art Difficulty Level: Moderate Skill Level: Understand EOC Q12.3 What evidence leads your text to conclude that Jan van Eyck’s paintings are “firmly grounded in the terrestrial world”? a. Descriptive details and consistent light source b. Disguised symbolism and narrative sequence Consider This: Fifteenth-century Flemish artists try to make their paintings accessible to their viewers. 12.1 Define the nature of the Northern Renaissance in Flanders. c. Idealized figures and otherworldly theme Consider This: Fifteenth-century Flemish artists try to make their paintings accessible to their viewers. 12.1 Define the nature of the Northern Renaissance in Flanders. d. Common subjects and divine light Consider This: Fifteenth-century Flemish artists try to make their paintings accessible to their viewers. 12.1 Define the nature of the Northern Renaissance in Flanders.

Answer: a Learning Objective: 12.1 Define the nature of the Northern Renaissance in Flanders.

Topic: Early Renaissance Art Difficulty Level: Difficult Skill Level: Apply

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EOC Q12.4 The Double Portrait of Giovanni Arnolfini and his Wife represents the significance of __________ in fifteenth-century Northern European art. a. economics b. politics Consider This: This interest reflects the rise of the merchant class as art patrons. 12.1 Define the nature of the Northern Renaissance in Flanders. c. mathematics Consider This: This interest reflects the rise of the merchant class as art patrons. 12.1 Define the nature of the Northern Renaissance in Flanders. d. philosophy Consider This: This interest reflects the rise of the merchant class as art patrons. 12.1 Define the nature of the Northern Renaissance in Flanders.

Answer: a Learning Objective: 12.1 Define the nature of the Northern Renaissance in Flanders.

Topic: Early Renaissance Art Difficulty Level: Moderate Skill Level: Apply EOC Q12.5 What did Michelangelo criticize about Northern Renaissance art? a. Detailed realism b. Disguised symbolism Consider This: This is seen in the work of Petrus Christus. 12.1 Define the nature of the Northern Renaissance in Flanders. c. Classical sources Consider This: This is seen in the work of Petrus Christus. 12.1 Define the nature of the Northern Renaissance in Flanders. d. Nude figures Consider This: This is seen in the work of Petrus Christus. 12.1 Define the nature of the Northern Renaissance in Flanders.

Answer: a Learning Objective: 12.1 Define the nature of the Northern Renaissance in Flanders.

Topic: Early Renaissance Art Difficulty Level: Moderate Skill Level: Understand

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EOC Q12.6 What is an advantage of tapestries for fifteenth-century patrons? a. They are portable. b. They are made of symbolic materials.

Consider This: This reflects how courts organized their time. 12.1 Define the nature of the Northern Renaissance in Flanders. c. They are less expensive than paintings.

Consider This: This reflects how courts organized their time. 12.1 Define the nature of the Northern Renaissance in Flanders. d. They are made by better artists than paintings.

Consider This: This reflects how courts organized their time. 12.1 Define the nature of the Northern Renaissance in Flanders.

Answer: a Learning Objective: 12.1 Define the nature of the Northern Renaissance in Flanders.

Topic: Early Renaissance Art Difficulty Level: Moderate Skill Level: Understand EOC Q12.7 The printing press was developed in Europe __________. a. at the end of the fourteenth century b. in the middle of the thirteenth century Consider This: Woodcut and intaglio prints soon followed. 12.2 Explain the growth of printmaking in fifteenth-century Europe. c. at the end of the fifteenth century Consider This: Woodcut and intaglio prints soon followed. 12.2 Explain the growth of printmaking in fifteenth-century Europe. d. in the middle of the fifteenth century Consider This: Woodcut and intaglio prints soon followed. 12.2 Explain the growth of printmaking in fifteenth-century Europe.

Answer: a Learning Objective: 12.2 Explain the growth of printmaking in fifteenth-century Europe.

Topic: Early Renaissance Art Difficulty Level: Easy Skill Level: Remember

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EOC Q12.8 Pollaiuolo’s Battle of the Nudes reflects the Italian Renaissance study of __________. a. Classical sources b. realistic details Consider This: This explains the theme. 12.2 Explain the growth of printmaking in fifteenth-century Europe. c. disguised symbolism Consider This: This explains the theme. 12.2 Explain the growth of printmaking in fifteenth-century Europe. d. optical devices Consider This: This explains the theme. 12.2 Explain the growth of printmaking in fifteenth-century Europe.

Answer: a Learning Objective: 12.2 Explain the growth of printmaking in fifteenth-century Europe.

Topic: Early Renaissance Art Difficulty Level: Moderate Skill Level: Understand EOC Q12.9 Introduced in Florence in the early fifteenth century, the system for creating the illusion of threedimensional space on a two-dimensional surface is called __________. a. linear perspective b. aerial perspective Consider This: The system allows painters to transform their canvases into a window onto the world. 12.3 Discuss the development of Italian Renaissance art and architecture in Florence. c. atmospheric perspective Consider This: The system allows painters to transform their canvases into a window onto the world. 12.3 Discuss the development of Italian Renaissance art and architecture in Florence. d. geometric perspective Consider This: The system allows painters to transform their canvases into a window onto the world. 12.3 Discuss the development of Italian Renaissance art and architecture in Florence.

Answer: a Learning Objective: 12.3 Discuss the development of Italian Renaissance art and architecture in Florence.

Topic: Early Renaissance Art Difficulty Level: Easy Skill Level: Understand

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EOC Q12.10 The dome of the Florence cathedral is supported by a system of __________. a. ribs, rings, and arches b. panels, beams, and scaffolding Consider This: The dome employs some Gothic techniques. 12.3 Discuss the development of Italian Renaissance art and architecture in Florence. c. radiating chapels and longitudinal naves Consider This: The dome employs some Gothic techniques. 12.3 Discuss the development of Italian Renaissance art and architecture in Florence. d. side aisles and transepts Consider This: The dome employs some Gothic techniques. 12.3 Discuss the development of Italian Renaissance art and architecture in Florence.

Answer: a Learning Objective: 12.3 Discuss the development of Italian Renaissance art and architecture in Florence.

Topic: Early Renaissance Art Difficulty Level: Moderate Skill Level: Understand EOC Q12.11 The classicizing elements in the Palazzo Medici-Riccardi include the __________. a. arches b. irregular plan Consider This: This includes the arcade. 12.3 Discuss the development of Italian Renaissance art and architecture in Florence. c. Fortification Consider This: This includes the arcade. 12.3 Discuss the development of Italian Renaissance art and architecture in Florence. d. bronze spandrels Consider This: This includes the arcade. 12.3 Discuss the development of Italian Renaissance art and architecture in Florence.

Answer: a Learning Objective: 12.3 Discuss the development of Italian Renaissance art and architecture in Florence.

Topic: Early Renaissance Art Difficulty Level: Easy Skill Level: Understand

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EOC Q12.12 What biblical figure played an important role in Florentine sculpture as a political symbol of the city? a. David b. John the Baptist Consider This: This is why the Medici wanted this figure in their palace. 12.3 Discuss the development of Italian Renaissance art and architecture in Florence. c. Francis Consider This: This is why the Medici wanted this figure in their palace. 12.3 Discuss the development of Italian Renaissance art and architecture in Florence. d. St. George Consider This: This is why the Medici wanted this figure in their palace. 12.3 Discuss the development of Italian Renaissance art and architecture in Florence.

Answer: a Learning Objective: 12.3 Discuss the development of Italian Renaissance art and architecture in Florence.

Topic: Early Renaissance Art Difficulty Level: Easy Skill Level: Understand EOC Q12.13 The barrel vault in Masaccio’s fresco of the Trinity with the Virgin, St. John the Evangelist, and Donors illustrates his use of __________. a. linear perspective b. continuous narrative Consider This: The fresco also features Brunelleschi-inspired simulated architecture. 12.3 Discuss the development of Italian Renaissance art and architecture in Florence. c. expressive figures Consider This: The fresco also features Brunelleschi-inspired simulated architecture. 12.3 Discuss the development of Italian Renaissance art and architecture in Florence. d. disguised symbolism Consider This: The fresco also features Brunelleschi-inspired simulated architecture. 12.3 Discuss the development of Italian Renaissance art and architecture in Florence.

Answer: a Learning Objective: 12.3 Discuss the development of Italian Renaissance art and architecture in Florence.

Topic: Early Renaissance Art Difficulty Level: Moderate Skill Level: Apply

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EOC Q12.14 Masaccio’s fresco of The Expulsion of Adam and Eve from Paradise is widely admired for its __________. a. expressive figures based on Roman sculpture b. narrative based on Flemish painting Consider This: Michelangelo may have been influenced by this in his Sistine Chapel frescoes. 12.3 Discuss the development of Italian Renaissance art and architecture in Florence. c. linear perspective based on Alberti’s text Consider This: Michelangelo may have been influenced by this in his Sistine Chapel frescoes. 12.3 Discuss the development of Italian Renaissance art and architecture in Florence. d. ideal proportions based on the Byzantine canon Consider This: Michelangelo may have been influenced by this in his Sistine Chapel frescoes. 12.3 Discuss the development of Italian Renaissance art and architecture in Florence.

Answer: a Learning Objective: 12.3 Discuss the development of Italian Renaissance art and architecture in Florence.

Topic: Early Renaissance Art Difficulty Level: Moderate Skill Level: Understand EOC Q12.15 At the end of the fifteenth century, the center of artistic production in Italy shifted from Florence to __________. a. Rome b. Mantua Consider This: Perugino was already working there. 12.4 Trace the spread of the Renaissance from Florence to other Italian cities. c. Padua Consider This: Perugino was already working there. 12.4 Trace the spread of the Renaissance from Florence to other Italian cities. d. Venice Consider This: Perugino was already working there. 12.4 Trace the spread of the Renaissance from Florence to other Italian cities.

Answer: a Learning Objective: 12.4 Trace the spread of the Renaissance from Florence to other Italian cities.

Topic: Early Renaissance Art Difficulty Level: Easy Skill Level: Understand

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Chapter 13: Art of the High Renaissance and Reformation Multiple-Choice Questions 1. Which of the following was painted in the refectory of the monastery of Sta. Maria delle Grazie in Milan? a. Raphael’s School of Athens b. Leonard da Vinci’s The Last Supper c. Michelangelo’s Creation of Adam d. Titian’s “Venus” of Urbino Answer: b Learning Objective: 13.1 Characterize the High Renaissance art of Italy.

Topic: Leonardo da Vinci Difficulty Level: Moderate Skill Level: Understand the Concepts 2. The technique in which the transition from highlight to shadow creates the illusion of threedimensional form is called __________. a. sfumato b. chiaroscuro c. trompe l’oeil d. contrapposto Answer: b Learning Objective: 13.1 Characterize the High Renaissance art of Italy.

Topic: Leonardo da Vinci Difficulty Level: Easy Skill Level: Remember the Facts 3. Leonardo da Vinci’s The Last Supper is characteristic of High Renaissance Italian art because it features __________. a. linear perspective b. contrapposto c. exaggerated poses d. luminous colors Answer: a Learning Objective: 13.1 Characterize the High Renaissance art of Italy.

Topic: Italian Art of the High Renaissance Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It

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4. The technique used to create a smoky haze is called __________. a. chiaroscuro b. contrapposto c. sfumato d. trompe l’oeil Answer: c Learning Objective: 13.1 Characterize the High Renaissance art of Italy.

Topic: Leonardo da Vinci Difficulty Level: Easy Skill Level: Remember the Facts 5. Raphael quickly gained fame and patrons from his paintings of __________. a. the Virgin and Child b. the life of Jesus c. pastoral scenes d. foreign diplomats Answer: a Learning Objective: 13.1 Characterize the High Renaissance art of Italy.

Topic: Raphael Difficulty Level: Moderate Skill Level: Understand the Concepts 6. The atmospheric clarity and brilliant colors in Raphael’s The Madonna of the Goldfinch demonstrate the influence of __________. a. Titian b. Leonardo da Vinci c. Michelangelo d. Perugino Answer: d Learning Objective: 13.1 Characterize the High Renaissance art of Italy.

Topic: Raphael Difficulty Level: Moderate Skill Level: Understand the Concepts 7. In Raphael’s School of Athens, the figures break Classical conventions in their __________. a. serene idealism b. foreshortened poses c. stylized body forms d. heroic nudity Answer: b Learning Objective: 13.1 Characterize the High Renaissance art of Italy.

Topic: Raphael Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It

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8. Painted models for works in another medium are called __________. a. cartoons b. tapestries c. predellas d. hemicycles Answer: a Learning Objective: 13.1 Characterize the High Renaissance art of Italy.

Topic: Raphael Difficulty Level: Easy Skill Level: Remember the Facts 9. Which of the following artists envisioned his sculpture as already existing within the marble, needing only his tools to “set it free”? a. El Greco b. Giorgione c. Lucas Cranach the Elder d. Michelangelo Answer: d Learning Objective: 13.1 Characterize the High Renaissance art of Italy.

Topic: Michelangelo Difficulty Level: Easy Skill Level: Remember the Facts 10. Michelangelo organized the paintings on the ceiling of the Sistine Chapel within __________. a. an illusionistic architectural structure b. a central, pyramidal composition c. stucco reliefs of garlands d. blind windows and pilasters Answer: a Learning Objective: 13.1 Characterize the High Renaissance art of Italy.

Topic: Michelangelo Difficulty Level: Moderate Skill Level: Understand the Concepts 11. Which of the following features of St. Peter’s basilica was designed by Michelangelo? a. longitudinal plan b. colonnaded plaza c. three hemicycles d. rectangular porticos Answer: c Learning Objective: 13.1 Characterize the High Renaissance art of Italy.

Topic: Michelangelo Difficulty Level: Moderate Skill Level: Understand the Concepts

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12. During the High Renaissance, Venetian paintings were characterized by their __________. a. irrational spatial environments b. brilliant color and lighting effects c. artificial poses and enigmatic gestures d. exclusively religious iconography Answer: b Learning Objective: 13.1 Characterize the High Renaissance art of Italy.

Topic: Venice and the Veneto Difficulty Level: Moderate Skill Level: Understand the Concepts 13. Giorgione’s landscape paintings were inspired by __________. a. the Counter-Reformation b. the Mannerist style c. biblical themes d. ancient pastoral poetry Answer: d Learning Objective: 13.1 Characterize the High Renaissance art of Italy.

Topic: Venice and the Veneto Difficulty Level: Moderate Skill Level: Understand the Concepts 14. In Titian’s “Venus” of Urbino, the dog symbolizes __________. a. heroism b. seduction c. fidelity d. civic duty Answer: c Learning Objective: 13.1 Characterize the High Renaissance art of Italy.

Topic: Venice and the Veneto Difficulty Level: Moderate Skill Level: Understand the Concepts 15. In the sixteenth century, paintings of nude reclining women became acceptable __________. a. if they depicted Old Testament heroines b. under the guise of Classical mythology c. due to the rising popularity of putti d. due to more relaxed moral and social standards Answer: b Learning Objective: 13.1 Characterize the High Renaissance art of Italy.

Topic: Venice and the Veneto Difficulty Level: Moderate Skill Level: Understand the Concepts

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16. Veronese’s Feast in the House of Levi was controversial because of its __________. a. dramatic lighting b. depictions of nude figures c. Classical idealism d. profane anecdotal details Answer: d Learning Objective: 13.1 Characterize the High Renaissance art of Italy.

Topic: Venice and the Veneto Difficulty Level: Moderate Skill Level: Understand the Concepts 17. In The Last Supper, Tintoretto used strong colors and bright highlights to __________. a. portray serene idealism b. create a trompe l’oeil effect c. convey intense spirituality d. emulate the style of Michelangelo Answer: c Learning Objective: 13.1 Characterize the High Renaissance art of Italy.

Topic: Venice and the Veneto Difficulty Level: Moderate Skill Level: Understand the Concepts 18. Palladio’s Villa Rotonda was inspired by __________. a. St. Peter’s Basilica b. the Roman Pantheon c. the Sistine Chapel d. the Château of Fontainebleau Answer: b Learning Objective: 13.1 Characterize the High Renaissance art of Italy.

Topic: Venice and the Veneto Difficulty Level: Moderate Skill Level: Understand the Concepts 19. The artistic movement in which artificiality, grace, and elegance was valued over ordered balance and lifelike references is known as __________. a. Mannerism b. the High Renaissance c. the Counter-Reformation d. the Northern tradition Answer: a Learning Objective: 13.2 Summarize the development of Mannerism in Italy and France.

Topic: Mannerism Difficulty Level: Easy Skill Level: Remember the Facts

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20. Bronzino’s Allegory with Venus and Cupid exemplifies the Mannerist style of painting because it depicts __________. a. figures with exaggerated poses b. figures set in rationally ordered space c. a traditional mythological scene d. naturalistic and Classicizing female nudes Answer: a Learning Objective: 13.2 Summarize the development of Mannerism in Italy and France.

Topic: Italy Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It 21. Sofonisba Anguissola’s Self-Portrait can be described as Mannerist because __________. a. the monograph forms a riddle b. of the irrational sense of space c. of its weird color palette d. the figure is idealized Answer: a Learning Objective: 13.2 Summarize the development of Mannerism in Italy and France.

Topic: Italy Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 22. Which of the following exemplifies the style of late Mannerist painting in Italy? a. El Greco’s Burial of Count Orgaz b. Tintoretto The Last Supper c. Hagenauer’s and Grünewald’s Isenheim Altarpiece d. Lavina Fontana’s Noli Me Tangere Answer: d Learning Objective: 13.2 Summarize the development of Mannerism in Italy and France.

Topic: Italy Difficulty Level: Moderate Skill Level: Understand the Concepts 23. A grand country palace in France is called a __________. a. villa b. martyrium c. predella d. château Answer: d Learning Objective: 13.2 Summarize the development of Mannerism in Italy and France.

Topic: France Difficulty Level: Easy Skill Level: Remember the Facts

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24. The first School of Fontainebleau established an Italianate tradition of Mannerist painting that spread to other centers in __________. a. Italy and Spain b. Spain and Venice c. France and the Netherlands d. Germany and Flanders Answer: c Learning Objective: 13.2 Summarize the development of Mannerism in Italy and France.

Topic: France Difficulty Level: Easy Skill Level: Remember the Facts 25. In the painting for the Isenheim Altarpiece, Grünewald conveys a sense of emotional spirituality by __________. a. depicting a grisly Crucifixion in a darkened landscape with expressive figures b. using linear perspective to arrange the figures in rationally ordered space c. merging Classical idealism with the descriptive detail of Northern art d. combining traditional biblical scenes with fantastic and anecdotal imagery Answer: a Learning Objective: 13.3 Distinguish several styles of sixteenth-century art in Germany.

Topic: Grünewald Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 26. Which of the following aspects of Dürer’s Adam and Eve represents Northern artistic conventions? a. the proportions of the figures b. the inclusion of animals c. the descriptive detail d. the idealized bodies Answer: c Learning Objective: 13.3 Distinguish several styles of sixteenth-century art in Germany.

Topic: Dürer Difficulty Level: Moderate Skill Level: Understand the Concepts 27. Followers of the Reformation believed that the ultimate religious authority was __________. a. the pope b. Martin Luther c. the Bible d. the Catholic Church Answer: c Learning Objective: 13.3 Distinguish several styles of sixteenth-century art in Germany.

Topic: The Reformation and the Arts Difficulty Level: Moderate Skill Level: Understand the Concepts 7 Copyright © 2020, 2016, 2012 Pearson Education, Inc. All rights reserved.

28. During the Reformation, religious art was often __________. a. sold to foreign courts b. commissioned by Protestants c. destroyed by iconoclasm d. painted on the walls of churches Answer: c Learning Objective: 13.3 Distinguish several styles of sixteenth-century art in Germany.

Topic: The Reformation and the Arts Difficulty Level: Moderate Skill Level: Understand the Concepts 29. Dürer’s Four Apostles is an example of __________. a. Protestant imagery b. a self-portrait c. the Mannerist style d. a cycle of paintings Answer: a Learning Objective: 13.3 Distinguish several styles of sixteenth-century art in Germany.

Topic: The Reformation and the Arts Difficulty Level: Moderate Skill Level: Understand the Concepts 30. Which of the following artists served as a court painter to Henry VIII in order to escape the religious and political turmoil in Germany? a. El Greco b. Hieronymus Bosch c. Albrecht Dürer d. Hans Holbein the Younger Answer: d Learning Objective: 13.3 Distinguish several styles of sixteenth-century art in Germany.

Topic: Holbein Difficulty Level: Easy Skill Level: Remember the Facts 31. A series of paintings on a single allegorical subject is called __________. a. an altarpiece b. a cycle c. a predella d. a cartoon Answer: b Learning Objective: 13.4 Describe the distinctive trends in the sixteenth-century art of the Netherlands and Spain.

Topic: Netherlandish and Spanish Art Difficulty Level: Easy Skill Level: Remember the Facts

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32. Bruegel’s Return of the Hunters represents the __________. a. religious values of the Protestant reformers b. consequences of living a sinful life c. atmosphere of November and December d. interest in Classical forms and narratives Answer: c Learning Objective: 13.4 Describe the distinctive trends in the sixteenth-century art of the Netherlands and Spain.

Topic: Netherlandish and Spanish Art Difficulty Level: Moderate Skill Level: Understand the Concepts 33. Caterina van Hemessen is known for her __________. a. sculpture b. tapestries c. engravings d. portraiture Answer: d Learning Objective: 13.4 Describe the distinctive trends in the sixteenth-century art of the Netherlands and Spain.

Topic: Netherlandish and Spanish Art Difficulty Level: Easy Skill Level: Understand the Concepts 34. El Greco began his career as a __________. a. Byzantine icon painter b. portraitist in the Netherlands c. court painter in England d. goldsmith and sculptor Answer: a Learning Objective: 13.4 Describe the distinctive trends in the sixteenth-century art of the Netherlands and Spain.

Topic: Netherlandish and Spanish Art Difficulty Level: Easy Skill Level: Remember the Facts

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35. Which of the following artists employed the emotionalism of Byzantine art and loose brushwork to express the intense spirituality of religious revival in Spain? a. Tintoretto b. El Greco c. Grünewald d. Michelangelo Answer: b Learning Objective: 13.4 Describe the distinctive trends in the sixteenth-century art of the Netherlands and Spain.

Topic: Netherlandish and Spanish Art Difficulty Level: Moderate Skill Level: Understand the Concepts Essay Questions 36. How is Leonardo da Vinci’s The Last Supper different from Tintoretto’s The Last Supper?

Compare and contrast the style of the two artworks.

Answer: The ideal answer should include: 1. In The Last Supper, Leonardo da Vinci arranged the disciples in four groups of three, two on each side of the stable, pyramidal form of Jesus, who sits calmly in the midst of his disciples’ commotion.

2. Leonardo uses linear perspective to arrange the figures in a rational ordered space with Jesus at the mathematical center, and he modeled the figures using chiaroscuro to create the illusionism of three-dimensional form.

3. Unlike Leonardo’s geometrical composition, Tintoretto’s The Last Supper conveys intense spirituality through the scene’s sweeping motion and twisting, gesturing figures that draw the viewer into the sacred drama.

4. Tintoretto accomplishes this through the plunging, off-center perspective, the otherworldly light emanating from Jesus and the disciples, and the band of angels that swoop in from above.

Learning Objective: 13.1 Characterize the High Renaissance art of Italy.

Topic: Italian Art of the High Renaissance Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It

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37. How does Giorgione’s The Tempest exemplify the artist’s important contribution to Venetian painting during the High Renaissance? Describe and analyze the style and iconography of the painting to explain your answers.

Answer: The ideal answer should include: 1. Giorgione introduced new, enigmatic pastoral themes, known as poesie, to his art that were inspired by the contemporary literary revival of ancient pastoral poetry.

2. At the right, a nude woman sits on the ground with a white cloth over her shoulders, but her nudity seems maternal and sensual rather than heroic and biblical.

3. Between the woman and the man, Giorgione depicts a spring, a lake, and substantial houses and a bolt of lightning splits the darkening sky.

4. In The Tempest, Giorgione focuses on the landscape and the disruptive elements of nature as much as on the figures; this attention to the natural world in landscape painting becomes an important theme in sixteenth-century art.

Learning Objective: 13.1 Characterize the High Renaissance art of Italy.

Topic: Venice and the Veneto Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 38. How does Pontormo’s Deposition embody the characteristics of the Mannerist style?

Answer: The ideal answer should include: 1. Pontormo’s Deposition is a confusing composition that makes it seem like a vision or a dream.

2. The composition’s shadowy ground and cloudy sky give little sense of a specific location, and some figures press forward into the viewer’s space, while others seem to float or teeter on tiptoe.

3. Like other Mannerist paintings that favored artificiality and strange subjects, Pontormo’s Deposition features odd poses and drastic shifts in scale charge that charge the scene emotionally.

4. Furthermore, Pontormo used weird colors in odd juxtapositions— baby blue and pink with olive green, yellow, and scarlet.

Learning Objective: 13.2 Summarize the development of Mannerism in Italy and France.

Topic: Italy Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It

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39. Compare and contrast Lucas Cranach’s Nymph of the Spring and Titian’s “Venus” of Urbino.

What could the style and iconography of each painting suggest about the identity of the figures?

Answer: The ideal answer should include: 1. In Nymph of the Spring, Cranach records the Danube landscape with characteristic Northern attention to detail, whereas the setting of Titian’s “Venus” of Urbino is a spacious palace.

2. Cranach’s nymph is nude and lies on a red velvet gown, but still wears her jewelry, whereas Titian’s Venus lies on a couch completely nude.

3. Cranach’s painting includes a pair of partridges (symbols of Venus and married love), and this might suggest that she is a living beauty in the Wittenburg court.

4. Titian’s Venus could represent a Roman goddess or a Venetian courtesan; however, the matrimonial references in the painting might suggest that she is a bride or a faithful wife.

Learning Objective: 13.1 Characterize the High Renaissance art of Italy. 13.3 Distinguish several styles of sixteenth-century art in Germany.

Topic: Venice and the Veneto, The Reformation and the Arts Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 40. Discuss the iconography of Hieronymus Bosch’s Garden of Earthly Delights. What is the main theme of the painting and who commissioned it?

Answer: The ideal answer should include: 1. Bosch depicts the Creation of Adam and Eve in the left wing and the damned Last Judgment in the right wing.

2. The central panel illustrates the aspects of a sinful life by depicting games, romance, and music and portraying fruits associated with sexual desire and the transience of life as food, shelter, and transportation throughout the composition.

3. The painting’s subject matter corresponds to the Christian belief in the sinful nature of humanity and might warn against the consequences of indulging in the pleasures of the flesh.

4. However, the painting was commissioned by Count Hendrick III of Nassau for his Brussels townhouse rather than for a church, and, in a private home, the painting must have inspired lively discussion.

Learning Objective: 13.4 Describe the distinctive trends in the sixteenth-century art of the Netherlands and Spain.

Topic: Netherlandish and Spanish Art Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It

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Revel Quizzes Quiz: Italian Art of the High Renaissance EOM Q13.1.1 The theme of Raphael’s paintings in the papal apartments is __________. a. the four branches of knowledge b. the history of the papacy in Rome Consider This: The apartments contained the pope’s library. 13.1 Characterize the High Renaissance art of Italy. c. the victory of Christianity over paganism Consider This: The apartments contained the pope’s library. 13.1 Characterize the High Renaissance art of Italy. d. an allegory of papal authority Consider This: The apartments contained the pope’s library. 13.1 Characterize the High Renaissance art of Italy.

Answer: a Learning Objective: 13.1 Characterize the High Renaissance art of Italy.

Topic: Italian Art of the High Renaissance Difficulty Level: Moderate Skill Level: Understand EOM Q13.1.2 Raphael’s The Madonna of the Goldfinch employs __________. a. a pyramidal composition b. hierarchic scale Consider This: Leonardo used the same thing in the Last Supper. 13.1 Characterize the High Renaissance art of Italy. c. composite views Consider This: Leonardo used the same thing in the Last Supper. 13.1 Characterize the High Renaissance art of Italy. d. compositional registers Consider This: Leonardo used the same thing in the Last Supper. 13.1 Characterize the High Renaissance art of Italy.

Answer: a Learning Objective: 13.1 Characterize the High Renaissance art of Italy.

Topic: Italian Art of the High Renaissance Difficulty Level: Easy Skill Level: Apply

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EOM Q13.1.3 Michelangelo sculpted David in the nude because the __________. a. nude figure embodied the Classical heroic figure b. nude figure is accurate according to ancient sources Consider This: Michelangelo’s nude David is indebted to Donatello’s. 13.1 Characterize the High Renaissance art of Italy. c. sculpture was originally to be wrapped in fabric Consider This: Michelangelo’s nude David is indebted to Donatello’s. 13.1 Characterize the High Renaissance art of Italy. d. sculpture was created to be seen from far below Consider This: Michelangelo’s nude David is indebted to Donatello’s. 13.1 Characterize the High Renaissance art of Italy.

Answer: a Learning Objective: 13.1 Characterize the High Renaissance art of Italy.

Topic: Italian Art of the High Renaissance Difficulty Level: Moderate Skill Level: Understand EOM Q13.1.4 The first design for St. Peter’s Basilica was a domed central plan because __________. a. this symbolized God’s perfection b. it enlarged an existing structure Consider This: Bramante developed the initial plan. 13.1 Characterize the High Renaissance art of Italy. c. the builders were Greek Consider This: Bramante developed the initial plan. 13.1 Characterize the High Renaissance art of Italy. d. the pope desired a long nave Consider This: Bramante developed the initial plan. 13.1 Characterize the High Renaissance art of Italy.

Answer: a Learning Objective: 13.1 Characterize the High Renaissance art of Italy.

Topic: Italian Art of the High Renaissance Difficulty Level: Moderate Skill Level: Understand

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EOM Q13.1.5 The Venetian painters are best known for their handling of __________. a. color and light b. space and line Consider This: This may relate to the location. 13.1 Characterize the High Renaissance art of Italy. c. mass and volume Consider This: This may relate to the location. 13.1 Characterize the High Renaissance art of Italy. d. texture and pattern Consider This: This may relate to the location. 13.1 Characterize the High Renaissance art of Italy.

Answer: a Learning Objective: 13.1 Characterize the High Renaissance art of Italy.

Topic: Italian Art of the High Renaissance Difficulty Level: Moderate Skill Level: Apply Quiz: Mannerism EOM Q13.2.1 One of the hallmarks of Mannerist art is the use of __________. a. other artists’ work as models b. ordered and balanced compositions Consider This: This was part of the reason why the art was called mannered. 13.2 Summarize the development of Mannerism in Italy and France. c. artists’ treatises and writings Consider This: This was part of the reason why the art was called mannered. 13.2 Summarize the development of Mannerism in Italy and France. d. oil and tempera on wood Consider This: This was part of the reason why the art was called mannered. 13.2 Summarize the development of Mannerism in Italy and France.

Answer: a Learning Objective: 13.2 Summarize the development of Mannerism in Italy and France.

Topic: Mannerism Difficulty Level: Moderate Skill Level: Understand

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EOM Q13.2.2 What evidence leads scholars to classify Pontormo’s Deposition as a Mannerist painting? a. Confusing composition b. Primary colors Consider This: This distinguishes it from the High Renaissance paintings of Raphael, for example. 13.2 Summarize the development of Mannerism in Italy and France. c. Rational space Consider This: This distinguishes it from the High Renaissance paintings of Raphael, for example. 13.2 Summarize the development of Mannerism in Italy and France. d. Symmetry Consider This: This distinguishes it from the High Renaissance paintings of Raphael, for example. 13.2 Summarize the development of Mannerism in Italy and France.

Answer: a Learning Objective: 13.2 Summarize the development of Mannerism in Italy and France.

Topic: Mannerism Difficulty Level: Moderate Skill Level: Apply EOM Q13.2.3 Bronzino’s Allegory with Venus and Cupid reflects the conventions of Mannerist art in its __________. a. strange subject b. narrative clarity Consider This: This made Mannerist paintings hard for some to understand. 13.2 Summarize the development of Mannerism in Italy and France. c. balanced composition Consider This: This made Mannerist paintings hard for some to understand. 13.2 Summarize the development of Mannerism in Italy and France. d. spatial illusionism Consider This: This made Mannerist paintings hard for some to understand. 13.2 Summarize the development of Mannerism in Italy and France.

Answer: a Learning Objective: 13.2 Summarize the development of Mannerism in Italy and France.

Topic: Mannerism Difficulty Level: Moderate Skill Level: Understand

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EOM Q13.2.4 Lavinia Fontana’s figure of Christ in Noli me tangere exemplifies the Mannerist convention of __________. a. complex poses b. rational space Consider This: Pontormo’s painting shares this characteristic. 13.2 Summarize the development of Mannerism in Italy and France. c. Classical proportions Consider This: Pontormo’s painting shares this characteristic. 13.2 Summarize the development of Mannerism in Italy and France. d. iconic imagery Consider This: Pontormo’s painting shares this characteristic. 13.2 Summarize the development of Mannerism in Italy and France.

Answer: a Learning Objective: 13.2 Summarize the development of Mannerism in Italy and France.

Topic: Mannerism Difficulty Level: Moderate Skill Level: Apply EOM Q13.2.5 One aspect of Primaticcio’s Stucco and Wall Painting at the Chateau of Fontainebleau that reflects the conventions of Mannerist sculpture is the figures’ __________. a. elongated bodies b. large heads Consider This: Bronzino’s art shares this Mannerist characteristic. 13.2 Summarize the development of Mannerism in Italy and France. c. stiff poses Consider This: Bronzino’s art shares this Mannerist characteristic. 13.2 Summarize the development of Mannerism in Italy and France. d. ordered compositions Consider This: Bronzino’s art shares this Mannerist characteristic. 13.2 Summarize the development of Mannerism in Italy and France.

Answer: a Learning Objective: 13.2 Summarize the development of Mannerism in Italy and France.

Topic: Mannerism Difficulty Level: Moderate Skill Level: Apply

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Quiz: German Art EOM Q13.3.1 Grünewald’s painting is best described as __________. a. expressive b. classicizing Consider This: Grünewald’s approach contrasts Dürer’s. 13.3 Distinguish several styles of sixteenth-century art in Germany. c. restrained Consider This: Grünewald’s approach contrasts Dürer’s. 13.3 Distinguish several styles of sixteenth-century art in Germany. d. Italianate Consider This: Grünewald’s approach contrasts Dürer’s. 13.3 Distinguish several styles of sixteenth-century art in Germany.

Answer: a Learning Objective: 13.3 Distinguish several styles of sixteenth-century art in Germany.

Topic: German Art Difficulty Level: Difficult Skill Level: Apply EOM Q13.3.2 Albrecht Dürer’s Adam and Eve illustrates his study of __________. a. Classical art b. Alchemy Consider This: Dürer combines northern and Italian approaches. 13.3 Distinguish several styles of sixteenth-century art in Germany. c. medical texts Consider This: Dürer combines northern and Italian approaches. 13.3 Distinguish several styles of sixteenth-century art in Germany. d. books of hours Consider This: Dürer combines northern and Italian approaches. 13.3 Distinguish several styles of sixteenth-century art in Germany.

Answer: a Learning Objective: 13.3 Distinguish several styles of sixteenth-century art in Germany.

Topic: German Art Difficulty Level: Moderate Skill Level: Understand

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EOM Q13.3.3 Which work of art may represent Protestant imagery? a. Dürer’s Four Apostles, for its emphasis on writings b. Cranach’s Nymph of the Spring, for its representation of sin Consider This: This reflects the Protestant manner of practicing Christianity. 13.3 Distinguish several styles of sixteenth-century art in Germany. c. Dürer’s Self-Portrait, for its Christ-like presentation Consider This: This reflects the Protestant manner of practicing Christianity. 13.3 Distinguish several styles of sixteenth-century art in Germany. d. Grünewald’s Isenheim Altarpiece, for its focus on redemption Consider This: This reflects the Protestant manner of practicing Christianity. 13.3 Distinguish several styles of sixteenth-century art in Germany.

Answer: a Learning Objective: 13.3 Distinguish several styles of sixteenth-century art in Germany.

Topic: German Art Difficulty Level: Moderate Skill Level: Apply EOM Q13.3.4 What does your text describe as the characteristically northern quality of Lucas Cranach’s and Albrecht Dürer’s art? a. Attention to detail b. Protestant theme Consider This: This was found in the art of the Northern Renaissance. 13.3 Distinguish several styles of sixteenth-century art in Germany. c. Pyramidal composition Consider This: This was found in the art of the Northern Renaissance. 13.3 Distinguish several styles of sixteenth-century art in Germany. d. Interest in the nude figure Consider This: This was found in the art of the Northern Renaissance. 13.3 Distinguish several styles of sixteenth-century art in Germany.

Answer: a Learning Objective: 13.3 Distinguish several styles of sixteenth-century art in Germany.

Topic: German Art Difficulty Level: Difficult Skill Level: Apply

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Quiz: Netherlandish and Spanish Art EOM Q13.4.1 Hieronymus Bosch’s Garden of Earthly Delights represents the theme of __________. a. sin b. immortality Consider This: This is the main subject of the central panel. 13.4 Describe the distinctive trends in the sixteenth-century art of the Netherlands and Spain. c. love Consider This: This is the main subject of the central panel. 13.4 Describe the distinctive trends in the sixteenth-century art of the Netherlands and Spain. d. evil Consider This: This is the main subject of the central panel. 13.4 Describe the distinctive trends in the sixteenth-century art of the Netherlands and Spain.

Answer: a Learning Objective: 13.4 Describe the distinctive trends in the sixteenth-century art of the Netherlands and Spain.

Topic: Netherlandish and Spanish Art Difficulty Level: Moderate Skill Level: Understand EOM Q13.4.2 A series of paintings is called __________. a. a cycle b. a program Consider This: These focus on a single allegorical subject. 13.4 Describe the distinctive trends in the sixteenth-century art of the Netherlands and Spain. c. an agenda Consider This: These focus on a single allegorical subject. 13.4 Describe the distinctive trends in the sixteenth-century art of the Netherlands and Spain. d. a round Consider This: These focus on a single allegorical subject. 13.4 Describe the distinctive trends in the sixteenth-century art of the Netherlands and Spain.

Answer: a Learning Objective: 13.4 Describe the distinctive trends in the sixteenth-century art of the Netherlands and Spain.

Topic: Netherlandish and Spanish Art Difficulty Level: Easy Skill Level: Remember

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EOM Q13.4.3 Bruegel’s Return of the Hunters is part of an allegorical series about __________. a. the calendar b. work Consider This: This series included six paintings, although we might paint twelve to address the same theme. 13.4 Describe the distinctive trends in the sixteenth-century art of the Netherlands and Spain. c. weather Consider This: This series included six paintings, although we might paint twelve to address the same theme. 13.4 Describe the distinctive trends in the sixteenth-century art of the Netherlands and Spain. d. love Consider This: This series included six paintings, although we might paint twelve to address the same theme. 13.4 Describe the distinctive trends in the sixteenth-century art of the Netherlands and Spain.

Answer: a Learning Objective: 13.4 Describe the distinctive trends in the sixteenth-century art of the Netherlands and Spain.

Topic: Netherlandish and Spanish Art Difficulty Level: Easy Skill Level: Understand EOM Q13.4.4 Which Netherlandish painter developed an illustrious reputation as a portraitist during the sixteenth century? a. Caterina van Hemessen b. Hieronymus Bosch Consider This: This artist also painted religious images. 13.4 Describe the distinctive trends in the sixteenth-century art of the Netherlands and Spain. c. Albrecht Dürer Consider This: This artist also painted religious images. 13.4 Describe the distinctive trends in the sixteenth-century art of the Netherlands and Spain. d. Pieter Bruegel Consider This: This artist also painted religious images. 13.4 Describe the distinctive trends in the sixteenth-century art of the Netherlands and Spain.

Answer: a Learning Objective: 13.4 Describe the distinctive trends in the sixteenth-century art of the Netherlands and Spain.

Topic: Netherlandish and Spanish Art t Difficulty Level: Easy Skill Level: Understand

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EOM Q13.4.5 El Greco’s painting style may reflect the influence of __________. a. Spanish religious revivalism b. Italian drawing treatises Consider This: This explains its otherworldly quality. 13.4 Describe the distinctive trends in the sixteenth-century art of the Netherlands and Spain. c. Roman writers Consider This: This explains its otherworldly quality. 13.4 Describe the distinctive trends in the sixteenth-century art of the Netherlands and Spain. d. the Spanish king Consider This: This explains its otherworldly quality. 13.4 Describe the distinctive trends in the sixteenth-century art of the Netherlands and Spain.

Answer: a Learning Objective: 13.4 Describe the distinctive trends in the sixteenth-century art of the Netherlands and Spain.

Topic: Netherlandish and Spanish Art t Difficulty Level: Moderate Skill Level: Understand Chapter Quiz: Art of the High Renaissance and Reformation EOC Q13.1 High Renaissance art is best described as possessing __________. a. stability and order b. iconic detail Consider This: Paintings by Raphael illustrate High Renaissance principles clearly. 13.1 Characterize the High Renaissance art of Italy. c. formal dissonance Consider This: Paintings by Raphael illustrate High Renaissance principles clearly. 13.1 Characterize the High Renaissance art of Italy. d. emotion and complexity Consider This: Paintings by Raphael illustrate High Renaissance principles clearly. 13.1 Characterize the High Renaissance art of Italy.

Answer: a Learning Objective: 13.1 Characterize the High Renaissance art of Italy.

Topic: Art of the High Renaissance and Reformation Difficulty Level: Difficult Skill Level: Apply

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EOC Q13.2 The iconographic program of the Sistine Chapel ceiling consists of __________. a. scenes from Genesis accompanied by prophets, sibyls, and the ancestors of Christ b. scenes from the Creation accompanied by saints, martyrs, and the founders of the Church Consider This: This was not the iconographic plan developed by Pope Julius II. 13.1 Characterize the High Renaissance art of Italy. c. scenes from the Life of Christ accompanied by putti, ignudi, and the creation of Adam Consider This: This was not the iconographic plan developed by Pope Julius II. 13.1 Characterize the High Renaissance art of Italy. d. scenes from the Hebrew bible and New Testament accompanied by Christ’s family tree Consider This: This was not the iconographic plan developed by Pope Julius II. 13.1 Characterize the High Renaissance art of Italy.

Answer: a Learning Objective: 13.1 Characterize the High Renaissance art of Italy.

Topic: Art of the High Renaissance and Reformation Difficulty Level: Moderate Skill Level: Understand EOC Q13.3 Which early Christian building type may have inspired Bramante’s designs of the new St. Peter’s? a. Martyrium b. Basilica Consider This: The plans were changed, however, in a later alteration to the design. 13.1 Characterize the High Renaissance art of Italy. c. Temple Consider This: The plans were changed, however, in a later alteration to the design. 13.1 Characterize the High Renaissance art of Italy. d. Villa Consider This: The plans were changed, however, in a later alteration to the design. 13.1 Characterize the High Renaissance art of Italy.

Answer: a Learning Objective: 13.1 Characterize the High Renaissance art of Italy.

Topic: Art of the High Renaissance and Reformation Difficulty Level: Moderate Skill Level: Understand

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EOC Q13.4 Whose books on architecture influenced the design of country estates for the next two centuries? a. Palladio b. Michelangelo Consider This: In fact, his name becomes an adjective for this type of architecture. 13.1 Characterize the High Renaissance art of Italy. c. Bramante Consider This: In fact, his name becomes an adjective for this type of architecture. 13.1 Characterize the High Renaissance art of Italy. d. Raphael Consider This: In fact, his name becomes an adjective for this type of architecture. 13.1 Characterize the High Renaissance art of Italy.

Answer: a Learning Objective: 13.1 Characterize the High Renaissance art of Italy.

Topic: Art of the High Renaissance and Reformation Difficulty Level: Easy Skill Level: Remember EOC Q13.5 Which term applies to the Pastoral Concert by Giorgione or Titian? a. Allegory b. Cartoon Consider This: Another example is Bronzino’s image of Venus and Cupid. 13.1 Characterize the High Renaissance art of Italy. c. Cycle Consider This: Another example is Bronzino’s image of Venus and Cupid. 13.1 Characterize the High Renaissance art of Italy. d. Di sotto in su Consider This: Another example is Bronzino’s image of Venus and Cupid. 13.1 Characterize the High Renaissance art of Italy.

Answer: a Learning Objective: 13.1 Characterize the High Renaissance art of Italy.

Topic: Art of the High Renaissance and Reformation Difficulty Level: Moderate Skill Level: Understand

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EOC Q13.6 Titian’s “ Venus” of Urbino was likely painted ___________. a. to commemorate a marriage b. as a portrait Consider This: The cassoni and myrtle give this away. 13.1 Characterize the High Renaissance art of Italy. c. to honor the gods Consider This: The cassoni and myrtle give this away. 13.1 Characterize the High Renaissance art of Italy. d. for the Medici home Consider This: The cassoni and myrtle give this away. 13.1 Characterize the High Renaissance art of Italy.

Answer: a Learning Objective: 13.1 Characterize the High Renaissance art of Italy.

Topic: Art of the High Renaissance and Reformation Difficulty Level: Moderate Skill Level: Understand EOC Q13.7 Comparing the paintings of the Last Supper by Leonardo and Tintoretto reveals that Tintoretto’s __________. a. composition is more dynamic b. composition is more pyramidal Consider This: The angle of the table is proof. 13.1 Characterize the High Renaissance art of Italy. c. painting is more true to history Consider This: The angle of the table is proof. 13.1 Characterize the High Renaissance art of Italy. d. painting is closer to Classical principles Consider This: The angle of the table is proof. 13.1 Characterize the High Renaissance art of Italy.

Answer: a Learning Objective: 13.1 Characterize the High Renaissance art of Italy.

Topic: Art of the High Renaissance and Reformation Difficulty Level: Difficult Skill Level: Apply

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EOC Q13.8 Based on what you have read, which of the following statements best explains the Mannerist use of space in painting? a. Mannerist painters ignored the rules of linear perspective. b. Mannerist painters did not understand linear perspective.

Consider This: Mannerism is called an anti-Classical movement. 13.2 Summarize the development of Mannerism in Italy and France. c. Mannerist painters did not represent three-dimensional space.

Consider This: Mannerism is called an anti-Classical movement. 13.2 Summarize the development of Mannerism in Italy and France. d. Mannerist painters created a window onto the world.

Consider This: Mannerism is called an anti-Classical movement. 13.2 Summarize the development of Mannerism in Italy and France.

Answer: a Learning Objective: 13.2 Summarize the development of Mannerism in Italy and France.

Topic: Art of the High Renaissance and Reformation Difficulty Level: Difficult Skill Level: Apply EOC Q13.9 Francis I’s effort to modernize Gothic traditions in France is best demonstrated by __________. a. hiring Italian artists for his court b. his preference for Venetian paintings Consider This: Francis supported a Renaissance in French art and architecture throughout his long reign. 13.2 Summarize the development of Mannerism in Italy and France. c. making Fontainebleau his primary residence Consider This: Francis supported a Renaissance in French art and architecture throughout his long reign. 13.2 Summarize the development of Mannerism in Italy and France. d. his plan to establish a French art academy Consider This: Francis supported a Renaissance in French art and architecture throughout his long reign. 13.2 Summarize the development of Mannerism in Italy and France.

Answer: a Learning Objective: 13.2 Summarize the development of Mannerism in Italy and France.

Topic: Art of the High Renaissance and Reformation Difficulty Level: Easy Skill Level: Remember

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EOC Q13.10 The Protestant Reformation resulted in __________. a. acts of violent iconoclasm b. the prohibition of religious imagery Consider This: Protestants decry decadence in the church. 13.3 Distinguish several styles of sixteenth-century art in Germany. c. the assassination of Catholic artists Consider This: Protestants decry decadence in the church. 13.3 Distinguish several styles of sixteenth-century art in Germany. d. an increase in paintings of the Last Judgment Consider This: Protestants decry decadence in the church. 13.3 Distinguish several styles of sixteenth-century art in Germany.

Answer: a Learning Objective: 13.3 Distinguish several styles of sixteenth-century art in Germany.

Topic: Art of the High Renaissance and Reformation Difficulty Level: Moderate Skill Level: Remember EOC Q13.11 Paintings of secular themes increased in Protestant territories during the Reformation because __________. a. religious commissions declined b. religion was replaced by science Consider This: Secular themes include portraiture. 13.3 Distinguish several styles of sixteenth-century art in Germany. c. lower-class patrons opted for scenes of everyday life Consider This: Secular themes include portraiture. 13.3 Distinguish several styles of sixteenth-century art in Germany. d. Spanish authorities banned images of holy persons Consider This: Secular themes include portraiture. 13.3 Distinguish several styles of sixteenth-century art in Germany.

Answer: a Learning Objective: 13.3 Distinguish several styles of sixteenth-century art in Germany.

Topic: Art of the High Renaissance and Reformation Difficulty Level: Moderate Skill Level: Understand

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EOC Q13.12 Why does your text call Albrecht Dürer’s Self-Portrait an example of the new concept of the artist as creative genius? a. The artist appears in a posture usually reserved for holy persons. b. The artist depicted himself in an expensive fur coat.

Consider This: Dürer is concerned with the status of the artist. 13.3 Distinguish several styles of sixteenth-century art in Germany. c. The artist pictured a popular devotional practice.

Consider This: Dürer is concerned with the status of the artist. 13.3 Distinguish several styles of sixteenth-century art in Germany. d. The artist rendered himself with lifelike realism.

Consider This: Dürer is concerned with the status of the artist. 13.3 Distinguish several styles of sixteenth-century art in Germany.

Answer: a Learning Objective: 13.3 Distinguish several styles of sixteenth-century art in Germany.

Topic: Art of the High Renaissance and Reformation Difficulty Level: Difficult Skill Level: Apply EOC Q13.13 Why is the figure of St. John so prominent in Albrecht Dürer’s Four Apostles? a. John was favored by Martin Luther. b. John was younger than Peter.

Consider This: The painting may reflect Dürer’s personal sentiments. 13.3 Distinguish several styles of sixteenth-century art in Germany. c. John embodies Greek and Roman proportion.

Consider This: The painting may reflect Dürer’s personal sentiments. 13.3 Distinguish several styles of sixteenth-century art in Germany. d. John was a Protestant.

Consider This: The painting may reflect Dürer’s personal sentiments. 13.3 Distinguish several styles of sixteenth-century art in Germany.

Answer: a Learning Objective: 13.3 Distinguish several styles of sixteenth-century art in Germany.

Topic: Art of the High Renaissance and Reformation Difficulty Level: Moderate Skill Level: Understand

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EOC Q13.14 Pieter Bruegel the Elder’s trip to Italy is most visible in his depiction of __________. a. landscapes b. Classical architecture Consider This: Bruegel uses Italianate features in local scenes. 13.4 Describe the distinctive trends in the sixteenth-century art of the Netherlands and Spain. c. heroic nudes Consider This: Bruegel uses Italianate features in local scenes. 13.4 Describe the distinctive trends in the sixteenth-century art of the Netherlands and Spain. d. Counter-Reformation themes Consider This: Bruegel uses Italianate features in local scenes. 13.4 Describe the distinctive trends in the sixteenth-century art of the Netherlands and Spain.

Answer: a Learning Objective: 13.4 Describe the distinctive trends in the sixteenth-century art of the Netherlands and Spain.

Topic: Art of the High Renaissance and Reformation Difficulty Level: Moderate Skill Level: Apply EOC Q13.15 The loose brushwork of El Greco’s paintings suggests the influence of __________. a. Venetian art b. Byzantine icon painting Consider This: El Greco passes through this location. 13.4 Describe the distinctive trends in the sixteenth-century art of the Netherlands and Spain. c. Italian Mannerism Consider This: El Greco passes through this location. 13.4 Describe the distinctive trends in the sixteenth-century art of the Netherlands and Spain. d. northern European realism Consider This: El Greco passes through this location. 13.4 Describe the distinctive trends in the sixteenth-century art of the Netherlands and Spain.

Answer: a Learning Objective: 13.4 Describe the distinctive trends in the sixteenth-century art of the Netherlands and Spain.

Topic: Art of the High Renaissance and Reformation Difficulty Level: Moderate Skill Level: Apply

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Chapter 14: Seventeenth-Century Art in Europe Multiple-Choice Questions 1. Baroque art features theatrical compositions in order to __________. a. emphasize the rationality of Humanism b. embody the ideals of the Reformation c. elicit emotional responses from viewers d. convey the frivolity of wealthy patrons Answer: c Learning Objective: None Topic: Introduction Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It 2. In Bernini’s Baldacchino for St. Peter’s, the grapevines encircling the columns symbolize __________. a. Christ’s universal dominion b. the power of the Barberini family c. the wine of the Eucharist d. earthly love and suffering Answer: c Learning Objective: 14.1 Explain the establishment of the Baroque style in Rome.

Topic: Bernini Difficulty Level: Moderate Skill Level: Understand the Concepts 3. In the sculptural program for the Cornaro Chapel, Bernini included portrait statues of members of the Cornaro family in balconies in order to __________. a. achieve respect and acclaims for himself b. symbolize the motherly arms of the church c. celebrate Urban VIII and his family d. enhance the theatricality of the scene Answer: d Learning Objective: 14.1 Explain the establishment of the Baroque style in Rome.

Topic: Bernini Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It

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4. The interior of Borromini’s Church of San Carlo Alle Quattro Fontane is innovative in its __________. a. complex, rational shapes b. use of multicolor marble c. paintings glorifying the king d. gallery lined with glass mirrors Answer: a Learning Objective: 14.1 Explain the establishment of the Baroque style in Rome.

Topic: Borromini Difficulty Level: Moderate Skill Level: Understand the Concepts 5. Which of the following inspired the paintings on the ceiling of the Palazzo Farnese? a. Michelangelo’s Sistine Chapel b. Bernini’s Cornaro Chapel c. Gaulli’s frescoes in Il Gesu d. The Gallery of Mirrors at Versailles Answer: a Learning Objective: 14.1 Explain the establishment of the Baroque style in Rome.

Topic: Baroque Ceilings Difficulty Level: Moderate Skill Level: Understand the Concepts 6. Caravaggio’s religious artworks were sometimes rejected because __________. a. of his brutal naturalism b. the figures were idealized c. they were too expressive d. of his bravura style of painting Answer: a Learning Objective: 14.1 Explain the establishment of the Baroque style in Rome.

Topic: Caravaggio Difficulty Level: Moderate Skill Level: Understand the Concepts 7. The painting technique in which forms emerge strongly highlighted from a dark background is called __________. a. bravura b. drypoint c. barocco d. tenebrism Answer: d Learning Objective: 14.1 Explain the establishment of the Baroque style in Rome.

Topic: Caravaggio Difficulty Level: Easy Skill Level: Remember the Facts

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8. Which of the following characteristics of Caravaggio’s artwork is evident in Artemisia Gentileschi’s Judith and Her Maidservant with the Head of Holofernes? a. the bravura style b. the vanitas theme c. eroticism d. tenebrism Answer: d Learning Objective: 14.1 Explain the establishment of the Baroque style in Rome.

Topic: Caravaggio Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It 9. Which of the following artists strongly influenced the early career of Velázquez? a. Peter Paul Rubens b. Caravaggio c. Bernini d. Hyacinthe Rigaud Answer: b Learning Objective: 14.2 Characterize the “Golden Age” of painting in Spain.

Topic: Vélasquez Difficulty Level: Moderate Skill Level: Understand the Concepts 10. Vélasquez’s style in which he suggests forms through layers of loosely applied paint and highlights of white, lemon, and pale orange is referred to as __________. a. bravura b. barocco c. vanitas d. tenebrism Answer: a Learning Objective: 14.2 Characterize the “Golden Age” of painting in Spain.

Topic: Vélasquez Difficulty Level: Moderate Skill Level: Understand the Concepts 11. In Las Meninas, Diego Velázquez proclaimed the dignity and importance of painting as one of the liberal arts by __________. a. using tenebrism to create a sense of theatricality b. focusing on the central figure of the Infanta c. including a dog and attendants in the foreground d. depicting himself as a courtier with the keys of the palace Answer: d Learning Objective: 14.2 Characterize the “Golden Age” of painting in Spain.

Topic: Vélasquez Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 3 Copyright © 2020, 2016, 2012 Pearson Education, Inc. All rights reserved.

12. Which of the following artists painted the Water Carrier of Seville? a. Caravaggio b. Peter Paul Rubens c. Rembrandt d. Vélasquez Answer: d Learning Objective: 14.2 Characterize the “Golden Age” of painting in Spain.

Topic: Vélasquez Difficulty Level: Moderate Skill Level: Understand the Concepts 13. Zurbarán mainly received commissions from __________. a. the Hapsburg court b. Spanish monasteries c. churches in Rome d. middle-class patrons Answer: b Learning Objective: 14.2 Characterize the “Golden Age” of painting in Spain.

Topic: Zurbarán and Murillo Difficulty Level: Easy Skill Level: Remember the Facts 14. Who was St. Serapion? a. a Christian martyr b. a Christian monk c. a Spanish artist d. a Spanish monarch Answer: a Learning Objective: 14.2 Characterize the “Golden Age” of painting in Spain.

Topic: Zurbarán and Murillo Difficulty Level: Moderate Skill Level: Remember the Facts 15. Why was the figure of the Virgin Mary often shown standing on a crescent moon? a. It signified the New World. b. It symbolized the Virgin’s ability to cure the plague. c. It referred to the woman of the Apocalypse. d. It showed the Virgin’s piety and devotion.

Answer: c Learning Objective: 14.2 Characterize the “Golden Age” of painting in Spain.

Topic: Zurbarán and Murillo Difficulty Level: Moderate Skill Level: Understand the Concepts

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16. Which of the following artworks demonstrates the Counter-Reformation interest in orthodox guidelines for specific religious themes? a. Murillo’s The Immaculate Conception b. Rembrandt’s The Night Watch c. Poussin’s Landscape with St. John on Patmos d. Emanuel de Witte’s Portuguese Synagogue, Amsterdam Answer: a Learning Objective: 14.2 Characterize the “Golden Age” of painting in Spain.

Topic: Zurbarán and Murillo Difficulty Level: Moderate Skill Level: Understand the Concepts 17. Rubens provided the Duke of Mantua with __________. a. original compositions b. copies of famous paintings c. court portraits d. elaborate gardens Answer: b Learning Objective: 14.3 Recognize new developments in Flemish art that took place in the workshop of Peter Paul Rubens.

Topic: Rubens Difficulty Level: Easy Skill Level: Remember the Facts 18. Which of the following artists inspired Peter Paul Rubens’ technique in The Raising of the Cross? a. Gianlorenzo Bernini b. Hyacinthe Rigaud c. Diego Velázquez d. Annibale Carracci Answer: d Learning Objective: 14.3 Recognize new developments in Flemish art that took place in the workshop of Peter Paul Rubens.

Topic: Rubens Difficulty Level: Moderate Skill Level: Understand the Concepts

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19. In The Raising of the Cross, Rubens reveals his debt to Italian art in the __________. a. rich colors b. description of surface textures c. dramatic lighting d. independent images in the wings Answer: c Learning Objective: 14.3 Recognize new developments in Flemish art that took place in the workshop of Peter Paul Rubens.

Topic: Rubens Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It 20. The Raising of the Cross is different from earlier triptychs because Rubens __________. a. depicted the patrons in the central scene b. included himself as a courtier in the side panels c. portrays the intense emotion of the Crucifixion d. extended the central scene into the side panels Answer: d Learning Objective: 14.3 Recognize new developments in Flemish art that took place in the workshop of Peter Paul Rubens.

Topic: Rubens Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 21. Whose life story did Rubens depict in 24 paintings? a. Phillip IV, King of Spain b. Pope Urban VIII c. Marie de’ Medici, Queen of France d. Charles I, King of England Answer: c Learning Objective: 14.3 Recognize new developments in Flemish art that took place in the workshop of Peter Paul Rubens.

Topic: Rubens Difficulty Level: Easy Skill Level: Remember the Facts

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22. In Henry IV Receiving the Portrait of Marie de’ Medici, Rubens creates visual excitement through __________. a. tenebrism b. dramatic diagonals c. brutal naturalism d. an ordered composition Answer: b Learning Objective: 14.3 Recognize new developments in Flemish art that took place in the workshop of Peter Paul Rubens.

Topic: Rubens Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It 23. Anthony van Dyck specialized in __________. a. portraiture b. landscapes c. genre paintings d. religious art Answer: a Learning Objective: 14.3 Recognize new developments in Flemish art that took place in the workshop of Peter Paul Rubens.

Topic: Van Dyck Difficulty Level: Easy Skill Level: Remember the Facts 24. In Anthony van Dyck’s Charles I at the Hunt, the king appears imposing because __________. a. of his facial features b. of his hunting attire c. he is taller than his horse d. he turns away from the viewer Answer: c Learning Objective: 14.3 Recognize new developments in Flemish art that took place in the workshop of Peter Paul Rubens.

Topic: Van Dyck Difficulty Level: Moderate Skill Level: Understand the Concepts

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25. Judith Leyster’s Self-Portrait emphasizes her reputation for __________. a. genre scenes b. mythological scenes c. religious subjects d. portraiture Answer: a Learning Objective: 14.4 Discuss the distinctive styles and subjects preferred in the Protestant Netherlands.

Topic: Hals and Leyster Difficulty Level: Moderate Skill Level: Understand the Concepts 26. Which of the following is often considered to be one of the greatest group portraits ever painted? a. de Witte’s Portuguese Synagogue, Amsterdam b. Frans Hals’ Isaac Massa and Beatrix van der Laen c. Caravaggio’s The Calling of St. Matthew d. Rembrandt’s The Company of Captain Frans Banning Cocq Answer: d Learning Objective: 14.4 Discuss the distinctive styles and subjects preferred in the Protestant Netherlands.

Topic: Rembrandt Difficulty Level: Moderate Skill Level: Understand the Concepts 27. Rembrandt’s The Three Crosses is an example of __________. a. an engraving b. a drypoint print c. a vanitas theme d. a still life Answer: b Learning Objective: 14.4 Discuss the distinctive styles and subjects preferred in the Protestant Netherlands.

Topic: Rembrandt Difficulty Level: Moderate Skill Level: Understand the Concepts

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28. Rembrandt developed tonal richness in his later prints by __________. a. describing surface textures b. adding drypoint c. using engraving techniques d. adding rich colors Answer: b Learning Objective: 14.4 Discuss the distinctive styles and subjects preferred in the Protestant Netherlands.

Topic: Rembrandt Difficulty Level: Moderate Skill Level: Understand the Concepts 29. The works by Johannes Vermeer demonstrate the Dutch interest in __________. a. genre paintings b. landscapes c. still lifes d. group portraits Answer: a Learning Objective: 14.4 Discuss the distinctive styles and subjects preferred in the Protestant Netherlands.

Topic: Interiors, Landscapes, and Flowers Difficulty Level: Moderate Skill Level: Understand the Concepts 30. Emanuel de Witte’s Portuguese Synagogue, Amsterdam is notable because it __________. a. provides a metaphor for eternal judgment b. records seventeenth-century building practices c. documents tolerance of the Jewish religion d. shows the strength and influence of the academy Answer: c Learning Objective: 14.4 Discuss the distinctive styles and subjects preferred in the Protestant Netherlands.

Topic: Interiors, Landscapes, and Flowers Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It

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31. Dutch still-life paintings demonstrate an interest in __________. a. the concept of martyrdom b. the science of the natural world c. group portraiture d. scenes of everyday life Answer: b Learning Objective: 14.4 Discuss the distinctive styles and subjects preferred in the Protestant Netherlands.

Topic: Interiors, Landscapes, and Flowers Difficulty Level: Moderate Skill Level: Understand the Concepts 32. Rachel Ruysch’s flower paintings were highly prized for their __________. a. genre scenes b. historical context c. color harmonies d. Classicism Answer: c Learning Objective: 14.4 Discuss the distinctive styles and subjects preferred in the Protestant Netherlands.

Topic: Interiors, Landscapes, and Flowers Difficulty Level: Moderate Skill Level: Understand the Concepts 33. Le Roi Soleil (“the Sun King”) refers to __________. a. Phillip IV b. Charles I c. Louis XIV d. Urban VIII Answer: c Learning Objective: 14.5 Differentiate the royal and Neoclassical art of France from developments elsewhere in Europe.

Topic: France Difficulty Level: Easy Skill Level: Remember the Facts

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34. Who planned the gardens at Versailles? a. André Le Nôtre b. Louis Le Vau c. Nicolas Poussin d. Jules Hardouin-Mansart Answer: a Learning Objective: 14.5 Differentiate the royal and Neoclassical art of France from developments elsewhere in Europe.

Topic: Versailles Difficulty Level: Easy Skill Level: Remember the Facts 35. Charles Le Brun’s paintings on the ceiling of the Hall of Mirrors at Versailles depicted __________. a. hunting scenes b. military triumphs of Louis XIV c. landscapes d. the Immaculate Conception Answer: b Learning Objective: 14.5 Differentiate the royal and Neoclassical art of France from developments elsewhere in Europe.

Topic: Versailles Difficulty Level: Moderate Skill Level: Understand the Concepts Essay Questions 36. How does Bernini’s decoration for the Cornaro Chapel exemplify the characteristics of Baroque art?

Answer: The ideal answer should include: 1. Baroque art is characterized by strong diagonals, dramatic lighting, action poses, complex compositions, and intense emotions.

2. St. Teresa of Ávila in Ecstasy represents the emotional, theatrical style perfected by Bernini in response to the spiritual renewal known as the Counter-Reformation.

3. The figure of Teresa swoons in ecstasy as an angel holds a gilded arrow to her body, and the dramatic supernatural light that illuminates the figures is created by using a hidden window to shine light down gilded bronze rays.

4. The theatricality of Bernini’s sculptural program is enhanced by including portrait statues of members of the Cornaro family in balconies at either side of the chapel.

Learning Objective: 14.1 Explain the establishment of the Baroque style in Rome.

Topic: Bernini Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It

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37. Discuss the iconography of Diego Velázquez’s Las Meninas. What does the composition suggest about the role of the viewer? Why does Velázquez include himself in the portrait?

Answer: The ideal answer should include: 1. Velázquez draws viewers directly into the scene, which focuses on the Infanta and the attendants who surround her.

2. In one interpretation, the viewer stands in the very space occupied by King Philip and his queen, whose reflections can be seen in the mirror on the back wall.

3. Velázquez himself actually stands within the painting, brushes and palette in hand, beside a huge canvas as he paints the Infanta.

4. The painting is both a royal portrait of the Infanta and a self-portrait of the artist; Velázquez asserts his respect and acclaim as an artist by depicting himself as a courtier and the keys of the palace tucked into his sash.

Learning Objective: 14.2 Characterize the “Golden Age” of painting in Spain.

Topic: Velázquez Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 38. Discuss the collaboration between Peter Paul Rubens and Frans Snyders in Prometheus Bound. What does the painting reveal about Rubens’ workshop practices?

Answer: The ideal answer should include: 1. Rubens accepted commissions from all over Europe and employed dozens of assistants as specialists in the painting of portraits, landscapes, fruits, and flowers.

2. Rubens brought in Frans Snyders, a specialist in painting animals and flowers, to paint the eagle who devours the liver of the mythical hero.

3. The dramatic lighting, dynamic composition, energetic brushwork was typical of Rubens’ style.

4. Snyders’ tight, detailed technique sets up a telling representational contrast between the massive predator and its writhing, muscular victim.

Learning Objective: 14.3 Recognize new developments in Flemish art that took place in the workshop of Peter Paul Rubens.

Topic: Rubens Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It

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39. How is Vermeer’s Woman Holding a Balance both a genre painting and an allegorical vanitas painting? Describe the iconography of the painting and explain its significance.

Answer: The ideal answer should include: 1. Vermeer’s Woman Holding a Balance depicts a woman who holds a balance and contemplates the act of weighing and judging.

2. A painting of the Last Judgment hangs on the wall behind her, highlighting the figure of Christ the Judge directly over her head.

3. This references eternal judgement and possibly reflects the artist’s own position as a Catholic living in a Protestant country.

4. The theme of vanitas—the transience of earthly life—is evoked by the gold and pearls on the table that shimmer in the reflected light from the window, inspiring spiritual reflections on the fleeting nature of beauty, youth, and riches.

Learning Objective: 14.4 Discuss the distinctive styles and subjects preferred in the Protestant Netherlands.

Topic: Interiors, Landscapes, and Flowers Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 40. In Louis XIV, how does Hyacinthe Rigaud depict the king and his power?

Answer: The ideal answer should include: 1. The king, who wears a rich costume, is framed by a lavish, billowing curtain.

2. He wears a blue robe of state trimmed with gold fleurs-de-lis and lined with white ermine.

3. He wears high-heeled shoes to show off his calves and compensate for his shortness.

4. Despite his pompous pose and magnificent surroundings, the directness of the king’s gaze and the frankness of his aging face make him appear surprisingly human.

Learning Objective: 14.5 Differentiate the royal and Neoclassical art of France from developments elsewhere in Europe.

Topic: France Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It

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Revel Quizzes Quiz: Rome EOM Q14.1.1 The Baroque style was established and developed in Rome thanks in part to the __________. a. Counter-Reformation b. sack of Rome Consider This: This event resulted in splendid religious architecture. 14.1 Explain the establishment of the Baroque style in Rome. c. coronation of the Holy Roman Emperor Consider This: This event resulted in splendid religious architecture. 14.1 Explain the establishment of the Baroque style in Rome. d. creation of the Papal States Consider This: This event resulted in splendid religious architecture. 14.1 Explain the establishment of the Baroque style in Rome.

Answer: a Learning Objective: 14.1 Explain the establishment of the Baroque style in Rome.

Topic: Rome Difficulty Level: Moderate Skill Level: Understand EOM Q14.1.2 Bernini’s Baldacchino is typical of Italian Baroque art for its __________. a. combination of different media b. austere presentation of biblical history Consider This: The baldachin simulates a canopy. 14.1 Explain the establishment of the Baroque style in Rome. c. use of Old Testament stories Consider This: The baldachin simulates a canopy. 14.1 Explain the establishment of the Baroque style in Rome. d. Classical order and harmony Consider This: The baldachin simulates a canopy. 14.1 Explain the establishment of the Baroque style in Rome.

Answer: a Learning Objective: 14.1 Explain the establishment of the Baroque style in Rome.

Topic: Rome Difficulty Level: Moderate Skill Level: Apply

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EOM Q14.1.3 The facade of Borromini’s San Carlo alle Quattro Fontane __________. a. seeks dramatic effects of light and shadow b. adheres to Classical architectural rules Consider This: The sculptural façade adapts to the narrow location. 14.1 Explain the establishment of the Baroque style in Rome. c. is an allegory of the Reformation Consider This: The sculptural façade adapts to the narrow location. 14.1 Explain the establishment of the Baroque style in Rome. d. reproduces Bernini’s facade at St. Peter’s Consider This: The sculptural façade adapts to the narrow location. 14.1 Explain the establishment of the Baroque style in Rome.

Answer: a Learning Objective: 14.1 Explain the establishment of the Baroque style in Rome.

Topic: Rome Difficulty Level: Moderate Skill Level: Understand EOM Q14.1.4 A goal of Italian painted ceilings was to __________. a. evoke emotional responses b. abandon Classical references Consider This: This is common in much Italian Baroque art. 14.1 Explain the establishment of the Baroque style in Rome. c. focus on a single medium Consider This: This is common in much Italian Baroque art. 14.1 Explain the establishment of the Baroque style in Rome. d. subdue Renaissance ideals Consider This: This is common in much Italian Baroque art. 14.1 Explain the establishment of the Baroque style in Rome.

Answer: a Learning Objective: 14.1 Explain the establishment of the Baroque style in Rome.

Topic: Rome Difficulty Level: Easy Skill Level: Understand

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EOM Q14.1.5 The text suggests that the purpose of Caravaggio’s naturalism is to __________. a. make religious subjects understandable b. challenge the tyranny of Classicism Consider This: His style may respond to the Counter-Reformation. 14.1 Explain the establishment of the Baroque style in Rome. c. reject contemporary ideals of beauty Consider This: His style may respond to the Counter-Reformation. 14.1 Explain the establishment of the Baroque style in Rome. d. demonstrate his Protestant sympathies Consider This: His style may respond to the Counter-Reformation. 14.1 Explain the establishment of the Baroque style in Rome.

Answer: a Learning Objective: 14.1 Explain the establishment of the Baroque style in Rome.

Topic: Rome Difficulty Level: Moderate Skill Level: Understand Quiz: Spain EOM Q14.2.1 How did the Spanish painter Velázquez demonstrate the profound influence of Caravaggio in his art? a. Painting ordinary people from life b. Creating theatrical multimedia works Consider This: He also used tenebrism. 14.2 Characterize the “Golden Age” of painting in Spain. c. Painting figures bathed in unearthly light Consider This: He also used tenebrism. 14.2 Characterize the “Golden Age” of painting in Spain. d. Creating works that exceeded decorum Consider This: He also used tenebrism. 14.2 Characterize the “Golden Age” of painting in Spain.

Answer: a Learning Objective: 14.2 Characterize the “Golden Age” of painting in Spain.

Topic: Spain Difficulty Level: Moderate Skill Level: Understand

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EOM Q14.2.2 What concern common in the Renaissance and Baroque eras is demonstrated in Velázquez’s Las Meninas? a. Status of the artist b. Rights of the monarch Consider This: This issue is addressed in many self-portraits. 14.2 Characterize the “Golden Age” of painting in Spain. c. Religious reform Consider This: This issue is addressed in many self-portraits. 14.2 Characterize the “Golden Age” of painting in Spain. d. Global exploration Consider This: This issue is addressed in many self-portraits. 14.2 Characterize the “Golden Age” of painting in Spain.

Answer: a Learning Objective: 14.2 Characterize the “Golden Age” of painting in Spain.

Topic: Spain Difficulty Level: Moderate Skill Level: Understand EOM Q14.2.3 Zurbarán’s St. Serapion is best described as __________. a. realistic b. idealized Consider This: Early Velázquez paintings share this quality. 14.2 Characterize the “Golden Age” of painting in Spain. c. classicizing Consider This: Early Velázquez paintings share this quality. 14.2 Characterize the “Golden Age” of painting in Spain. d. stylized Consider This: Early Velázquez paintings share this quality. 14.2 Characterize the “Golden Age” of painting in Spain.

Answer: a Learning Objective: 14.2 Characterize the “Golden Age” of painting in Spain.

Topic: Spain Difficulty Level: Difficult Skill Level: Apply

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EOM Q14.2.4 Paintings of the Immaculate Conception represent __________. a. Mary standing on a crescent moon b. the moment when Christ was conceived without sin Consider This: The meaning of the Immaculate Conception differs from the meaning of the Annunciation. 14.2 Characterize the “Golden Age” of painting in Spain. c. the Infant Christ adored by the three kings Consider This: The meaning of the Immaculate Conception differs from the meaning of the Annunciation. 14.2 Characterize the “Golden Age” of painting in Spain. d. Mary hearing that she will bear the son of God Consider This: The meaning of the Immaculate Conception differs from the meaning of the Annunciation. 14.2 Characterize the “Golden Age” of painting in Spain.

Answer: a Learning Objective: 14.2 Characterize the “Golden Age” of painting in Spain.

Topic: Spain Difficulty Level: Moderate Skill Level: Understand Quiz: Flanders EOM Q14.3.1 What new developments in Flemish painting are evident in the workshop of Peter Paul Rubens? a. Rubens hires specialist painters as shop assistants. b. Rubens takes on apprentices to learn from him.

Consider This: He did this for his painting Prometheus Bound. 14.3 Recognize new developments in Flemish art that took place in the workshop of Peter Paul Rubens. c. Rubens works for multiple patrons simultaneously.

Consider This: He did this for his painting Prometheus Bound. 14.3 Recognize new developments in Flemish art that took place in the workshop of Peter Paul Rubens. d. Rubens accepts religious and secular commissions.

Consider This: He did this for his painting Prometheus Bound. 14.3 Recognize new developments in Flemish art that took place in the workshop of Peter Paul Rubens.

Answer: a Learning Objective: 14.3 Recognize new developments in Flemish art that took place in the workshop of Peter Paul Rubens.

Topic: Flanders Difficulty Level: Difficult Skill Level: Understand

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EOM Q14.3.2 What aspect of Rubens’s painting reveals his familiarity with Italian art? a. Heroic bodies b. Surface description Consider This: This is especially visible in Raising of the Cross. 14.3 Recognize new developments in Flemish art that took place in the workshop of Peter Paul Rubens. c. Classical restraint Consider This: This is especially visible in Raising of the Cross. 14.3 Recognize new developments in Flemish art that took place in the workshop of Peter Paul Rubens. d. Mathematical proportion Consider This: This is especially visible in Raising of the Cross. 14.3 Recognize new developments in Flemish art that took place in the workshop of Peter Paul Rubens.

Answer: a Learning Objective: 14.3 Recognize new developments in Flemish art that took place in the workshop of Peter Paul Rubens.

Topic: Flanders Difficulty Level: Moderate Skill Level: Apply EOM Q14.3.3 How do paintings by Peter Paul Rubens reveal his Flemish heritage? a. Surface description b. Perspectival illusionism Consider This: This quality is visible in Raising of the Cross and his images of Marie de’ Medici. 14.3 Recognize new developments in Flemish art that took place in the workshop of Peter Paul Rubens. c. Idealized forms Consider This: This quality is visible in Raising of the Cross and his images of Marie de’ Medici. 14.3 Recognize new developments in Flemish art that took place in the workshop of Peter Paul Rubens. d. Classical figures Consider This: This quality is visible in Raising of the Cross and his images of Marie de’ Medici. 14.3 Recognize new developments in Flemish art that took place in the workshop of Peter Paul Rubens.

Answer: a Learning Objective: 14.3 Recognize new developments in Flemish art that took place in the workshop of Peter Paul Rubens.

Topic: Flanders Difficulty Level: Difficult Skill Level: Apply

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EOM Q14.3.4 The presence of the gods in Rubens’s Henry IV Receiving the Portrait of Marie de’ Medici is intended to __________. a. glorify the monarchs b. locate the scene in history Consider This: This country’s monarchy belonged to the Bourbon dynasty. 14.3 Recognize new developments in Flemish art that took place in the workshop of Peter Paul Rubens. c. provide religious content Consider This: This country’s monarchy belonged to the Bourbon dynasty. 14.3 Recognize new developments in Flemish art that took place in the workshop of Peter Paul Rubens. d. demonstrate humility Consider This: This country’s monarchy belonged to the Bourbon dynasty. 14.3 Recognize new developments in Flemish art that took place in the workshop of Peter Paul Rubens.

Answer: a Learning Objective: 14.3 Recognize new developments in Flemish art that took place in the workshop of Peter Paul Rubens.

Topic: Flanders Difficulty Level: Difficult Skill Level: Apply EOM Q14.3.5 Anthony van Dyck was a Flemish painter who worked in Rubens’s studio as a specialist in __________. a. heads b. triptychs Consider This: This served him well in his paintings for the English court. 14.3 Recognize new developments in Flemish art that took place in the workshop of Peter Paul Rubens. c. religious themes Consider This: This served him well in his paintings for the English court. 14.3 Recognize new developments in Flemish art that took place in the workshop of Peter Paul Rubens. d. mythology Consider This: This served him well in his paintings for the English court. 14.3 Recognize new developments in Flemish art that took place in the workshop of Peter Paul Rubens.

Answer: a Learning Objective: 14.3 Recognize new developments in Flemish art that took place in the workshop of Peter Paul Rubens.

Topic: Flanders Difficulty Level: Easy Skill Level: Remember

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Quiz: The Dutch Republic EOM Q14.4.1 The predominant approach of Dutch seventeenth-century art is __________. a. naturalistic b. classicizing Consider This: This quality is clearly seen in Johannes Vermeer’s paintings. 14.4 Discuss the distinctive styles and subjects preferred in the Protestant Netherlands. c. abstract Consider This: This quality is clearly seen in Johannes Vermeer’s paintings. 14.4 Discuss the distinctive styles and subjects preferred in the Protestant Netherlands. d. stylized Consider This: This quality is clearly seen in Johannes Vermeer’s paintings. 14.4 Discuss the distinctive styles and subjects preferred in the Protestant Netherlands.

Answer: a Learning Objective: 14.4 Discuss the distinctive styles and subjects preferred in the Protestant Netherlands.

Topic: The Dutch Republic Difficulty Level: Difficult Skill Level: Apply EOM Q14.4.2 The subjects preferred in the Dutch Republic include __________. a. portraiture, genre, and landscapes b. martyrdoms, life of Mary, and the Old Testament Consider This: Dutch painters responded to new Protestant ideas about art. 14.4 Discuss the distinctive styles and subjects preferred in the Protestant Netherlands. c. history painting, mythology, and still life Consider This: Dutch painters responded to new Protestant ideas about art. 14.4 Discuss the distinctive styles and subjects preferred in the Protestant Netherlands. d. Christ, saints, and allegory Consider This: Dutch painters responded to new Protestant ideas about art. 14.4 Discuss the distinctive styles and subjects preferred in the Protestant Netherlands.

Answer: a Learning Objective: 14.4 Discuss the distinctive styles and subjects preferred in the Protestant Netherlands.

Topic: The Dutch Republic Difficulty Level: Moderate Skill Level: Understand

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EOM Q14.4.3 Which of the following printmaking processes is most closely associated with Rembrandt? a. etchings b. woodcuts Consider This: They were widely sought and collected. 14.4 Discuss the distinctive styles and subjects preferred in the Protestant Netherlands. c. engravings Consider This: They were widely sought and collected. 14.4 Discuss the distinctive styles and subjects preferred in the Protestant Netherlands. d. printings Consider This: They were widely sought and collected. 14.4 Discuss the distinctive styles and subjects preferred in the Protestant Netherlands.

Answer: a Learning Objective: 14.4 Discuss the distinctive styles and subjects preferred in the Protestant Netherlands.

Topic: The Dutch Republic Difficulty Level: Easy Skill Level: Remember EOM Q14.4.4 Rembrandt’s The Company of Captain Frans Banning Cocq is an example of the Dutch taste for __________. a. group portraits b. pyramidal compositions Consider This: This subject is common among Dutch artists. 14.4 Discuss the distinctive styles and subjects preferred in the Protestant Netherlands. c. historical themes Consider This: This subject is common among Dutch artists. 14.4 Discuss the distinctive styles and subjects preferred in the Protestant Netherlands. d. trompe l’oeil Consider This: This subject is common among Dutch artists. 14.4 Discuss the distinctive styles and subjects preferred in the Protestant Netherlands.

Answer: a Learning Objective: 14.4 Discuss the distinctive styles and subjects preferred in the Protestant Netherlands.

Topic: The Dutch Republic Difficulty Level: Moderate Skill Level: Understand

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EOM Q14.4.5 Vermeer’s Woman Holding a Balance is a vanitas image because it evokes the __________. a. shortness of human life b. power of the church Consider This: The balance in her hand shows this. 14.4 Discuss the distinctive styles and subjects preferred in the Protestant Netherlands. c. vanity of the middle class Consider This: The balance in her hand shows this. 14.4 Discuss the distinctive styles and subjects preferred in the Protestant Netherlands. d. realities of daily existence Consider This: The balance in her hand shows this. 14.4 Discuss the distinctive styles and subjects preferred in the Protestant Netherlands.

Answer: a Learning Objective: 14.4 Discuss the distinctive styles and subjects preferred in the Protestant Netherlands.

Topic: The Dutch Republic Difficulty Level: Difficult Skill Level: Apply Quiz: France EOM Q14.5.1 Rigaud’s Louis XIV includes a royal robe bearing the __________. a. fleurs-de-lis b. Roi Soleil Consider This: It also included white ermine fur. 14.5 Differentiate the royal and Neoclassical art of France from developments elsewhere in Europe. c. di sotto in su Consider This: It also included white ermine fur. 14.5 Differentiate the royal and Neoclassical art of France from developments elsewhere in Europe. d. trompe l’oeil Consider This: It also included white ermine fur. 14.5 Differentiate the royal and Neoclassical art of France from developments elsewhere in Europe.

Answer: a Learning Objective: 14.5 Differentiate the royal and Neoclassical art of France from developments elsewhere in Europe.

Topic: France Difficulty Level: Easy Skill Level: Understand

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EOM Q14.5.2 How did the art of France differ from art and architecture produced elsewhere in Europe? a. It was controlled by an academy. b. It was interested in drama and emotion.

Consider This: This served the monarch. 14.5 Differentiate the royal and Neoclassical art of France from developments elsewhere in Europe. c. It turned to Classical sources.

Consider This: This served the monarch. 14.5 Differentiate the royal and Neoclassical art of France from developments elsewhere in Europe. d. It was chiefly made for middle-class patrons.

Consider This: This served the monarch. 14.5 Differentiate the royal and Neoclassical art of France from developments elsewhere in Europe.

Answer: a Learning Objective: 14.5 Differentiate the royal and Neoclassical art of France from developments elsewhere in Europe.

Topic: France Difficulty Level: Moderate Skill Level: Understand EOM Q14.5.3 The French Royal Academy of Painting and Sculpture promoted __________. a. a Classical style b. a Caravaggesque style Consider This: The academic approach is seen in works by Poussin. 14.5 Differentiate the royal and Neoclassical art of France from developments elsewhere in Europe. c. an individualized style Consider This: The academic approach is seen in works by Poussin. 14.5 Differentiate the royal and Neoclassical art of France from developments elsewhere in Europe. d. an imperial style Consider This: The academic approach is seen in works by Poussin. 14.5 Differentiate the royal and Neoclassical art of France from developments elsewhere in Europe.

Answer: a Learning Objective: 14.5 Differentiate the royal and Neoclassical art of France from developments elsewhere in Europe.

Topic: France Difficulty Level: Moderate Skill Level: Understand

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EOM Q14.5.4 The dominant theme of the images in Versailles’s Hall of Mirrors consists of __________. a. images of the king and the gods b. genre scenes in a variety of media Consider This: These addressed French history. 14.5 Differentiate the royal and Neoclassical art of France from developments elsewhere in Europe. c. prefigurations of the royal apotheosis Consider This: These addressed French history. 14.5 Differentiate the royal and Neoclassical art of France from developments elsewhere in Europe. d. a Classical style rigorously imposed Consider This: These addressed French history. 14.5 Differentiate the royal and Neoclassical art of France from developments elsewhere in Europe.

Answer: a Learning Objective: 14.5 Differentiate the royal and Neoclassical art of France from developments elsewhere in Europe.

Topic: France Difficulty Level: Moderate Skill Level: Understand EOM Q14.5.5 Poussin’s landscape paintings are described as classicizing because the artist __________. a. made nature more orderly b. painted directly from life Consider This: This applied to figures as well. 14.5 Differentiate the royal and Neoclassical art of France from developments elsewhere in Europe. c. prepared preliminary drawings Consider This: This applied to figures as well. 14.5 Differentiate the royal and Neoclassical art of France from developments elsewhere in Europe. d. studied art in Italy Consider This: This applied to figures as well. 14.5 Differentiate the royal and Neoclassical art of France from developments elsewhere in Europe.

Answer: a Learning Objective: 14.5 Differentiate the royal and Neoclassical art of France from developments elsewhere in Europe.

Topic: France Difficulty Level: Difficult Skill Level: Apply

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Chapter Quiz: Seventeenth-Century Art in Europe EOC Q14.1 Unlike Renaissance art, Baroque art is characterized by its __________. a. theatricality b. clarity Consider This: This strategy is based on observation and idealization. Chapter 14 Introduction c. heroic nudes Consider This: This strategy is based on observation and idealization. Chapter 14 Introduction d. otherworldly quality Consider This: This strategy is based on observation and idealization. Chapter 14 Introduction Answer: a Learning Objective: None Topic: Seventeenth-Century Art in Europe Difficulty Level: Difficult Skill Level: Apply EOC Q14.2 Which of the following correctly explains why Bernini built the Piazza at St. Peter’s in an oval shape? a. The oval accommodated existing objects on the site. b. The oval elicited a deeper emotional response from pilgrims.

Consider This: The Piazza also features trapezoidal arms. 14.1 Explain the establishment of the Baroque style in Rome. c. The oval was a symbol of Urban VIII Barberini.

Consider This: The Piazza also features trapezoidal arms. 14.1 Explain the establishment of the Baroque style in Rome. d. The oval reflected the shape of Rome itself.

Consider This: The Piazza also features trapezoidal arms. 14.1 Explain the establishment of the Baroque style in Rome.

Answer: a Learning Objective: 14.1 Explain the establishment of the Baroque style in Rome.

Topic: Seventeenth-Century Art in Europe Difficulty Level: Moderate Skill Level: Understand

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EOC Q14.3 Bernini’s St. Teresa in Ecstasy most clearly illustrates the Baroque interest in __________. a. emotion b. antiquity Consider This: The sculpture pictures Teresa during a mystical vision. 14.1 Explain the establishment of the Baroque style in Rome. c. everyday life Consider This: The sculpture pictures Teresa during a mystical vision. 14.1 Explain the establishment of the Baroque style in Rome. d. the merchant class Consider This: The sculpture pictures Teresa during a mystical vision. 14.1 Explain the establishment of the Baroque style in Rome.

Answer: a Learning Objective: 14.1 Explain the establishment of the Baroque style in Rome.

Topic: Seventeenth-Century Art in Europe Difficulty Level: Easy Skill Level: Apply EOC Q14.4 Tenebrism is Caravaggio’s technique of __________. a. exaggerated chiaroscuro b. perspectival illusionism Consider This: Artemisia Gentileschi used this technique as well. 14.1 Explain the establishment of the Baroque style in Rome. c. dramatic foreshortening Consider This: Artemisia Gentileschi used this technique as well. 14.1 Explain the establishment of the Baroque style in Rome. d. diagonal compositions Consider This: Artemisia Gentileschi used this technique as well. 14.1 Explain the establishment of the Baroque style in Rome.

Answer: a Learning Objective: 14.1 Explain the establishment of the Baroque style in Rome.

Topic: Seventeenth-Century Art in Europe Difficulty Level: Easy Skill Level: Remember

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EOC Q14.5 What evidence reveals that Artemisia Gentileschi is a follower of Caravaggio? a. Realism b. Classicism Consider This: This characteristic is seen clearly in her Judith and Her Maidservant with the Head of Holofernes. 14.1 Explain the establishment of the Baroque style in Rome. c. Vanitas Consider This: This characteristic is seen clearly in her Judith and Her Maidservant with the Head of Holofernes. 14.1 Explain the establishment of the Baroque style in Rome. d. Sfumato Consider This: This characteristic is seen clearly in her Judith and Her Maidservant with the Head of Holofernes. 14.1 Explain the establishment of the Baroque style in Rome.

Answer: a Learning Objective: 14.1 Explain the establishment of the Baroque style in Rome.

Topic: Seventeenth-Century Art in Europe Difficulty Level: Moderate Skill Level: Apply EOC Q14.6 What hallmark of the Italian Baroque style is seen in Gaulli’s The Triumph of the Name of Jesus and the Fall of the Damned? a. The scene extends down onto the walls of the nave. b. The scene exhibits cool detachment.

Consider This: The multimedia presentation helps. 14.1 Explain the establishment of the Baroque style in Rome. c. The scene employs dramatic tenebrism.

Consider This: The multimedia presentation helps. 14.1 Explain the establishment of the Baroque style in Rome. d. The scene represents a horrifying scene of martyrdom.

Consider This: The multimedia presentation helps. 14.1 Explain the establishment of the Baroque style in Rome.

Answer: a Learning Objective: 14.1 Explain the establishment of the Baroque style in Rome.

Topic: Seventeenth-Century Art in Europe Difficulty Level: Moderate Skill Level: Apply

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EOC Q14.7 How does Zúrbaran’s St. Serapion fulfill Ignatius of Loyola’s purpose for art? a. Its realism allowed viewers to imagine the events they witnessed. b. Its surface textures complied with the principles of Classical art.

Consider This: Lifelike images help painters to depict this type of image. 14.2 Characterize the “Golden Age” of painting in Spain. c. Its theme reflected the Protestant ideas about images.

Consider This: Lifelike images help painters to depict this type of image. 14.2 Characterize the “Golden Age” of painting in Spain. d. Its idealized figure elevated the viewer to God. Consider This: Lifelike images help painters to depict this type of image. 14.2 Characterize the “Golden Age” of painting in Spain.

Answer: a Learning Objective: 14.2 Characterize the “Golden Age” of painting in Spain.

Topic: Seventeenth-Century Art in Europe Difficulty Level: Difficult Skill Level: Apply EOC Q14.8 Which formal element or principle of design is a hallmark of Peter Paul Rubens’s painting? a. Diagonal composition b. Contour line Consider This: This hallmark appears in his Prometheus. 14.3 Recognize new developments in Flemish art that took place in the workshop of Peter Paul Rubens. c. Stylization Consider This: This hallmark appears in his Prometheus. 14.3 Recognize new developments in Flemish art that took place in the workshop of Peter Paul Rubens. d. Radial symmetry Consider This: This hallmark appears in his Prometheus. 14.3 Recognize new developments in Flemish art that took place in the workshop of Peter Paul Rubens.

Answer: a Learning Objective: 14.2 Characterize the “Golden Age” of painting in Spain.

Topic: Seventeenth-Century Art in Europe Difficulty Level: Moderate Skill Level: Apply

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EOC Q14.9 How does Anthony van Dyck picture the power of the king in the portrait of Charles I? a. The tree branches seem to bow. b. The king is pictured at war.

Consider This: Compare this to the background of the portrait of Louis XIV. 14.3 Recognize new developments in Flemish art that took place in the workshop of Peter Paul Rubens. c. White and red are royal colors.

Consider This: Compare this to the background of the portrait of Louis XIV. 14.3 Recognize new developments in Flemish art that took place in the workshop of Peter Paul Rubens. d. The king’s castle appears in the distance.

Consider This: Compare this to the background of the portrait of Louis XIV. 14.3 Recognize new developments in Flemish art that took place in the workshop of Peter Paul Rubens.

Answer: a Learning Objective: 14.3 Recognize new developments in Flemish art that took place in the workshop of Peter Paul Rubens.

Topic: Seventeenth-Century Art in Europe Difficulty Level: Moderate Skill Level: Apply EOC Q14.10 Which thematic category was particularly common in Holland? a. Group portraiture b. Mythology Consider This: Hals is known for his images of this type. 14.4 Discuss the distinctive styles and subjects preferred in the Protestant Netherlands. c. History painting Consider This: Hals is known for his images of this type. 14.4 Discuss the distinctive styles and subjects preferred in the Protestant Netherlands. d. Royal portraiture Consider This: Hals is known for his images of this type. 14.4 Discuss the distinctive styles and subjects preferred in the Protestant Netherlands.

Answer: a Learning Objective: 14.4 Discuss the distinctive styles and subjects preferred in the Protestant Netherlands.

Topic: Seventeenth-Century Art in Europe Difficulty Level: Moderate Skill Level: Understand

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EOC Q14.11 What evidence in the painting leads to the conclusion that Hals’s Isaac Massa and Beatrix van der Laen commemorates their marriage? a. Ivy on the tree trunk b. Fountain in the background Consider This: The wife’s hand is another clue to the portrait’s purpose. 14.4 Discuss the distinctive styles and subjects preferred in the Protestant Netherlands. c. Relaxed posture Consider This: The wife’s hand is another clue to the portrait’s purpose. 14.4 Discuss the distinctive styles and subjects preferred in the Protestant Netherlands. d. Rich clothes Consider This: The wife’s hand is another clue to the portrait’s purpose. 14.4 Discuss the distinctive styles and subjects preferred in the Protestant Netherlands.

Answer: a Learning Objective: 14.4 Discuss the distinctive styles and subjects preferred in the Protestant Netherlands.

Topic: Seventeenth-Century Art in Europe Difficulty Level: Moderate Skill Level: Apply EOC Q14.12 The violinist in the painting in Leyster’s Self-Portrait is an example of a type of image called a __________. a. genre scene b. conversation piece Consider This: This theme was popular in Holland. 14.4 Discuss the distinctive styles and subjects preferred in the Protestant Netherlands. c. luxury work Consider This: This theme was popular in Holland. 14.4 Discuss the distinctive styles and subjects preferred in the Protestant Netherlands. d. still life Consider This: This theme was popular in Holland. 14.4 Discuss the distinctive styles and subjects preferred in the Protestant Netherlands.

Answer: a Learning Objective: 14.4 Discuss the distinctive styles and subjects preferred in the Protestant Netherlands.

Topic: Seventeenth-Century Art in Europe Difficulty Level: Difficult Skill Level: Understand

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EOC Q14.13 The evidence that Johannes Vermeer’s Woman Holding a Balance seems to be a metaphor for eternal judgment includes the __________. a. painting in the background b. picture of a marriage ceremony Consider This: Other evidence includes the scales. 14.4 Discuss the distinctive styles and subjects preferred in the Protestant Netherlands. c. symbol of wifely loyalty Consider This: Other evidence includes the scales. 14.4 Discuss the distinctive styles and subjects preferred in the Protestant Netherlands. d. window beside the table Consider This: Other evidence includes the scales. 14.4 Discuss the distinctive styles and subjects preferred in the Protestant Netherlands.

Answer: a Learning Objective: 14.4 Discuss the distinctive styles and subjects preferred in the Protestant Netherlands.

Topic: Seventeenth-Century Art in Europe Difficulty Level: Moderate Skill Level: Apply EOC Q14.14 The projecting sections on the garden façade of Versailles each feature __________. a. a colonnade b. an arcade Consider This: They appear on the main level. 14.5 Differentiate the royal and Neoclassical art of France from developments elsewhere in Europe. c. a vault Consider This: They appear on the main level. 14.5 Differentiate the royal and Neoclassical art of France from developments elsewhere in Europe. d. a pediment Consider This: They appear on the main level. 14.5 Differentiate the royal and Neoclassical art of France from developments elsewhere in Europe.

Answer: a Learning Objective: 14.5 Differentiate the royal and Neoclassical art of France from developments elsewhere in Europe.

Topic: Seventeenth-Century Art in Europe Difficulty Level: Moderate Skill Level: Understand

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EOC Q14.15 The gardens at Versailles are described as classically harmonious because they __________. a. are geometric and symmetrical b. are wild and organic Consider This: The terrain was turned into a work of art. 14.5 Differentiate the royal and Neoclassical art of France from developments elsewhere in Europe. c. contain fountains Consider This: The terrain was turned into a work of art. 14.5 Differentiate the royal and Neoclassical art of France from developments elsewhere in Europe. d. integrate with the landscape Consider This: The terrain was turned into a work of art. 14.5 Differentiate the royal and Neoclassical art of France from developments elsewhere in Europe.

Answer: a Learning Objective: 14.5 Differentiate the royal and Neoclassical art of France from developments elsewhere in Europe.

Topic: Seventeenth-Century Art in Europe Difficulty Level: Moderate Skill Level: Understand

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Chapter 15: Art of the Americas Multiple-Choice Questions 1. Which of the following best describes Mesoamerican society? a. hierarchical b. egalitarian c. communist d. democratic Answer: a Learning Objective: 15.1 Differentiate the art and architecture of a series of cultures in Mesoamerica.

Topic: Introduction; Mesoamerica Difficulty Level: Easy Skill Level: Remember the Facts 2. Which Mesoamerican culture created colossal basalt sculptures? a. Aztec b. Olmec c. Maya d. Inca Answer: b Learning Objective: 15.1 Differentiate the art and architecture of a series of cultures in Mesoamerica.

Topic: The Olmecs Difficulty Level: Moderate Skill Level: Understand the Concepts 3. Teotihuacan became the largest city in the Americas in part because of its control of the market on __________. a. quetzal feathers b. high-quality obsidian c. ceramic vessels d. jaguar pelts Answer: b Learning Objective: 15.1 Differentiate the art and architecture of a series of cultures in Mesoamerica.

Topic: Teotihuacan Difficulty Level: Easy Skill Level: Remember the Facts

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4. How is the art from Teotihuacan different than Olmec art? a. The style is curvilinear and naturalistic. b. The colossal sculptures depict the elite. c. The artworks are primarily geoglyphs. d. The style is flat, angular, and abstract.

Answer: d Learning Objective: 15.1 Differentiate the art and architecture of a series of cultures in Mesoamerica.

Topic: Teotihuacan Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 5. At Teotihuacan, the sunken plaza surrounded by temple platforms is called the __________. a. Avenue of the Dead b. Great Serpent Mound c. Ciudadela d. Templo Mayor Answer: c Learning Objective: 15.1 Differentiate the art and architecture of a series of cultures in Mesoamerica.

Topic: Teotihuacan Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 6. Which Mesoamerican culture developed the most advanced hieroglyphic writing and calendrical system? a. Olmec b. Aztec c. Inca d. Maya Answer: d Learning Objective: 15.1 Differentiate the art and architecture of a series of cultures in Mesoamerica.

Topic: The Maya Difficulty Level: Easy Skill Level: Remember the Facts

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7. At which of the following locations was the Burial Mask of Pakal the Great found? a. Temple of the Inscriptions, Palenque b Machu Picchu c. “Cliff Palace,” Mesa Verde d. Cahokia Answer: a Learning Objective: 15.1 Differentiate the art and architecture of a series of cultures in Mesoamerica.

Topic: The Maya Difficulty Level: Moderate Skill Level: Understand the Concepts 8. The half-reclining stone figures at Chichén Itzá are called __________. a. chacmools b. geoglyphs c. talud-tablero d. quetzal Answer: a Learning Objective: 15.1 Differentiate the art and architecture of a series of cultures in Mesoamerica.

Topic: The Maya Difficulty Level: Moderate Skill Level: Understand the Concepts 9. Which of the following Mesoamerican cultures controlled much of Mexico by the end of the fifteenth century? a. Nazca b. Maya c. Aztec d. Inca Answer: c Learning Objective: 15.1 Differentiate the art and architecture of a series of cultures in Mesoamerica.

Topic: The Aztecs Difficulty Level: Easy Skill Level: Remember the Facts

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10. In the statue of The Goddess Coatlicue, the components of the necklace refer to the Aztec practice of __________. a. communal basket-weaving b. producing textiles c. ritual human sacrifice d. nomadic living Answer: c Learning Objective: 15.1 Differentiate the art and architecture of a series of cultures in Mesoamerica.

Topic: The Aztecs Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It 11. Which of the following structures contains two temples, one dedicated to Tlaloc and one dedicated to Huitzilopochtli? a. Temple of the Feathered Serpent, Teotihuacan b. Templo Mayor, Tenochtitlan c. Temple of the Inscriptions, Palenque d. Machu Picchu, Peru Answer: b Learning Objective: 15.1 Differentiate the art and architecture of a series of cultures in Mesoamerica.

Topic: The Aztecs Difficulty Level: Moderate Skill Level: Understand the Concepts 12. Colossal earthworks are called __________. a. hieroglyphs b. talud-tablero c. chacmools d. geoglyphs Answer: d Learning Objective: 15.2 Summarize the development of art and architecture in Peru over a period of more than 1,000 years.

Topic: South America: The Central Andes Difficulty Level: Easy Skill Level: Remember the Facts

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13. Which of the following cultures created the Geoglyph of a Hummingbird? a. Aztec b. Nazca c. Moche d. Pueblo Answer: b Learning Objective: 15.2 Summarize the development of art and architecture in Peru over a period of more than 1,000 years.

Topic: South America: The Central Andes Difficulty Level: Moderate Skill Level: Understand the Concepts 14. Moche buildings, like the Pyramids of the Sun and Moon, were constructed of __________. a. adobe bricks b. polygonal-stone blocks c. buffalo hide d. timbers and planks Answer: a Learning Objective: 15.2 Summarize the development of art and architecture in Peru over a period of more than 1,000 years.

Topic: The Moche Culture Difficulty Level: Moderate Skill Level: Understand the Concepts 15. Moche potters mass-produced some forms by using __________. a. the talud-tablero system b. geoglyphs c. ceramic molds d. quillwork Answer: c Learning Objective: 15.2 Summarize the development of art and architecture in Peru over a period of more than 1,000 years.

Topic: The Moche Culture Difficulty Level: Moderate Skill Level: Understand the Concepts

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16. The Moche created __________. a. vessels in the shapes of humans and animals b. reliefs of elite members of society c. colossal basalt heads d. hide paintings depicting battle scenes Answer: a Learning Objective: 15.2 Summarize the development of art and architecture in Peru over a period of more than 1,000 years.

Topic: The Moche Culture Difficulty Level: Moderate Skill Level: Understand the Concepts 17. The Moche Earspool depicts figures adorned with headdresses that resemble __________. a. the god Tlaloc b. quetzal feathers c. sacrificial knives d. symbolic animals Answer: c Learning Objective: 15.2 Summarize the development of art and architecture in Peru over a period of more than 1,000 years.

Topic: The Moche Culture Difficulty Level: Moderate Skill Level: Understand the Concepts 18. Which of the following cultures referred to their empire as the “Land of the Four Quarters”? a. Pueblo b. Maya c. Inca d. Haida Answer: c Learning Objective: 15.2 Summarize the development of art and architecture in Peru over a period of more than 1,000 years.

Topic: The Inca Empire Difficulty Level: Easy Skill Level: Remember the Facts

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19. The Inca are distinguished from other ancient American cultures by their __________. a. geoglyphs of animals and abstract designs b. system of roads and durable stone structures c. cliff dwellings carved from the canyon walls d. wooden dwellings painted with mythical animals Answer: b Learning Objective: 15.2 Summarize the development of art and architecture in Peru over a period of more than 1,000 years.

Topic: The Inca Empire Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 20. What was the function of Machu Picchu? a. It was a dominant commercial center. b. It was the seat of the Inca government. c. It was a burial complex. d. It was the ruler’s summer home.

Answer: d Learning Objective: 15.2 Summarize the development of art and architecture in Peru over a period of more than 1,000 years.

Topic: The Inca Empire Difficulty Level: Moderate Skill Level: Understand the Concepts 21. At Machu Picchu, temples and palaces were distinguished from commoners’ houses by the __________. a. smooth stone walls b. talud-tablero construction c. reliefs of elite men and women d. sunken plazas that encircle them Answer: a Learning Objective: 15.2 Summarize the development of art and architecture in Peru over a period of more than 1,000 years.

Topic: The Inca Empire Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It

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22. Which of the following did the Incas consider to be a worthy offering for the gods? a. smoke b. cloth c. obsidian d. a human heart Answer: b Learning Objective: 15.2 Summarize the development of art and architecture in Peru over a period of more than 1,000 years.

Topic: The Inca Empire Difficulty Level: Moderate Skill Level: Understand the Concepts 23. At Machu Picchu, the site’s potential religious significance is suggested by the _________. a. stone terraces b. sacred stones c. relief sculptures d. large geoglyphs Answer: b Learning Objective: 15.2 Summarize the development of art and architecture in Peru over a period of more than 1,000 years.

Topic: The Inca Empire Difficulty Level: Moderate Skill Level: Understand the Concepts 24. Spanish conquerors were obsessed with amassing __________. a. woven textiles b. hide paintings c. gold and silver d. Aztec codices Answer: c Learning Objective: 15.3 Describe the effect of the Spanish conquest on the cultures of Mesoamerica and South America.

Topic: The Aftermath of the Spanish Conquest Difficulty Level: Easy Skill Level: Remember the Facts

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25. After contact with Europe, the population of the Americas decreased by __________. a. 30 percent b. 50 percent c. 70 percent d. 90 percent Answer: d Learning Objective: 15.3 Describe the effect of the Spanish conquest on the cultures of Mesoamerica and South America.

Topic: The Aftermath of the Spanish Conquest Difficulty Level: Easy Skill Level: Remember the Facts 26. Early indigenous cultures of eastern North America formed their communities around __________. a. stone temples b. a central earthen mound c. abstract geoglyphs d. sunken plazas Answer: b Learning Objective: 15.4 Distinguish among various styles and functions of art and architecture from cultures across North America.

Topic: Early Cultures of the East Difficulty Level: Easy Skill Level: Remember the Facts 27. Which of the following peoples made pipes that resembled animals and birds? a. Moche b. Inca c. Pueblo d. Hopewell Answer: d Learning Objective: 15.4 Distinguish among various styles and functions of art and architecture from cultures across North America.

Topic: Early Cultures of the East Difficulty Level: Moderate Skill Level: Understand the Concepts

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28. Both the Mimbres peoples and Ancestral Puebloans are known for their __________. a. painted pottery b. woven textiles c. cliff dwellings d. stone temples Answer: a Learning Objective: 15.4 Distinguish among various styles and functions of art and architecture from cultures across North America.

Topic: The Southwest Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It 29. The “Cliff Palace” at Mesa Verde demonstrates the Puebloan interest in __________. a. communal housing complexes b. terraces for growing crops c. monumental stone temples d. a nomadic lifestyle Answer: a Learning Objective: 15.4 Distinguish among various styles and functions of art and architecture from cultures across North America.

Topic: The Southwest Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It 30. Maria Montoya Martinez’s and Julian Martinez’s Blackware Jar is notable for its __________. a. naturalistic human figures b. plaiting and quillwork c. stylized animals and birds d. matte and glossy black designs Answer: d Learning Objective: 15.4 Distinguish among various styles and functions of art and architecture from cultures across North America.

Topic: The Southwest Difficulty Level: Moderate Skill Level: Understand the Concepts

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31. Tapestry Weaving exemplifies the intricate patterns of __________. a. Inca art b. Navajo art c. Puebloan art d. Olmec art Answer: b Learning Objective: 15.4 Distinguish among various styles and functions of art and architecture from cultures across North America.

Topic: The Southwest Difficulty Level: Moderate Skill Level: Understand the Concepts 32. The Sioux Baby Carrier is an example of __________. a. quillwork b. weaving c. basketry d. hide painting Answer: a Learning Objective: 15.4 Distinguish among various styles and functions of art and architecture from cultures across North America.

Topic: The Eastern Woodlands and the Great Plains Difficulty Level: Moderate Skill Level: Understand the Concepts 33. The Feathered Bowl demonstrates the style of __________. a. Sioux quillwork b. Puebloan pottery c. Pomo basketry d. Moche ceramics Answer: c Learning Objective: 15.4 Distinguish among various styles and functions of art and architecture from cultures across North America.

Topic: The Eastern Woodlands and the Great Plains Difficulty Level: Moderate Skill Level: Understand the Concepts

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34. The battle-scene hide painting from the Mandan culture was acquired by __________. a. Thomas Jefferson b. Hernán Cortés c. Chief Shakes of Wrangell d. Lewis and Clark Answer: d Learning Objective: 15.4 Distinguish among various styles and functions of art and architecture from cultures across North America.

Topic: The Eastern Woodlands and the Great Plains Difficulty Level: Easy Skill Level: Remember the Facts 35. The Grizzly Bear House-Partition Screen demonstrates the characteristic style and subject matter of __________. a. Moche art b. Northwest Coast art c. Maya art d. Puebloan art Answer: b Learning Objective: 15.4 Distinguish among various styles and functions of art and architecture from cultures across North America.

Topic: The Northwest Coast Difficulty Level: Moderate Skill Level: Understand the Concepts Essay Questions 36. Describe and analyze the iconography of The Founding of Tenochtitlan page from the Codex Mendoza.

Answer: The ideal answer should include: 1. The first page from the Codex Mendoza depicts an idealized representation of the city of Tenochtitlan.

2. The eagle perched on a prickly pear cactus growing from a stone symbolizes the city.

3. Waterways divide the city into four quarters and indicate the lake surrounding it.

4. Early leaders are seated in the quadrants, and the victorious warriors at the bottom represent early Aztec conquests.

Learning Objective: 15.1 Differentiate the art and architecture of a series of cultures in Mesoamerica.

Topic: The Aztecs Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It

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37. Compare and contrast the Colossal Head created by the Olmec and Burial Mask of Pakal the Great by the Maya.

Answer: The ideal answer should include: 1. Like much of Olmec sculpture, the Colossal Head is carved from basalt is are monumental; colossal heads range in height from 5 to 12 feet and weigh up to 25 tons.

2. The Olmec heads portray adult males wearing close-fitting caps with chin straps and large earspools. They have fleshy faces, almond-shaped eyes, flat broad noses, thick protruding lips, and downturned mouths, but each face is different and may represent a specific individual.

3. The Burial Mask of Pakal the Great is a jade funeral mask that blends Pakal’s individual likeness with idealized conventions.

4. Pakal’s elongated head, and long, curved nose conform to his portrayal in other portraits but his compact chin and protruding lower lip conform to Maya ideals of beauty.

Learning Objective: 15.1 Differentiate the art and architecture of a series of cultures in Mesoamerica.

Topic: Mesoamerica Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 38. Discuss the significance of the patterns of Inca tunics. What was the purpose of Inca tunics?

Answer: The ideal answer should include: 1. The patterns on garments carried symbolic messages, including indications of a person’s ethnic identity and social rank.

2. Each square represents a miniature tunic with a different pattern and meaning.

3. For example, the checkerboard pattern designated military officers and royal escorts and the four-part motifs may refer to the empire as the Land of the Four Quarters.

4. Among the Inca, cloths of cotton and camelid fibers were a primary form of wealth, and cloth was considered a worthy offering for the gods. Due to the ranks and statuses it portrayed, the illustrated tunic may have been woven as a royal garment.

Learning Objective: 15.2 Summarize the development of art and architecture in Peru over a period of more than 1,000 years.

Topic: South America: The Central Andes Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It

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39. Discuss the mound-building traditions of early North American cultures using the Great Serpent Mound and Monk’s Mound as examples. What are the formal characteristics of each mound and what could have been their purpose?

Answer: The ideal answer should include: 1. The Mississippian culture built the nearly quarter-mile long Great Serpent Mound in present-day Ohio, and carbon-14 dating of wood charcoal samples from the mound suggests that the earthwork was built about 1070 CE. 2. The “head” at the highest point of the twisting snake form has been interpreted as the serpent opening its jaws to swallow a huge egg, but the people who built it may also have been responding to the astronomical display of Hailey’s comet in 1066.

3. The most prominent feature of Cahokia was an enormous earth mound called Monk’s Mound, which covered 15 acres, was 100 feet high, and was aligned with the sun at the equinox.

4. Smaller rectangular and conical mounds in front of the principal mound surrounded a rectangular plaza, and the various earthworks functioned as tombs and as bases for palaces and temples, and also to make astronomical observations.

Learning Objective: 15.4 Distinguish among various styles and functions of art and architecture from cultures across North America.

Topic: Early Cultures of the East Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 40. How does the Chilkat Blanket correspond to the characteristic style and iconography of the Northwest Coast peoples? What was the blanket’s function?

Answer: The ideal answer should include: 1. Like many of Northwest Coast art, the Chilkat Blanket features animals because they were critical to survival and because the extended family group claimed descent from a mythic animal or animal-human ancestor.

2. The blanket features a popular design known as the diving whale—the central panel shows the downward facing whale(s), while the panels to the sides have been interpreted as this animal’s body or seated ravens in profile.

3. Characteristic of Northwest painting and weaving, the images are composed of two basic elements: the ovoid, a slightly bent rectangle with rounded corners, and the formline, a continuous, shape-defining line.

4. This was created for a dynamic display of rituals and performances, and, when the blanket was worn, its shapes and design became three-dimensional, with the dramatic central figure curving over the wearer’s back and the intricate side panels crossing over his shoulders and chest.

Learning Objective: 15.4 Distinguish among various styles and functions of art and architecture from cultures across North America.

Topic: The Northwest Coast Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It

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Revel Quizzes Quiz: Mesoamerica EOM Q15.1.1 Colossal heads were sculpted by the __________ . a. Olmec b. Maya Consider This: This is one of the earliest Mesoamerican cultures. 15.1 Differentiate the art and architecture of a series of cultures in Mesoamerica. c. Teotihuacan Consider This: This is one of the earliest Mesoamerican cultures. 15.1 Differentiate the art and architecture of a series of cultures in Mesoamerica. d. Aztecs Consider This: This is one of the earliest Mesoamerican cultures. 15.1 Differentiate the art and architecture of a series of cultures in Mesoamerica.

Answer: a Learning Objective: 15.1 Differentiate the art and architecture of a series of cultures in Mesoamerica.

Topic: Mesoamerica Difficulty Level: Easy Skill Level: Understand EOM Q15.1.2 The first truly urban site in the Americas was found at __________. a. Teotihuacan b. La Venta Consider This: Temples at this site are constructed with sloping bases and vertical entablatures. 15.1 Differentiate the art and architecture of a series of cultures in Mesoamerica. c. Palenque Consider This: Temples at this site are constructed with sloping bases and vertical entablatures. 15.1 Differentiate the art and architecture of a series of cultures in Mesoamerica. d. Tenochtitlan Consider This: Temples at this site are constructed with sloping bases and vertical entablatures. 15.1 Differentiate the art and architecture of a series of cultures in Mesoamerica.

Answer: a Learning Objective: 15.1 Differentiate the art and architecture of a series of cultures in Mesoamerica.

Topic: Mesoamerica Difficulty Level: Easy Skill Level: Remember

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EOM Q15.1.3 Which Mesoamerican culture is known for imagery made in a flat, abstract, and angular style? a. Teotihuacan b. Olmec Consider This: This style is seen in relief carvings on one of its temples. 15.1 Differentiate the art and architecture of a series of cultures in Mesoamerica. c. Maya Consider This: This style is seen in relief carvings on one of its temples. 15.1 Differentiate the art and architecture of a series of cultures in Mesoamerica. d. Aztec Consider This: This style is seen in relief carvings on one of its temples. 15.1 Differentiate the art and architecture of a series of cultures in Mesoamerica.

Answer: a Learning Objective: 15.1 Differentiate the art and architecture of a series of cultures in Mesoamerica.

Topic: Mesoamerica Difficulty Level: Moderate Skill Level: Understand EOM Q15.1.4 Which Mesoamerican culture is known for more images of elite men and women than of gods? a. Maya b. Olmec Consider This: This style is seen in relief carvings on one of its temples. 15.1 Differentiate the art and architecture of a series of cultures in Mesoamerica. c. Teotihuacan Consider This: This style is seen in relief carvings on one of its temples. 15.1 Differentiate the art and architecture of a series of cultures in Mesoamerica. d. Aztec Consider This: This style is seen in relief carvings on one of its temples. 15.1 Differentiate the art and architecture of a series of cultures in Mesoamerica.

Answer: a Learning Objective: 15.1 Differentiate the art and architecture of a series of cultures in Mesoamerica.

Topic: Mesoamerica Difficulty Level: Moderate Skill Level: Understand

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EOM Q15.1.5 What shared feature of Mesoamerican cultures does the Aztec Templo Mayor illustrate? a. monumental buildings b. devotion to Huitzilopochtli Consider This: A similar feature is seen at Teotihuacan and Palenque, for example. 15.1 Differentiate the art and architecture of a series of cultures in Mesoamerica. c. defensive fortifications Consider This: A similar feature is seen at Teotihuacan and Palenque, for example. 15.1 Differentiate the art and architecture of a series of cultures in Mesoamerica. d. dual temples Consider This: A similar feature is seen at Teotihuacan and Palenque, for example. 15.1 Differentiate the art and architecture of a series of cultures in Mesoamerica.

Answer: a Learning Objective: 15.1 Differentiate the art and architecture of a series of cultures in Mesoamerica.

Topic: Mesoamerica Difficulty Level: Difficult Skill Level: Apply Quiz: South America: The Central Andes EOM Q15.2.1 The Nazca created their geoglyphs by __________. a. removing the top layer of oxidized stones b. etching outlines into large boulders Consider This: The Nazca drawings are wide enough to be used as pathways. 15.2 Summarize the development of art and architecture in Peru over a period of more than 1,000 years. c. digging canals into volcanic stone Consider This: The Nazca drawings are wide enough to be used as pathways. 15.2 Summarize the development of art and architecture in Peru over a period of more than 1,000 years. d. outlining designs with white limestone Consider This: The Nazca drawings are wide enough to be used as pathways. 15.2 Summarize the development of art and architecture in Peru over a period of more than 1,000 years.

Answer: a Learning Objective: 15.2 Summarize the development of art and architecture in Peru over a period of more than 1,000 years.

Topic: South America: The Central Andes Difficulty Level: Easy Skill Level: Remember

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EOM Q15.2.2 Moche art is known for its __________. a. ceramic vessels created using molds b. wheel-thrown portrait pots Consider This: These were individualized as well. 15.2 Summarize the development of art and architecture in Peru over a period of more than 1,000 years. c. stone construction without mortar Consider This: These were individualized as well. 15.2 Summarize the development of art and architecture in Peru over a period of more than 1,000 years. d. tunics with symbolic designs Consider This: These were individualized as well. 15.2 Summarize the development of art and architecture in Peru over a period of more than 1,000 years.

Answer: a Learning Objective: 15.2 Summarize the development of art and architecture in Peru over a period of more than 1,000 years.

Topic: South America: The Central Andes Difficulty Level: Moderate Skill Level: Understand EOM Q15.2.3 The Earspool is associated with the Moche ritual practice of __________. a. sacrifice b. coronation Consider This: The elaborate headdresses on each figure look like a device used in this ritual. 15.2 Summarize the development of art and architecture in Peru over a period of more than 1,000 years. c. marriage Consider This: The elaborate headdresses on each figure look like a device used in this ritual. 15.2 Summarize the development of art and architecture in Peru over a period of more than 1,000 years. d. birth Consider This: The elaborate headdresses on each figure look like a device used in this ritual. 15.2 Summarize the development of art and architecture in Peru over a period of more than 1,000 years.

Answer: a Learning Objective: 15.2 Summarize the development of art and architecture in Peru over a period of more than 1,000 years.

Topic: South America: The Central Andes Difficulty Level: Moderate Skill Level: Understand

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EOM Q15.2.4 The Inca are known for their __________. a. stonework structures b. portrait vessels Consider This: The work was highly durable. 15.2 Summarize the development of art and architecture in Peru over a period of more than 1,000 years. c. geoglyphs Consider This: The work was highly durable. 15.2 Summarize the development of art and architecture in Peru over a period of more than 1,000 years. d. earspools Consider This: The work was highly durable. 15.2 Summarize the development of art and architecture in Peru over a period of more than 1,000 years.

Answer: a Learning Objective: 15.2 Summarize the development of art and architecture in Peru over a period of more than 1,000 years.

Topic: South America: The Central Andes Difficulty Level: Moderate Skill Level: Understand EOM Q15.2.5 This Inca tunic illustrates the hierarchical societies common in the Central Andes by its __________. a. symbols representing social status b. cotton and camelid fibers Consider This: This tunic may have been woven as a royal garment. 15.2 Summarize the development of art and architecture in Peru over a period of more than 1,000 years. c. square shape and neck opening Consider This: This tunic may have been woven as a royal garment. 15.2 Summarize the development of art and architecture in Peru over a period of more than 1,000 years. d. naturalistic ruler portrait Consider This: This tunic may have been woven as a royal garment. 15.2 Summarize the development of art and architecture in Peru over a period of more than 1,000 years.

Answer: a Learning Objective: 15.2 Summarize the development of art and architecture in Peru over a period of more than 1,000 years.

Topic: South America: The Central Andes Difficulty Level: Difficult Skill Level: Apply

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Quiz: The Aftermath of the Spanish Conquest EOM Q15.3.1 Hernán Cortés seized control of the __________. a. Aztec capital of Tenochtitlan b. Inca capital of Cuzco Consider This: This took place in 1521. 15.3 Describe the effect of the Spanish conquest on the cultures of Mesoamerica and South America. c. Maya capital of Palenque Consider This: This took place in 1521. 15.3 Describe the effect of the Spanish conquest on the cultures of Mesoamerica and South America. d. Olmec capital of La Venta Consider This: This took place in 1521. 15.3 Describe the effect of the Spanish conquest on the cultures of Mesoamerica and South America.

Answer: a Learning Objective: 15.3 Describe the effect of the Spanish conquest on the cultures of Mesoamerica and South America.

Topic: The Aftermath of the Spanish Conquest Difficulty Level: Easy Skill Level: Remember EOM Q15.3.2 Francisco Pizarro seized control of the __________. a. Inca capital of Cuzco b. Aztec capital of Tenochtitlan Consider This: This occurred in 1533. 15.3 Describe the effect of the Spanish conquest on the cultures of Mesoamerica and South America. c. Maya capital of Palenque Consider This: This occurred in 1533. 15.3 Describe the effect of the Spanish conquest on the cultures of Mesoamerica and South America. d. Olmec capital of La Venta Consider This: This occurred in 1533. 15.3 Describe the effect of the Spanish conquest on the cultures of Mesoamerica and South America.

Answer: a Learning Objective: 15.3 Describe the effect of the Spanish conquest on the cultures of Mesoamerica and South America.

Topic: The Aftermath of the Spanish Conquest Difficulty Level: Easy Skill Level: Remember

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EOM Q15.3.3 Based on what you have read, which two effects of the Spanish conquest likely had the most impact on native artistic production in Mesoamerica and South America? a. Population decline and religious conversion b. Climate change and warfare Consider This: Much artistic production in Mesoamerica and South America celebrated gods and rulers. 15.3 Describe the effect of the Spanish conquest on the cultures of Mesoamerica and South America. c. Traditional beliefs and social status Consider This: Much artistic production in Mesoamerica and South America celebrated gods and rulers. 15.3 Describe the effect of the Spanish conquest on the cultures of Mesoamerica and South America. d. Urban development and trade with Asia Consider This: Much artistic production in Mesoamerica and South America celebrated gods and rulers. 15.3 Describe the effect of the Spanish conquest on the cultures of Mesoamerica and South America.

Answer: a Learning Objective: 15.3 Describe the effect of the Spanish conquest on the cultures of Mesoamerica and South America.

Topic: The Aftermath of the Spanish Conquest Difficulty Level: Difficult Skill Level: Apply Quiz: North America EOM Q15.4.1 The Beaver Effigy Platform Pipe is typical of Hopewell pipes because it __________. a. represents an animal b. was used as a weapon Consider This: It has this in common with Florida Glades art. 15.4 Distinguish among various styles and functions of art and architecture from cultures across North America. c. was found in a temple Consider This: It has this in common with Florida Glades art. 15.4 Distinguish among various styles and functions of art and architecture from cultures across North America. d. pictures a foundation myth Consider This: It has this in common with Florida Glades art. 15.4 Distinguish among various styles and functions of art and architecture from cultures across North America.

Answer: a Learning Objective: 15.4 Distinguish among various styles and functions of art and architecture from cultures across North America.

Topic: North America Difficulty Level: Moderate Skill Level: Apply

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EOM Q15.4.2 The earthwork mounds in eastern North America are likely __________. a. platforms for ancestral shrines b. conduits between heaven and earth Consider This: Mesoamerican pyramids served the same purpose. 15.4 Distinguish among various styles and functions of art and architecture from cultures across North America. c. the earliest architecture in the Americas Consider This: Mesoamerican pyramids served the same purpose. 15.4 Distinguish among various styles and functions of art and architecture from cultures across North America. d. the remnants of pyramids Consider This: Mesoamerican pyramids served the same purpose. 15.4 Distinguish among various styles and functions of art and architecture from cultures across North America.

Answer: a Learning Objective: 15.4 Distinguish among various styles and functions of art and architecture from cultures across North America.

Topic: North America Difficulty Level: Easy Skill Level: Understand EOM Q15.4.3 Ancestral Puebloans are known for their pottery and __________. a. apartment-like dwellings b. figural textiles Consider This: These include kivas. 15.4 Distinguish among various styles and functions of art and architecture from cultures across North America. c. monumental sculpture Consider This: These include kivas. 15.4 Distinguish among various styles and functions of art and architecture from cultures across North America. d. earthwork mounds Consider This: These include kivas. 15.4 Distinguish among various styles and functions of art and architecture from cultures across North America.

Answer: a Learning Objective: 15.4 Distinguish among various styles and functions of art and architecture from cultures across North America.

Topic: North America Difficulty Level: Moderate Skill Level: Understand

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EOM Q15.4.4 The art of the Eastern Woodlands is known for its __________. a. quillwork b. pottery and wool weaving Consider This: Eastern Woodlands peoples used materials from animals found in the forest to make their art. 15.4 Distinguish among various styles and functions of art and architecture from cultures across North America. c. stone and wood carving Consider This: Eastern Woodlands peoples used materials from animals found in the forest to make their art. 15.4 Distinguish among various styles and functions of art and architecture from cultures across North America. d. textile blankets and potlach gifts Consider This: Eastern Woodlands peoples used materials from animals found in the forest to make their art. 15.4 Distinguish among various styles and functions of art and architecture from cultures across North America.

Answer: a Learning Objective: 15.4 Distinguish among various styles and functions of art and architecture from cultures across North America.

Topic: North America Difficulty Level: Moderate Skill Level: Understand EOM Q15.4.5 What part of this buffalo-hide robe represents an effect of the Spanish conquest on Great Plains culture? a. The depiction of horses b. The buffalo skin Consider This: This radically changed life on the Great Plains. 15.4 Distinguish among various styles and functions of art and architecture from cultures across North America. c. The representation of warriors Consider This: This radically changed life on the Great Plains. 15.4 Distinguish among various styles and functions of art and architecture from cultures across North America. d. The style of drawing Consider This: This radically changed life on the Great Plains. 15.4 Distinguish among various styles and functions of art and architecture from cultures across North America.

Answer: a Learning Objective: 15.4 Distinguish among various styles and functions of art and architecture from cultures across North America.

Topic: North America Difficulty Level: Difficult Skill Level: Apply

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Chapter Quiz: Art of the Americas EOC Q15.1 Mesoamerican cultures share an interest in __________. a. the sacred ballgame and monumental construction b. sacrifice and colossal ruler portraits Consider This: These also extended into the U.S. Southwest. 15.1 Differentiate the art and architecture of a series of cultures in Mesoamerica. c. death and monumental underground architecture Consider This: These also extended into the U.S. Southwest. 15.1 Differentiate the art and architecture of a series of cultures in Mesoamerica. d. grid-plan cities and respect for nature Consider This: These also extended into the U.S. Southwest. 15.1 Differentiate the art and architecture of a series of cultures in Mesoamerica.

Answer: a Learning Objective: 15.1 Differentiate the art and architecture of a series of cultures in Mesoamerica.

Topic: Art of the Americas Difficulty Level: Moderate Skill Level: Understand EOC Q15.2 Writing systems and a complex, accurate calendar developed in __________. a. Mesoamerica b. the Central Andes Consider This: This region also built stone pyramids. 15.1 Differentiate the art and architecture of a series of cultures in Mesoamerica. c. the North American Southwest Consider This: This region also built stone pyramids. 15.1 Differentiate the art and architecture of a series of cultures in Mesoamerica. d. the Pacific Northwest Consider This: This region also built stone pyramids. 15.1 Differentiate the art and architecture of a series of cultures in Mesoamerica.

Answer: a Learning Objective: 15.1 Differentiate the art and architecture of a series of cultures in Mesoamerica.

Topic: Art of the Americas Difficulty Level: Easy Skill Level: Remember

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EOC Q15.3 Urban centers like Teotihuacan reflected which cultural development in the Americas? a. The shift to agriculture b. The development of writing Consider This: This development had profound consequences for the population. 15.1 Differentiate the art and architecture of a series of cultures in Mesoamerica. c. The introduction of weaving Consider This: This development had profound consequences for the population. 15.1 Differentiate the art and architecture of a series of cultures in Mesoamerica. d. The invention of the wheel Consider This: This development had profound consequences for the population. 15.1 Differentiate the art and architecture of a series of cultures in Mesoamerica.

Answer: a Learning Objective: 15.1 Differentiate the art and architecture of a series of cultures in Mesoamerica.

Topic: Art of the Americas Difficulty Level: Moderate Skill Level: Apply EOC Q15.4 Both the Great Aztec Pyramid and The Goddess Coatlicue celebrate the __________. a. god Huitzilopochtli b. founding of Tenochtitlan Consider This: The works refer to the solar god. 15.1 Differentiate the art and architecture of a series of cultures in Mesoamerica. c. god Tlaloc Consider This: The works refer to the solar god. 15.1 Differentiate the art and architecture of a series of cultures in Mesoamerica. d. defeat of Teotihuacan Consider This: The works refer to the solar god. 15.1 Differentiate the art and architecture of a series of cultures in Mesoamerica.

Answer: a Learning Objective: 15.1 Differentiate the art and architecture of a series of cultures in Mesoamerica.

Topic: Art of the Americas Difficulty Level: Moderate Skill Level: Apply

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EOC Q15.5 The Founding of Tenochtitlan represents the Aztec homeland __________. a. as the prophesied symbol b. during the Spanish conquest Consider This: The homeland’s location was described by a god. 15.1 Differentiate the art and architecture of a series of cultures in Mesoamerica. c. on the island of Aztlan Consider This: The homeland’s location was described by a god. 15.1 Differentiate the art and architecture of a series of cultures in Mesoamerica. d. for the first emperor Consider This: The homeland’s location was described by a god. 15.1 Differentiate the art and architecture of a series of cultures in Mesoamerica.

Answer: a Learning Objective: 15.1 Differentiate the art and architecture of a series of cultures in Mesoamerica.

Topic: Art of the Americas Difficulty Level: Moderate Skill Level: Apply EOC Q15.6 What art form was produced in both the Nazca culture in Peru and the eastern cultures in North America? a. colossal earthworks b. elaborate textiles Consider This: Both cultures altered the landscape around them. 15.2 Summarize the development of art and architecture in Peru over a period of more than 1,000 years. c. large-scale petroglyphs Consider This: Both cultures altered the landscape around them. 15.2 Summarize the development of art and architecture in Peru over a period of more than 1,000 years. d. naturalistic animal sculptures Consider This: Both cultures altered the landscape around them. 15.2 Summarize the development of art and architecture in Peru over a period of more than 1,000 years.

Answer: a Learning Objective: 15.2 Summarize the development of art and architecture in Peru over a period of more than 1,000 years.

Topic: Art of the Americas Difficulty Level: Moderate Skill Level: Apply

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EOC Q15.7 Which of the following terms describes Moche portrait vessels? a. Naturalistic b. Abstract Consider This: This characteristic sets Moche art apart from other South American art.

15.2 Summarize the development of art and architecture in Peru over a period of more than 1,000 years. c. Monumental Consider This: This characteristic sets Moche art apart from other South American art.

15.2 Summarize the development of art and architecture in Peru over a period of more than 1,000 years. d. Narrative Consider This: This characteristic sets Moche art apart from other South American art.

15.2 Summarize the development of art and architecture in Peru over a period of more than 1,000 years.

Answer: a Learning Objective: 15.2 Summarize the development of art and architecture in Peru over a period of more than 1,000 years.

Topic: Art of the Americas Difficulty Level: Moderate Skill Level: Apply EOC Q15.8 Based on what you read, it is logical to conclude that Machu Picchu was built __________. a. by laborers paying their taxes b. with the help of beasts of burden Consider This: The Inca were skilled bureaucrats. 15.2 Summarize the development of art and architecture in Peru over a period of more than 1,000 years. c. using metal tools Consider This: The Inca were skilled bureaucrats. 15.2 Summarize the development of art and architecture in Peru over a period of more than 1,000 years. d. as an elaborate burial complex Consider This: The Inca were skilled bureaucrats. 15.2 Summarize the development of art and architecture in Peru over a period of more than 1,000 years.

Answer: a Learning Objective: 15.2 Summarize the development of art and architecture in Peru over a period of more than 1,000 years.

Topic: Art of the Americas Difficulty Level: Difficult Skill Level: Apply

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EOC Q15.9 What impact did the Spanish conquest have on the art of Mesoamerica and South America? a. Many objects were destroyed. b. Traditional media ceased to be made.

Consider This: The conquerors sought gold and silver. 15.3 Describe the effect of the Spanish conquest on the cultures of Mesoamerica and South America. c. Indigenous artists traveled to Europe.

Consider This: The conquerors sought gold and silver. 15.3 Describe the effect of the Spanish conquest on the cultures of Mesoamerica and South America. d. Native art remained unchanged.

Consider This: The conquerors sought gold and silver. 15.3 Describe the effect of the Spanish conquest on the cultures of Mesoamerica and South America.

Answer: a Learning Objective: 15.3 Describe the effect of the Spanish conquest on the cultures of Mesoamerica and South America.

Topic: Art of the Americas Difficulty Level: Moderate Skill Level: Understand EOC Q15.10 Which culture ceremonially damaged their pottery for use in burials? a. Mimbres b. Mississippian Consider This: The bowl was placed over the deceased’s head. 15.4 Distinguish among various styles and functions of art and architecture from cultures across North America. c. Moche Consider This: The bowl was placed over the deceased’s head. 15.4 Distinguish among various styles and functions of art and architecture from cultures across North America. d. Maya Consider This: The bowl was placed over the deceased’s head. 15.4 Distinguish among various styles and functions of art and architecture from cultures across North America.

Answer: a Learning Objective: 15.4 Distinguish among various styles and functions of art and architecture from cultures across North America.

Topic: Art of the Americas Difficulty Level: Easy Skill Level: Remember

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EOC Q15.11 What is the relationship between irrigation and apartment-like housing in the U.S. Southwest? a. Irrigated agriculture supported large populations. b. Flooding caused builders to elevate the housing.

Consider This: Apartment-like housing was also found at Teotihuacan. 15.4 Distinguish among various styles and functions of art and architecture from cultures across North America. c. Irrigation brought animals to the region for hunting.

Consider This: Apartment-like housing was also found at Teotihuacan. 15.4 Distinguish among various styles and functions of art and architecture from cultures across North America. d. Water was drained from the housing into the fields.

Consider This: Apartment-like housing was also found at Teotihuacan. 15.4 Distinguish among various styles and functions of art and architecture from cultures across North America.

Answer: a Learning Objective: 15.4 Distinguish among various styles and functions of art and architecture from cultures across North America.

Topic: Art of the Americas Difficulty Level: Difficult Skill Level: Apply EOC Q15.12 What do basketry and quillwork have in common with Great Plains tipis? a. They are made by women. b. They are made of buffalo hide.

Consider This: This is also true of Navajo weaving. 15.4 Distinguish among various styles and functions of art and architecture from cultures across North America. c. They represent warriors’ exploits.

Consider This: This is also true of Navajo weaving. 15.4 Distinguish among various styles and functions of art and architecture from cultures across North America. d. They employ coiling techniques.

Consider This: This is also true of Navajo weaving. 15.4 Distinguish among various styles and functions of art and architecture from cultures across North America.

Answer: a Learning Objective: 15.4 Distinguish among various styles and functions of art and architecture from cultures across North America.

Topic: Art of the Americas Difficulty Level: Difficult Skill Level: Apply

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EOC Q15.13 The tipis used on the Great Plains supported the peoples’ __________. a. nomadic lifestyles b. agricultural settlements Consider This: The tipi required the help of horses to move from place to place. 15.4 Distinguish among various styles and functions of art and architecture from cultures across North America. c. sedentary cultures Consider This: The tipi required the help of horses to move from place to place. 15.4 Distinguish among various styles and functions of art and architecture from cultures across North America. d. conversion to Christianity Consider This: The tipi required the help of horses to move from place to place. 15.4 Distinguish among various styles and functions of art and architecture from cultures across North America.

Answer: a Learning Objective: 15.4 Distinguish among various styles and functions of art and architecture from cultures across North America.

Topic: Art of the Americas Difficulty Level: Easy Skill Level: Understand EOC Q15.14 Northwest Coast art is characterized by __________. a. ovoids and formlines b. celts and inscriptions Consider This: These characteristics are seen in the Grizzly Bear House-Partition Screen.

15.4 Distinguish among various styles and functions of art and architecture from cultures across North America. c. individual likenesses Consider This: These characteristics are seen in the Grizzly Bear House-Partition Screen.

15.4 Distinguish among various styles and functions of art and architecture from cultures across North America. d. cranial deformations Consider This: These characteristics are seen in the Grizzly Bear House-Partition Screen.

15.4 Distinguish among various styles and functions of art and architecture from cultures across North America.

Answer: a Learning Objective: 15.4 Distinguish among various styles and functions of art and architecture from cultures across North America.

Topic: Art of the Americas Difficulty Level: Easy Skill Level: Understand

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EOC Q15.15 Seeing a work of Native American art in a museum detaches the object from its __________. a. function in context b. aesthetic contemplation Consider This: Native American art was historically collected by museums as anthropological “curiosities.” 15.4 Distinguish among various styles and functions of art and architecture from cultures across North America. c. role as “art” Consider This: Native American art was historically collected by museums as anthropological “curiosities.” 15.4 Distinguish among various styles and functions of art and architecture from cultures across North America. d. observational potential Consider This: Native American art was historically collected by museums as anthropological “curiosities.” 15.4 Distinguish among various styles and functions of art and architecture from cultures across North America.

Answer: a Learning Objective: 15.4 Distinguish among various styles and functions of art and architecture from cultures across North America.

Topic: Art of the Americas Difficulty Level: Moderate Skill Level: Understand

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Chapter 16: Arts of Africa Multiple-Choice Questions 1. Unlike European art, African art from the Renaissance through the nineteenth century sought to __________. a. emulate nature b. idealize the world around them c. convey intangible ideas d. express religious beliefs Answer: c Learning Objective: 16.1 Recognize abstraction and naturalism in the arts of Africa.

Topic: Thinking about Style: Abstraction and Naturalism Difficulty Level: Moderate Skill Level: Understand the Concepts 2. In the porch sculptures for the Palace of Ikere, why did Olowe of Ise depict the king smaller than the figures around him? a. to convey the idea that kingship requires the guidance of others b. to represent the king as a descendent of prosperous Yoruba rulers c. to associate the king with the queen’s female ancestors d. to communicate his authority to the members of his empire Answer: a Learning Objective: 16.1 Recognize abstraction and naturalism in the arts of Africa.

Topic: Thinking about Style: Abstraction and Naturalism Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 3. The intermediary between the Yoruba peoples and the spiritual realms of their gods, ancestors, and demons was called the __________. a. byeri b. nkisi nkondi c. oba d. oni Answer: d Learning Objective: 16.1 Recognize abstraction and naturalism in the arts of Africa.

Topic: Nigeria Difficulty Level: Easy Skill Level: Remember the Facts

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4. Which of the following statements best describes the function of Crowned Head of a Yoruba Ruler from Ife? a. a naturalistic portrait of a particular king b. an idealized image of the office of the king c. a ritual object that mediated civil disputes d. an abstracted portrait of a royal ancestor Answer: b Learning Objective: 16.1 Recognize abstraction and naturalism in the arts of Africa.

Topic: Nigeria Difficulty Level: Moderate Skill Level: Understand the Concepts 5. The parallel lines on Crowned Head of a Yoruba Ruler from Ife demonstrate the practice of __________. a. tattooing b. ceremonial paint c. wearing ritual masks d. scarification Answer: d Learning Objective: 16.1 Recognize abstraction and naturalism in the arts of Africa.

Topic: Nigeria Difficulty Level: Moderate Skill Level: Understand the Concepts 6. Which of the following objects was produced using the lost-wax casting technique? a. Nkisi Nkondi b. Lidded Saltcellar c. Crowned Head of a Yoruba Ruler from Ife d. Eyema-O-Byeri Answer: c Learning Objective: 16.1 Recognize abstraction and naturalism in the arts of Africa.

Topic: Nigeria Difficulty Level: Moderate Skill Level: Understand the Concepts 7. The Yoruba could be the earliest settlers in present-day __________. a. Ghana b. Zimbabwe c. Tunisia d. Nigeria Answer: d Learning Objective: 16.1 Recognize abstraction and naturalism in the arts of Africa.

Topic: Nigeria Difficulty Level: Easy Skill Level: Remember the Facts

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8. “Game Pass” Shelter from the Drakensberg cliffs illustrates the ancestral traditions of the __________. a. San peoples b. Yoruba c. Bwa people d. Asante empire Answer: a Learning Objective: 16.2 Identify themes of spirituality, power, and identity in the art of different areas of the African continent.

Topic: South Africa Difficulty Level: Moderate Skill Level: Understand the Concepts 9. Which of the following sites was an important commercial center for the East African gold trade? a. Lalibela b. Djenné c. Great Zimbabwe d. Benin City Answer: c Learning Objective: 16.2 Identify themes of spirituality, power, and identity in the art of different areas of the African continent.

Topic: Great Zimbabwe Difficulty Level: Easy Skill Level: Remember the Facts 10. The Great Enclosure at Great Zimbabwe is known for its __________. a. churches carved from volcanic tuff b. adobe brick mosque with projecting torons c. mosque with a horseshoe arched arcade d. concentric walls enclosing two stone towers Answer: d Learning Objective: 16.2 Identify themes of spirituality, power, and identity in the art of different areas of the African continent.

Topic: Great Zimbabwe Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It

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11. The oldest surviving mosque on the African continent is at __________. a. Djenné b. Kairouan c. Lalibela d. Great Zimbabwe Answer: b Learning Objective: 16.2 Identify themes of spirituality, power, and identity in the art of different areas of the African continent.

Topic: Tunisia Difficulty Level: Easy Skill Level: Remember the Facts 12. The Great Mosque of Kairouan features __________. a. a hypostyle plan b. a hemispherical dome c. projecting torons d. engaged buttresses Answer: a Learning Objective: 16.2 Identify themes of spirituality, power, and identity in the art of different areas of the African continent.

Topic: Tunisia Difficulty Level: Moderate Skill Level: Understand the Concepts 13. Biete Ghiorgis (Church of St. George) recalls the style of Byzantine churches in its __________. a. arcaded porticos b. hypostyle hall c. stone towers d. square cross design Answer: d Learning Objective: 16.2 Identify themes of spirituality, power, and identity in the art of different areas of the African continent.

Topic: Ethiopia Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It

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14. Which of the following is a critical component of the public masquerade ceremonies of the Bwa people? a. plank masks b. kente cloth c. the nkisi nkondi d. carved byeri Answer: a Learning Objective: 16.2 Identify themes of spirituality, power, and identity in the art of different areas of the African continent.

Topic: Burkina Faso Difficulty Level: Moderate Skill Level: Understand the Concepts 15. The Bwa people honor spirits through abstractions of flying creatures and animals associated with __________. a. fire b. the air c. water d. the earth Answer: c Learning Objective: 16.2 Identify themes of spirituality, power, and identity in the art of different areas of the African continent.

Topic: Burkina Faso Difficulty Level: Moderate Skill Level: Understand the Concepts 16. Asante weavers are traditionally __________. a. women b. men c. children d. royalty Answer: b Learning Objective: 16.3 Discuss the ways in which African objects participate in their contemporary societies.

Topic: Ghana Difficulty Level: Easy Skill Level: Remember the Facts

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17. Why is kente cloth woven so that the geometric patterns do not exactly line up with each other? a. to symbolize the oni b. to create a dazzling effect c. to honor the spirits d. to convey a unified world Answer: b Learning Objective: 16.3 Discuss the ways in which African objects participate in their contemporary societies.

Topic: Ghana Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It 18. The Great Mosque of Djenné was constructed from __________. a. stone b. brick c. adobe d. wood Answer: c Learning Objective: 16.3 Discuss the ways in which African objects participate in their contemporary societies.

Topic: Mali Difficulty Level: Moderate Skill Level: Understand the Concepts 19. How is the Great Mosque of Djenné different from the Great Mosque of Kairouan? a. Its exterior is replastered annually by the community. b. Its interior includes a large hemispherical dome. c. It was constructed using coursed masonry. d. Its hypostyle hall features horseshoe arches.

Answer: a Learning Objective: 16.3 Discuss the ways in which African objects participate in their contemporary societies.

Topic: Mali Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It

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20. How are kente cloth from the Asante Empire and the woven and cut-pile textiles from the kingdom of the Kongo similar? a. They were both worn by royalty. b. They are both woven of raffia fiber. c. They were used in masquerade ceremonies. d. They were confiscated by French colonizers.

Answer: a Learning Objective: 16.3 Discuss the ways in which African objects participate in their contemporary societies.

Topic: Republic of the Congo, Democratic Republic of the Congo, and Angola Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 21. What was the function of the nkisi nkondi? a. It protected the owner by honoring the oni. b. It was used in masquerade ceremonies. c. It identified the owner as a king or queen. d. It acted as an impartial arbiter of justice.

Answer: d Learning Objective: 16.3 Discuss the ways in which African objects participate in their contemporary societies.

Topic: Republic of the Congo, Democratic Republic of the Congo, and Angola Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 22. Who infused the nkisi nkondi with power? a. the diviner b. the king c. the oni d. the oba Answer: a Learning Objective: 16.3 Discuss the ways in which African objects participate in their contemporary societies.

Topic: Republic of the Congo, Democratic Republic of the Congo, and Angola Difficulty Level: Easy Skill Level: Remember the Facts

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23. The medical ingredients added to a nkisi nkondi are known as __________. a. kente b. bilongo c. oni d. torons Answer: b Learning Objective: 16.3 Discuss the ways in which African objects participate in their contemporary societies.

Topic: Republic of the Congo, Democratic Republic of the Congo, and Angola Difficulty Level: Easy Skill Level: Remember the Facts 24. How is the Lidded Saltcellar typical of objects commissioned during colonialism? a. It is carved from ivory. b. It was made by an artist from Ghana. c. It was designed by an oba. d. It represented European power.

Answer: a Learning Objective: 16.4 Explain how African artists responded to the difficult conditions created by European colonialism.

Topic: Art in Context: The Burden of Colonialism Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 25. In Benin City, the king was called the __________. a. oni b. bilongo c. oba d. byeri Answer: c Learning Objective: 16.4 Explain how African artists responded to the difficult conditions created by European colonialism.

Topic: Nigeria Difficulty Level: Easy Skill Level: Remember the Facts

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26. In the Palace Plaque from Benin City, the warrior chief is identified by his __________. a. diminutive scale b. bilongo c. scarification d. eben sword Answer: d Learning Objective: 16.4 Explain how African artists responded to the difficult conditions created by European colonialism.

Topic: Nigeria Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It 27. How did colonialism impact Benin City? a. The French confiscated or destroyed the byeri. b. The Portuguese exploited the ivory carvers of Sierra Leone. c. The Belgians dismantled the nkisi nkondi in the Kongo. d. The British destroyed it and took the artifacts to England.

Answer: d Learning Objective: 16.4 Explain how African artists responded to the difficult conditions created by European colonialism.

Topic: Nigeria Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 28. Which of the following African cultures created the Eyema-o-Byeri? a. the Bwa b. the Yoruba c. the Fang d. the San peoples Answer: c Learning Objective: 16.4 Explain how African artists responded to the difficult conditions created by European colonialism.

Topic: Gabon Difficulty Level: Easy Skill Level: Remember the Facts

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29. For the Fang, a carved wooden guardian figure is called __________. a. an oni b. a byeri c. a nkisi d. an oba Answer: b Learning Objective: 16.4 Explain how African artists responded to the difficult conditions created by European colonialism.

Topic: Gabon Difficulty Level: Easy Skill Level: Remember the Facts 30. In Congo: Shadow of a Shadow, Aimé Mpane assembles planks of wood on the ground in the shape of a man, woman, and child in order to ___________. a. reference the brutality of colonialism b. celebrate the liberation of the Congo c. problematize European ethnography d. challenge how we dispose of our waste Answer: a Learning Objective: 16.5 Characterize new directions in contemporary African art.

Topic: Aimé Mpane Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 31. The subjects of Seydou Keïta’s portraits can be characterized as __________. a. exotic others b. gay, bisexual, transgender, or queer c. European colonizers d. cosmopolitan Answer: d Learning Objective: 16.5 Characterize new directions in contemporary African art.

Topic: Seydou Keïta: Photography Difficulty Level: Moderate Skill Level: Understand the Concepts 32. Anatsui’s Versatility references the historical meaning associated with __________. a. wax-print fabric b. kente cloth c. nkisi nkondi d. Bwa plank masks Answer: b Learning Objective: 16.5 Characterize new directions in contemporary African art.

Topic: El Anatsui: Récupération Difficulty Level: Moderate Skill Level: Understand the Concepts

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33. Anatsui’s Versatility addresses environmental concerns by incorporating __________. a. kente cloth b. wax-print fabric c. found objects d. raffia fibers Answer: c Learning Objective: 16.5 Characterize new directions in contemporary African art.

Topic: El Anatsui: Récupération Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It 34. Zanele Muholi’s photographs, such as Thobe and Phila I, honor __________. a. same-sex relationships b. Africa’s cosmopolitanism c. Ghanian traditions d. a unified world Answer: a Learning Objective: 16.5 Characterize new directions in contemporary African art.

Topic: Zanele Muholi: Changing the Political and Cultural Discourse Difficulty Level: Moderate Skill Level: Understand the Concepts 35. Which of the following artworks uses wax-print fabrics to reveal the flow of history between Europe and Africa? a. El Anatsui’s Versatility b. Yinka Shonibare MBE’s Scramble for Africa c. Seydou Keïta’s Untitled (Family Portrait) d. Aimé Mpane’s Congo: Shadow of a Shadow Answer: b Learning Objective: 16.5 Characterize new directions in contemporary African art.

Topic: Art Beyond the Continent Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It

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Essay Questions 36. How does Crowned Head of a Yoruba Ruler from Ife demonstrate both abstraction and naturalism?

Answer: The ideal answer should include: 1. The cast metal head portrays a Yoruba oni and could represent a male or female ruler.

2. The full, delicate lips and expressive eyes bulge organically, stressing the artist’s desire to connect human anatomy with the spiritual nature of the oni.

3. The oni was an intermediary between the Yoruba people and the spiritual realms of their gods, ancestors, and demons.

4. While the head looks naturalistic, it is not a portrait of a particular king, but rather an idealized image of the office of the king and the supernatural powers residing in that office.

Learning Objective: 16.1 Recognize abstraction and naturalism in the arts of Africa.

Topic: Thinking about Style: Abstraction and Naturalism Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 37. How and why was spolia incorporated into the design of the Great Mosque of Kairouan?

Answer: The ideal answer should include: 1. At the Great Mosque of Kairouan the marble and porphyry columns from antiquity are used in the prayer hall and the courtyard.

2. The columns and capitals do not always match because they come from various Roman temples and Byzantine churches that were dismantled during the seventh century.

3. The round arches of the arcades appear to be Roman, but the builders modified them to be horseshoe arches.

4. By constructing the mosque with elements of Roman and Byzantine buildings, the mosque documents the Islamic victory over Roman and Byzantine empires, but, by preserving these ancient columns, the mosque also shows respect for the architectural traditions of earlier inhabitants and rulers.

Learning Objective: 16.2 Identify themes of spirituality, power, and identity in the art of different areas of the African continent.

Topic: Tunisia Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It

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38. What is the purpose of a nkisi nkondi and how does it change over time to become a visual record of a community’s judicial system?

Answer: The ideal answer should include: 1. The nkisi nkondi was believed to mediate disputes by recognizing, hunting down, and punishing whichever party was in the wrong.

2. After the object was carved, the diviner infused the object with power by inserting medical ingredients known as bilongo into the figure’s head, suspended in a packet from its neck or waist, inserted into its belly, or placed into the neck ruff.

3. The caretaker would bring out the nkisi nkondi to hear the case, and, if the clients could not reach an agreement, they would drive a nail, blade, or other pointed object into the figure to incite it into action.

4. The more nails the nkisi nkondi had, the more powerful it became, as the nails indicated the number of contracts for which it had successfully served as judge and jury.

Learning Objective: 16.3 Discuss the ways in which African objects participate in their contemporary societies.

Topic: Republic of the Congo, Democratic Republic of Congo, and Angola.

Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 39. Discuss the style, iconography, and function of the Eyema-o-Byeri sculpture. Then, explain how colonialism impacted the production and appearance of byeri.

Answer: The ideal answer should include: 1. The Eyema-o-Byeri sculpture is an example of a carved guardian figure, or byeri, that was placed atop a cylindrical bark container that preserved the bones of a family ancestor.

2. The sculptures served to protect the relics and they were carved with geometric metric forms that abstract the human body to depict the abstract qualities of protection, rebirth, and family heritage.

3. Because of the similarity of the Fang relics to the relics of the Catholic faith, French colonizers confiscated the byeri and those that were not destroyed were sold to European dealers, who frequently modified them to look more like “sculpture” and less like spiritual objects.

4. The posts used to secure them to their boxes were cut off and some were even polished black to render them uniform in color; the Fang byeri we see today in museums are among the African objects most heavily altered from their original appearance.

Learning Objective: 16.4 Explain how African artists responded to the difficult conditions created by European colonialism.

Topic: Gabon Difficulty Level: Difficult Skill Level: Apply What You know and Analyze It

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40. How does Seydou Keïta’s Untitled (Family Portrait) challenge colonial photography?

Answer: The ideal answer should include: 1. During colonialism, Europeans photographed Malians as ethnographic subjects, exotic others, or naked “savages,” so as to belittle African people as inferior to Europeans.

2. Keïta used a shallow depth of field so that his sitters pop out against the patterned fabrics he used as backdrops.

3. In Untitled (Family Portrait), Keïta contrasted the heavy, strong patterns of the wife’s clothing with stark white worn by her husband and child, and the black-and-whitecontrasts created by the natural light of the outdoor setting allow the sitters to occupy a visually luxurious space.

4. Keïta’s elegant composition monumentalizes individuals whose power and pride are communicated through their commanding poses, impeccable dress, and relaxed gestures.

Learning Objective: 16.5 Characterize new directions in contemporary African art.

Topic: Seydou Keïta: Photography Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It

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Revel Quizzes Quiz: Thinking about Style: Abstraction and Naturalism EOM Q16.1.1 Between the fourteenth and nineteenth centuries, most African figural representations were intended to be __________. a. part human and part supernatural b. destroyed in ritual ceremonies Consider This: Figures of ancestors are examples. 16.1 Recognize abstraction and naturalism in the arts of Africa. c. likenesses of recognizable individuals Consider This: Figures of ancestors are examples. 16.1 Recognize abstraction and naturalism in the arts of Africa. d. both naturalistic and abstract Consider This: Figures of ancestors are examples. 16.1 Recognize abstraction and naturalism in the arts of Africa.

Answer: a Learning Objective: 16.1 Recognize abstraction and naturalism in the arts of Africa.

Topic: Thinking about Style: Abstraction and Naturalism Difficulty Level: Moderate Skill Level: Understand EOM Q16.1.2 The Yoruba bronze head of the oni displays the qualities of __________. a. naturalism b. abstraction Consider This: The head shows scarification. 16.1 Recognize abstraction and naturalism in the arts of Africa. c. expressionism Consider This: The head shows scarification. 16.1 Recognize abstraction and naturalism in the arts of Africa. d. narrative Consider This: The head shows scarification. 16.1 Recognize abstraction and naturalism in the arts of Africa.

Answer: a Learning Objective: 16.1 Recognize abstraction and naturalism in the arts of Africa.

Topic: Thinking about Style: Abstraction and Naturalism Difficulty Level: Moderate Skill Level: Apply

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EOM Q16.1.3 The Yoruba cast bronze head of the oni represents __________. a. an intermediary with the spirit world b. an ancestor of the current ruler Consider This: This refers to the unique nature of the ruler. 16.1 Recognize abstraction and naturalism in the arts of Africa. c. the first king in Africa Consider This: This refers to the unique nature of the ruler. 16.1 Recognize abstraction and naturalism in the arts of Africa. d. a remnant of Roman influence Consider This: This refers to the unique nature of the ruler. 16.1 Recognize abstraction and naturalism in the arts of Africa.

Answer: a Learning Objective: 16.1 Recognize abstraction and naturalism in the arts of Africa.

Topic: Thinking about Style: Abstraction and Naturalism Difficulty Level: Moderate Skill Level: Understand Quiz: Themes in African Art: Spirituality, Power and Identity EOM Q16.2.1 Why does the text suggest the animals are the main subject of the rock paintings at Game Pass? a. The animals are larger than the humans. b. The animals are closer to the ground than the humans.

Consider This: This strategy is used in other parts of the world. 16.2 Identify themes of spirituality, power, and identity in the art of different areas of the African continent. c. The animals are more static than the humans.

Consider This: This strategy is used in other parts of the world. 16.2 Identify themes of spirituality, power, and identity in the art of different areas of the African continent. d. The animals overlap and the humans are isolated.

Consider This: This strategy is used in other parts of the world. 16.2 Identify themes of spirituality, power, and identity in the art of different areas of the African continent.

Answer: a Learning Objective: 16.2 Identify themes of spirituality, power, and identity in the art of different areas of the African continent.

Topic: Themes in African Art: Spirituality, Power and Identity Difficulty Level: Difficult Skill Level: Apply

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EOM Q16.2.2 The architecture of Great Zimbabwe employs __________. a. courses of finely cut masonry b. stacks of baked adobe bricks Consider This: This is found in the exterior walls of the Great Enclosure. 16.2 Identify themes of spirituality, power, and identity in the art of different areas of the African continent. c. colonnades of Roman spolia Consider This: This is found in the exterior walls of the Great Enclosure. 16.2 Identify themes of spirituality, power, and identity in the art of different areas of the African continent. d. low reliefs of granite Consider This: This is found in the exterior walls of the Great Enclosure. 16.2 Identify themes of spirituality, power, and identity in the art of different areas of the African continent.

Answer: a Learning Objective: 16.2 Identify themes of spirituality, power, and identity in the art of different areas of the African continent.

Topic: Themes in African Art: Spirituality, Power and Identity Difficulty Level: Easy Skill Level: Understand EOM Q16.2.3 The Great Mosque of Kairouan is known for its __________. a. horseshoe arches b. central plan Consider This: This is a modification from Roman design. 16.2 Identify themes of spirituality, power, and identity in the art of different areas of the African continent. c. barrel vaults Consider This: This is a modification from Roman design. 16.2 Identify themes of spirituality, power, and identity in the art of different areas of the African continent. d. stained glass Consider This: This is a modification from Roman design. 16.2 Identify themes of spirituality, power, and identity in the art of different areas of the African continent.

Answer: a Learning Objective: 16.2 Identify themes of spirituality, power, and identity in the art of different areas of the African continent.

Topic: Themes in African Art: Spirituality, Power and Identity Difficulty Level: Moderate Skill Level: Understand

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EOM Q16.2.4 What evidence does the text use to prove that the mosque at Kairouan shows “respect for the architectural traditions of earlier inhabitants” of Tunisia? a. The use of Roman and Byzantine architectural elements b. The inclusion of Ethiopian rock-cut architecture Consider This: This includes spolia. 16.2 Identify themes of spirituality, power, and identity in the art of different areas of the African continent. c. The floor plan based on the Prophet Muhammad’s home Consider This: This includes spolia. 16.2 Identify themes of spirituality, power, and identity in the art of different areas of the African continent. d. The use of local architectural styles and materials Consider This: This includes spolia. 16.2 Identify themes of spirituality, power, and identity in the art of different areas of the African continent.

Answer: a Learning Objective: 16.2 Identify themes of spirituality, power, and identity in the art of different areas of the African continent.

Topic: Themes in African Art: Spirituality, Power and Identity Difficulty Level: Difficult Skill Level: Apply EOM Q16.2.5 The Biete Ghiorgis church in Ethiopia was built as __________. a. a Byzantine-style central plan b. an early Christian-style basilica Consider This: The interior includes a domed ceiling. 16.2 Identify themes of spirituality, power, and identity in the art of different areas of the African continent. c. a Roman-style forum Consider This: The interior includes a domed ceiling. 16.2 Identify themes of spirituality, power, and identity in the art of different areas of the African continent. d. a mosque-like hypostyle hall Consider This: The interior includes a domed ceiling. 16.2 Identify themes of spirituality, power, and identity in the art of different areas of the African continent.

Answer: a Learning Objective: 16.2 Identify themes of spirituality, power, and identity in the art of different areas of the African continent.

Topic: Themes in African Art: Spirituality, Power and Identity Difficulty Level: Moderate Skill Level: Understand

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Quiz: Focus on Objects: Participation and Contemporaneity EOM Q16.3.1 Asante kente cloth was originally reserved for __________. a. royal regalia b. initiation ceremonies Consider This: Gold jewelry was also used for this purpose. 16.3 Discuss the ways in which African objects participate in their contemporary societies. c. marriage attire Consider This: Gold jewelry was also used for this purpose. 16.3 Discuss the ways in which African objects participate in their contemporary societies. d. funerary purposes Consider This: Gold jewelry was also used for this purpose. 16.3 Discuss the ways in which African objects participate in their contemporary societies.

Answer: a Learning Objective: 16.3 Discuss the ways in which African objects participate in their contemporary societies.

Topic: Focus on Objects: Participation and Contemporaneity Difficulty Level: Moderate Skill Level: Understand EOM Q16.3.2 The torons on the mosque at Djenné in Mali symbolize local Islamic traditions by __________. a. supporting scaffolding for annual replastering b. recalling the beams found in Muhammad’s house Consider This: These give the mosque its distinctive appearance. 16.3 Discuss the ways in which African objects participate in their contemporary societies. c. referring to the local pre-Islamic religion Consider This: These give the mosque its distinctive appearance. 16.3 Discuss the ways in which African objects participate in their contemporary societies. d. carrying the weight of the adobe minaret Consider This: These give the mosque its distinctive appearance. 16.3 Discuss the ways in which African objects participate in their contemporary societies.

Answer: a Learning Objective: 16.3 Discuss the ways in which African objects participate in their contemporary societies.

Topic: Focus on Objects: Participation and Contemporaneity Difficulty Level: Moderate Skill Level: Understand

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EOM Q16.3.3 Why is a consensus emerging among scholars that the nkisi nkondi were invented to solve the lack of access to local, recognizable systems of justice? a. The works were used to settle local disputes. b. The works appeared in colonial legal courts.

Consider This: This explains the nails. 16.3 Discuss the ways in which African objects participate in their contemporary societies. c. The works were made with imported materials.

Consider This: This explains the nails. 16.3 Discuss the ways in which African objects participate in their contemporary societies. d. The works were considered sacred.

Consider This: This explains the nails. 16.3 Discuss the ways in which African objects participate in their contemporary societies.

Answer: a Learning Objective: 16.3 Discuss the ways in which African objects participate in their contemporary societies.

Topic: Focus on Objects: Participation and Contemporaneity Difficulty Level: Difficult Skill Level: Apply Quiz: Art in Context: The Burden of Colonialism (Num. items: 5) EOM Q16.4.1 Based on what you read about the Lidded Saltcellar, why did its European patron want an artist working in coastal Sierra Leone? a. Sierra Leone artists were known for being highly technically skilled. b. Sierra Leone exported ivory sculpture to Europe.

Consider This: Valentim Fernandes points this out. 16.4 Explain how African artists responded to the difficult conditions created by European colonialism. c. Sierra Leone salt was favored among European patrons.

Consider This: Valentim Fernandes points this out. 16.4 Explain how African artists responded to the difficult conditions created by European colonialism. d. Sierra Leone artists travelled to European courts.

Consider This: Valentim Fernandes points this out. 16.4 Explain how African artists responded to the difficult conditions created by European colonialism.

Answer: a Learning Objective: 16.4 Explain how African artists responded to the difficult conditions created by European colonialism.

Topic: Art in Context: The Burden of Colonialism Difficulty Level: Moderate Skill Level: Apply

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EOM Q16.4.2 What do the decorative brass plaques from Benin City tell us about the obas who commissioned them? a. The obas displayed them to illustrate the organization of the Benin City royal society. b. The obas created them to invoke the spirits they worshipped.

Consider This: The oba is the ruler of Benin City. 16.4 Explain how African artists responded to the difficult conditions created by European colonialism. c. The obas used them to picture their divine right to rule.

Consider This: The oba is the ruler of Benin City. 16.4 Explain how African artists responded to the difficult conditions created by European colonialism. d. The obas pictured their ancestors and royal lineage.

Consider This: The oba is the ruler of Benin City. 16.4 Explain how African artists responded to the difficult conditions created by European colonialism.

Answer: a Learning Objective: 16.4 Explain how African artists responded to the difficult conditions created by European colonialism.

Topic: Art in Context: The Burden of Colonialism Difficulty Level: Moderate Skill Level: Apply EOM Q16.4.3 One of the visual hallmarks of the style of Benin City art is __________. a. hierarchic scale b. linear perspective Consider This: Old Kingdom Egyptian art uses the same convention. 16.4 Explain how African artists responded to the difficult conditions created by European colonialism. c. Naturalism Consider This: Old Kingdom Egyptian art uses the same convention. 16.4 Explain how African artists responded to the difficult conditions created by European colonialism. d. composite pose Consider This: Old Kingdom Egyptian art uses the same convention. 16.4 Explain how African artists responded to the difficult conditions created by European colonialism.

Answer: a Learning Objective: 16.4 Explain how African artists responded to the difficult conditions created by European colonialism.

Topic: Art in Context: The Burden of Colonialism Difficulty Level: Moderate Skill Level: Understand

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EOM Q16.4.4 The British Punitive Expedition of 1897 destroyed the palace in Benin City and removed the oba’s art because the __________. a. people defended their ruler b. palace was a stronghold for warring parties Consider This: The British contingent arrived without permission. 16.4 Explain how African artists responded to the difficult conditions created by European colonialism. c. British Council-General was supposed to live there Consider This: The British contingent arrived without permission. 16.4 Explain how African artists responded to the difficult conditions created by European colonialism. d. artists hid subversive images in their works Consider This: The British contingent arrived without permission. 16.4 Explain how African artists responded to the difficult conditions created by European colonialism.

Answer: a Learning Objective: 16.4 Explain how African artists responded to the difficult conditions created by European colonialism.

Topic: Art in Context: The Burden of Colonialism Difficulty Level: Moderate Skill Level: Understand EOM Q16.4.5 The European colonizers viewed the Fang byeri reliquary as a threat to European social control because it __________. a. contains ancestors’ bones b. represents the Fang ruler Consider This: This was viewed as a threat to Christian teachings. 16.4 Explain how African artists responded to the difficult conditions created by European colonialism. c. is carved by royal artists Consider This: This was viewed as a threat to Christian teachings. 16.4 Explain how African artists responded to the difficult conditions created by European colonialism. d. is used in initiation rituals Consider This: This was viewed as a threat to Christian teachings. 16.4 Explain how African artists responded to the difficult conditions created by European colonialism.

Answer: a Learning Objective: 16.4 Explain how African artists responded to the difficult conditions created by European colonialism.

Topic: Art in Context: The Burden of Colonialism Difficulty Level: Moderate Skill Level: Understand

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Quiz: Late Twentieth and Early Twenty-First Century: New Directions EOM Q16.5.1 Aimé Mpane’s Congo: Shadow of a Shadow refers to the tragic effects of the __________. a. Berlin Conference b. British Punitive Expedition Consider This: This divided the continent. 16.5 Characterize new directions in contemporary African art. c. African independence wars Consider This: This divided the continent. 16.5 Characterize new directions in contemporary African art. d. Great Depression Consider This: This divided the continent. 16.5 Characterize new directions in contemporary African art.

Answer: a Learning Objective: 16.5 Characterize new directions in contemporary African art.

Topic: Late Twentieth and Early Twenty-First Century: New Directions Difficulty Level: Moderate Skill Level: Understand EOM Q16.5.2 Contemporary artist Seydou Keïta uses his photographs to address Africa’s __________. a. cosmopolitanism b. environmental concerns Consider This: This contradicts how colonial photography represented Africa. 16.5 Characterize new directions in contemporary African art. c. civil wars Consider This: This contradicts how colonial photography represented Africa. 16.5 Characterize new directions in contemporary African art. d. Islamic heritage Consider This: This contradicts how colonial photography represented Africa. 16.5 Characterize new directions in contemporary African art.

Answer: a Learning Objective: 16.5 Characterize new directions in contemporary African art.

Topic: Late Twentieth and Early Twenty-First Century: New Directions Difficulty Level: Moderate Skill Level: Understand

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EOM Q16.5.3 Which term applies to El Anatsui’s art? a. Récupération, because he reuses materials b. Masquerade, because the works require participation Consider This: The artist encourages us to overcome humanity’s own destructive impulses 16.5 Characterize new directions in contemporary African art. c. Kente, because it is worn by royalty Consider This: The artist encourages us to overcome humanity’s own destructive impulses 16.5 Characterize new directions in contemporary African art. d. Toron, because it derives from Malian tradition Consider This: The artist encourages us to overcome humanity’s own destructive impulses 16.5 Characterize new directions in contemporary African art.

Answer: a Learning Objective: 16.5 Characterize new directions in contemporary African art.

Topic: Late Twentieth and Early Twenty-First Century: New Directions Difficulty Level: Easy Skill Level: Understand EOM Q16.5.4 Zanele Muholi’s photograph Thobe and Phila I represents the artist’s interest in __________. a. civil rights and equality b. globalization Consider This: The sitters’ identities reveal this interest. 16.5 Characterize new directions in contemporary African art. c. apartheid Consider This: The sitters’ identities reveal this interest. 16.5 Characterize new directions in contemporary African art. d. environmental activism Consider This: The sitters’ identities reveal this interest. 16.5 Characterize new directions in contemporary African art.

Answer: a Learning Objective: 16.5 Characterize new directions in contemporary African art.

Topic: Late Twentieth and Early Twenty-First Century: New Directions Difficulty Level: Moderate Skill Level: Understand

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EOM Q16.5.5 Yinka Shonibare MBE makes use of past cultural styles and expands in new artistic and global directions by combining __________. a. nineteenth-century fabrics and political commentary b. African myths and modern transnational politics Consider This: This refers to the colonial past. 16.5 Characterize new directions in contemporary African art. c. traditional sculpture techniques and pop culture Consider This: This refers to the colonial past. 16.5 Characterize new directions in contemporary African art. d. participatory objects and modern materials Consider This: This refers to the colonial past. 16.5 Characterize new directions in contemporary African art.

Answer: a Learning Objective: 16.5 Characterize new directions in contemporary African art.

Topic: Late Twentieth and Early Twenty-First Century: New Directions Difficulty Level: Moderate Skill Level: Understand Chapter Quiz: Arts of Africa EOC Q16.1 Olowe of Ise used hierarchic scale to signify his carved figures’ __________. a. importance within Yoruba royal society b. location within the physical space Consider This: This is based on the female figures. Chapter 16 Introduction c. holiness within the Yoruba religion Consider This: This is based on the female figures. Chapter 16 Introduction d. significance in Yoruba colonial history Consider This: This is based on the female figures. Chapter 16 Introduction Answer: a Learning Objective: None Topic: Arts of Africa Difficulty Level: Moderate Skill Level: Understand

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EOC Q16.2 How is the Crowned Head of a Yoruba Ruler from Ife typical of African figures from the fourteenth to the nineteenth centuries? a. It combines human anatomy and the spiritual world. b. It is created for ritual destruction.

Consider This: This is an oni. 16.1 Recognize abstraction and naturalism in the arts of Africa. c. It is an accurate portrait.

Consider This: This is an oni. 16.1 Recognize abstraction and naturalism in the arts of Africa. d. Its appearance displays naturalistic abstraction.

Consider This: This is an oni. 16.1 Recognize abstraction and naturalism in the arts of Africa.

Answer: a Learning Objective: 16.1 Recognize abstraction and naturalism in the arts of Africa.

Topic: Arts of Africa Difficulty Level: Moderate Skill Level: Apply EOC Q16.3 What evidence helps scholars interpret ancient rock paintings by the San culture? a. Ancient images depict rituals that are still enacted today. b. Rock painting has become a major source of industry in modern times.

Consider This: San people continue to make rock paintings. 16.2 Identify themes of spirituality, power, and identity in the art of different areas of the African continent. c. Sites where ancient images are found are now preserved as sacred ground.

Consider This: San people continue to make rock paintings. 16.2 Identify themes of spirituality, power, and identity in the art of different areas of the African continent. d. Narrative scenes provide a source of historical information and cultural heritage.

Consider This: San people continue to make rock paintings. 16.2 Identify themes of spirituality, power, and identity in the art of different areas of the African continent.

Answer: a Learning Objective: 16.2 Identify themes of spirituality, power, and identity in the art of different areas of the African continent.

Topic: Arts of Africa Difficulty Level: Moderate Skill Level: Apply

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EOC Q16.4 How does the city of Great Zimbabwe demonstrate its rise to prominence based on its trade networks with Arab merchants? a. Archaeological excavations of the city are filled with imported goods. b. The city’s architecture reflects the influence of Greek and Roman styles.

Consider This: The evidence includes items from Portugal, Persia, and China. 16.2 Identify themes of spirituality, power, and identity in the art of different areas of the African continent. c. The city’s monumental walls are encrusted with foreign coins.

Consider This: The evidence includes items from Portugal, Persia, and China. 16.2 Identify themes of spirituality, power, and identity in the art of different areas of the African continent. d. The Great Enclosure serves as the religious and administrative hub.

Consider This: The evidence includes items from Portugal, Persia, and China. 16.2 Identify themes of spirituality, power, and identity in the art of different areas of the African continent.

Answer: a Learning Objective: 16.2 Identify themes of spirituality, power, and identity in the art of different areas of the African continent.

Topic: Arts of Africa Difficulty Level: Moderate Skill Level: Understand EOC Q16.5 Which early African culture built monumental stone towers? a. Great Zimbabwe b. Ethiopia Consider This: The presence of monumental architecture suggests highly organized societies. 16.2 Identify themes of spirituality, power, and identity in the art of different areas of the African continent. c. Ghana Consider This: The presence of monumental architecture suggests highly organized societies. 16.2 Identify themes of spirituality, power, and identity in the art of different areas of the African continent. d. Cameroon Consider This: The presence of monumental architecture suggests highly organized societies. 16.2 Identify themes of spirituality, power, and identity in the art of different areas of the African continent.

Answer: a Learning Objective: 16.2 Identify themes of spirituality, power, and identity in the art of different areas of the African continent.

Topic: Arts of Africa Difficulty Level: Moderate Skill Level: Understand

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EOC Q16.6 What motivated the construction of Biete Ghiorgis (Church of St. George) and many other Christian sites in the highlands of Ethiopia? a. The king’s desire to construct a “new” Jerusalem for pilgrims. b. The introduction of Christianity into the country.

Consider This: Lalibela churches are a destination for Christian pilgrimages. 16.2 Identify themes of spirituality, power, and identity in the art of different areas of the African continent. c. A need for more Christian churches to accommodate new worshipers.

Consider This: Lalibela churches are a destination for Christian pilgrimages. 16.2 Identify themes of spirituality, power, and identity in the art of different areas of the African continent. d. New trade routes established after the Persian conquest of south Arabia.

Consider This: Lalibela churches are a destination for Christian pilgrimages. 16.2 Identify themes of spirituality, power, and identity in the art of different areas of the African continent.

Answer: a Learning Objective: 16.2 Identify themes of spirituality, power, and identity in the art of different areas of the African continent.

Topic: Arts of Africa Difficulty Level: Moderate Skill Level: Understand EOC Q16.7 To which of the significant themes of African art does the Bwa masquerade ceremony most closely adhere? a. Participation b. Modernity Consider This: The ceremony cannot be separated from the community. 16.2 Identify themes of spirituality, power, and identity in the art of different areas of the African continent. c. Cultural fluency Consider This: The ceremony cannot be separated from the community. 16.2 Identify themes of spirituality, power, and identity in the art of different areas of the African continent. d. Cosmopolitanism Consider This: The ceremony cannot be separated from the community. 16.2 Identify themes of spirituality, power, and identity in the art of different areas of the African continent.

Answer: a Learning Objective: 16.2 Identify themes of spirituality, power, and identity in the art of different areas of the African continent.

Topic: Arts of Africa Difficulty Level: Difficult Skill Level: Apply

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EOC Q16.8 What led to the destruction of Konboro’s mosque in Djenné in the early nineteenth century? a. It was considered too sumptuous and grand. b. It had to be enlarged to accommodate more worshipers.

Consider This: When Koi Konboro, the king of Djenné, converted to Islam in the thirteenth century, he transformed his palace into a mosque. 16.3 Discuss the ways in which African objects participate in their contemporary societies. c. The ruler wanted to make it more modern.

Consider This: When Koi Konboro, the king of Djenné, converted to Islam in the thirteenth century, he transformed his palace into a mosque. 16.3 Discuss the ways in which African objects participate in their contemporary societies. d. The original materials had deteriorated, making it structurally unsafe.

Consider This: When Koi Konboro, the king of Djenné, converted to Islam in the thirteenth century, he transformed his palace into a mosque. 16.3 Discuss the ways in which African objects participate in their contemporary societies.

Answer: a Learning Objective: 16.3 Discuss the ways in which African objects participate in their contemporary societies.

Topic: Arts of Africa Difficulty Level: Moderate Skill Level: Remember EOC Q16.9 Which African culture is known principally for raffia textiles? a. Kongo b. Yoruba Consider This: These were praised by a Portuguese captain. 16.3 Discuss the ways in which African objects participate in their contemporary societies. c. Asante Consider This: These were praised by a Portuguese captain. 16.3 Discuss the ways in which African objects participate in their contemporary societies. d. Bwa Consider This: These were praised by a Portuguese captain. 16.3 Discuss the ways in which African objects participate in their contemporary societies.

Answer: a Learning Objective: 16.3 Discuss the ways in which African objects participate in their contemporary societies.

Topic: Arts of Africa Difficulty Level: Moderate Skill Level: Understand

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EOC Q16.10 The decorative brass plaques of Benin are characterized by their __________. a. royal patronage b. representation of Christian beliefs Consider This: They once adorned columns in the chamber used by the oba. 16.3 Discuss the ways in which African objects participate in their contemporary societies. c. religious purpose Consider This: They once adorned columns in the chamber used by the oba. 16.3 Discuss the ways in which African objects participate in their contemporary societies. d. Monumentality Consider This: They once adorned columns in the chamber used by the oba. 16.3 Discuss the ways in which African objects participate in their contemporary societies.

Answer: a Learning Objective: 16.3 Discuss the ways in which African objects participate in their contemporary societies.

Topic: Arts of Africa Difficulty Level: Easy Skill Level: Remember EOC Q16.11 One effect of the British Punitive Expedition was the __________. a. flow of African art into Europe b. prohibition of traditional art Consider This: This explains in part the presence of African art in European museums.

16.4 Explain how African artists responded to the difficult conditions created by European colonialism. c. creation of European-style art schools Consider This: This explains in part the presence of African art in European museums.

16.4 Explain how African artists responded to the difficult conditions created by European colonialism. d. European preservation of African values Consider This: This explains in part the presence of African art in European museums.

16.4 Explain how African artists responded to the difficult conditions created by European colonialism.

Answer: a Learning Objective: 16.4 Explain how African artists responded to the difficult conditions created by European colonialism.

Topic: Arts of Africa Difficulty Level: Moderate Skill Level: Understand

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EOC Q16.12 The photograph of King Njoya with the royal throne he gave to the German Kaiser illustrates the __________. a. effects of colonialism b. influence of trade Consider This: The king wears a German uniform. 16.4 Explain how African artists responded to the difficult conditions created by European colonialism. c. legacy of African autonomy Consider This: The king wears a German uniform. 16.4 Explain how African artists responded to the difficult conditions created by European colonialism. d. tradition of African exploration Consider This: The king wears a German uniform. 16.4 Explain how African artists responded to the difficult conditions created by European colonialism.

Answer: a Learning Objective: 16.4 Explain how African artists responded to the difficult conditions created by European colonialism.

Topic: Arts of Africa Difficulty Level: Difficult Skill Level: Apply EOC Q16.13 Your textbook states that much contemporary Africa art displays “cultural fluency,” meaning that the artists __________. a. communicate issues across cultures b. speak the language of many cultures Consider This: The spirit behind this approach went back for centuries in Africa. 16.5 Characterize new directions in contemporary African art. c. tackle issues from other cultures Consider This: The spirit behind this approach went back for centuries in Africa. 16.5 Characterize new directions in contemporary African art. d. address the concerns of their own cultures Consider This: The spirit behind this approach went back for centuries in Africa. 16.5 Characterize new directions in contemporary African art.

Answer: a Learning Objective: 16.5 Characterize new directions in contemporary African art.

Topic: Arts of Africa Difficulty Level: Difficult Skill Level: Apply

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EOC Q16.14 What common materials are used by El Anatsui in the production of contemporary textiles? a. Bottle caps and discarded metal b. Fiber from coconuts and other native plants Consider This: This reflects his political critique. 16.5 Characterize new directions in contemporary African art. c. Cotton, silk, and synthetic threads Consider This: This reflects his political critique. 16.5 Characterize new directions in contemporary African art. d. Animal skins and pelts Consider This: This reflects his political critique. 16.5 Characterize new directions in contemporary African art.

Answer: a Learning Objective: 16.5 Characterize new directions in contemporary African art.

Topic: Arts of Africa Difficulty Level: Easy Skill Level: Remember EOC Q16.15 Yinka Shonibare MBE’s Scramble for Africa refers to which key event from African history? a. The Berlin Conference b. The British Punitive Expedition Consider This: In this event European nations divided up African territories among themselves. 16.5 Characterize new directions in contemporary African art. c. World War II Consider This: In this event European nations divided up African territories among themselves. 16.5 Characterize new directions in contemporary African art. d. The end of apartheid Consider This: In this event European nations divided up African territories among themselves. 16.5 Characterize new directions in contemporary African art.

Answer: a Learning Objective: 16.5 Characterize new directions in contemporary African art.

Topic: Arts of Africa Difficulty Level: Moderate Skill Level: Understand

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Chapter 17: European and American Art, 1715–1840 Multiple-Choice Questions 1. Which of the following artistic styles developed as a reaction to the formality and rigidity of seventeenth-century court life? a. Neoclassicism b. Romanticism c. Rococo d. Grand Manner Answer: c Learning Objective: 17.1 Explain how the ornate style of the Rococo era reflected salon life among the aristocracy in eighteenth-century France.

Topic: Rococo Difficulty Level: Easy Skill Level: Remember the Facts 2. Which of the following is a characteristic of the Rococo style? a. moralizing narratives b. dramatic contrasts of light and dark c. heroic nudity d. delicately curving forms Answer: d Learning Objective: 17.1 Explain how the ornate style of the Rococo era reflected salon life among the aristocracy in eighteenth-century France.

Topic: Rococo Difficulty Level: Moderate Skill Level: Understand the Concepts 3. The work of which artist prompted the French Royal Academy of Painting and Sculpture to create the category of fête galante? a. Jean-Antoine Watteau b. Jean-Honoré Fragonard c. Marie-Louise-Élisabeth Vigée-Lebrun d. Eugène Delacroix Answer: a Learning Objective: 17.1 Explain how the ornate style of the Rococo era reflected salon life among the aristocracy in eighteenth-century France.

Topic: Rococo Difficulty Level: Moderate Skill Level: Understand the Concepts

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4. What was the function of a salon in a French residence? a. It was a room for conversation and entertainment. b. It was a library for private study and contemplation. c. It was a private room for conducting business. d. It was a studio for wealthy and successful artists.

Answer: a Learning Objective: 17.1 Explain how the ornate style of the Rococo era reflected salon life among the aristocracy in eighteenth-century France.

Topic: Rococo Difficulty Level: Moderate Skill Level: Understand the Concepts 5. The Salon de la Princesse is known for its __________. a. Neoclassical sculpture b. Neoclassical paintings c. Romantic landscape paintings d. Rococo ornamentation Answer: d Learning Objective: 17.1 Explain how the ornate style of the Rococo era reflected salon life among the aristocracy in eighteenth-century France.

Topic: Rococo Difficulty Level: Moderate Skill Level: Understand the Concepts 6. How does Jean-Antoine Watteau’s The Pilgrimage to Cythera demonstrate the characteristics of the Rococo style? a. It is a history painting whose subject is drawn from mythology. b. It depicts a dream-like world filled with beautiful couples and putti. c. It represents the dominance of Classical drawing over painterly effects. d. Its erotic subject matter is enhanced by dramatic contrasts of light and dark.

Answer: b Learning Objective: 17.1 Explain how the ornate style of the Rococo era reflected salon life among the aristocracy in eighteenth-century France.

Topic: Rococo Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It

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7. Which of the following is an example of a fête galante painting? a. Thomas Cole’s The Oxbow b. Théodore Géricault’s The Raft of the “Medusa” c. Jean-Antoine Watteau’s The Pilgrimage to Cythera d. William Hogarth’s The Marriage Contract Answer: c Learning Objective: 17.1 Explain how the ornate style of the Rococo era reflected salon life among the aristocracy in eighteenth-century France.

Topic: Rococo Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It 8. How is William Hogarth’s The Marriage Contract different from Jean-Honoré Fragonard’s The Swing? a. It is a history painting that exemplifies the conventions of the Academic Salons. b. Its moralizing narrative corresponds to Enlightenment values. c. Its lighthearted figures and pastel colors exemplify the Rococo style. d. Its idealized figures and ordered composition embody the Neoclassical style.

Answer: b Learning Objective: 17.2 Distinguish English and French eighteenth-century paintings of moralizing narratives and portraits from contemporary Rococo art.

Topic: Moralizing Narratives and Portraits Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 9. British eighteenth-century patrons favored which of the following themes? a. moralizing scenes b. historical subjects c. Classical mythology d. outdoor entertainment Answer: a Learning Objective: 17.2 Distinguish English and French eighteenth-century paintings of moralizing narratives and portraits from contemporary Rococo art.

Topic: Moralizing Narratives and Portraits Difficulty Level: Easy Skill Level: Remember the Facts

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10. Why did William Hogarth reproduce his paintings as prints? a. to target corrupt politicians b. to circulate portraits of the elite c. to elevate his social status d. to reach a broader audience Answer: d Learning Objective: 17.2 Distinguish English and French eighteenth-century paintings of moralizing narratives and portraits from contemporary Rococo art.

Topic: Moralizing Narratives and Portraits Difficulty Level: Moderate Skill Level: Understand the Concepts 11. In Joseph Wright’s An Experiment on a Bird in the Air-Pump, the moon symbolizes __________. a. the bird’s fate b. the patron’s last name c. the Lunar Society d. the god Cupid Answer: c Learning Objective: 17.2 Distinguish English and French eighteenth-century paintings of moralizing narratives and portraits from contemporary Rococo art.

Topic: Moralizing Narratives and Portraits Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It 12. In Thomas Gainsborough’s Robert Andrews and Frances Carter, the elegant poses and countryside setting recall the artwork of __________. a. Angelica Kauffmann b. Jean-Antoine Watteau c. John Constable d. Caspar David Friedrich Answer: b Learning Objective: 17.2 Distinguish English and French eighteenth-century paintings of moralizing narratives and portraits from contemporary Rococo art.

Topic: Moralizing Narratives and Portraits Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It

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13. Queen Marie Antoinette’s favorite painter was __________. a. Marie-Louise-Élisabeth Vigée-Lebrun b. Thomas Gainsborough c. Angelica Kauffmann d. Adélaïde Labille-Guiard Answer: a Learning Objective: 17.2 Distinguish English and French eighteenth-century paintings of moralizing narratives and portraits from contemporary Rococo art.

Topic: Portraiture Difficulty Level: Easy Skill Level: Remember the Facts 14. Which of the following aspects of Marie-Louise-Élisabeth Vigée-Lebrun’s Portrait of Marie Antoinette with Her Children represents the French reaction against Rococo during the 1760s? a. the pastel colors b. the queen’s conventional feminine charms c. the curving, delicate forms d. the restrained style Answer: d Learning Objective: 17.2 Distinguish English and French eighteenth-century paintings of moralizing narratives and portraits from contemporary Rococo art.

Topic: Portraiture Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It 15. Marie-Louise-Élisabeth Vigée-Lebrun’s Portrait of Marie Antoinette with Her Children promotes the Enlightenment ideal of the “good mother” to __________. a. illustrate the court’s interest in Rococo fête galante b. merge the genres of portraiture and history painting c. create a painting that conforms to Neoclassicism d. counter the queen’s immoral and conniving reputation Answer: d Learning Objective: 17.2 Distinguish English and French eighteenth-century paintings of moralizing narratives and portraits from contemporary Rococo art.

Topic: Portraiture Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It

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16. Who successful petitioned the French Academy to increase the number of places available to women? a. Adélaïde Labille-Guiard b. Marie-Louise-Élisabeth Vigée-Lebrun c. Honoré Daumier d. Angelica Kauffmann Answer: a Learning Objective: 17.2 Distinguish English and French eighteenth-century paintings of moralizing narratives and portraits from contemporary Rococo art.

Topic: Portraiture Difficulty Level: Easy Skill Level: Remember the Facts 17. Who was the Enlightenment philosopher that believed men and women should conform to the roles assigned to them by nature, with women tending to the home and raising children, and men practicing learned professions, governing the state, and taking other active roles in public life? a. Horace Walpole b. Joseph Bonaparte c. Jean-Jacques Rousseau d. Juan Diego Answer: c Learning Objective: 17.2 Distinguish English and French eighteenth-century paintings of moralizing narratives and portraits from contemporary Rococo art.

Topic: Portraiture Difficulty Level: Easy Skill Level: Remember the Facts 18. The artistic movement rooted in themes of moral incorruptibility, patriotism, and courage and stylistic sources from ancient Greek and Roman art is called __________. a. Romanticism b. Neoclassicism c. Grand Manner painting d. Rococo Answer: b Learning Objective: 17.3 Compare Neoclassicism and Romanticism as two cultural expressions of mid-eighteenth- to mid-nineteenth-century Europe.

Topic: Neoclassicism and Romanticism Difficulty Level: Easy Skill Level: Remember the Facts

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19. The archaeological discovery of the ancient city of Pompeii stimulated the development of __________. a. Neoclassicism b. Romanticism c. Rococo d. Grand Manner painting Answer: a Learning Objective: 17.3 Compare Neoclassicism and Romanticism as two cultural expressions of mid-eighteenth- to mid-nineteenth-century Europe.

Topic: Neoclassicism and Romanticism Difficulty Level: Easy Skill Level: Remember the Facts 20. Which of the following artworks exemplifies the characteristics of Neoclassicism? a. Thomas Cole’s The Oxbow b. Francisco Goya’s Third of May c. Jean-Antoine Watteau’s The Pilgrimage to Cythera d. Antonio Canova’s Cupid and Psyche Answer: d Learning Objective: 17.3 Compare Neoclassicism and Romanticism as two cultural expressions of mid-eighteenth- to mid-nineteenth-century Europe.

Topic: Neoclassicism and Romanticism Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It 21. Which of the following styles was particularly influenced by literary fantasies infused with a spirit of sensationalism and melancholy? a. Romanticism b. Rococo c. Grand Manner painting d. Neoclassicism Answer: a Learning Objective: 17.3 Compare Neoclassicism and Romanticism as two cultural expressions of mid-eighteenth- to mid-nineteenth-century Europe.

Topic: Neoclassicism and Romanticism Difficulty Level: Moderate Skill Level: Understand the Concepts

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22. Which of the following statements best describes John Henry Fuseli’s artworks, including The Nightmare? a. He portrayed humanity as rational and good. b. He glorified the irrational side of human nature. c. He selected themes that corresponded to Enlightenment values. d. He valued the dominance of drawing over painterly effects.

Answer: b Learning Objective: 17.3 Compare Neoclassicism and Romanticism as two cultural expressions of mid-eighteenth- to mid-nineteenth-century Europe.

Topic: Neoclassicism and Romanticism Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 23. Who hung a copy of John Henry Fuseli’s The Nightmare in his office? a. Napoleon Bonaparte b. Sigmund Freud c. Thomas Jefferson d. Jean-Jacques Rousseau Answer: b Learning Objective: 17.3 Compare Neoclassicism and Romanticism as two cultural expressions of mid-eighteenth- to mid-nineteenth-century Europe.

Topic: Neoclassicism and Romanticism Difficulty Level: Easy Skill Level: Remember the Facts 24. Which of the following artists is known for his severe Classical paintings that extol the antique virtues of stoicism, courage, masculinity, and patriotism? a. Thomas Gainsborough b. Jacques-Louis David c. Jean-Auguste-Dominique Ingres d. Théodore Géricault Answer: b Learning Objective: 17.3 Compare Neoclassicism and Romanticism as two cultural expressions of mid-eighteenth- to mid-nineteenth-century Europe.

Topic: Neoclassical Painting in France Difficulty Level: Moderate Skill Level: Understand the Concepts

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25. David’s Oath of the Horatii became an emblem of __________. a. the French Revolution b. the Federal period c. Enlightenment ideals d. the American War of Independence Answer: a Learning Objective: 17.3 Compare Neoclassicism and Romanticism as two cultural expressions of mid-eighteenth- to mid-nineteenth-century Europe.

Topic: Neoclassical Painting in France Difficulty Level: Moderate Skill Level: Understand the Concepts 26. Jacques-Louis David’s Napoleon Crossing the Saint-Bernard exemplifies the Neoclassical style in its __________. a. loose, fluid brushwork b. emphasis on color over line c. crisp delineation of individual forms d. sweeping diagonals and flowing draperies Answer: c Learning Objective: 17.3 Compare Neoclassicism and Romanticism as two cultural expressions of mid-eighteenth- to mid-nineteenth-century Europe.

Topic: Neoclassical Painting in France Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It 27. Thomas Jefferson’s design for his home at Monticello was influenced by __________. a. houses on the rue Transnonian b. Rococo salons c. British palaces d. Palladian villas in Italy Answer: d Learning Objective: 17.3 Compare Neoclassicism and Romanticism as two cultural expressions of mid-eighteenth- to mid-nineteenth-century Europe.

Topic: Neoclassical Architecture in England and the United States Difficulty Level: Moderate Skill Level: Understand the Concepts

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28. Who succeeded Théodore Géricault as the leader of the Romantic movement? a. Eugène Delacroix b. Jean-Auguste-Dominique Ingres c. Adélaïde Labille-Guiard d. Jacques-Louis David Answer: a Learning Objective: 17.3 Compare Neoclassicism and Romanticism as two cultural expressions of mid-eighteenth- to mid-nineteenth-century Europe.

Topic: Romantic Printing and Printmaking in France and Spain Difficulty Level: Easy Skill Level: Remember the Facts 29. Honoré Daumier created biting caricatures and social commentary using the medium of __________. a. etching b. lithography c. sculpture d. fresco Answer: b Learning Objective: 17.3 Compare Neoclassicism and Romanticism as two cultural expressions of mid-eighteenth- to mid-nineteenth-century Europe.

Topic: Romantic Printing and Printmaking in France and Spain Difficulty Level: Easy Skill Level: Remember the Facts 30. Which of the following statements best describes the theme of many of Francisco Goya’s artworks, including Third of May? a. Humanity is rational and good. b. Civic sacrifice and patriotism are important values. c. Humanity is violent, greedy, and foolish. d. Nature evokes the transcendent power of God. Answer: c Learning Objective: 17.3 Compare Neoclassicism and Romanticism as two cultural expressions of mid-eighteenth- to mid-nineteenth-century Europe.

Topic: Romantic Printing and Printmaking in France and Spain Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It

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31. Romantic landscape painting developed in response to __________. a. the American War of Independence b. the decline of Enlightenment values c. the French Revolution d. industrialization and urbanization Answer: d Learning Objective: 17.4 Identify aspects of Romanticism in nineteenth-century English, American, and German landscape painting.

Topic: Romantic Landscape Painting Difficulty Level: Moderate Skill Level: Understand the Concepts 32. John Constable’s The White Horse depicts __________. a. the sublime turbulence of nature b. a cool and mysterious landscape c. a scene of rural tranquility d. the idyllic world of a fête galante Answer: c Learning Objective: 17.4 Identify aspects of Romanticism in nineteenth-century English, American, and German landscape painting.

Topic: Romantic Landscape Painting Difficulty Level: Moderate Skill Level: Understand the Concepts 33. Joseph Mallord William Turner’s Snowstorm: Hannibal and His Army Crossing the Alps evokes __________. a. the sublime b. tranquility c. rational order d. erotic desires Answer: a Learning Objective: 17.4 Identify aspects of Romanticism in nineteenth-century English, American, and German landscape painting.

Topic: Romantic Landscape Painting Difficulty Level: Moderate Skill Level: Understand the Concepts

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34. Who launched the Hudson River School? a. John Constable b. Thomas Cole c. William Hogarth d. Joseph Wright Answer: b Learning Objective: 17.4 Identify aspects of Romanticism in nineteenth-century English, American, and German landscape painting.

Topic: Romantic Landscape Painting Difficulty Level: Easy Skill Level: Remember the Facts 35. Which of the following artworks corresponds to the idea that landscape could be a vehicle through which to achieve spiritual revelation? a. Jean-Antoine Watteau’s The Pilgrimage to Cythera b. Thomas Cole’s The Oxbow c. David Friedrich’s Abbey in an Oak Forest d. Théodore Géricault’s The Raft of the “Medusa” Answer: c Learning Objective: 17.4 Identify aspects of Romanticism in nineteenth-century English, American, and German landscape painting.

Topic: Romantic Landscape Painting Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It Essay Questions 36. How do the formal qualities and iconography of Jean-Honoré Fragonard’s The Swing exemplify the characteristics of the Rococo style?

Answer: The ideal answer should include: 1. Rococo is characterized by dainty figures and lightheartedness and pictorial themes and often incorporated Classical love stories, putti, and cupids.

2. The Swing depicts a pretty young woman suspended in midair on a swing; her movement is created by an elderly guardian who pulls on a rope and is obscured in the shadows of the trees on the right.

3. On the left, the girl’s blushing lover hides in the bushes, swooning with anticipation to receive an unobstructed view up her skirt that the girl lifts by extending her leg.

4. The playful abandon of the lovers, the complicity of the sculpture of Cupid on the left, the putti with a dolphin beneath the swing who seem to urge the woman on, and the poor duped guardian on the right, all work together to create an image that bursts with anticipation and desire, but also maintains a robust sense of humor.

Learning Objective: 17.1 Explain how the ornate style of the Rococo era reflected salon life among the aristocracy in eighteenth-century France.

Topic: Rococo Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 12 Copyright © 2020, 2016, 2012 Pearson Education, Inc. All rights reserved.

37. How does William Hogarth’s series Marriage à la Mode construct a moralizing narrative?

Describe and analyze the iconography of The Marriage Contract to support your argument.

Answer: The ideal answer should include: 1. In the satirical series Marriage à la Mode, Hogarth promotes the concept of marriage based on love by depicting the progressively disastrous results of a loveless union, which, in this series, ultimately ends in murder and suicide.

2. In the opening scene, The Marriage Contract, Hogarth depicts the gout-ridden Lord Squander field pointing proudly to his family tree as he arranges for his son to marry the daughter of a wealthy merchant.

3. The merchant will be securing his entry into the aristocracy through this alliance, while the lord will gain the money he needs to complete his Palladian house, visible through the window.

4. Sitting back to back are the loveless couple, who will be sacrificed in marriage for the pride and greed of their fathers; the young Squanderfield admires himself in the mirror, while the lawyer Silvertongue whispers to the unhappy fiancée.

Learning Objective: 17.2 Distinguish English and French eighteenth-century paintings of moralizing narratives and portraits from contemporary Rococo art.

Topic: Moralizing Narratives and Portraits Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 38. Compare and contrast the characteristics of Neoclassicism and Romanticism. Use JacquesLouis David’s Oath of the Horatii and Eugène Delacroix’s Liberty Leading the People as examples.

Answer: The ideal answer should include: 1. David’s Oath of the Horatii corresponds to the Neoclassical style in its idealized figures and balanced composition derived from classical pyramidal groupings and repeating arches in the background.

2. Its moral message—valuing patriotic duty above personal interests and family obligations—also conforms to the typical Neoclassical themes of patriotism and moral incorruptibility.

3. Romanticism, however, is characterized by loose, fluid brushwork, strong colors, dramatic contrasts of light and dark, complex compositions, and expressive poses and gestures and aimed to inspire strong feelings in viewers.

4. Delacroix’s Liberty Leading the People exemplifies Romanticism by re-imagining the emotional climate of the July 1830 revolt through the allegorical figure of Liberty leading revolutionaries—a motley crew of students, laborers, children, and top-hatted lawyers— into the heat of battle.

Learning Objective: 17.3 Compare Neoclassicism and Romanticism as two cultural expressions of mid-eighteenth- to mid-nineteenth-century Europe.

Topic: Neoclassical Painting in France; Romantic Painting and Printmaking in France and Spain Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It

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39. Why was Théodore Géricault’s The Raft of the “Medusa” so controversial? Consider both style and subject matter in your answer.

Answer: The ideal answer should include: 1. The subject is the 1816 shipwreck of the Medusa in which the captain, who was an incompetent aristocrat appointed by the newly restored monarchy for political reasons, reserved all the lifeboats for himself and his officers and consigned the 152 passengers and crew to a hastily built raft.

2. Géricault shows the moment when the 15 surviving passengers, who spent two weeks adrift subsisting on human flesh, first spotted their rescue ship.

3. By placing a black man at the top of the composition, Géricault suggests that freedom for all will occur only when the most oppressed member of society is emancipated.

4. French critics saw the painting as a political commentary; Liberals praised it for exposing the scandal, and royalists condemned it as sensationalist journalism rather than art.

Learning Objective: 17.3 Compare Neoclassicism and Romanticism as two cultural expressions of mid-eighteenth- to mid-nineteenth-century Europe.

Topic: Romantic Painting and Printmaking in France and Spain Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 40. How does Joseph Mallord William Turner’s Snowstorm: Hannibal and His Army Crossing the Alps demonstrate the characteristics of the dramatic style of Romantic landscape paintings?

Answer: The ideal answer should include: 1. Dramatic landscape painting emphasized turbulent or fantastic natural scenery, often shaken by natural disasters such as storms and avalanches, and aimed to stir viewer’s emotions and arouse a feeling of awe.

2. Turner’s painting depicts an enormous vortex of wind, mist, and snow that masks the sun and threatens to annihilate the soldiers marching below it.

3. Barely visible in the distance is the figure of Hannibal who led his troops through the Alps to meet the Roman army in 218 BCE, and Turner probably meant this painting to be an allegory of the Napoleonic Wars during which Napoleon himself crossed the Alps.

4. Turner’s painting evokes notions of the sublime because it uses the awe-inspiring and transcendent power of nature.

Learning Objective: 17.4 Identify aspects of Romanticism in nineteenth-century English, American, and German landscape painting.

Topic: Romantic Landscape Painting Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It

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Revel Quizzes Quiz: Rococo EOM Q17.1.1 How do French eighteenth-century salons embody the spirit of the Rococo style? a. They are decorated in pastel colors and delicate, curving forms. b. They include allegories of absolute royal power.

Consider This: The Salon de la Princesse exemplifies the type. 17.1 Explain how the ornate style of the Rococo era reflected salon life among the aristocracy in eighteenthcentury France. c. This is where the formality of the court is displayed.

Consider This: The Salon de la Princesse exemplifies the type. 17.1 Explain how the ornate style of the Rococo era reflected salon life among the aristocracy in eighteenthcentury France. d. This is where anti-monarchy discussions get their start.

Consider This: The Salon de la Princesse exemplifies the type. 17.1 Explain how the ornate style of the Rococo era reflected salon life among the aristocracy in eighteenthcentury France.

Answer: a Learning Objective: 17.1 Explain how the ornate style of the Rococo era reflected salon life among the aristocracy in eighteenth-century France.

Topic: Rococo Difficulty Level: Moderate Skill Level: Apply EOM Q17.1.2 Paintings in Rococo salons commonly picture __________. a. Classical love stories b. biblical narratives Consider This: These often include putti. 17.1 Explain how the ornate style of the Rococo era reflected salon life among the aristocracy in eighteenth-century France. c. historical themes Consider This: These often include putti. 17.1 Explain how the ornate style of the Rococo era reflected salon life among the aristocracy in eighteenth-century France. d. Grand Manner portraits Consider This: These often include putti. 17.1 Explain how the ornate style of the Rococo era reflected salon life among the aristocracy in eighteenth-century France.

Answer: a Learning Objective: 17.1 Explain how the ornate style of the Rococo era reflected salon life among the aristocracy in eighteenth-century France.

Topic: Rococo Difficulty Level: Moderate Skill Level: Understand

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EOM Q17.1.3 Watteau’s Pilgrimage to Cythera typifies Rococo painting for its __________. a. Classical theme b. biblical subject Consider This: The Rococo treatment of this, however, is unlike the Renaissance. 17.1 Explain how the ornate style of the Rococo era reflected salon life among the aristocracy in eighteenth-century France. c. inclusion of portraits Consider This: The Rococo treatment of this, however, is unlike the Renaissance. 17.1 Explain how the ornate style of the Rococo era reflected salon life among the aristocracy in eighteenth-century France. d. serious tone Consider This: The Rococo treatment of this, however, is unlike the Renaissance. 17.1 Explain how the ornate style of the Rococo era reflected salon life among the aristocracy in eighteenth-century France.

Answer: a Learning Objective: 17.1 Explain how the ornate style of the Rococo era reflected salon life among the aristocracy in eighteenth-century France.

Topic: Rococo Difficulty Level: Moderate Skill Level: Understand EOM Q17.1.4 Fragonard’s The Swing exemplifies Rococo style’s __________. a. dainty figures and lightheartedness b. rigid formality and gravity Consider This: This contrasts the Grand Manner portraits. 17.1 Explain how the ornate style of the Rococo era reflected salon life among the aristocracy in eighteenth-century France. c. symmetrical compositions and illusionistic space Consider This: This contrasts the Grand Manner portraits. 17.1 Explain how the ornate style of the Rococo era reflected salon life among the aristocracy in eighteenth-century France. d. hierarchic scale and symbolism Consider This: This contrasts the Grand Manner portraits. 17.1 Explain how the ornate style of the Rococo era reflected salon life among the aristocracy in eighteenth-century France.

Answer: a Learning Objective: 17.1 Explain how the ornate style of the Rococo era reflected salon life among the aristocracy in eighteenth-century France.

Topic: Rococo Difficulty Level: Difficult Skill Level: Apply

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Quiz: Moralizing Narratives and Portraits EOM Q17.2.1 Art reflecting Enlightenment values was commissioned in England by the __________. a. middle class b. aristocracy Consider This: This included merchants. 17.2 Distinguish English and French eighteenthcentury paintings of moralizing narratives and portraits from contemporary Rococo art. c. court Consider This: This included merchants. 17.2 Distinguish English and French eighteenthcentury paintings of moralizing narratives and portraits from contemporary Rococo art. d. church Consider This: This included merchants. 17.2 Distinguish English and French eighteenthcentury paintings of moralizing narratives and portraits from contemporary Rococo art.

Answer: a Learning Objective: 17.2 Distinguish English and French eighteenth-century paintings of moralizing narratives and portraits from contemporary Rococo art.

Topic: Moralizing Narratives and Portraits Difficulty Level: Easy Skill Level: Understand EOM Q17.2.2 Hogarth’s Marriage à la Mode series is an example of British interest in __________. a. moralizing satire b. French wedding rituals Consider This: This reflected Enlightenment values. 17.2 Distinguish English and French eighteenth-century paintings of moralizing narratives and portraits from contemporary Rococo art. c. history painting Consider This: This reflected Enlightenment values. 17.2 Distinguish English and French eighteenth-century paintings of moralizing narratives and portraits from contemporary Rococo art. d. Classical literature Consider This: This reflected Enlightenment values. 17.2 Distinguish English and French eighteenth-century paintings of moralizing narratives and portraits from contemporary Rococo art.

Answer: a Learning Objective: 17.2 Distinguish English and French eighteenth-century paintings of moralizing narratives and portraits from contemporary Rococo art.

Topic: Moralizing Narratives and Portraits Difficulty Level: Moderate Skill Level: Understand

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EOM Q17.2.3 Josiah Wedgwood’s “ Am I Not a Man and a Brother?” illustrates British concern for __________. a. social progress b. history painting Consider This: He sent a copy to Benjamin Franklin. 17.2 Distinguish English and French eighteenth-century paintings of moralizing narratives and portraits from contemporary Rococo art. c. economic status Consider This: He sent a copy to Benjamin Franklin. 17.2 Distinguish English and French eighteenth-century paintings of moralizing narratives and portraits from contemporary Rococo art. d. genre scenes Consider This: He sent a copy to Benjamin Franklin. 17.2 Distinguish English and French eighteenth-century paintings of moralizing narratives and portraits from contemporary Rococo art.

Answer: a Learning Objective: 17.2 Distinguish English and French eighteenth-century paintings of moralizing narratives and portraits from contemporary Rococo art.

Topic: Moralizing Narratives and Portraits Difficulty Level: Moderate Skill Level: Understand EOM Q17.2.4 Angelica Kauffmann’s Cornelia Pointing to Her Children as Her Treasures is similar to MarieLouise-Élisabeth Vigée-Lebrun’s Portrait of Marie Antoinette with Her Children because it __________. a. teaches the moral lesson of the “good mother” b. uses satire to represent the “good mother” Consider This: Its style recalls ancient Roman painting. 17.2 Distinguish English and French eighteenth-century paintings of moralizing narratives and portraits from contemporary Rococo art. c. is an example of political propaganda Consider This: Its style recalls ancient Roman painting. 17.2 Distinguish English and French eighteenth-century paintings of moralizing narratives and portraits from contemporary Rococo art. d. is a story taken from Classical literature Consider This: Its style recalls ancient Roman painting. 17.2 Distinguish English and French eighteenth-century paintings of moralizing narratives and portraits from contemporary Rococo art.

Answer: a Learning Objective: 17.2 Distinguish English and French eighteenth-century paintings of moralizing narratives and portraits from contemporary Rococo art.

Topic: Moralizing Narratives and Portraits Difficulty Level: Difficult Skill Level: Apply 18 Copyright © 2020, 2016, 2012 Pearson Education, Inc. All rights reserved.

EOM Q17.2.5 The gun under Robert Andrews’s arm in his portrait by Thomas Gainsborough signals his __________. a. control over his lands b. hunting habits Consider This: British patrons commissioned paintings to showcase their status. 17.2 Distinguish English and French eighteenth-century paintings of moralizing narratives and portraits from contemporary Rococo art. c. domination of his wife Consider This: British patrons commissioned paintings to showcase their status. 17.2 Distinguish English and French eighteenth-century paintings of moralizing narratives and portraits from contemporary Rococo art. d. defense of English territories Consider This: British patrons commissioned paintings to showcase their status. 17.2 Distinguish English and French eighteenth-century paintings of moralizing narratives and portraits from contemporary Rococo art.

Answer: a Learning Objective: 17.2 Distinguish English and French eighteenth-century paintings of moralizing narratives and portraits from contemporary Rococo art.

Topic: Moralizing Narratives and Portraits Difficulty Level: Moderate Skill Level: Understand Quiz: Neoclassicism and Romanticism EOM Q17.3.1 How does Canova’s Cupid and Psyche embody the Neoclassical style? a. Heroic nudity b. Classical orders Consider This: This was based on the study of Roman art. 17.3 Compare Neoclassicism and Romanticism as two cultural expressions of mid-eighteenth- to mid-nineteenthcentury Europe. c. Dominance of drawing Consider This: This was based on the study of Roman art. 17.3 Compare Neoclassicism and Romanticism as two cultural expressions of mid-eighteenth- to mid-nineteenthcentury Europe. d. Focus on patriotism Consider This: This was based on the study of Roman art. 17.3 Compare Neoclassicism and Romanticism as two cultural expressions of mid-eighteenth- to mid-nineteenthcentury Europe.

Answer: a Learning Objective: 17.3 Compare Neoclassicism and Romanticism as two cultural expressions of mid-eighteenth- to mid-nineteenth-century Europe.

Topic: Neoclassicism and Romanticism Difficulty Level: Difficult Skill Level: Apply 19 Copyright © 2020, 2016, 2012 Pearson Education, Inc. All rights reserved.

EOM Q17.3.2 The art of Romanticism is characterized by its __________. a. attempt to evoke strong feelings b. celebration of civic virtue and self-sacrifice Consider This: Fuseli’s The Nightmare illustrates this. 17.3 Compare Neoclassicism and Romanticism as two cultural expressions of mid-eighteenth- to mid-nineteenth-century Europe. c. promotion of Enlightenment principles Consider This: Fuseli’s The Nightmare illustrates this. 17.3 Compare Neoclassicism and Romanticism as two cultural expressions of mid-eighteenth- to mid-nineteenth-century Europe. d. devotion to art of ancient Greece and Rome Consider This: Fuseli’s The Nightmare illustrates this. 17.3 Compare Neoclassicism and Romanticism as two cultural expressions of mid-eighteenth- to mid-nineteenth-century Europe.

Answer: a Learning Objective: 17.3 Compare Neoclassicism and Romanticism as two cultural expressions of mid-eighteenth- to mid-nineteenth-century Europe.

Topic: Neoclassicism and Romanticism Difficulty Level: Moderate Skill Level: Understand EOM Q17.3.3 The exotic eroticism in Ingres’s painting of Large Odalisque is a characteristic of __________. a. Romanticism b. Neoclassicism Consider This: This was meant to spark strong feelings. 17.3 Compare Neoclassicism and Romanticism as two cultural expressions of mid-eighteenth- to mid-nineteenth-century Europe. c. Rococo Consider This: This was meant to spark strong feelings. 17.3 Compare Neoclassicism and Romanticism as two cultural expressions of mid-eighteenth- to mid-nineteenth-century Europe. d. Grand Manner Consider This: This was meant to spark strong feelings. 17.3 Compare Neoclassicism and Romanticism as two cultural expressions of mid-eighteenth- to mid-nineteenth-century Europe.

Answer: a Learning Objective: 17.3 Compare Neoclassicism and Romanticism as two cultural expressions of mid-eighteenth- to mid-nineteenth-century Europe.

Topic: Neoclassicism and Romanticism Difficulty Level: Difficult Skill Level: Apply

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EOM Q17.3.4 Who was the primary inspiration for the Neoclassical style of architecture in Britain and the United States? a. Andrea Palladio b. Louis XIV Consider This: Monticello is a good example. 17.3 Compare Neoclassicism and Romanticism as two cultural expressions of mid-eighteenth- to mid-nineteenth-century Europe. c. Michelangelo Consider This: Monticello is a good example. 17.3 Compare Neoclassicism and Romanticism as two cultural expressions of mid-eighteenth- to mid-nineteenth-century Europe. d. Thomas Jefferson Consider This: Monticello is a good example. 17.3 Compare Neoclassicism and Romanticism as two cultural expressions of mid-eighteenth- to mid-nineteenth-century Europe.

Answer: a Learning Objective: 17.3 Compare Neoclassicism and Romanticism as two cultural expressions of mid-eighteenth- to mid-nineteenth-century Europe.

Topic: Neoclassicism and Romanticism Difficulty Level: Easy Skill Level: Understand EOM Q17.3.5 Goya’s print series of etchings known as Los Caprichos tells a moral tale through __________. a. critical examination of Spanish society b. lighthearted satire on Spanish customs Consider This: He did this again in Third of May. 17.3 Compare Neoclassicism and Romanticism as two cultural expressions of mid-eighteenth- to mid-nineteenth-century Europe. c. literary themes from Spanish history Consider This: He did this again in Third of May. 17.3 Compare Neoclassicism and Romanticism as two cultural expressions of mid-eighteenth- to mid-nineteenth-century Europe. d. Classical mythology with Spanish characters Consider This: He did this again in Third of May. 17.3 Compare Neoclassicism and Romanticism as two cultural expressions of mid-eighteenth- to mid-nineteenth-century Europe.

Answer: a Learning Objective: 17.3 Compare Neoclassicism and Romanticism as two cultural expressions of mid-eighteenth- to mid-nineteenth-century Europe.

Topic: Neoclassicism and Romanticism Difficulty Level: Moderate Skill Level: Understand

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Quiz: Romantic Landscape Painting EOM Q17.4.1 John Constable’s landscape paintings reflect the artist’s __________. a. nostalgia for the past b. interest in the sublime Consider This: This is seen in The White Horse. 17.4 Identify aspects of Romanticism in nineteenth-century English, American, and German landscape painting. c. edifying morality Consider This: This is seen in The White Horse. 17.4 Identify aspects of Romanticism in nineteenth-century English, American, and German landscape painting. d. Neoclassical principles Consider This: This is seen in The White Horse. 17.4 Identify aspects of Romanticism in nineteenth-century English, American, and German landscape painting.

Answer: a Learning Objective: 17.4 Identify aspects of Romanticism in nineteenth-century English, American, and German landscape painting.

Topic: Romantic Landscape Painting Difficulty Level: Moderate Skill Level: Apply EOM Q17.4.2 Turner’s fierce storm in Snowstorm: Hannibal and His Army Crossing the Alps reflects Romanticism’s __________ a. interest in the sublime b. nostalgia for the past Consider This: This was defined by philosopher Edmund Burke. 17.4 Identify aspects of Romanticism in nineteenth-century English, American, and German landscape painting. c. academic training Consider This: This was defined by philosopher Edmund Burke. 17.4 Identify aspects of Romanticism in nineteenth-century English, American, and German landscape painting. d. Neoclassical principles Consider This: This was defined by philosopher Edmund Burke. 17.4 Identify aspects of Romanticism in nineteenth-century English, American, and German landscape painting.

Answer: a Learning Objective: 17.4 Identify aspects of Romanticism in nineteenth-century English, American, and German landscape painting.

Topic: Romantic Landscape Painting Difficulty Level: Moderate Skill Level: Apply

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EOM Q17.4.3 Cole’s The Oxbow combines the Romantic landscape characteristics of __________. a. drama and idylls b. spirituality and order Consider This: This combined the interests of Turner and Constable. 17.4 Identify aspects of Romanticism in nineteenth-century English, American, and German landscape painting. c. exoticism and nostalgia Consider This: This combined the interests of Turner and Constable. 17.4 Identify aspects of Romanticism in nineteenth-century English, American, and German landscape painting. d. the sublime and rationality Consider This: This combined the interests of Turner and Constable. 17.4 Identify aspects of Romanticism in nineteenth-century English, American, and German landscape painting.

Answer: a Learning Objective: 17.4 Identify aspects of Romanticism in nineteenth-century English, American, and German landscape painting.

Topic: Romantic Landscape Painting Difficulty Level: Moderate Skill Level: Apply Chapter Quiz: European and American Art, 1715-1840 EOC Q17.1 How does the Salon de la Princesse embody the spirit of the Rococo style? a. It has profuse ornamentation. b. It is based on the architecture of Palladio.

Consider This: This was made for the salon culture in Paris. 17.1 Explain how the ornate style of the Rococo era reflected salon life among the aristocracy in eighteenth-century France. c. It represents virtue, stoicism, and sacrifice.

Consider This: This was made for the salon culture in Paris. 17.1 Explain how the ornate style of the Rococo era reflected salon life among the aristocracy in eighteenth-century France. d. It is built for the working class.

Consider This: This was made for the salon culture in Paris. 17.1 Explain how the ornate style of the Rococo era reflected salon life among the aristocracy in eighteenth-century France.

Answer: a Learning Objective: 17.1 Explain how the ornate style of the Rococo era reflected salon life among the aristocracy in eighteenth-century France.

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EOC Q17.2 A fête galante depicts __________. a. outdoor entertainment b. a royal ceremony Consider This: The Pilgrimage to Cythera pictures one of these. 17.1 Explain how the ornate style of the Rococo era reflected salon life among the aristocracy in eighteenthcentury France. c. a dashing nobleman Consider This: The Pilgrimage to Cythera pictures one of these. 17.1 Explain how the ornate style of the Rococo era reflected salon life among the aristocracy in eighteenthcentury France. d. a love affair Consider This: The Pilgrimage to Cythera pictures one of these. 17.1 Explain how the ornate style of the Rococo era reflected salon life among the aristocracy in eighteenthcentury France.

Answer: a Learning Objective: 17.1 Explain how the ornate style of the Rococo era reflected salon life among the aristocracy in eighteenth-century France.

Topic: European and American Art, 1715-1840 Difficulty Level: Easy Skill Level: Remember EOC Q17.3 Fragonard’s The Swing typifies Rococo’s __________. a. sensuality b. idealism Consider This: This is clearly seen in her pose. 17.1 Explain how the ornate style of the Rococo era reflected salon life among the aristocracy in eighteenth-century France. c. nationalism Consider This: This is clearly seen in her pose. 17.1 Explain how the ornate style of the Rococo era reflected salon life among the aristocracy in eighteenth-century France. d. moralizing messages Consider This: This is clearly seen in her pose. 17.1 Explain how the ornate style of the Rococo era reflected salon life among the aristocracy in eighteenth-century France.

Answer: a Learning Objective: 17.1 Explain how the ornate style of the Rococo era reflected salon life among the aristocracy in eighteenth-century France.

Topic: European and American Art, 1715-1840 Difficulty Level: Moderate Skill Level: Apply

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EOC Q17.4 The English market for satire and genre scenes came from the __________. a. middle class b. aristocracy Consider This: This group also looked to literary themes. 17.2 Distinguish English and French eighteenth-century paintings of moralizing narratives and portraits from contemporary Rococo art. c. working class Consider This: This group also looked to literary themes. 17.2 Distinguish English and French eighteenth-century paintings of moralizing narratives and portraits from contemporary Rococo art. d. court Consider This: This group also looked to literary themes. 17.2 Distinguish English and French eighteenth-century paintings of moralizing narratives and portraits from contemporary Rococo art.

Answer: a Learning Objective: 17.2 Distinguish English and French eighteenth-century paintings of moralizing narratives and portraits from contemporary Rococo art.

Topic: European and American Art, 1715-1840 Difficulty Level: Moderate Skill Level: Understand EOC Q17.5 Wright’s An Experiment on a Bird in the Air-Pump illustrates the English interest in __________. a. Enlightenment values b. satire Consider This: This promoted rational thought. 17.2 Distinguish English and French eighteenth-century paintings of moralizing narratives and portraits from contemporary Rococo art. c. social commentary Consider This: This promoted rational thought. 17.2 Distinguish English and French eighteenth-century paintings of moralizing narratives and portraits from contemporary Rococo art. d. historical themes Consider This: This promoted rational thought. 17.2 Distinguish English and French eighteenth-century paintings of moralizing narratives and portraits from contemporary Rococo art.

Answer: a Learning Objective: 17.2 Distinguish English and French eighteenth-century paintings of moralizing narratives and portraits from contemporary Rococo art.

Topic: European and American Art, 1715-1840 Difficulty Level: Moderate Skill Level: Understand

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EOC Q17.6 In what way is Kauffmann’s painting of Cornelia Pointing to Her Children as Her Treasures like Hogarth’s The Marriage Contract? a. Its moralizing theme b. Its humor Consider This: This is seen in the work of Josiah Wedgwood as well. 17.2 Distinguish English and French eighteenth-century paintings of moralizing narratives and portraits from contemporary Rococo art. c. Its Classical subject Consider This: This is seen in the work of Josiah Wedgwood as well. 17.2 Distinguish English and French eighteenth-century paintings of moralizing narratives and portraits from contemporary Rococo art. d. Its frivolity Consider This: This is seen in the work of Josiah Wedgwood as well. 17.2 Distinguish English and French eighteenth-century paintings of moralizing narratives and portraits from contemporary Rococo art.

Answer: a Learning Objective: 17.2 Distinguish English and French eighteenth-century paintings of moralizing narratives and portraits from contemporary Rococo art.

Topic: European and American Art, 1715-1840 Difficulty Level: Difficult Skill Level: Apply EOC Q17.7 American painter John Singleton Copley’s portraits are best described as __________. a. realistic b. idealized Consider This: Joseph Wright’s painting An Experiment on a Bird in the Air-Pump shares this characteristic. 17.2 Distinguish English and French eighteenth-century paintings of moralizing narratives and portraits from contemporary Rococo art. c. Classical Consider This: Joseph Wright’s painting An Experiment on a Bird in the Air-Pump shares this characteristic. 17.2 Distinguish English and French eighteenth-century paintings of moralizing narratives and portraits from contemporary Rococo art. d. ornamental Consider This: Joseph Wright’s painting An Experiment on a Bird in the Air-Pump shares this characteristic. 17.2 Distinguish English and French eighteenth-century paintings of moralizing narratives and portraits from contemporary Rococo art.

Answer: a Learning Objective: 17.2 Distinguish English and French eighteenth-century paintings of moralizing narratives and portraits from contemporary Rococo art.

Topic: European and American Art, 1715-1840 Difficulty Level: Moderate Skill Level: Understand

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EOC Q17.8 The Neoclassical style appealed to those who __________. a. found inspiration in antiquity b. sought lighthearted playfulness Consider This: David’s Oath of the Horatii is a good example. 17.3 Compare Neoclassicism and Romanticism as two cultural expressions of mid-eighteenth- to midnineteenth-century Europe. c. looked upon the past with nostalgia Consider This: David’s Oath of the Horatii is a good example. 17.3 Compare Neoclassicism and Romanticism as two cultural expressions of mid-eighteenth- to midnineteenth-century Europe. d. promoted artistic individualism Consider This: David’s Oath of the Horatii is a good example. 17.3 Compare Neoclassicism and Romanticism as two cultural expressions of mid-eighteenth- to midnineteenth-century Europe.

Answer: a Learning Objective: 17.3 Compare Neoclassicism and Romanticism as two cultural expressions of mid-eighteenth- to mid-nineteenth-century Europe.

Topic: European and American Art, 1715-1840 Difficulty Level: Moderate Skill Level: Understand EOC Q17.9 Which intellectual movement embraced imagination and emotion? a. Romanticism b. Neoclassicism Consider This: This movement critiqued blind faith in reason. 17.3 Compare Neoclassicism and Romanticism as two cultural expressions of mid-eighteenth- to midnineteenth-century Europe. c. Mysticism Consider This: This movement critiqued blind faith in reason. 17.3 Compare Neoclassicism and Romanticism as two cultural expressions of mid-eighteenth- to midnineteenth-century Europe. d. Enlightenment Consider This: This movement critiqued blind faith in reason. 17.3 Compare Neoclassicism and Romanticism as two cultural expressions of mid-eighteenth- to midnineteenth-century Europe.

Answer: a Learning Objective: 17.3 Compare Neoclassicism and Romanticism as two cultural expressions of mid-eighteenth- to mid-nineteenth-century Europe.

Topic: European and American Art, 1715-1840 Difficulty Level: Difficult Skill Level: Understand

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EOC Q17.10 Which characteristic of Romanticism is seen in Géricault’s The Raft of the “Medusa”? a. Social criticism b. Nostalgia Consider This: Daumier’s Rue Transnonain shares this characteristic. 17.3 Compare Neoclassicism and Romanticism as two cultural expressions of mid-eighteenth- to midnineteenth-century Europe. c. Idyllic setting Consider This: Daumier’s Rue Transnonain shares this characteristic. 17.3 Compare Neoclassicism and Romanticism as two cultural expressions of mid-eighteenth- to midnineteenth-century Europe. d. Classical sources Consider This: Daumier’s Rue Transnonain shares this characteristic. 17.3 Compare Neoclassicism and Romanticism as two cultural expressions of mid-eighteenth- to midnineteenth-century Europe.

Answer: a Learning Objective: 17.3 Compare Neoclassicism and Romanticism as two cultural expressions of mid-eighteenth- to mid-nineteenth-century Europe.

Topic: European and American Art, 1715-1840 Difficulty Level: Moderate Skill Level: Understand EOC Q17.11 Unlike Boffrand’s Salon de la Princesse, Adam’s anteroom at Syon House is __________. a. inspired by Roman architecture b. found in a French hotel Consider This: He completed a Grand Tour. 17.3 Compare Neoclassicism and Romanticism as two cultural expressions of mid-eighteenth- to mid-nineteenth-century Europe. c. an example of Rococo tastes Consider This: He completed a Grand Tour. 17.3 Compare Neoclassicism and Romanticism as two cultural expressions of mid-eighteenth- to mid-nineteenth-century Europe. d. a reflection of aristocratic refinement Consider This: He completed a Grand Tour. 17.3 Compare Neoclassicism and Romanticism as two cultural expressions of mid-eighteenth- to mid-nineteenth-century Europe.

Answer: a Learning Objective: 17.3 Compare Neoclassicism and Romanticism as two cultural expressions of mid-eighteenth- to mid-nineteenth-century Europe.

Topic: European and American Art, 1715-1840 Difficulty Level: Moderate Skill Level: Understand

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EOC Q17.12 Daumier’s Rue Transnonain represents the __________. a. government massacre of innocent civilians b. assassination of a republican leader Consider This: This appeared in a pro-republican magazine. 17.3 Compare Neoclassicism and Romanticism as two cultural expressions of mid-eighteenth- to mid-nineteenthcentury Europe. c. murder of the French royal family Consider This: This appeared in a pro-republican magazine. 17.3 Compare Neoclassicism and Romanticism as two cultural expressions of mid-eighteenth- to mid-nineteenthcentury Europe. d. bloody outcome of Napoleon’s Russian campaign Consider This: This appeared in a pro-republican magazine. 17.3 Compare Neoclassicism and Romanticism as two cultural expressions of mid-eighteenth- to mid-nineteenthcentury Europe.

Answer: a Learning Objective: 17.3 Compare Neoclassicism and Romanticism as two cultural expressions of mid-eighteenth- to mid-nineteenth-century Europe.

Topic: European and American Art, 1715-1840 Difficulty Level: Easy Skill Level: Understand EOC Q17.13 How does Goya sensationalize a current event in Third of May, 1808? a. He paints the victim in a Christ-like pose. b. He embellishes the truth of the execution.

Consider This: The lighting helps as well. 17.3 Compare Neoclassicism and Romanticism as two cultural expressions of mid-eighteenth- to mid-nineteenth-century Europe. c. He presents an impartial representation of civic sacrifice.

Consider This: The lighting helps as well. 17.3 Compare Neoclassicism and Romanticism as two cultural expressions of mid-eighteenth- to mid-nineteenth-century Europe. d. He emphasizes the sensuous quality of paint.

Consider This: The lighting helps as well. 17.3 Compare Neoclassicism and Romanticism as two cultural expressions of mid-eighteenth- to mid-nineteenth-century Europe.

Answer: a Learning Objective: 17.3 Compare Neoclassicism and Romanticism as two cultural expressions of mid-eighteenth- to mid-nineteenth-century Europe.

Topic: European and American Art, 1715-1840 Difficulty Level: Moderate Skill Level: Understand

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EOC Q17.14 Romantic landscape painting in England features __________. a. rural tranquility and dramatic nature b. idyllic modernity and rational order Consider This: Constable and Turner illustrate these characteristics. 17.4 Identify aspects of Romanticism in nineteenth-century English, American, and German landscape painting. c. spiritual revelation and bountiful progress Consider This: Constable and Turner illustrate these characteristics. 17.4 Identify aspects of Romanticism in nineteenth-century English, American, and German landscape painting. d. scientific accuracy and mathematical precision Consider This: Constable and Turner illustrate these characteristics. 17.4 Identify aspects of Romanticism in nineteenth-century English, American, and German landscape painting.

Answer: a Learning Objective: 17.4 Identify aspects of Romanticism in nineteenth-century English, American, and German landscape painting.

Topic: European and American Art, 1715-1840 Difficulty Level: Moderate Skill Level: Understand EOC Q17.15 Landscapes that present geological formations as the national antiquity were painted in __________. a. the United States b. England Consider This: This country did not have Roman antiquities. 17.4 Identify aspects of Romanticism in nineteenth-century English, American, and German landscape painting. c. Germany Consider This: This country did not have Roman antiquities. 17.4 Identify aspects of Romanticism in nineteenth-century English, American, and German landscape painting. d. France Consider This: This country did not have Roman antiquities. 17.4 Identify aspects of Romanticism in nineteenth-century English, American, and German landscape painting.

Answer: a Learning Objective: 17.4 Identify aspects of Romanticism in nineteenth-century English, American, and German landscape painting.

Topic: European and American Art, 1715-1840 Difficulty Level: Moderate Skill Level: Understand

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Chapter 18: European and American Art, 1840–1910 Multiple-Choice Questions 1. The Eiffel Tower was constructed for the __________. a. anniversary of the French Revolution b. French bicentennial c. Universal Exposition d. World’s Fair Answer: c Learning Objective: None Topic: Introduction Difficulty Level: Easy Skill Level: Remember the Facts 2. In architecture, using motifs from historic models is a practice called __________. a. impasto b. Art Nouveau c. avant-garde d. historicism Answer: d Learning Objective: 18.1 Describe the impact of historicism and a new interest in structural innovation in late nineteenth-century architecture.

Topic: Architecture Difficulty Level: Moderate Skill Level: Understand the Concepts 3. Which of the following is an example of the practice of historicism? a. Charles Garnier’s The Opéra b. Louis Sullivan’s Wainwright Building c. Victor Horta’s Stairway, Tassel House d. Antoní Gaudí’s Casa Batllò Answer: a Learning Objective: 18.1 Describe the impact of historicism and a new interest in structural innovation in late nineteenth-century architecture.

Topic: Architecture Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It

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4. According to Charles Garnier, to hear, to see, and to be seen was the purpose of the __________. a. French Salon b. Impressionist exhibitions c. Paris Opéra d. Eiffel Tower Answer: c Learning Objective: 18.1 Describe the impact of historicism and a new interest in structural innovation in late nineteenth-century architecture.

Topic: Architecture Difficulty Level: Moderate Skill Level: Understand the Concepts 5. Architects from which city are credited with the development of the skyscraper? a. New York b. Chicago c. Paris d. St. Louis Answer: b Learning Objective: 18.1 Describe the impact of historicism and a new interest in structural innovation in late nineteenth-century architecture.

Topic: Architecture Difficulty Level: Easy Skill Level: Remember the Facts 6. In the Wainwright Building, what did Louis Sullivan adapt from the Beaux-Arts tradition? a. steel construction b. a vertical emphasis c. opulent ornamentation d. a base, body, and crowning cornice Answer: d Learning Objective: 18.1 Describe the impact of historicism and a new interest in structural innovation in late nineteenth-century architecture.

Topic: Architecture Difficulty Level: Moderate Skill Level: Understand the Concepts

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7. Which of the following artworks exemplifies the characteristics of Orientalism? a. Dante Gabriel Rossetti’s La Pia de’ Tolomei b. Mary Cassatt’s Woman Bathing c. Paul Gauguin’s Mahana no atua (Day of the God) d. Jean-León Gérome’s Snake Charmer Answer: d Learning Objective: 18.2 Explain the continuation of academic Neoclassical standards, as well as movements that worked to reject them, in late nineteenth-century art and architecture.

Topic: Academic and Anti-Academic Art Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It 8. Which of the following best describes Harriet Hosmer’s Zenobia in Chains? a. submissive b. defiant c. defeated d. energetic Answer: b Learning Objective: 18.2 Explain the continuation of academic Neoclassical standards, as well as movements that worked to reject them, in late nineteenth-century art and architecture.

Topic: Academic and Anti-Academic Art Difficulty Level: Moderate Skill Level: Understand the Concepts 9. Which group of artists advocated for descriptive naturalism and moralizing spirituality rather than Classical idealism? a. the Impressionists b. the Pre-Raphaelite Brotherhood c. the Post-Impressionists d. the Symbolists Answer: b Learning Objective: 18.2 Explain the continuation of academic Neoclassical standards, as well as movements that worked to reject them, in late nineteenth-century art and architecture.

Topic: Reactions against the Academy Difficulty Level: Moderate Skill Level: Understand the Concepts

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10. Which of the following artworks demonstrates the characteristics of the Pre-Raphaelite Brotherhood? a. Dante Gabriel Rossetti’s La Pia de’ Tolomei b. Édouard Manet’s Le Déjeuner sur l’herbe (Luncheon on the Grass) c. Henri de Toulouse-Lautrec’s Jane Avril d. Camille Claudel’s The Waltz Answer: a Learning Objective: 18.2 Explain the continuation of academic Neoclassical standards, as well as movements that worked to reject them, in late nineteenth-century art and architecture.

Topic: Reactions against the Academy Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It 11. Which of the following developed in response to industrialization, factory-made products, and the impact of factory life on industrial workers? a. historicism b. expressionism c. Arts and Crafts movement d. Japonisme Answer: c Learning Objective: 18.2 Explain the continuation of academic Neoclassical standards, as well as movements that worked to reject them, in late nineteenth-century art and architecture.

Topic: Reactions against the Academy Difficulty Level: Moderate Skill Level: Understand the Concepts 12. Which of the following styles is characterized by fluid curvilinearity and stylized organic forms? a. Art Nouveau b. Post-Impressionism c. Impressionism d. Realism Answer: a Learning Objective: 18.2 Explain the continuation of academic Neoclassical standards, as well as movements that worked to reject them, in late nineteenth-century art and architecture.

Topic: Reactions against the Academy Difficulty Level: Moderate Skill Level: Understand the Concepts

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13. Antoní Gaudí’s Casa Batllò embodies the aesthetic principles of Art Nouveau in the __________. a. use of a steel framework b. undulating sandstone sculpture c. references to Baroque forms d. avoidance of surface ornamentation Learning Objective: 18.2 Explain the continuation of academic Neoclassical standards, as well as movements that worked to reject them, in late nineteenth-century art and architecture.

Answer: b Topic: Reactions against the Academy Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 14. Camera obscura is Latin for __________. a. lost machine b. mysterious picture c. dark chamber d. missing image Answer: c Learning Objective: 18.3 Identify the early experiments that led to the emergence of photography as a new art form.

Topic: Early Photography Difficulty Level: Easy Skill Level: Remember the Facts 15. Which of the following is an early photographic process in which a silver-coated plate was treated with iodine fumes, exposed to mercury vapor, and then bathed in a salt solution? a. daguerreotype b. calotype c. salt-paper print d. albumen print Answer: a Learning Objective: 18.3 Identify the early experiments that led to the emergence of photography as a new art form.

Topic: Early Photography Difficulty Level: Moderate Skill Level: Understand the Concepts

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16. Which photographic process produced a negative from which an unlimited number of positives could be made? a. daguerreotype b. calotype c. lithograph d. albumen print Answer: b Learning Objective: 18.3 Identify the early experiments that led to the emergence of photography as a new art form.

Topic: Early Photography Difficulty Level: Moderate Skill Level: Understand the Concepts 17. William Henry Fox Talbot’s The Open Door is an example of __________. a. a daguerreotype b. an albumen print c. a calotype d. a silver print Answer: c Learning Objective: 18.3 Identify the early experiments that led to the emergence of photography as a new art form.

Topic: Early Photography Difficulty Level: Moderate Skill Level: Understand the Concepts 18. In Julia Margaret Cameron’s Portrait of Thomas Carlyle, the light that suffused her subject was __________. a. added after the print was developed b. typical of early daguerreotypes c. an accident caused by a damaged plate d. a metaphor for creative genius Answer: d Learning Objective: 18.3 Identify the early experiments that led to the emergence of photography as a new art form.

Topic: Early Photography Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It

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19. Who photographed famous British scholars and wanted to make photography an art form in its own right? a. Paul Gustave Courbet b. Thomas Eakins c. Julia Margaret Cameron d. Alexander Gardner Answer: c Learning Objective: 18.3 Identify the early experiments that led to the emergence of photography as a new art form.

Topic: Early Photography Difficulty Level: Moderate Skill Level: Understand the Concepts 20. The art movement characterized by the unmanipulated description of the ordinary, observable world is called __________. a. Art Nouveau b. Impressionism c. Orientalism d. Realism Answer: d Learning Objective: 18.4 Discuss the ways in which the movement toward Realism in art reflected the social and political concerns of the nineteenth century.

Topic: Realism Difficulty Level: Moderate Skill Level: Understand the Concepts 21. Which of the following artworks was hated by conservative critics because of its focus on common people and its disregard for traditional standards of order and beauty? a. Gustave Courbet’s Burial at Ornans b. Pierre-Auguste Renoir’s Moulin de la Galette c. Harriet Hosmer’s Zenobia in Chains d. Camille Claudel’s The Waltz Answer: a Learning Objective: 18.4 Discuss the ways in which the movement toward Realism in art reflected the social and political concerns of the nineteenth century.

Topic: Early French Realist Painters Difficulty Level: Moderate Skill Level: Understand the Concepts

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22. Rosa Bonheur’s The Horse Fair can be characterized as “Realist” because of its __________. a. emphasis on the effects of light and atmosphere b. cropped, asymmetric composition c. accurate depictions of farm animals d. expressive use of color and form Answer: c Learning Objective: 18.4 Discuss the ways in which the movement toward Realism in art reflected the social and political concerns of the nineteenth century.

Topic: Early French Realist Painters Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 23. Édouard Manet’s Le Déjeuner sur l’herbe (Luncheon on the Grass) is distinct from other Realist artworks in its __________. a. depiction of common people in a rural setting b. flat, outlined, and starkly lit figures c. rounded forms and illusionistic perspective d. emphasis on the effects of fleeting light Answer: b Learning Objective: 18.4 Discuss the ways in which the movement toward Realism in art reflected the social and political concerns of the nineteenth century.

Topic: Manet: “The Painter of Modern Life” Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 24. Which style was considered distinctly democratic? a. Impressionism b. Post-Impressionism c. Realism d. Art Nouveau Answer: c Learning Objective: 18.4 Discuss the ways in which the movement toward Realism in art reflected the social and political concerns of the nineteenth century.

Topic: A Continuing American Tradition Difficulty Level: Easy Skill Level: Remember the Facts

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25. Thomas Eakins’s The Gross Clinic was rejected from the 1876 Philadelphia Centennial Exhibition because __________. a. it was in the style of Realism b. of its expressive use of color c. of the unfinished look of the painting d. it depicted a surgical operation Answer: d Learning Objective: 18.4 Discuss the ways in which the movement toward Realism in art reflected the social and political concerns of the nineteenth century.

Topic: A Continuing American Tradition Difficulty Level: Moderate Skill Level: Understand the Concepts 26. Plein-air painting was a feature of __________. a. the Pre-Raphaelite Brotherhood b. Impressionism c. Realism d. Orientalism Answer: b Learning Objective: 18.5 Summarize the origins, nature, and content of Impressionism.

Topic: Impressionism Difficulty Level: Moderate Skill Level: Understand the Concepts 27. Which group first organized exhibitions independent from the French Academy’s Salon? a. Realists b. Impressionists c. Post-Impressionists d. Pre-Raphaelite Brotherhood Answer: b Learning Objective: 18.5 Summarize the origins, nature, and content of Impressionism.

Topic: Impressionism Difficulty Level: Easy Skill Level: Remember the Facts 28. Pierre-Auguste Renoir’s Moulin de la Galette exemplifies the characteristics of Impressionism in the __________. a. dappled effects of the sunlight b. sharply outlined figures c. expressive use of color d. creative use of pointillism Answer: a Learning Objective: 18.5 Summarize the origins, nature, and content of Impressionism.

Topic: Impressionism Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 9 Copyright © 2020, 2016, 2012 Pearson Education, Inc. All rights reserved.

29. Mary Cassatt is best known for painting __________. a. landscapes b. the ballet c. outdoor social scenes d. mothers with children Answer: d Learning Objective: 18.5 Summarize the origins, nature, and content of Impressionism.

Topic: Morisot, Degas, and Cassatt Difficulty Level: Easy Skill Level: Remember the Facts 30. Art that promoted social change was called __________. a. avant-garde b. Art Nouveau c. impasto d. expressionistic Answer: a Learning Objective: 18.6 Distinguish among the several manifestations of Post-Impressionism.

Topic: Post-Impressionism Difficulty Level: Easy Skill Level: Remember the Facts 31. Georges Seurat created A Sunday Afternoon on the Island of La Grande Jatte using a technique called __________. a. plein-air painting b. pointillism c. impasto d. synthetism Answer: b Learning Objective: 18.6 Distinguish among the several manifestations of Post-Impressionism.

Topic: Post-Impressionism Difficulty Level: Moderate Skill Level: Understand the Concepts 32. Which of the following artists contributed significantly to the emergence of expressionism? a. Georges Seurat b. Vincent van Gogh c. Dante Gabriel Rosetti d. Édouard Manet Answer: b Learning Objective: 18.6 Distinguish among the several manifestations of Post-Impressionism.

Topic: Post-Impressionism Difficulty Level: Moderate Skill Level: Understand the Concepts

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33. In Henri de Toulouse-Lautrec’s Jane Avril, the tipped-up ground and emphasis on outlines demonstrate the influence of __________. a. Art Nouveau b. expressionism c. Japonisme d. Impressionism Answer: c Learning Objective: 18.6 Distinguish among the several manifestations of Post-Impressionism.

Topic: Munch and Toulouse-Lautrec Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It 34. Paul Cézanne’s artwork can be distinguished from that of Impressionists because __________. a. he distorts forms to expresses his emotional state b. he solidly models the faces and hands of his subjects c. he only attempts to capture the fleeting effects of light d. his application of color creates a highly structured painting Answer: d Learning Objective: 18.6 Distinguish among the several manifestations of Post-Impressionism.

Topic: Cézanne Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 35. Auguste Rodin’s Burghers of Calais is an example of the style and content of __________. a. Post-Impressionism b. Art Nouveau c. Realism d. Orientalism Answer: a Learning Objective: 18.6 Distinguish among the several manifestations of Post-Impressionism.

Topic: Sculpture Difficulty Level: Moderate Skill Level: Understand the Concepts

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Essay Questions 36. Compare and contrast the architectural style of the Paris Opéra and the Wainwright Building.

What do they reveal about architecture in the nineteenth century?

Answer: The ideal answer should include: 1. Charles Garnier used a practice called historicism to design the Opéra, concealing a castiron frame with a lavish overlay of nonstructural “neo-Baroque” decoration, which recalls an earlier period of French greatness.

2. Gilded decoration, exuberant sculpture, and a lavish mix of expensive, polychrome materials cover the Opéra’s foyer, and a great, sweeping staircase served as a stage on which members of the Parisian elite could display themselves.

3. In the Wainwright Building, the Chicago School found an American alternative to historicism by using steel framing to create a building with an entirely new vertical emphasis.

4. The Wainwright Building is taller than it is wide, and its design emphasizes this; corner piers rise in uninterrupted lines to the cornice, their verticality echoed and reinforced between the windows by small piers, designed to suggest the steel framing beneath them.

Learning Objective: 18.1 Describe the impact of historicism and a new interest in structural innovation in late nineteenth-century architecture.

Topic: Architecture Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 37. Why was James Abbott McNeill Whistler’s Nocturne in Black and Gold, The Falling Rocket considered controversial and how did Whistler respond to the controversy? Include in your analysis a discussion of the formal characteristics and subject matter of the painting.

Answer: The ideal answer should include: 1. Whistler’s Nocturne in Black and Gold, The Falling Rocket depicts a fireworks show viewed over a lake by several observers dimly recognizable in the foreground.

2. Critic John Ruskin found Whistler’s work disturbingly unfinished and devoid of moral purpose, asking in print how the artist could demand such high prices “for flinging a pot of paint in the public’s face.”

3. Whistler sued Ruskin for libel, stating that art had no higher purpose than creating visual delight ant that it needed no identifiable subject matter to be successful; he also argue that the prices he charged for his pictures compensated him not just for the two days it took to paint them but also for his accrued knowledge.

4. The trial was decided in Whistler’s favor, and, while Whistler himself never made a completely abstract painting, his theories became important for justifying abstract art in the next century.

Learning Objective: 18.2 Explain the continuation of academic Neoclassical standards, as well as movements that worked to reject them, in late nineteenth-century art and architecture.

Topic: Reactions against the Academy Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It

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38. Describe and analyze the style and iconography of Henry Ossawa Tanner’s The Banjo Lesson. How does it correspond to the stylistic qualities and social concerns of Realism?

Answer: The ideal answer should include: 1. Tanner absorbed Eakins’s lessons of truthful representation and his focus on real-life subjects.

2. Tanner’s painting combines Eakins’s Realism with the delicate brushwork he learned in France.

3. He sought to counter the typical caricatures of African Americans by other artists by creating humanizing and emotional scenes like The Banjo Lesson.

4. The use of the banjo is especially significant since it had become identified with images of minstrels—just the sort of derogatory caricatures that Tanner sought to replace with his sympathetic genre scenes focused on the intimate interactions that brought dignity and pride to family life.

Learning Objective: 18.4 Discuss the ways in which the movement toward Realism in art reflected the social and political concerns of the nineteenth century.

Topic: A Continuing American Tradition Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 39. What was Japonisme and how did it influence nineteenth-century art? Use Mary Cassatt’s Woman Bathing as an example.

Answer: The ideal answer should include: 1. The U.S. Navy forcibly opened Japan to Western trade in 1853, and the Paris International Exposition of 1867 hosted the first exhibition of Japanese prints in Europe.

Soon, Japanese lacquers, fans, bronzes, scrolls, and ukiyo-e prints appeared for sale in specialty shops, art galleries, and some department stores.

2. It became fashionable for those in the art world to collect Japanese objects for their homes, and the French obsession with Japan and its arts became known as Japonisme.

3. Mary Cassatt emulated the compositions, designs, and colors of ukiyo-e after multiple visits to an influence 1890 exhibition of woodblock prints.

4. Her Woman Bathing features the cropped, diagonally structured, and asymmetrical composition of Japanese woodblock prints, as well as their focus on the private lives of women, their emphasis on outline and pattern over form and space, and their use of broad, flat, unmodulated areas of color and tone.

Learning Objective: 18.5 Summarize the origins, nature, and content of Impressionism.

Topic: Impressionism Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It

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40. Discuss the style and content of The Starry Night by Vincent van Gogh. How does van Gogh expand upon Post-Impressionism?

Answer: The ideal answer should include: 1. Post-Impressionist artists sought to create art with a greater degree of formal order and structure, and to develop more abstract and expressive styles.

2. Van Gogh contributed significantly to the emergence of a new tradition of expressionism, in which the intensity of his feelings overrode any desire for the fidelity to the actual appearance of things.

3. The sky, blazing with exploding starts high above the quiet town, is clearly more a record of what van Gogh felt than what he saw.

4. In this painting and other examples of his work, van Gogh uses multi-directional impasto to give his composition a sense of physical energy and a palpable surface texture.

Learning Objective: 18.6 Distinguish among the several manifestations of Post-Impressionism.

Topic: Post-Impressionism Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It

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Revel Quizzes Quiz: Architecture EOM Q18.1.1 Garnier’s Paris Opéra exemplifies historicism because it __________. a. references the Baroque style b. includes reliefs from French history Consider This: This is seen in the grand staircase. 18.1 Describe the impact of historicism and a new interest in structural innovation in late nineteenth-century architecture. c. was built using historical techniques Consider This: This is seen in the grand staircase. 18.1 Describe the impact of historicism and a new interest in structural innovation in late nineteenth-century architecture. d. was the work of an academic architect Consider This: This is seen in the grand staircase. 18.1 Describe the impact of historicism and a new interest in structural innovation in late nineteenth-century architecture.

Answer: a Learning Objective: 18.1 Describe the impact of historicism and a new interest in structural innovation in late nineteenth-century architecture.

Topic: Architecture Difficulty Level: Moderate Skill Level: Apply EOM Q18.1.2 The Eiffel Tower is an example of a __________. a. skeletal construction made with new materials b. post-and-lintel building erected temporarily Consider This: It promoted architecture of light and space. 18.1 Describe the impact of historicism and a new interest in structural innovation in late nineteenth-century architecture. c. revivalist structure made in the Gothic style Consider This: It promoted architecture of light and space. 18.1 Describe the impact of historicism and a new interest in structural innovation in late nineteenth-century architecture. d. neo-Baroque tower built for an exposition Consider This: It promoted architecture of light and space. 18.1 Describe the impact of historicism and a new interest in structural innovation in late nineteenth-century architecture.

Answer: a Learning Objective: 18.1 Describe the impact of historicism and a new interest in structural innovation in late nineteenth-century architecture.

Topic: Architecture Difficulty Level: Moderate Skill Level: Understand

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EOM Q18.1.3 Sullivan’s Wainwright Building illustrates the __________. a. use of steel to build skyscrapers b. desire for movement in architecture Consider This: This was appropriate for the modern age. 18.1 Describe the impact of historicism and a new interest in structural innovation in late nineteenth-century architecture. c. rejection of Beaux-Arts compositional rules Consider This: This was appropriate for the modern age. 18.1 Describe the impact of historicism and a new interest in structural innovation in late nineteenth-century architecture. d. use of cornices for horizontal emphasis Consider This: This was appropriate for the modern age. 18.1 Describe the impact of historicism and a new interest in structural innovation in late nineteenth-century architecture.

Answer: a Learning Objective: 18.1 Describe the impact of historicism and a new interest in structural innovation in late nineteenth-century architecture.

Topic: Architecture Difficulty Level: Moderate Skill Level: Understand Quiz: Academic and Anti-Academic Art EOM Q18.2.1 One hallmark of nineteenth-century academic art seen in Hosmer’s Zenobia in Chains is its __________. a. classicizing style b. technical experimentation Consider This: This was also promoted by earlier academies. 18.2 Explain the continuation of academic Neoclassical standards, as well as movements that worked to reject them, in late nineteenth-century art and architecture. c. political subtext Consider This: This was also promoted by earlier academies. 18.2 Explain the continuation of academic Neoclassical standards, as well as movements that worked to reject them, in late nineteenth-century art and architecture. d. educational purpose Consider This: This was also promoted by earlier academies. 18.2 Explain the continuation of academic Neoclassical standards, as well as movements that worked to reject them, in late nineteenth-century art and architecture.

Answer: a Learning Objective: 18.2 Explain the continuation of academic Neoclassical standards, as well as movements that worked to reject them, in late nineteenth-century art and architecture.

Topic: Academic and Anti-Academic Art Difficulty Level: Moderate Skill Level: Apply 16 Copyright © 2020, 2016, 2012 Pearson Education, Inc. All rights reserved.

EOM Q18.2.2 What was the source of artistic inspiration for Dante Gabriel Rossetti and other Pre-Raphaelites? a. The Middle Ages and Early Renaissance b. The industrial landscape of England Consider This: This is seen in La Pia de’ Tolomei. 18.2 Explain the continuation of academic Neoclassical standards, as well as movements that worked to reject them, in late nineteenth-century art and architecture. c. Japonisme Consider This: This is seen in La Pia de’ Tolomei. 18.2 Explain the continuation of academic Neoclassical standards, as well as movements that worked to reject them, in late nineteenth-century art and architecture. d. The life of the working classes Consider This: This is seen in La Pia de’ Tolomei. 18.2 Explain the continuation of academic Neoclassical standards, as well as movements that worked to reject them, in late nineteenth-century art and architecture.

Answer: a Learning Objective: 18.2 Explain the continuation of academic Neoclassical standards, as well as movements that worked to reject them, in late nineteenth-century art and architecture.

Topic: Academic and Anti-Academic Art Difficulty Level: Moderate Skill Level: Understand EOM Q18.2.3 The decorating firm owned by William Morris created __________. a. handcrafted objects for a unified decor b. modern furnishings using new technologies Consider This: He was concerned for the well-being of laborers. 18.2 Explain the continuation of academic Neoclassical standards, as well as movements that worked to reject them, in late nineteenth-century art and architecture. c. new processes for mass-producing furniture Consider This: He was concerned for the well-being of laborers. 18.2 Explain the continuation of academic Neoclassical standards, as well as movements that worked to reject them, in late nineteenth-century art and architecture. d. the profession of interior design Consider This: He was concerned for the well-being of laborers. 18.2 Explain the continuation of academic Neoclassical standards, as well as movements that worked to reject them, in late nineteenth-century art and architecture.

Answer: a Learning Objective: 18.2 Explain the continuation of academic Neoclassical standards, as well as movements that worked to reject them, in late nineteenth-century art and architecture.

Topic: Academic and Anti-Academic Art Difficulty Level: Moderate Skill Level: Understand

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EOM Q18.2.4 James Abbott McNeill Whistler believed that art did not need to __________. a. refer to an identifiable subject b. be aesthetically engaging Consider This: This led to his night-time landscapes. 18.2 Explain the continuation of academic Neoclassical standards, as well as movements that worked to reject them, in late nineteenth-century art and architecture. c. explore abstraction of forms Consider This: This led to his night-time landscapes. 18.2 Explain the continuation of academic Neoclassical standards, as well as movements that worked to reject them, in late nineteenth-century art and architecture. d. address qualities of light and color Consider This: This led to his night-time landscapes. 18.2 Explain the continuation of academic Neoclassical standards, as well as movements that worked to reject them, in late nineteenth-century art and architecture.

Answer: a Learning Objective: 18.2 Explain the continuation of academic Neoclassical standards, as well as movements that worked to reject them, in late nineteenth-century art and architecture.

Topic: Academic and Anti-Academic Art Difficulty Level: Moderate Skill Level: Remember EOM Q18.2.5 Art Nouveau can be identified by its __________. a. curves and natural forms b. striking contrasts between black and white Consider This: Horta’s work displays this characteristic. 18.2 Explain the continuation of academic Neoclassical standards, as well as movements that worked to reject them, in late nineteenth-century art and architecture. c. mosaic-like combinations of materials Consider This: Horta’s work displays this characteristic. 18.2 Explain the continuation of academic Neoclassical standards, as well as movements that worked to reject them, in late nineteenth-century art and architecture. d. use of modern industrial materials Consider This: Horta’s work displays this characteristic. 18.2 Explain the continuation of academic Neoclassical standards, as well as movements that worked to reject them, in late nineteenth-century art and architecture.

Answer: a Learning Objective: 18.2 Explain the continuation of academic Neoclassical standards, as well as movements that worked to reject them, in late nineteenth-century art and architecture.

Topic: Academic and Anti-Academic Art Difficulty Level: Moderate Skill Level: Understand

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Quiz: Early Photography EOM Q18.3.1 What did Louis-Jacques-Mandé Daguerre develop in 1839? a. A fixed photographic process b. The camera lucida Consider This: This came to be known as the daguerreotype. 18.3 Identify the early experiments that led to the emergence of photography as a new art form. c. The camera obscura Consider This: This came to be known as the daguerreotype. 18.3 Identify the early experiments that led to the emergence of photography as a new art form. d. A method of printing photographs Consider This: This came to be known as the daguerreotype. 18.3 Identify the early experiments that led to the emergence of photography as a new art form.

Answer: a Learning Objective: 18.3 Identify the early experiments that led to the emergence of photography as a new art form.

Topic: Early Photography Difficulty Level: Easy Skill Level: Remember EOM Q18.3.2 For his book The Pencil of Nature, Henry Fox Talbot __________. a. photographed idyllic rural scenery and still lifes b. photographed monuments from around the world Consider This: This is seen in The Open Door. 18.3 Identify the early experiments that led to the emergence of photography as a new art form. c. promoted scientific applications of photography Consider This: This is seen in The Open Door. 18.3 Identify the early experiments that led to the emergence of photography as a new art form. d. gathered examples by well-known photographers Consider This: This is seen in The Open Door. 18.3 Identify the early experiments that led to the emergence of photography as a new art form.

Answer: a Learning Objective: 18.3 Identify the early experiments that led to the emergence of photography as a new art form.

Topic: Early Photography Difficulty Level: Easy Skill Level: Remember

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EOM Q18.3.3 The two earliest types of fixed photography are the __________. a. daguerreotype and the calotype b. camera obscura and the camera lucida Consider This: These were developed almost simultaneously in France and England. 18.3 Identify the early experiments that led to the emergence of photography as a new art form. c. glass plate and the collodion Consider This: These were developed almost simultaneously in France and England. 18.3 Identify the early experiments that led to the emergence of photography as a new art form. d. tintype and the mezzotint Consider This: These were developed almost simultaneously in France and England. 18.3 Identify the early experiments that led to the emergence of photography as a new art form.

Answer: a Learning Objective: 18.3 Identify the early experiments that led to the emergence of photography as a new art form.

Topic: Early Photography Difficulty Level: Moderate Skill Level: Understand EOM Q18.3.4 What does your text mean when it says of Garner’s photograph The Home of the Rebel Sharpshooter: Battlefield at Gettysburg, “the staging of this photograph raises questions about visual fact and fiction”? a. Despite seeming to capture reality, photographs are composed to create a picture. b. Despite being examples of modern technology, photographs reflect traditional sources.

Consider This: This is a unique issue for photography. 18.3 Identify the early experiments that led to the emergence of photography as a new art form. c. Despite appearing to be works of art, photographs are products of science.

Consider This: This is a unique issue for photography. 18.3 Identify the early experiments that led to the emergence of photography as a new art form. d. Despite reflecting fiction, photographs are also visual facts.

Consider This: This is a unique issue for photography. 18.3 Identify the early experiments that led to the emergence of photography as a new art form.

Answer: a Learning Objective: 18.3 Identify the early experiments that led to the emergence of photography as a new art form.

Topic: Early Photography Difficulty Level: Difficult Skill Level: Apply

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EOM Q18.3.5 Why did Julia Margaret Cameron prefer slightly out-of-focus photographic portraits? a. To draw attention to the light. b. To look more commercial.

Consider This: This is seen in her portrait of Thomas Carlyle. 18.3 Identify the early experiments that led to the emergence of photography as a new art form. c. To soften the subject.

Consider This: This is seen in her portrait of Thomas Carlyle. 18.3 Identify the early experiments that led to the emergence of photography as a new art form. d. To capture photography’s potential.

Consider This: This is seen in her portrait of Thomas Carlyle. 18.3 Identify the early experiments that led to the emergence of photography as a new art form.

Answer: a Learning Objective: 18.3 Identify the early experiments that led to the emergence of photography as a new art form.

Topic: Early Photography Difficulty Level: Moderate Skill Level: Understand Quiz: Realism EOM Q18.4.1 A hallmark of Realism is to paint __________. a. the modern world honestly b. according to academic principles Consider This: Millet’s The Gleaners exemplifies this. 18.4 Discuss the ways in which the movement toward Realism in art reflected the social and political concerns of the nineteenth century. c. the reality of human history Consider This: Millet’s The Gleaners exemplifies this. 18.4 Discuss the ways in which the movement toward Realism in art reflected the social and political concerns of the nineteenth century. d. for the real people of France Consider This: Millet’s The Gleaners exemplifies this. 18.4 Discuss the ways in which the movement toward Realism in art reflected the social and political concerns of the nineteenth century.

Answer: a Learning Objective: 18.4 Discuss the ways in which the movement toward Realism in art reflected the social and political concerns of the nineteenth century.

Topic: Realism Difficulty Level: Moderate Skill Level: Understand

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EOM Q18.4.2 In what way does Courbet’s A Burial at Ornans challenge traditional practices in painting? a. It is a monumental painting of common people. b. It is a fresco painting of a funeral scene.

Consider This: Critics said it defied standards of order and beauty. 18.4 Discuss the ways in which the movement toward Realism in art reflected the social and political concerns of the nineteenth century. c. It is included in the annual academic exhibition.

Consider This: Critics said it defied standards of order and beauty. 18.4 Discuss the ways in which the movement toward Realism in art reflected the social and political concerns of the nineteenth century. d. It is created for a bourgeois patron.

Consider This: Critics said it defied standards of order and beauty. 18.4 Discuss the ways in which the movement toward Realism in art reflected the social and political concerns of the nineteenth century.

Answer: a Learning Objective: 18.4 Discuss the ways in which the movement toward Realism in art reflected the social and political concerns of the nineteenth century.

Topic: Realism Difficulty Level: Moderate Skill Level: Understand EOM Q18.4.3 How does Manet embody Baudelaire’s ideal artist? a. He paints contemporary life. b. He travels to Italy.

Consider This: This is seen in Luncheon on the Grass. 18.4 Discuss the ways in which the movement toward Realism in art reflected the social and political concerns of the nineteenth century. c. He perfects his drawing style.

Consider This: This is seen in Luncheon on the Grass. 18.4 Discuss the ways in which the movement toward Realism in art reflected the social and political concerns of the nineteenth century. d. He uses visible brushstrokes.

Consider This: This is seen in Luncheon on the Grass. 18.4 Discuss the ways in which the movement toward Realism in art reflected the social and political concerns of the nineteenth century.

Answer: a Learning Objective: 18.4 Discuss the ways in which the movement toward Realism in art reflected the social and political concerns of the nineteenth century.

Topic: Realism Difficulty Level: Moderate Skill Level: Understand

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EOM Q18.4.4 Proponents of Realism in the United States believed that it shared the American value of __________. a. democracy b. socialism Consider This: It was easy for all to understand. 18.4 Discuss the ways in which the movement toward Realism in art reflected the social and political concerns of the nineteenth century. c. republicanism Consider This: It was easy for all to understand. 18.4 Discuss the ways in which the movement toward Realism in art reflected the social and political concerns of the nineteenth century. d. revolution Consider This: It was easy for all to understand. 18.4 Discuss the ways in which the movement toward Realism in art reflected the social and political concerns of the nineteenth century.

Answer: a Learning Objective: 18.4 Discuss the ways in which the movement toward Realism in art reflected the social and political concerns of the nineteenth century.

Topic: Realism Difficulty Level: Moderate Skill Level: Understand EOM Q18.4.5 Edmonia Lewis’s Forever Free represents Realism’s interest in __________. a. political issues b. Neoclassical forms Consider This: The way she chose to represent it differed from Realism’s usual approach.

18.4 Discuss the ways in which the movement toward Realism in art reflected the social and political concerns of the nineteenth century. c. literary sources Consider This: The way she chose to represent it differed from Realism’s usual approach.

18.4 Discuss the ways in which the movement toward Realism in art reflected the social and political concerns of the nineteenth century. d. subjective experience Consider This: The way she chose to represent it differed from Realism’s usual approach.

18.4 Discuss the ways in which the movement toward Realism in art reflected the social and political concerns of the nineteenth century.

Answer: a Learning Objective: 18.4 Discuss the ways in which the movement toward Realism in art reflected the social and political concerns of the nineteenth century.

Topic: Realism Difficulty Level: Moderate Skill Level: Understand

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Quiz: Impressionism EOM Q18.5.1 The principal goal of Impressionist painting was to __________. a. capture a fleeting moment b. represent an impression of life Consider This: This is seen in Monet’s Impression: Sunrise. 18.5 Summarize the origins, nature, and content of Impressionism. c. impress with technical proficiency Consider This: This is seen in Monet’s Impression: Sunrise. 18.5 Summarize the origins, nature, and content of Impressionism. d. represent a way of life Consider This: This is seen in Monet’s Impression: Sunrise. 18.5 Summarize the origins, nature, and content of Impressionism.

Answer: a Learning Objective: 18.5 Summarize the origins, nature, and content of Impressionism.

Topic: Impressionism Difficulty Level: Easy Skill Level: Understand EOM Q18.5.2 Monet’s Impression: Sunrise emphasizes __________. a. light and color over form b. form over space and time Consider This: This recalls the work of Whistler. 18.5 Summarize the origins, nature, and content of Impressionism. c. content over style Consider This: This recalls the work of Whistler. 18.5 Summarize the origins, nature, and content of Impressionism. d. style over substance Consider This: This recalls the work of Whistler. 18.5 Summarize the origins, nature, and content of Impressionism.

Answer: a Learning Objective: 18.5 Summarize the origins, nature, and content of Impressionism.

Topic: Impressionism Difficulty Level: Difficult Skill Level: Apply

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EOM Q18.5.3 The main themes of Impressionist painting are __________. a. landscape and leisure b. workers and social inequality Consider This: This is seen clearly in work by Monet, Renoir, and Degas. 18.5 Summarize the origins, nature, and content of Impressionism. c. space and time Consider This: This is seen clearly in work by Monet, Renoir, and Degas. 18.5 Summarize the origins, nature, and content of Impressionism. d. history and everyday life Consider This: This is seen clearly in work by Monet, Renoir, and Degas. 18.5 Summarize the origins, nature, and content of Impressionism.

Answer: a Learning Objective: 18.5 Summarize the origins, nature, and content of Impressionism.

Topic: Impressionism Difficulty Level: Moderate Skill Level: Understand EOM Q18.5.4 Where is the Impressionist characteristic of “sketch aesthetics” seen in Morisot’s Summer’s Day? a. In the brushstrokes b. In the drawing Consider This: Manet’s Impression Sunrise has the same characteristic. 18.5 Summarize the origins, nature, and content of Impressionism. c. In the theme Consider This: Manet’s Impression Sunrise has the same characteristic. 18.5 Summarize the origins, nature, and content of Impressionism. d. In the scale Consider This: Manet’s Impression Sunrise has the same characteristic. 18.5 Summarize the origins, nature, and content of Impressionism.

Answer: a Learning Objective: 18.5 Summarize the origins, nature, and content of Impressionism.

Topic: Impressionism Difficulty Level: Moderate Skill Level: Apply

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EOM Q18.5.5 The composition of Degas’s The Rehearsal of the Ballet on Stage reflects the influence of __________. a. Japanese prints b. early Renaissance painting Consider This: This is seen in the angular view. 18.5 Summarize the origins, nature, and content of Impressionism. c. African art Consider This: This is seen in the angular view. 18.5 Summarize the origins, nature, and content of Impressionism. d. contemporary music Consider This: This is seen in the angular view. 18.5 Summarize the origins, nature, and content of Impressionism.

Answer: a Learning Objective: 18.5 Summarize the origins, nature, and content of Impressionism.

Topic: Impressionism Difficulty Level: Moderate Skill Level: Understand Quiz: Post-Impressionism EOM Q18.6.1 Post-Impressionist painting used Impressionism as a springboard to develop __________. a. experimental approaches b. pictorial narrative Consider This: Van Gogh, Gaugin, and Seurat reflect this approach. 18.6 Distinguish among the several manifestations of Post-Impressionism. c. political content Consider This: Van Gogh, Gaugin, and Seurat reflect this approach. 18.6 Distinguish among the several manifestations of Post-Impressionism. d. dream-like content Consider This: Van Gogh, Gaugin, and Seurat reflect this approach. 18.6 Distinguish among the several manifestations of Post-Impressionism.

Answer: a Learning Objective: 18.6 Distinguish among the several manifestations of Post-Impressionism.

Topic: Post-Impressionism Difficulty Level: Moderate Skill Level: Understand

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EOM Q18.6.2 Which artist developed an individual style exploring the science of color? a. Seurat b. Van Gogh Consider This: He used dots of pure color. 18.6 Distinguish among the several manifestations of Post-Impressionism. c. Munch Consider This: He used dots of pure color. 18.6 Distinguish among the several manifestations of Post-Impressionism. d. Toulouse-Lautrec Consider This: He used dots of pure color. 18.6 Distinguish among the several manifestations of Post-Impressionism.

Answer: a Learning Objective: 18.6 Distinguish among the several manifestations of Post-Impressionism.

Topic: Post-Impressionism Difficulty Level: Moderate Skill Level: Understand EOM Q18.6.3 Van Gogh’s Starry Night is best described as depicting __________. a. expression more than physical description b. tradition more than personal feeling Consider This: This is visible in his treatment of the sky. 18.6 Distinguish among the several manifestations of Post-Impressionism. c. content more than form Consider This: This is visible in his treatment of the sky. 18.6 Distinguish among the several manifestations of Post-Impressionism. d. color theory more than theme Consider This: This is visible in his treatment of the sky. 18.6 Distinguish among the several manifestations of Post-Impressionism.

Answer: a Learning Objective: 18.6 Distinguish among the several manifestations of Post-Impressionism.

Topic: Post-Impressionism Difficulty Level: Difficult Skill Level: Apply

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EOM Q18.6.4 Which Post-Impressionist artist painted abstracted line, shape, space, and color in a style he called synthetism? a. Gaugin b. Van Gogh Consider This: His work is inspired by the South Pacific. 18.6 Distinguish among the several manifestations of Post-Impressionism. c. Cézanne Consider This: His work is inspired by the South Pacific. 18.6 Distinguish among the several manifestations of Post-Impressionism. d. Seurat Consider This: His work is inspired by the South Pacific. 18.6 Distinguish among the several manifestations of Post-Impressionism.

Answer: a Learning Objective: 18.6 Distinguish among the several manifestations of Post-Impressionism.

Topic: Post-Impressionism Difficulty Level: Moderate Skill Level: Understand EOM Q18.6.5 What evidence leads scholars to see the influence of Art Nouveau in Toulouse-Lautrec’s Jane Avril? a. Lines and silhouettes b. Dance hall theme Consider This: This emphasized energy. 18.6 Distinguish among the several manifestations of Post-Impressionism. c. Bold foreshortening Consider This: This emphasized energy. 18.6 Distinguish among the several manifestations of Post-Impressionism. d. Pointillist technique Consider This: This emphasized energy. 18.6 Distinguish among the several manifestations of Post-Impressionism.

Answer: a Learning Objective: 18.6 Distinguish among the several manifestations of Post-Impressionism.

Topic: Post-Impressionism Difficulty Level: Moderate Skill Level: Apply

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Chapter Quiz: European and American Art, 1840-1910 EOC Q18.1 One of the hallmarks of academic taste in French art is __________. a. historicism b. individualism Consider This: The Paris Opéra is an example. 18.1 Describe the impact of historicism and a new interest in structural innovation in late nineteenth-century architecture. c. dream imagery Consider This: The Paris Opéra is an example. 18.1 Describe the impact of historicism and a new interest in structural innovation in late nineteenth-century architecture. d. political critique Consider This: The Paris Opéra is an example. 18.1 Describe the impact of historicism and a new interest in structural innovation in late nineteenth-century architecture.

Answer: a Learning Objective: 18.1 Describe the impact of historicism and a new interest in structural innovation in late nineteenth-century architecture.

Topic: European and American Art, 1840-1910 Difficulty Level: Moderate Skill Level: Understand EOC Q18.2 How did the École des Beaux-Arts train artists in the academic style? a. Copying prints and plaster casts of Classical art b. Studying seventeenth-century art in Rome Consider This: This developed the skill to improve what they observed. 18.2 Explain the continuation of academic Neoclassical standards, as well as movements that worked to reject them, in late nineteenth-century art and architecture. c. Drawing from life according to nature Consider This: This developed the skill to improve what they observed. 18.2 Explain the continuation of academic Neoclassical standards, as well as movements that worked to reject them, in late nineteenth-century art and architecture. d. Joining an artists’ colony in Athens Consider This: This developed the skill to improve what they observed. 18.2 Explain the continuation of academic Neoclassical standards, as well as movements that worked to reject them, in late nineteenth-century art and architecture.

Answer: a Learning Objective: 18.1 Describe the impact of historicism and a new interest in structural innovation in late nineteenth-century architecture.

Topic: European and American Art, 1840-1910 Difficulty Level: Easy Skill Level: Understand

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EOC Q18.3 Orientalist imagery is known for its __________, a. exotic eroticism b. fervent nationalism Consider This: This catered to the public’s taste. 18.2 Explain the continuation of academic Neoclassical standards, as well as movements that worked to reject them, in late nineteenth-century art and architecture. c. engaging narrative Consider This: This catered to the public’s taste. 18.2 Explain the continuation of academic Neoclassical standards, as well as movements that worked to reject them, in late nineteenth-century art and architecture. d. disarming truthfulness Consider This: This catered to the public’s taste. 18.2 Explain the continuation of academic Neoclassical standards, as well as movements that worked to reject them, in late nineteenth-century art and architecture.

Answer: a Learning Objective: 18.2 Explain the continuation of academic Neoclassical standards, as well as movements that worked to reject them, in late nineteenth-century art and architecture.

Topic: European and American Art, 1840-1910 Difficulty Level: Moderate Skill Level: Understand EOC Q18.4 The rejection of modern industrialization is a hallmark of the style known as __________. a. Art Nouveau b. Impressionism Consider This: Gaudí practiced this approach. 18.2 Explain the continuation of academic Neoclassical standards, as well as movements that worked to reject them, in late nineteenth-century art and architecture. c. Chicago School Consider This: Gaudí practiced this approach. 18.2 Explain the continuation of academic Neoclassical standards, as well as movements that worked to reject them, in late nineteenth-century art and architecture. d. Divisionism Consider This: Gaudí practiced this approach. 18.2 Explain the continuation of academic Neoclassical standards, as well as movements that worked to reject them, in late nineteenth-century art and architecture.

Answer: a Learning Objective: 18.2 Explain the continuation of academic Neoclassical standards, as well as movements that worked to reject them, in late nineteenth-century art and architecture.

Topic: European and American Art, 1840-1910 Difficulty Level: Moderate Skill Level: Understand

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EOC Q18.5 What intentional effect, seen in the portrait of Thomas Carlyle, distinguished Julia Margaret Cameron’s work from commercial photography? a. It is slightly out of focus. b. It is evenly lit.

Consider This: This made her work more artistic. 18.3 Identify the early experiments that led to the emergence of photography as a new art form. c. It is severely cropped.

Consider This: This made her work more artistic. 18.3 Identify the early experiments that led to the emergence of photography as a new art form. d. It is hand-colored.

Consider This: This made her work more artistic. 18.3 Identify the early experiments that led to the emergence of photography as a new art form.

Answer: a Learning Objective: 18.3 Identify the early experiments that led to the emergence of photography as a new art form.

Topic: European and American Art, 1840-1910 Difficulty Level: Moderate Skill Level: Understand EOC Q18.6 Although he denied it, Millet’s painting of The Gleaners was believed to __________. a. make a political statement b. document a rapidly disappearing way of life Consider This: This was common among Realist painters. 18.4 Discuss the ways in which the movement toward Realism in art reflected the social and political concerns of the nineteenth century. c. mock the peasants it depicts Consider This: This was common among Realist painters. 18.4 Discuss the ways in which the movement toward Realism in art reflected the social and political concerns of the nineteenth century. d. romanticize the life of the poor Consider This: This was common among Realist painters. 18.4 Discuss the ways in which the movement toward Realism in art reflected the social and political concerns of the nineteenth century.

Answer: a Learning Objective: 18.4 Discuss the ways in which the movement toward Realism in art reflected the social and political concerns of the nineteenth century.

Topic: European and American Art, 1840-1910 Difficulty Level: Moderate Skill Level: Understand

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EOC Q18.7 Manet’s Realist paintings were criticized for their __________. a. immorality b. socialist themes Consider This: This applies to Olympia. 18.4 Discuss the ways in which the movement toward Realism in art reflected the social and political concerns of the nineteenth century. c. republicanism Consider This: This applies to Olympia. 18.4 Discuss the ways in which the movement toward Realism in art reflected the social and political concerns of the nineteenth century. d. painterly effects Consider This: This applies to Olympia. 18.4 Discuss the ways in which the movement toward Realism in art reflected the social and political concerns of the nineteenth century.

Answer: a Learning Objective: 18.4 Discuss the ways in which the movement toward Realism in art reflected the social and political concerns of the nineteenth century.

Topic: European and American Art, 1840-1910 Difficulty Level: Moderate Skill Level: Understand EOC Q18.8 In what way does Eakins’s The Gross Clinic illustrate the principles of Realism? a. In its brutal truthfulness b. In its social critique Consider This: This caused it to be rejected for display at the Philadelphia Centennial Exhibition. 18.4 Discuss the ways in which the movement toward Realism in art reflected the social and political concerns of the nineteenth century. c. In its political message Consider This: This caused it to be rejected for display at the Philadelphia Centennial Exhibition. 18.4 Discuss the ways in which the movement toward Realism in art reflected the social and political concerns of the nineteenth century. d. In its anti-academic message Consider This: This caused it to be rejected for display at the Philadelphia Centennial Exhibition. 18.4 Discuss the ways in which the movement toward Realism in art reflected the social and political concerns of the nineteenth century.

Answer: a Learning Objective: 18.4 Discuss the ways in which the movement toward Realism in art reflected the social and political concerns of the nineteenth century.

Topic: European and American Art, 1840-1910 Difficulty Level: Moderate Skill Level: Understand

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EOC Q18.9 Capturing the effects of shifting light is a hallmark of __________. a. Impressionism b. Post-Impressionism Consider This: This is seen in Renoir’s Moulin de la Galette. 18.5 Summarize the origins, nature, and content of Impressionism. c. Realism Consider This: This is seen in Renoir’s Moulin de la Galette. 18.5 Summarize the origins, nature, and content of Impressionism. d. Art Nouveau Consider This: This is seen in Renoir’s Moulin de la Galette. 18.5 Summarize the origins, nature, and content of Impressionism.

Answer: a Learning Objective: 18.5 Summarize the origins, nature, and content of Impressionism.

Topic: European and American Art, 1840-1910 Difficulty Level: Easy Skill Level: Understand EOC Q18.10 What enabled the Impressionists to practice painting en plein air? a. The development of metal tubes for oil paints b. New laws allowing artists to paint on sidewalks Consider This: This made painting portable. 18.5 Summarize the origins, nature, and content of Impressionism. c. Synthetic paints that dried quickly outdoors Consider This: This made painting portable. 18.5 Summarize the origins, nature, and content of Impressionism. d. Their unusual method of direct paint application Consider This: This made painting portable. 18.5 Summarize the origins, nature, and content of Impressionism.

Answer: a Learning Objective: 18.5 Summarize the origins, nature, and content of Impressionism.

Topic: European and American Art, 1840-1910 Difficulty Level: Easy Skill Level: Remember

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EOC Q18.11 Renoir’s Moulin de la Galette reflects the Impressionists’ interest in __________. a. leisure b. landscape Consider This: This reflects new working conditions in modern cities. 18.5 Summarize the origins, nature, and content of Impressionism. c. politics Consider This: This reflects new working conditions in modern cities. 18.5 Summarize the origins, nature, and content of Impressionism. d. social issues Consider This: This reflects new working conditions in modern cities. 18.5 Summarize the origins, nature, and content of Impressionism.

Answer: a Learning Objective: 18.5 Summarize the origins, nature, and content of Impressionism.

Topic: European and American Art, 1840-1910 Difficulty Level: Moderate Skill Level: Understand EOC Q18.12 Nineteenth-century avant-garde artists are best described as __________. a. progressive b. academic Consider This: This sometimes led to vehement criticism. 18.6 Distinguish among the several manifestations of Post-Impressionism. c. scientific Consider This: This sometimes led to vehement criticism. 18.6 Distinguish among the several manifestations of Post-Impressionism. d. worldly Consider This: This sometimes led to vehement criticism. 18.6 Distinguish among the several manifestations of Post-Impressionism.

Answer: a Learning Objective: 18.6 Distinguish among the several manifestations of Post-Impressionism.

Topic: European and American Art, 1840-1910 Difficulty Level: Moderate Skill Level: Understand

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EOC Q18.13 Munch’s Scream is best described as __________. a. expressive b. academic Consider This: Van Gogh’s painting shares the same characteristic. 18.6 Distinguish among the several manifestations of Post-Impressionism. c. illusionistic Consider This: Van Gogh’s painting shares the same characteristic. 18.6 Distinguish among the several manifestations of Post-Impressionism. d. idealized Consider This: Van Gogh’s painting shares the same characteristic. 18.6 Distinguish among the several manifestations of Post-Impressionism.

Answer: a Learning Objective: 18.6 Distinguish among the several manifestations of Post-Impressionism.

Topic: European and American Art, 1840-1910 Difficulty Level: Moderate Skill Level: Apply EOC Q18.14 What influenced the art of Degas and Toulouse-Lautrec? a. Japanese prints b. Historical revivalism Consider This: This is seen in the treatment of space. 18.6 Distinguish among the several manifestations of Post-Impressionism. c. Political events Consider This: This is seen in the treatment of space. 18.6 Distinguish among the several manifestations of Post-Impressionism. d. Plaster casts Consider This: This is seen in the treatment of space. 18.6 Distinguish among the several manifestations of Post-Impressionism.

Answer: a Learning Objective: 18.6 Distinguish among the several manifestations of Post-Impressionism.

Topic: European and American Art, 1840-1910 Difficulty Level: Moderate Skill Level: Understand

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EOC Q18.15 The spatial ambiguities in Cézanne’s still life painting include __________. a. shifting viewpoints b. two-point perspective Consider This: This is visible on the table top. 18.6 Distinguish among the several manifestations of Post-Impressionism. c. a denial of three-dimensional space Consider This: This is visible on the table top. 18.6 Distinguish among the several manifestations of Post-Impressionism. d. mathematically precise recession Consider This: This is visible on the table top. 18.6 Distinguish among the several manifestations of Post-Impressionism.

Answer: a Learning Objective: 18.6 Distinguish among the several manifestations of Post-Impressionism.

Topic: European and American Art, 1840-1910 Difficulty Level: Moderate Skill Level: Apply

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Chapter 19: Modern Art in Europe and the Americas, 1900–1945 Multiple-Choice Questions 1. Art that communicates exclusively through such formal means as line, shape, color, and texture is called __________. a. Surrealist b. nonrepresentational c. abstract d. Expressionist Answer: b Learning Objective: 19.1 Trace the spread of Modernism across Europe in the early twentieth century.

Topic: Early Modernism in Europe Difficulty Level: Moderate Skill Level: Understand the Concepts 2. Modernism was transformed from an embattled fringe movement to an officially recognized aspect of “high culture” due to __________. a. the two world wars b. the advance of capitalism c. technological changes d. state-supported museums of Modern art Answer: d Learning Objective: 19.1 Trace the spread of Modernism across Europe in the early twentieth century.

Topic: Early Modernism in Europe Difficulty Level: Easy Skill Level: Remember the Facts 3. Henri Matisse’s Le Bonheur de Vivre (The Joy of Life) demonstrates the characteristics of __________. a. Expressionism b. Fauvism c. Surrealism d. Constructivism Answer: b Learning Objective: 19.1 Trace the spread of Modernism across Europe in the early twentieth century.

Topic: Les Fauves Difficulty Level: Moderate Skill Level: Understand the Concepts

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4. The artists of Die Brücke believed that regeneration could be achieved through __________. a. art and science b. revolution and reconstruction c. modernity and the primitive d. color and line Answer: c Learning Objective: 19.1 Trace the spread of Modernism across Europe in the early twentieth century.

Topic: Expressionism Difficulty Level: Moderate Skill Level: Understand the Concepts 5. For Käthe Kollwitz, art was __________. a. a manifestation of the unconscious mind b. a political tool used to reach as many people as possible c. an escape from the drab, ordinary world d. a way to express emotions and spiritualities Answer: b Learning Objective: 19.1 Trace the spread of Modernism across Europe in the early twentieth century.

Topic: Expressionism Difficulty Level: Moderate Skill Level: Understand the Concepts 6. Paula Modersohn-Becker’s Reclining Mother and Child demonstrates the characteristics of __________. a. Expressionism b. De Stijl c. Surrealism d. Fauvism Answer: a Learning Objective: 19.1 Trace the spread of Modernism across Europe in the early twentieth century.

Topic: Expressionism Difficulty Level: Moderate Skill Level: Understand the Concepts

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7. Flattened pictorial space, multiple perspectives, and fractured forms are important pictorial devices in which art movement? a. Fauvism b. Cubism c. Expressionism d. Surrealism Answer: b Learning Objective: 19.1 Trace the spread of Modernism across Europe in the early twentieth century.

Topic: Cubism Difficulty Level: Moderate Skill Level: Understand the Concepts 8. How is Fernand Léger’s Three Women different from Pablo Picasso’s Les Demoiselles d’Avignon? a. The figures are not arranged within a geometric grid. b. The female figures are more radically shattered. c. The bodies of the figures resemble machine forms. d. The pictorial space is flattened and compressed.

Answer: c Learning Objective: 19.1 Trace the spread of Modernism across Europe in the early twentieth century.

Topic: Cubism; Responses to Cubism Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 9. Which art movement promoted the “masculine,” “futuristic” modern world, including energy and speed? a. Dada b. Cubism c. De Stijl d. Futurism Answer: d Learning Objective: 19.1 Trace the spread of Modernism across Europe in the early twentieth century.

Topic: Responses to Cubism Difficulty Level: Moderate Skill Level: Understand the Concepts

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10. Which of the following artworks personifies the new Italian man rushing headlong into the brave new Futurist world? a. Henri Matisse’s Le Bonheur de Vivre (The Joy of Life) b. Constantin Brancusi’s Torso of a Young Man c. Umberto Boccioni’s Unique Forms of Continuity in Space d. Marcel Duchamp’s Fountain Answer: c Learning Objective: 19.1 Trace the spread of Modernism across Europe in the early twentieth century.

Topic: Responses to Cubism Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It 11. Which of the following artists produced the first truly nonrepresentational work of art? a. Pablo Picasso b. Vasily Kandinsky c. Piet Mondrian d. Kazimir Malevich Answer: d Learning Objective: 19.1 Trace the spread of Modernism across Europe in the early twentieth century.

Topic: Responses to Cubism Difficulty Level: Easy Skill Level: Remember the Facts 12. Ordinary manufactured objects transformed into artworks simply through their selection by the artist are called __________. a. readymades b. collages c. photomontages d. Prouns Answer: a Learning Objective: 19.1 Trace the spread of Modernism across Europe in the early twentieth century.

Topic: Dada Difficulty Level: Easy Skill Level: Remember the Facts

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13. Hannah Höch’s Cut with the Dada Kitchen Knife Through the Last Weimar Beer-Belly Cultural Epoch in Germany is an example of __________. a. installation art b. a readymade c. nonrepresentational art d. a photomontage Answer: d Learning Objective: 19.1 Trace the spread of Modernism across Europe in the early twentieth century.

Topic: Dada Difficulty Level: Moderate Skill Level: Understand the Concepts 14. In 1913, the Armory Show promoted __________. a. American Realism b. Constructivism c. European Modernism d. the “Ashcan School” Answer: c Learning Objective: 19.2 Characterize the arrival of Modernism in the United States.

Topic: Modern Art Comes to the United States Difficulty Level: Easy Skill Level: Remember the Facts 15. Who “discovered” Georgia O’Keeffe? a. Marsden Hartley b. Piet Mondrian c. Alfred Stieglitz d. Pablo Picasso Answer: c Learning Objective: 19.2 Characterize the arrival of Modernism in the United States.

Topic: Modern Art Comes to the United States Difficulty Level: Easy Skill Level: Remember the Facts 16. Georgia O’Keeffe’s City Night exemplifies the style of American Modernism in its __________. a. exaggerated perspective b. biomorphic forms c. use of collage d. dream-like imagery Answer: a Learning Objective: 19.2 Characterize the arrival of Modernism in the United States.

Topic: Modern Art Comes to the United States Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It 5 Copyright © 2020, 2016, 2012 Pearson Education, Inc. All rights reserved.

17. Which of the following art movements envisioned politically engaged artists devoted to creating useful objects and promoting the aims of a collective society? a. De Stijl b. Dada c. Constructivism d. Futurism Answer: c Learning Objective: 19.3 Summarize the new developments in Modern art and architecture in Europe between World Wars I and II. Topic: Constructivism Difficulty Level: Moderate Skill Level: Understand the Concepts 18. El Lissitzsky’s Proun Space is an example of __________. a. installation art b. a readymade c. De Stijl d. Surrealism Answer: a Learning Objective: 19.3 Summarize the new developments in Modern art and architecture in Europe between World Wars I and II. Topic: Constructivism Difficulty Level: Moderate Skill Level: Understand the Concepts 19. The De Stijl movement believed that representational elements and curves are __________. a. subjective and sensual b. rational and universal c. ideal or perfect d. picturesque or sublime Answer: a Learning Objective: 19.3 Summarize the new developments in Modern art and architecture in Europe between World Wars I and II. Topic: De Stijl Difficulty Level: Moderate Skill Level: Understand the Concepts

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20. Gerrit Rietveld’s design of Schröder House demonstrates the influence of __________. a. Cubism b. Dada c. Surrealism d. the De Stijl movement Answer: d Learning Objective: 19.3 Summarize the new developments in Modern art and architecture in Europe between World Wars I and II. Topic: De Stijl Difficulty Level: Moderate Skill Level: Understand the Concepts 21. Which of the following aspects of Le Corbusier’s Villa Savoye became a hallmark of Modern architecture? a. Prouns b. biomorphic forms c. curtain walls d. readymades Answer: c Learning Objective: 19.3 Summarize the new developments in Modern art and architecture in Europe between World Wars I and II. Topic: Architectural Purism Difficulty Level: Moderate Skill Level: Understand the Concepts 22. Which of the following statements best describes how the Bauhaus building in Dassau embodies the sleek, functional ideals of the Bauhaus? a. The cantilevered terraces echo the slabs of natural rock. b. The exterior features elaborate surface decoration. c. The structure acknowledges the materials of which it is built. d. The first floor is positioned on free-standing steel posts.

Answer: c Learning Objective: 19.3 Summarize the new developments in Modern art and architecture in Europe between World Wars I and II. Topic: The Bauhaus Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It

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23. Which art movement included members who sought to free the individual unconscious through techniques such as dream analysis, free association, automatic writing, word games, and hypnotic trances? a. Dada b. Futurism c. De Stijl d. Surrealism Answer: d Learning Objective: 19.3 Summarize the new developments in Modern art and architecture in Europe between World Wars I and II. Topic: Surrealism Difficulty Level: Moderate Skill Level: Understand the Concepts 24. Which of the following is an example of Surrealist art? a. Hannah Höch’s Cut with the Dada Kitchen Knife Through the Last Weimar Beer-Belly Cultural Epoch in Germany b. Georgia O’Keeffe’s City Night c. Merit Oppenheim’s Object (Le Déjeuner en Fourrure/Luncheon in Fur) d. Grant Wood’s American Gothic Answer: c Learning Objective: 19.3 Summarize the new developments in Modern art and architecture in Europe between World Wars I and II. Topic: Surrealism Difficulty Level: Moderate Skill Level: Understand the Concepts 25. In Torso of a Young Man, Constantin Brancusi reduced his subject into purified geometric forms in order to __________. a. convey the flux of unconscious thoughts b. symbolize modern technology c. depict the spiritual power of nature d. express the essence of the subject Answer: d Learning Objective: 19.3 Summarize the new developments in Modern art and architecture in Europe between World Wars I and II. Topic: Sculpture Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It

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26. In Recumbent Figure, Henry Moore explored the expressed potential of __________. a. materials b. holes c. texture d. motion Answer: a Learning Objective: 19.3 Summarize the new developments in Modern art and architecture in Europe between World Wars I and II. Topic: Sculpture Difficulty Level: Moderate Skill Level: Understand the Concepts 27. Who coined the name “mobile” for Alexander Calder’s sculptures? a. Salvador Dalí b. Marcel Duchamp c. Georgia O’Keeffe d. Pablo Picasso Answer: b Learning Objective: 19.4 Compare the assimilation of and the resistance to European Modernism in American art and architecture between World Wars I and II. Topic: The United States Difficulty Level: Easy Skill Level: Remember the Facts 28. In American Gothic, Grant Wood suggest the female figure’s domestic role by __________. a. associating her with the pitchfork b. depicting potted plants behind her c. emphasizing her weary face d. portraying her with a menacing air Answer: b Learning Objective: 19.4 Compare the assimilation of and the resistance to European Modernism in American art and architecture between World Wars I and II. Topic: The United States Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It

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29. Which artist played a role in the formation of the Farm Securities Administration’s photography program? a. Augusta Savage b. Dorothea Lange c. Grant Wood d. Aaron Douglas Answer: b Learning Objective: 19.4 Compare the assimilation of and the resistance to European Modernism in American art and architecture between World Wars I and II. Topic: The United States Difficulty Level: Easy Skill Level: Remember the Facts 30. The art movement that encouraged black artists and writers to seek artistic inspiration in the traditional arts of Africa, rather than assimilate within mainstream American or European artistic traditions, was called __________. a. De Stijl b. the Harlem Renaissance c. Orphism d. Regionalism Answer: b Learning Objective: 19.4 Compare the assimilation of and the resistance to European Modernism in American art and architecture between World Wars I and II. Topic: The United States Difficulty Level: Moderate Skill Level: Understand the Concepts 31. Augusta Savage’s La Citadelle: Freedom was inspired by the __________. a. Haitian Revolution b. Great Depression c. Spanish Civil War d. Communism Answer: a Learning Objective: 19.4 Compare the assimilation of and the resistance to European Modernism in American art and architecture between World Wars I and II. Topic: The United States Difficulty Level: Moderate Skill Level: Understand the Concepts

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32. What was the primary subject of Jacob Lawrence’s early work? a. factories and skyscrapers b. migrant farm workers c. Native American artifacts d. black history Answer: d Learning Objective: 19.4 Compare the assimilation of and the resistance to European Modernism in American art and architecture between World Wars I and II. Topic: The United States Difficulty Level: Moderate Skill Level: Understand the Concepts 33. Diego Rivera’s Man, Controller of the Universe demonstrates the influence of Italian Renaissance art in the __________. a. dream-like imagery b. simple shapes and bright colors c. socialist iconography d. use of fresco as a medium Answer: d Learning Objective: 19.4 Compare the assimilation of and the resistance to European Modernism in American art and architecture between World Wars I and II. Topic: Mexico and Canada Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It 34. The iconography of Frida Kahlo’s The Two Fridas might have been influenced by __________. a. the Spanish Civil War b. Kahlo’s divorce from Diego Rivera c. Kahlo’s dreams and unconscious thoughts d. the Dada movement Answer: b Learning Objective: 19.4 Compare the assimilation of and the resistance to European Modernism in American art and architecture between World Wars I and II. Topic: Mexico and Canada Difficulty Level: Moderate Skill Level: Understand the Concepts

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35. Which of the following aspects of Frank Lloyd Wright’s design for Fallingwater evoked the great slabs of natural rock of the surrounding cliff? a. cantilevered terraces b. the fireplace c. the pool d. the glass doors Answer: a Learning Objective: 19.4 Compare the assimilation of and the resistance to European Modernism in American art and architecture between World Wars I and II. Topic: Architecture Difficulty Level: Moderate Skill Level: Understand the Concepts Essay Questions 36. Describe and analyze the characteristics of the Fauvism using Henri Matisse’s Le Bonheur de Vivre (The Joy of Life) as an example.

Answer: The ideal answer should include: 1. Fauvism is characterized by forceful color and impulsive brushwork, and the vibrancy and energy of the style conveyed a new intensity of visual experience.

2. Matisse’s painting is a vibrant arrangement of luscious colors, in which naked revelers dance, make love, commune with nature, or simply lounge in their idyllic, seaside setting.

3. Freed from naturalistic constraints, colors contribute as much to the joyous mood as the uninhibited figures themselves.

4. The long, flowing curves of the trees and the sensual contours of the nude bodies animate the composition with a continual movement and at the same time offer a refreshing “relief from the stress of modern life,” as Matisse characterized his own work from this period.

Learning Objective: 19.1 Trace the spread of Modernism across Europe in the early twentieth century.

Topic: Fauvism Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It

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37. Discuss the development of Analytic and Synthetic Cubism using Georges Braque’s Violin and Palette and Pablo Picasso’s La Bouteille de Suze as examples.

Answer: The ideal answer should include: 1. In Braque’s Violin and Palette, the still-life items are fragmented and compressed into the shallow space of the picture plane to create an abstract composition of shifting forms and colors.

2. Braque’s painting exemplifies Analytic Cubism because the process mimics the process of perception; however, by examining objects from various points of view and then reassembling them into a whole object in our brain, this process communicates meaning rather than observed reality.

3. Picasso’s La Bouteille de Suze represents the second major phase of Cubism known as Synthetic Cubism because Picasso created a motif by combining simpler elements, as in a chemical synthesis.

4. The collage creates a tray or round table that supports a glass and a bottle of liquor from pieces of newsprint and construction paper, and, as in earlier Cubism, multiple perspectives are offered: we see the top of the blue table and simultaneously the side of the glass, the side of the bottle and the round profile of its opening and the cork that plugs it.

Learning Objective: 19.1 Trace the spread of Modernism across Europe in the early twentieth century.

Topic: Cubism Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 38. What are the characteristics of de Stijl and how do Piet Mondrian’s Composition with Yellow, Red, and Blue and Gerrit Rietveld’s Schroder House embody the movement?

Answer: The ideal answer should include: 1. The leader of the de Stijl movement, Piet Mondrian, sought the essence of universal beauty, eliminating representational elements because of their subjective associations and curves because of their sensual appeal.

2. In Composition with Yellow, Red, and Blue, Mondrian restricted his formal vocabulary to the three primary colors and three neutrals and horizontal and vertical lines in order to establish a “dynamic equilibrium” through the precise arrangement of color areas of different size, shape, and weight, asymmetry, and opposing linear directions.

3. In the design for Schroder House, Rietveld applied Mondrian’s principle of dynamic equilibrium to the whole house.

4. The radically asymmetrical exterior is composed of interlocking gray and white planes of varying sizes, combined with horizontal and vertical accents in primary colors and black to create a home that suggested an elegant austerity, balance, and restraint.

Learning Objective: 19.3 Summarize the new developments in Modern art and architecture in Europe between World Wars I and II. Topic: De Stijl Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It

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39. Which event inspired Pablo Picasso’s Guernica? How does Picasso’s composition respond to this event?

Answer: The ideal answer should include: 1. Pablo Picasso’s Guernica responds to an event during the Spanish Civil War in which German bombers flying for Spanish fascist leader General Francisco Franco bombed the Basque city of Guernica, which killed more than 1,600 people.

2. Picasso’s painting focuses on the victims, frozen in mid-movement, and, by restricting his palette to black, gray, and white, Picasso mimics the stark tones of the newspaper photographs that publicized the atrocity.

3. Expressively distorted women, one holding a dead child and another trapped in a burning house, wail in desolation at the carnage, and some have interpreted the screaming horse as an image of betrayed innocence, representing the suffering Spanish Republic.

4. The bull could symbolize either Franco or Spain, but Picasso refused to provide interpretations of the layered symbolism, claiming that the painting was about massacred people and animals—beyond that, its meaning is fluid.

Learning Objective: 19.3 Summarize the new developments in Modern art and architecture in Europe between World Wars I and II. Topic: Picasso’s Guernica Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 40. Discuss the iconography of Diego Rivera’s mural Man, Controller of the Universe in the Palacio de Bellas Artes in Mexico City.

Answer: The ideal answer should include: 1. At the center of the mural, a figure in overalls represents Man, who symbolically controls the universe through his manipulation of technology.

2. Crossing behind him are two great ellipses that represent, respectively, the microcosm of living organisms as seen through the microscope at Man’s right hand, and the macrocosm of outer space as viewed through the giant telescope above his head, and, below, fruits and vegetables rise from the earth as a result of Man’s agricultural efforts.

3. To the viewer’s right, Lenin joins the hands of several workers of different races, and, at the left, decadent capitalists—including the bespectacled John D. Rockefeller, Jr— debauch themselves in a nightclub.

4. At the sides of the mural, Rivera contrasts the peaceful socialist workers at right with the militarism and labor unrest of the capitalist world to the left.

Learning Objective: 19.4 Compare the assimilation of and the resistance to European Modernism in American art and architecture between World Wars I and II. Topic: Mexico and Canada Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It

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Revel Quizzes Quiz: Early Modernism in Europe EOM Q19.1.1 Fauvist art is characterized by __________. a. vibrant color b. dark themes Consider This: Matisse’s The Joy of Life exemplifies this approach. 19.1 Trace the spread of Modernism across Europe in the early twentieth century. c. angular forms Consider This: Matisse’s The Joy of Life exemplifies this approach. 19.1 Trace the spread of Modernism across Europe in the early twentieth century. d. fragmented spaces Consider This: Matisse’s The Joy of Life exemplifies this approach. 19.1 Trace the spread of Modernism across Europe in the early twentieth century.

Answer: a Learning Objective: 19.1 Trace the spread of Modernism across Europe in the early twentieth century.

Topic: Early Modernism in Europe Difficulty Level: Moderate Skill Level: Understand EOM Q19.1.2 The art of The Bridge is best known for its __________. a. expressionistic brushwork b. illusionistic spaces Consider This: Kirchner’s Street, Berlin is a good example. 19.1 Trace the spread of Modernism across Europe in the early twentieth century. c. perspectival constructions Consider This: Kirchner’s Street, Berlin is a good example. 19.1 Trace the spread of Modernism across Europe in the early twentieth century. d. asymmetrical compositions Consider This: Kirchner’s Street, Berlin is a good example. 19.1 Trace the spread of Modernism across Europe in the early twentieth century.

Answer: a Learning Objective: 19.1 Trace the spread of Modernism across Europe in the early twentieth century.

Topic: Early Modernism in Europe Difficulty Level: Moderate Skill Level: Understand

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EOM Q19.1.3 In Analytic Cubism, artists __________. a. rearranged objects broken into parts b. analyzed objects for their expressive potential Consider This: Violin and Palette by Braque displays this characteristic. 19.1 Trace the spread of Modernism across Europe in the early twentieth century. c. abstracted objects beyond recognition Consider This: Violin and Palette by Braque displays this characteristic. 19.1 Trace the spread of Modernism across Europe in the early twentieth century. d. collaged objects together onto the canvas Consider This: Violin and Palette by Braque displays this characteristic. 19.1 Trace the spread of Modernism across Europe in the early twentieth century.

Answer: a Learning Objective: 19.1 Trace the spread of Modernism across Europe in the early twentieth century.

Topic: Early Modernism in Europe Difficulty Level: Moderate Skill Level: Understand EOM Q19.1.4 Futurism was inspired by the __________. a. speed of modern urban life b. Impressionist use of light and color Consider This: Boccioni’s Unique Forms of Continuity in Space exemplifies this approach. 19.1 Trace the spread of Modernism across Europe in the early twentieth century. c. Expressionist fragmentation of space Consider This: Boccioni’s Unique Forms of Continuity in Space exemplifies this approach. 19.1 Trace the spread of Modernism across Europe in the early twentieth century. d. escapism of Fauvist painting Consider This: Boccioni’s Unique Forms of Continuity in Space exemplifies this approach. 19.1 Trace the spread of Modernism across Europe in the early twentieth century.

Answer: a Learning Objective: 19.1 Trace the spread of Modernism across Europe in the early twentieth century.

Topic: Early Modernism in Europe Difficulty Level: Moderate Skill Level: Understand

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EOM Q19.1.5 Which movement challenged the role of the artist in the creative process with its “readymade” objects and photomontages? a. Dada b. Futurism Consider This: Marcel Duchamp and Hannah Höch were members of this group. 19.1 Trace the spread of Modernism across Europe in the early twentieth century. c. Cubism Consider This: Marcel Duchamp and Hannah Höch were members of this group. 19.1 Trace the spread of Modernism across Europe in the early twentieth century. d. Suprematism Consider This: Marcel Duchamp and Hannah Höch were members of this group. 19.1 Trace the spread of Modernism across Europe in the early twentieth century.

Answer: a Learning Objective: 19.1 Trace the spread of Modernism across Europe in the early twentieth century.

Topic: Early Modernism in Europe Difficulty Level: Moderate Skill Level: Understand Quiz: Modern Art Comes to the United States EOM Q19.2.1 How did the photographer Alfred Stieglitz use his art to contradict the goals of the Ashcan School? a. He made poetic pictures of modern New York. b. He documented the gritty side of New York.

Consider This: The Flatiron Building demonstrates this approach. 19.2 Characterize the arrival of Modernism in the United States. c. He created a uniquely American style of photography.

Consider This: The Flatiron Building demonstrates this approach. 19.2 Characterize the arrival of Modernism in the United States. d. He promoted regionalist styles of American art.

Consider This: The Flatiron Building demonstrates this approach. 19.2 Characterize the arrival of Modernism in the United States.

Answer: a Learning Objective: 19.2 Characterize the arrival of Modernism in the United States.

Topic: Modern Art Comes to the United States Difficulty Level: Moderate Skill Level: Understand

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EOM Q19.2.2 What is the significance of the Armory Show of 1913 for American art? a. It challenged the dominance of the American Realist tradition. b. It introduced European art to an American audience.

Consider This: Some of the artists in the show were criticized as anarchists. 19.2 Characterize the arrival of Modernism in the United States. c. It was the first exhibition of American modern art.

Consider This: Some of the artists in the show were criticized as anarchists. 19.2 Characterize the arrival of Modernism in the United States. d. It spurred the creation of the Ashcan School of American painters.

Consider This: Some of the artists in the show were criticized as anarchists. 19.2 Characterize the arrival of Modernism in the United States.

Answer: a Learning Objective: 19.2 Characterize the arrival of Modernism in the United States.

Topic: Modern Art Comes to the United States Difficulty Level: Moderate Skill Level: Apply EOM Q19.2.3 The exaggerated perspective seen in O’Keeffe’s City Night is the result of the __________. a. low vantage point b. abstracted forms Consider This: This is an experience we all have of these buildings. 19.2 Characterize the arrival of Modernism in the United States. c. dark colors Consider This: This is an experience we all have of these buildings. 19.2 Characterize the arrival of Modernism in the United States. d. menacing tone Consider This: This is an experience we all have of these buildings. 19.2 Characterize the arrival of Modernism in the United States.

Answer: a Learning Objective: 19.2 Characterize the arrival of Modernism in the United States.

Topic: Modern Art Comes to the United States Difficulty Level: Difficult Skill Level: Apply

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Quiz: European Art Between the Wars EOM Q19.3.1 The rejection of painting in favor of making useful items exemplifies the principles of __________. a. Constructivism b. Surrealism Consider This: This responded to politics. 19.3 Summarize the new developments in Modern art and architecture in Europe between World Wars I and II. c. De Stijl Consider This: This responded to politics. 19.3 Summarize the new developments in Modern art and architecture in Europe between World Wars I and II. d. Purism Consider This: This responded to politics. 19.3 Summarize the new developments in Modern art and architecture in Europe between World Wars I and II. Answer: a Learning Objective: 19.3 Summarize the new developments in Modern art and architecture in Europe between World Wars I and II. Topic: European Art Between the Wars Difficulty Level: Moderate Skill Level: Understand EOM Q19.3.2 De Stijl art reflects the belief that art should represent universal beauty through __________. a. nonsubjective renderings b. explorations of the unconscious Consider This: Mondrian’s paintings typify this approach. 19.3 Summarize the new developments in Modern art and architecture in Europe between World Wars I and II. c. personal explorations of the psyche Consider This: Mondrian’s paintings typify this approach. 19.3 Summarize the new developments in Modern art and architecture in Europe between World Wars I and II. d. nonrepresentational narratives Consider This: Mondrian’s paintings typify this approach. 19.3 Summarize the new developments in Modern art and architecture in Europe between World Wars I and II. Answer: a Learning Objective: 19.3 Summarize the new developments in Modern art and architecture in Europe between World Wars I and II. Topic: European Art Between the Wars Difficulty Level: Moderate Skill Level: Understand

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EOM Q19.3.3 What is the significance of the domino construction system at the Villa Savoye? a. Reinforced concrete resting on posts allows for curtain walls. b. Asymmetrical organization permits load-bearing walls.

Consider This: Glass windows run the length of the building. 19.3 Summarize the new developments in Modern art and architecture in Europe between World Wars I and II. c. Ribbons of windows reveal load-bearing curtain walls.

Consider This: Glass windows run the length of the building. 19.3 Summarize the new developments in Modern art and architecture in Europe between World Wars I and II. d. Interior partitions allow for dynamic equilibrium.

Consider This: Glass windows run the length of the building. 19.3 Summarize the new developments in Modern art and architecture in Europe between World Wars I and II. Answer: a Learning Objective: 19.3 Summarize the new developments in Modern art and architecture in Europe between World Wars I and II. Topic: European Art Between the Wars Difficulty Level: Difficult Skill Level: Apply EOM Q19.3.4 What artistic movement used automatic writing to explore the unconscious mind? a. Surrealism b. De Stijl Consider This: This is seen in the work of Dalí and Miró. 19.3 Summarize the new developments in Modern art and architecture in Europe between World Wars I and II. c. Constructivism Consider This: This is seen in the work of Dalí and Miró. 19.3 Summarize the new developments in Modern art and architecture in Europe between World Wars I and II. d. Bauhaus Consider This: This is seen in the work of Dalí and Miró. 19.3 Summarize the new developments in Modern art and architecture in Europe between World Wars I and II. Answer: a Learning Objective: 19.3 Summarize the new developments in Modern art and architecture in Europe between World Wars I and II. Topic: European Art Between the Wars Difficulty Level: Moderate Skill Level: Understand

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EOM Q19.3.5 Brancusi’s Torso of a Young Man is characterized by the __________. a. reduction to essential form b. influence of Maya art Consider This: This was influenced by the modern art of Paris. 19.3 Summarize the new developments in Modern art and architecture in Europe between World Wars I and II. c. elaboration of surface texture Consider This: This was influenced by the modern art of Paris. 19.3 Summarize the new developments in Modern art and architecture in Europe between World Wars I and II. d. meticulous treatment of the exterior Consider This: This was influenced by the modern art of Paris. 19.3 Summarize the new developments in Modern art and architecture in Europe between World Wars I and II. Answer: a Learning Objective: 19.3 Summarize the new developments in Modern art and architecture in Europe between World Wars I and II. Topic: European Art Between the Wars Difficulty Level: Moderate Skill Level: Understand Quiz: American Art Between the Wars EOM Q19.4.1 Grant Wood’s American Gothic represents the persistence of __________ in American art. a. realism b. abstraction Consider This: This was believed to reflect American values. 19.4 Compare the assimilation of and resistance to European Modernism in American art and architecture between World Wars I and II. c. modernism Consider This: This was believed to reflect American values. 19.4 Compare the assimilation of and resistance to European Modernism in American art and architecture between World Wars I and II. d. narrative Consider This: This was believed to reflect American values. 19.4 Compare the assimilation of and resistance to European Modernism in American art and architecture between World Wars I and II. Answer: a Learning Objective: 19.4 Compare the assimilation of and resistance to European Modernism in American art and architecture between World Wars I and II. Topic: American Art Between the Wars Difficulty Level: Moderate Skill Level: Understand

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EOM Q19.4.2 What event from history led to Lange’s Migrant Mother, Nipomo, California? a. Great Depression b. World War I Consider This: This led to the government’s patronage of the arts. 19.4 Compare the assimilation of and resistance to European Modernism in American art and architecture between World Wars I and II. c. Great Migration Consider This: This led to the government’s patronage of the arts. 19.4 Compare the assimilation of and resistance to European Modernism in American art and architecture between World Wars I and II. d. Mexican Revolution Consider This: This led to the government’s patronage of the arts. 19.4 Compare the assimilation of and resistance to European Modernism in American art and architecture between World Wars I and II. Answer: a Learning Objective: 19.4 Compare the assimilation of and resistance to European Modernism in American art and architecture between World Wars I and II. Topic: American Art Between the Wars Difficulty Level: Easy Skill Level: Remember EOM Q19.4.3 The Harlem Renaissance was sparked by the __________. a. migration of African Americans to the North b. end of World War I Consider This: This is represented by Jacob Lawrence. 19.4 Compare the assimilation of and resistance to European Modernism in American art and architecture between World Wars I and II. c. westward expansion across the nation Consider This: This is represented by Jacob Lawrence. 19.4 Compare the assimilation of and resistance to European Modernism in American art and architecture between World Wars I and II. d. African American Civil Rights movement Consider This: This is represented by Jacob Lawrence. 19.4 Compare the assimilation of and resistance to European Modernism in American art and architecture between World Wars I and II. Answer: a Learning Objective: 19.4 Compare the assimilation of and resistance to European Modernism in American art and architecture between World Wars I and II. Topic: American Art Between the Wars Difficulty Level: Easy Skill Level: Remember

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EOM Q19.4.4 Based on what you have read, why did Andre Breton call Frida Kahlo a natural Surrealist? a. Her art goes beyond rational constraint. b. Her art represents her daily reality.

Consider This: Kahlo rejected Breton’s characterization. 19.4 Compare the assimilation of and resistance to European Modernism in American art and architecture between World Wars I and II. c. Her art reflects bourgeois morality.

Consider This: Kahlo rejected Breton’s characterization. 19.4 Compare the assimilation of and resistance to European Modernism in American art and architecture between World Wars I and II. d. Her art pictures the conscious mind.

Consider This: Kahlo rejected Breton’s characterization. 19.4 Compare the assimilation of and resistance to European Modernism in American art and architecture between World Wars I and II. Answer: a Learning Objective: 19.4 Compare the assimilation of and resistance to European Modernism in American art and architecture between World Wars I and II. Topic: American Art Between the Wars Difficulty Level: Difficult Skill Level: Apply EOM Q19.4.5 What distinguishes Frank Lloyd Wright’s style of architecture from International Style architecture? a. Wright integrated the building with its environment. b. Wright used modern materials.

Consider This: This is visible at the Kaufmann House. 19.4 Compare the assimilation of and resistance to European Modernism in American art and architecture between World Wars I and II. c. Wright preferred the machine aesthetic.

Consider This: This is visible at the Kaufmann House. 19.4 Compare the assimilation of and resistance to European Modernism in American art and architecture between World Wars I and II. d. Wright employed extensive ornamentation.

Consider This: This is visible at the Kaufmann House. 19.4 Compare the assimilation of and resistance to European Modernism in American art and architecture between World Wars I and II. Answer: a Learning Objective: 19.4 Compare the assimilation of and resistance to European Modernism in American art and architecture between World Wars I and II. Topic: American Art Between the Wars Difficulty Level: Moderate Skill Level: Apply

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Chapter Quiz: Modern Art in Europe and the Americas, 1900-1945 EOC Q19.1 The art of the Fauves treats color __________. a. expressively b. naturalistically Consider This: Matisse’s Joy of Life is a good example. 19.1 Trace the spread of Modernism across Europe in the early twentieth century. c. logically Consider This: Matisse’s Joy of Life is a good example. 19.1 Trace the spread of Modernism across Europe in the early twentieth century. d. illusionistically Consider This: Matisse’s Joy of Life is a good example. 19.1 Trace the spread of Modernism across Europe in the early twentieth century.

Answer: a Learning Objective: 19.1 Trace the spread of Modernism across Europe in the early twentieth century.

Topic: Modern Art in Europe and the Americas, 1900-1945 Difficulty Level: Moderate Skill Level: Understand EOC Q19.2 Kandinsky aspired to make paintings that __________. a. had no content b. expressed socialist values Consider This: This was influenced by contemporary music. 19.1 Trace the spread of Modernism across Europe in the early twentieth century. c. depicted speed Consider This: This was influenced by contemporary music. 19.1 Trace the spread of Modernism across Europe in the early twentieth century. d. could inspire faith Consider This: This was influenced by contemporary music. 19.1 Trace the spread of Modernism across Europe in the early twentieth century.

Answer: a Learning Objective: 19.1 Trace the spread of Modernism across Europe in the early twentieth century.

Topic: Modern Art in Europe and the Americas, 1900-1945 Difficulty Level: Moderate Skill Level: Understand

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EOC Q19.3 Pablo Picasso’s painting Les Demoiselles d’Avignon (The Young Ladies of Avignon) was influenced by art from __________. a. Africa b. India Consider This: This is especially visible in the faces. 19.1 Trace the spread of Modernism across Europe in the early twentieth century. c. South America Consider This: This is especially visible in the faces. 19.1 Trace the spread of Modernism across Europe in the early twentieth century. d. Australia Consider This: This is especially visible in the faces. 19.1 Trace the spread of Modernism across Europe in the early twentieth century.

Answer: a Learning Objective: 19.1 Trace the spread of Modernism across Europe in the early twentieth century.

Topic: Modern Art in Europe and the Americas, 1900-1945 Difficulty Level: Easy Skill Level: Understand EOC Q19.4 Cubism fractured shapes and represented incoherent space as if seen __________. a. from multiple perspectives b. in motion Consider This: This was influenced by the art of Cézanne. 19.1 Trace the spread of Modernism across Europe in the early twentieth century. c. from below Consider This: This was influenced by the art of Cézanne. 19.1 Trace the spread of Modernism across Europe in the early twentieth century. d. in a dream state Consider This: This was influenced by the art of Cézanne. 19.1 Trace the spread of Modernism across Europe in the early twentieth century.

Answer: a Learning Objective: 19.1 Trace the spread of Modernism across Europe in the early twentieth century.

Topic: Modern Art in Europe and the Americas, 1900-1945 Difficulty Level: Moderate Skill Level: Understand

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EOC Q19.5 Which movement produced paintings of flat, assembled, geometric shapes that promoted pure feeling? a. Suprematism b. Futurism Consider This: Malevich created this movement. 19.1 Trace the spread of Modernism across Europe in the early twentieth century. c. Surrealism Consider This: Malevich created this movement. 19.1 Trace the spread of Modernism across Europe in the early twentieth century. d. Dada Consider This: Malevich created this movement. 19.1 Trace the spread of Modernism across Europe in the early twentieth century.

Answer: a Learning Objective: 19.1 Trace the spread of Modernism across Europe in the early twentieth century.

Topic: Modern Art in Europe and the Americas, 1900-1945 Difficulty Level: Moderate Skill Level: Understand EOC Q19.6 Which movement is known for its nonsensical images? a. Dada b. Futurism Consider This: Malevich created this movement. 19.1 Trace the spread of Modernism across Europe in the early twentieth century. c. Bauhaus Consider This: Malevich created this movement. 19.1 Trace the spread of Modernism across Europe in the early twentieth century. d. Suprematism Consider This: Malevich created this movement. 19.1 Trace the spread of Modernism across Europe in the early twentieth century.

Answer: a Learning Objective: 19.1 Trace the spread of Modernism across Europe in the early twentieth century.

Topic: Modern Art in Europe and the Americas, 1900-1945 Difficulty Level: Moderate Skill Level: Understand

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EOC Q19.7 Which artist operated a gallery that promoted modernism in New York? a. Alfred Stieglitz b. Marsden Hartley Consider This: This was called 291. 19.2 Characterize the arrival of Modernism in the United States. c. Edward Steichen Consider This: This was called 291. 19.2 Characterize the arrival of Modernism in the United States. d. Georgia O’Keeffe Consider This: This was called 291. 19.2 Characterize the arrival of Modernism in the United States.

Answer: a Learning Objective: 19.2 Characterize the arrival of Modernism in the United States.

Topic: Modern Art in Europe and the Americas, 1900-1945 Difficulty Level: Easy Skill Level: Remember EOC Q19.8 Based on what you read, why did American critics attack the Armory Show artists as anarchists and savages? a. The critics were offended by the Modernist styles. b. The critics objected to the artists’ leftist politics.

Consider This: Realism dominated American art at the time. 19.2 Characterize the arrival of Modernism in the United States. c. The critics preferred art that was more avant-garde.

Consider This: Realism dominated American art at the time. 19.2 Characterize the arrival of Modernism in the United States. d. The critics objected to the exclusion of American artists.

Consider This: Realism dominated American art at the time. 19.2 Characterize the arrival of Modernism in the United States.

Answer: a Learning Objective: 19.2 Characterize the arrival of Modernism in the United States.

Topic: Modern Art in Europe and the Americas, 1900-1945 Difficulty Level: Difficult Skill Level: Apply

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EOC Q19.9 What artistic movement abstracted form in search of the essence of universal beauty? a. De Stijl b. Surrealism Consider This: Mondrian championed this effort. 19.3 Summarize the new developments in Modern art and architecture in Europe between World Wars I and II. c. Constructivism Consider This: Mondrian championed this effort. 19.3 Summarize the new developments in Modern art and architecture in Europe between World Wars I and II. d. Bauhaus Consider This: Mondrian championed this effort. 19.3 Summarize the new developments in Modern art and architecture in Europe between World Wars I and II. Answer: a Learning Objective: 19.3 Summarize the new developments in Modern art and architecture in Europe between World Wars I and II. Topic: Modern Art in Europe and the Americas, 1900-1945 Difficulty Level: Moderate Skill Level: Understand EOC Q19.10 Brandt’s Tea and Coffee Service represents the Bauhaus’s promotion of the __________. a. collaboration of design and production b. German traditions of design Consider This: This was a prototype to be reproduced in cheaper materials. 19.3 Summarize the new developments in Modern art and architecture in Europe between World Wars I and II. c. fascist agenda for art and design Consider This: This was a prototype to be reproduced in cheaper materials. 19.3 Summarize the new developments in Modern art and architecture in Europe between World Wars I and II. d. appropriation of foreign ideas Consider This: This was a prototype to be reproduced in cheaper materials. 19.3 Summarize the new developments in Modern art and architecture in Europe between World Wars I and II. Answer: a Learning Objective: 19.3 Summarize the new developments in Modern art and architecture in Europe between World Wars I and II. Topic: Modern Art in Europe and the Americas, 1900-1945 Difficulty Level: Moderate Skill Level: Understand

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EOC Q19.11 Which artist is known for capturing the essence of his subjects in semi-abstracted works? a. Brancusi b. Duchamp Consider This: This artist worked principally in sculpture. 19.3 Summarize the new developments in Modern art and architecture in Europe between World Wars I and II. c. Stieglitz Consider This: This artist worked principally in sculpture. 19.3 Summarize the new developments in Modern art and architecture in Europe between World Wars I and II. d. Mondrian Consider This: This artist worked principally in sculpture. 19.3 Summarize the new developments in Modern art and architecture in Europe between World Wars I and II. Answer: a Learning Objective: 19.3 Summarize the new developments in Modern art and architecture in Europe between World Wars I and II. Topic: Modern Art in Europe and the Americas, 1900-1945 Difficulty Level: Moderate Skill Level: Understand EOC Q19.12 Adolf Hitler and the Nazis called Modernist art degenerate because they believed it to be __________. a. degraded and politically subversive b. evidence of non-Aryan inferiority Consider This: The Nazis described it as sick. 19.3 Summarize the new developments in Modern art and architecture in Europe between World Wars I and II. c. overpriced and technically inferior Consider This: The Nazis described it as sick. 19.3 Summarize the new developments in Modern art and architecture in Europe between World Wars I and II. d. evidence of non-German superiority Consider This: The Nazis described it as sick. 19.3 Summarize the new developments in Modern art and architecture in Europe between World Wars I and II. Answer: a Learning Objective: 19.3 Summarize the new developments in Modern art and architecture in Europe between World Wars I and II. Topic: Modern Art in Europe and the Americas, 1900-1945 Difficulty Level: Moderate Skill Level: Understand

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EOC Q19.13 Grant Wood is an American artist associated with __________. a. Regionalism b. the 291 gallery Consider This: His American Gothic illustrates this connection. 19.4 Compare the assimilation of and resistance to European Modernism in American art and architecture between World Wars I and II. c. the Ashcan School Consider This: His American Gothic illustrates this connection. 19.4 Compare the assimilation of and resistance to European Modernism in American art and architecture between World Wars I and II. d. the Harlem Renaissance Consider This: His American Gothic illustrates this connection. 19.4 Compare the assimilation of and resistance to European Modernism in American art and architecture between World Wars I and II. Answer: a Learning Objective: 19.4 Compare the assimilation of and resistance to European Modernism in American art and architecture between World Wars I and II. Topic: Modern Art in Europe and the Americas, 1900-1945 Difficulty Level: Easy Skill Level: Understand EOC Q19.14 Jacob Lawrence’s The Migration Series uses forms that recall __________. a. African art b. Cubism paintings Consider This: This is a characteristic shared by Picasso’s Les Demoiselles d’Avignon.

19.4 Compare the assimilation of and resistance to European Modernism in American art and architecture between World Wars I and II. c. Pacific Islander art Consider This: This is a characteristic shared by Picasso’s Les Demoiselles d’Avignon.

19.4 Compare the assimilation of and resistance to European Modernism in American art and architecture between World Wars I and II. d. German Expressionism Consider This: This is a characteristic shared by Picasso’s Les Demoiselles d’Avignon.

19.4 Compare the assimilation of and resistance to European Modernism in American art and architecture between World Wars I and II. Answer: a Learning Objective: 19.4 Compare the assimilation of and resistance to European Modernism in American art and architecture between World Wars I and II. Topic: Modern Art in Europe and the Americas, 1900-1945 Difficulty Level: Moderate Skill Level: Understand

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EOC Q19.15 As demonstrated by Emily Carr’s Big Raven, U.S. and Canadian artists working between the wars were interested in issues surrounding __________. a. identity b. the environment Consider This: This includes the Harlem Renaissance and American Regionalist artists.

19.4 Compare the assimilation of and resistance to European Modernism in American art and architecture between World Wars I and II. c. nationalism Consider This: This includes the Harlem Renaissance and American Regionalist artists.

19.4 Compare the assimilation of and resistance to European Modernism in American art and architecture between World Wars I and II. d. fascism Consider This: This includes the Harlem Renaissance and American Regionalist artists.

19.4 Compare the assimilation of and resistance to European Modernism in American art and architecture between World Wars I and II. Answer: a Learning Objective: 19.4 Compare the assimilation of and resistance to European Modernism in American art and architecture between World Wars I and II. Topic: Modern Art in Europe and the Americas, 1900-1945 Difficulty Level: Moderate Skill Level: Understand

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Chapter 20: Art Since 1945 Multiple-Choice Questions 1. After World War II, which urban center became the locus of avant-garde innovations in art? a. Berlin b. New York c. Paris d. London Answer: b Learning Objective: 20.1 Describe how and why Abstract Expressionism transformed painting after 1945.

Topic: Abstract Expressionism Difficulty Level: Easy Skill Level: Remember the Facts 2. Valuing form over content is called __________. a. avant-garde b. assemblage c. appropriation d. formalism Answer: d Learning Objective: 20.1 Describe how and why Abstract Expressionism transformed painting after 1945.

Topic: Abstract Expressionism Difficulty Level: Easy Skill Level: Remember the Facts 3. Action Painting and Color Field Painting are the two major approaches in __________. a. Postmodernism b. Pop art c. Abstract Expressionism d. Minimalism Answer: c Learning Objective: 20.1 Describe how and why Abstract Expressionism transformed painting after 1945.

Topic: Abstract Expressionism Difficulty Level: Moderate Skill Level: Understand the Concepts

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4. Broad sweeping expanses of color characterize __________. a. Pop art b. Color Field Painting c. Action Painting d. Happenings Answer: b Learning objective: 20.1 Describe how and why Abstract Expressionism transformed painting after 1945.

Topic: Abstract Expressionism Difficulty Level: Moderate Skill Level: Understand the Concepts 5. Joan Mitchell’s Ladybug exemplifies the characteristics of Action Painting in the __________. a. gestural brushstrokes b. broad expanses of color c. mixture of paint and found objects d. repetitive representational forms Answer: a Learning objective: 20.1 Describe how and why Abstract Expressionism transformed painting after 1945.

Topic: Action Painting Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It 6. Which of the following best describes the work of Mark Rothko? a. large rectangles of bleeding color b. active brushwork and autobiographical references c. a chaotic mixture of painted and found elements d. imagery from cartoons and advertisements Answer: a Learning Objective: 20.1 Describe how and why Abstract Expressionism transformed painting after 1945.

Topic: Color Field Painting Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It

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7. David Smith’s Cubi series demonstrates the characteristics of __________. a. Postmodernism b. Neo-Expressionism c. Deconstructivism d. Abstract Expressionism Answer: d Learning Objective: 20.1 Describe how and why Abstract Expressionism transformed painting after 1945.

Topic: Sculpture Difficulty Level: Moderate Skill Level: Understand the Concepts 8. The technique of combining disparate elements to construct a work of art is called __________. a. new media b. appropriation c. encaustic d. assemblage Answer: d Learning Objective: 20.2 Characterize the variety of artistic movements that followed Abstract Expressionism.

Topic: The Expanding Art World Difficulty Level: Easy Skill Level: Remember the Facts 9. Which of the following best characterizes Louise Nevelson’s Sky Cathedral? a. assemblage b. new media c. Minimalist d. earthwork Answer: a Learning Objective: 20.2 Characterize the variety of artistic movements that followed Abstract Expressionism.

Topic: The Expanding Art World Difficulty Level: Moderate Skill Level: Understand the Concepts

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10. How is Robert Rauschenberg’s Canyon different from Louise Nevelson’s Sky Cathedral? a. It features nonrepresentational subject matter. b. It combines Action Painting and Color Field Painting. c. It blends features of avant-garde painting and sculpture. d. It incorporates photography and new media, such as video.

Answer: c Learning Objective: 20.2 Characterize the variety of artistic movements that followed Abstract Expressionism.

Topic: Johns, Rauschenberg, and Cage Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 11. Shozo Shimamoto’s Hurling Colors demonstrates the Gutai collective’s interest in __________. a. assemblage b. performance c. appropriation d. formalism Answer: b Learning Objective: 20.2 Characterize the variety of artistic movements that followed Abstract Expressionism.

Topic: Gutai Difficulty Level: Moderate Skill Level: Understand the Concepts 12. How is Carolee Schneemann’s Meat Joy different from Allan Kaprow’s Yard? a. As an Environment, it invited viewers to interact with static installations. b. As a Fluxus event, it focused on ordinary behaviors performed methodically. c. As a Gutai performance, it involved acts of creation and destruction. d. As a Happening, it was an immersive chance-based performance.

Answer: d Learning Objective: 20.2 Characterize the variety of artistic movements that followed Abstract Expressionism.

Topic: Environments, Happenings, and Fluxus Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It

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13. Which of the following can be characterized as a Fluxus event? a. Carolee Schneemann’s Meat Joy b. Yoko Ono’s Cut Piece c. Allan Kaprow’s Yard d. Shozo Shimamoto’s Hurling Colors Answer: b Learning Objective: 20.2 Characterize the variety of artistic movements that followed Abstract Expressionism.

Topic: Environments, Happenings, and Fluxus Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It 14. Andy Warhol’s Marilyn Diptych demonstrates Pop Art’s critique of __________. a. mass media b. feminism c. formalism d. racial inequality Answer: a Learning Objective: 20.2 Characterize the variety of artistic movements that followed Abstract Expressionism.

Topic: Pop Art Difficulty Level: Moderate Skill Level: Understand the Concepts 15. Donald Judd’s Untitled exemplifies the purely formal and material qualities of __________. a. Abstract Expressionism b. Postmodernism c. Minimalism d. Conceptual art Answer: c Learning Objective: 20.2 Characterize the variety of artistic movements that followed Abstract Expressionism.

Topic: Minimalism Difficulty Level: Moderate Skill Level: Understand the Concepts

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16. Which of the following art movements was characterized as “the dematerialization of art”? a. Performance art b. Conceptual art c. Minimalism d. Pop art Answer: b Learning Objective: 20.2 Characterize the variety of artistic movements that followed Abstract Expressionism.

Topic: The Dematerialization of Art Difficulty Level: Moderate Skill Level: Understand the Concepts 17. Judy Chicago’s The Dinner and Miriam Schapiro’s Personal Appearance #3 both share an interest in promoting as “high art”__________. a. traditional women’s crafts b. objects created with new media c. compositions with appropriated imagery d. performance art and interactive exhibitions Answer: a Learning Objective: 20.2 Characterize the variety of artistic movements that followed Abstract Expressionism.

Topic: Feminist Art Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It 18. Which of the following movements is recognized by its attempts to undermine art that is pure, autonomous, and universal? a. Abstract Expressionism b. Minimalism c. Conceptual art d. Postmodernism Answer: d Learning Objective: 20.3 Trace how Postmodernism and changing attitudes around identity affected art after the 1970s.

Topic: Postmodernism Difficulty Level: Moderate Skill Level: Understand the Concepts

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19. Gerhard Richter’s Man Shot Down (1) demonstrates the characteristics of __________. a. Minimalism b. a Happening c. Neo-Expressionism d. Formalism Answer: c Learning Objective: 20.3 Trace how Postmodernism and changing attitudes around identity affected art after the 1970s.

Topic: Neo-Expressionism Difficulty Level: Moderate Skill Level: Understand the Concepts 20. Because Sherrie Levine’s After Walker Evans: 4 reproduces photography by Walker Evans, it can be characterized as __________. a. an assemblage b. an appropriation c. minimalist d. conceptual art Answer: b Learning Objective: 20.3 Trace how Postmodernism and changing attitudes around identity affected art after the 1970s.

Topic: Appropriation, Identity, and Critique Difficulty Level: Moderate Skill Level: Understand the Concepts 21. Both Guerilla Girls’s The Advantages of Being a Woman Artist and Cindy Sherman’s Untitled Film Still #21 address issues related to __________. a. female identity b. racial inequality c. political activism d. globalization Answer: a Learning Objective: 20.3 Trace how Postmodernism and changing attitudes around identity affected art after the 1970s.

Topic: Appropriation, Identity, and Critique Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It

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22. James Luna’s The Artifact Piece and Kerry James Marshall’s De Style both address issues related to __________. a. gender inequality b. political activism c. racial identity d. globalization Answer: c Learning Objective: 20.3 Trace how Postmodernism and changing attitudes around identity affected art after the 1970s.

Topic: Identity Politics and the Culture Wars Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It 23. Which of the following artworks addresses the physical effects of AIDS? a. Bill Viola’s The Crossing b. Jasper Johns’s Target with Plaster Casts c. Patricia Cronin’s Shrine For Girls d. David Wojnarowicz’s Untitled (Sometimes I Come to Hate People) Answer: d Learning Objective: 20.3 Trace how Postmodernism and changing attitudes around identity affected art after the 1970s.

Topic: The Impact of AIDS Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It 24. Kiki Smith’s Untitled conveys the physical effects of __________. a. homelessness b. AIDS c. domestic violence d. menstruation Answer: b Learning Objective: 20.3 Trace how Postmodernism and changing attitudes around identity affected art after the 1970s.

Topic: The Impact of AIDS Difficulty Level: Moderate Skill Level: Understand the Concepts

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25. Julie Mehretu’s Stadia II and Gu Wenda’s China Monument: Temple of Heaven both share an interest in exploring the effects of __________. a. the AIDS epidemic b. gender inequality c. social activism d. globalization Answer: d Learning Objective: 20.4 Explain the ways in which contemporary artists have synthesized aesthetic interests, social content, and political activism in their work.

Topic: Contemporary Art in an Expanding World Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It 26. Shirin Neshat’s photographs often expose Western stereotypes of __________. a. homelessness b. racial inequality c. Samoan couples d. Muslim women Answer: d Learning Objective: 20.4 Explain the ways in which contemporary artists have synthesized aesthetic interests, social content, and political activism in their work.

Topic: Contemporary Art in an Expanding World Difficulty Level: Moderate Skill Level: Understand the Concepts 27. Olafur Eliasson’s The Weather Project featured the illusion of a giant yellow sun within the Tate Modern to encourage viewers to __________. a. think about globalization b. embrace interactive technology c. question their own experience d. consider the struggles of homelessness Answer: c Learning Objective: 20.4 Explain the ways in which contemporary artists have synthesized aesthetic interests, social content, and political activism in their work.

Topic: The New Formalism Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It

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28. Krzysztof Wodiczko’s Homeless Vehicle recalls __________. a. Constructivist design b. Fluxus events c. Postmodern architecture d. Conceptual art Answer: a Learning Objective: 20.4 Explain the ways in which contemporary artists have synthesized aesthetic interests, social content, and political activism in their work.

Topic: Activist Strategies Difficulty Level: Moderate Skill Level: Understand the Concepts 29. Patricia Cronin’s Shrine For Girls raises public awareness for __________. a. gender inequality b. violence toward women c. the AIDs epidemic d. homelessness Answer: b Learning Objective: 20.4 Explain the ways in which contemporary artists have synthesized aesthetic interests, social content, and political activism in their work.

Topic: Activist Strategies Difficulty Level: Moderate Skill Level: Understand the Concepts 30. Jenova Chen’s and Kellee Santiago’s Flower can be characterized as new media art because it __________. a. features robotics b. is a multisensory experience c. is a video game d. includes video footage Answer: c Learning Objective: 20.4 Explain the ways in which contemporary artists have synthesized aesthetic interests, social content, and political activism in their work.

Topic: New Media Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It

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31. The Seagram Building in New York is one of the finest examples of __________. a. Postmodernism b. Deconstructivism c. the International Style d. Formalism Answer: c Learning Objective: 20.5 Recognize new developments in contemporary architecture.

Topic: Postwar Architecture Difficulty Level: Moderate Skill Level: Understand the Concepts 32. In his treatise on Postmodernism, Robert Venturi encouraged new architecture to embrace __________. a. new media b. appropriation c. simplicity d. eclecticism Answer: d Learning Objective: 20.5 Recognize new developments in contemporary architecture.

Topic: Postmodern Architecture Difficulty Level: Easy Skill Level: Remember the Facts 33. Architecture that is complex, contradictory, and borrows from “high” and “low” architecture and from the past is called __________. a. International Style b. Postmodern c. Deconstructivist d. Modernist Answer: b Learning Objective: 20.5 Recognize new developments in contemporary architecture.

Topic: Postmodern Architecture Difficulty Level: Moderate Skill Level: Understand the Concepts 34. Architecture that deliberately disturbs traditional architectural values of harmony, unity, and stability to create decentered and distorted designs is called __________. a. Postmodern b. International Style c. Deconstructivist d. Modernist Answer: c Learning Objective: 20.5 Recognize new developments in contemporary architecture.

Topic: Deconstructivist Architecture Difficulty Level: Moderate Skill Level: Understand the Concepts 11 Copyright © 2020, 2016, 2012 Pearson Education, Inc. All rights reserved.

35. The Vitra Fire Station demonstrates the characteristics of __________. a. Deconstructivism b. Postmodernism c. International Style d. Modernism Answer: a Learning Objective: 20.5 Recognize new developments in contemporary architecture.

Topic: Postmodern Architecture Difficulty Level: Moderate Skill Level: Understand the Concepts Essay Questions 36. How does Joan Mitchell’s Ladybug correspond to the conventions of Abstract Expressionism?

Answer: The ideal answer should include: 1. Joan Mitchell’s painting is an example of the Action Painting approach to Abstract Expressionism.

2. Ladybug as well as her other paintings visualized her personal responses to memories of natural and urban landscapes.

3. She creates energetic but controlled rhythms with gestural brushstrokes, setting the lyrical complexity of her distinctive color palette against a neutral ground.

4. This may reference the figure and field relationship of traditional painting.

Learning Objective: 20.1 Describe how and why Abstract Expressionism transformed painting after 1945.

Topic: Action Painting Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 37. How does Mary Kelly’s Post-Partum Document embody the feminist movement?

Answer: The ideal answer should include: 1. Mary Kelly’s work is related to constructivist theories of gender.

2. She employs a pseudo-scientific approach that draws on Marxism, feminist philosophy, and psychoanalytic theory to explore her changing relationship with her son in the first six years of his life.

3. This monumental installation includes 135 objects, photographs, diagrams, charts, printed transcripts, handwritten notes, scribbles, and drawings that act both as a personal record of her child’s development and as evidence of Kelly’s rigorous process.

4. Each of its six parts focuses on formative moments around the child’s acquisition of language and Kelly’s own feelings of loss and change as her son grows up.

Learning Objective: 20.2 Characterize the variety of artistic movements that followed Abstract Expressionism.

Topic: Feminist Art Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 12 Copyright © 2020, 2016, 2012 Pearson Education, Inc. All rights reserved.

38. Discuss the controversy about the public funding of art for public spaces using Richard Serra’s Tilted Arc as an example.

Answer: The ideal answer should include: 1. In 1981, Richard Serra won a commission to build Tilted Arc, a curved, slightly angled, Corten steel wall 120 feet long, 12 feet tall, and 2.5 inches thick that would bisect the plaza in front of the Javits Federal Building in New York.

2. Soon after its installation, the sculpture drew criticism for its impact on the public space because some New Yorkers, notably those who worked in the building, saw the work as a barrier that forced people to detour as they crossed the plaza and that prevented the space from being used for concerts or performances.

3. Over time, the steel weathered to a rusty brown and was covered with pigeon droppings and graffiti, features that many found ugly and distasteful.

4. Public outcry grew so intense that in 1986 Serra’s sculpture was removed to a Brooklyn parking lot; Serra argued that moving the sculpture effectively destroyed a site-specific sculpture and filed a lawsuit claiming censorship that was eventually dismissed.

Learning Objective: 20.3 Trace how Postmodernism and changing attitudes around identity affected art after the 1970s.

Topic: Controversies Over Art Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 39. How does Patricia Cronin’s Shrine for Girls participate in social and political activism?

Answer: The ideal answer should include: 1. In Shrine for Girls, which was installed at the sixteenth-century Church of San Gallo in Venice, Cronin placed on the chapel’s three marble altars photographs of young girls placed next to mounds of clothing to suggest relics of religious martyrs.

2. The “monuments” reference recent incidents that demonstrate violence against women around the world.

3. Brilliantly colored saris on the central altar relate to a 2014 gang-rape and murder of two Indian teenagers, Muslim hijabs sit on the altar to the left to represent the 276 Nigerian schoolgirls kidnapped in 2014 by Boko Haram militants in Nigeria, and the altar on the right displays uniforms like those worn by women incarcerated and forced to work in Magdalene asylums across Europe and the United States in eighteenth to late twentieth century.

4. Cronin’s installation exploits the aesthetic contrast between the rich colorful fabrics and the stone architecture to contribute visual impact and iconographic meaning, and the photographs give a human face to a problem that, when generalized, seems far removed from the viewer’s own experience.

Learning Objective: 20.4 Explain the ways in which contemporary artists have synthesized aesthetic interests, social content, and political activism in their work.

Topic: Activist Strategies Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It

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40. How does Santiago Calatrava’s The World Trade Center Transportation Hub, “The Oculus” demonstrate the way that public architecture can serve a practical and symbolic function?

Answer: The ideal answer should include: 1. As part of the World Trade Center site, which was rebuilt as a memorial, symbol, and functional group of buildings, Santiago Calatrava designed a subway and train station to handle the more than 50,000 commuters that pass through each day.

2. For the vast main hall called “The Oculus,” Calatrava conceived a light, airy structure made of pure white marble, glass, and stark steel painted white.

3. The curved walls rise 160 feet like wings toward a spine-like glass skylight that retracts each year on the anniversary of the attacks, aligned to open to the sun’s position when the planes first struck.

This image of hope—Calatrava has described it as the hands of a child releasing a bird— built on the site of unfathomable loss charts new domains for communal commemorations in the twenty-first century.

Learning Objective: 20.5 Recognize new developments in contemporary architecture.

Topic: The Site of the World Trade Center Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It

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Revel Quizzes Quiz: Abstract Expressionism EOM Q20.1.1 Clement Greenberg is a critic associated with the movement known as __________. a. formalism b. skepticism Consider This: Greenberg argued that the best paintings made no reference to the outside world. 20.1 Describe how and why Abstract Expressionism transformed painting after 1945. c. philosophism Consider This: Greenberg argued that the best paintings made no reference to the outside world. 20.1 Describe how and why Abstract Expressionism transformed painting after 1945. d. contextualism Consider This: Greenberg argued that the best paintings made no reference to the outside world. 20.1 Describe how and why Abstract Expressionism transformed painting after 1945.

Answer: a Learning Objective: 20.1 Describe how and why Abstract Expressionism transformed painting after 1945.

Topic: Abstract Expressionism Difficulty Level: Moderate Skill Level: Understand EOM Q20.1.2 Pollock’s paintings are called Action paintings because they __________. a. record his movement in applying the paint b. inspire other artists to action against academic traditions Consider This: This is seen in Autumn Rhythm (Number 30). 20.1 Describe how and why Abstract Expressionism transformed painting after 1945. c. represent stories featuring constant action Consider This: This is seen in Autumn Rhythm (Number 30). 20.1 Describe how and why Abstract Expressionism transformed painting after 1945. d. picture the artist’s actions throughout his life Consider This: This is seen in Autumn Rhythm (Number 30). 20.1 Describe how and why Abstract Expressionism transformed painting after 1945.

Answer: a Learning Objective: 20.1 Describe how and why Abstract Expressionism transformed painting after 1945.

Topic: Abstract Expressionism Difficulty Level: Moderate Skill Level: Understand

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EOM Q20.1.3 Based on what you have read, what is a logical conclusion to draw about Helen Frankenthaler’s statement, “I will sometimes start a picture feeling, What will happen if I work with three blues”? a. Her primary concern is form. b. Her primary concern is content.

Consider This: She was inspired in part by Pollock. 20.1 Describe how and why Abstract Expressionism transformed painting after 1945. c. Her primary concern is context.

Consider This: She was inspired in part by Pollock. 20.1 Describe how and why Abstract Expressionism transformed painting after 1945. d. Her primary concern is subject.

Consider This: She was inspired in part by Pollock. 20.1 Describe how and why Abstract Expressionism transformed painting after 1945.

Answer: a Learning Objective: 20.1 Describe how and why Abstract Expressionism transformed painting after 1945.

Topic: Abstract Expressionism Difficulty Level: Difficult Skill Level: Apply EOM Q20.1.4 Mark Rothko’s paintings represent ideas __________. a. without recognizable subjects b. through symbolic gestures Consider This: This is seen in his Color Field paintings. 20.1 Describe how and why Abstract Expressionism transformed painting after 1945. c. without abstract concepts Consider This: This is seen in his Color Field paintings. 20.1 Describe how and why Abstract Expressionism transformed painting after 1945. d. through personal history Consider This: This is seen in his Color Field paintings. 20.1 Describe how and why Abstract Expressionism transformed painting after 1945.

Answer: a Learning Objective: 20.1 Describe how and why Abstract Expressionism transformed painting after 1945.

Topic: Abstract Expressionism Difficulty Level: Moderate Skill Level: Understand

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EOM Q20.1.5 David Smith’s sculptures are best described as __________. a. abstract b. gestural Consider This: They look nevertheless organic. 20.1 Describe how and why Abstract Expressionism transformed painting after 1945. c. spontaneous Consider This: They look nevertheless organic. 20.1 Describe how and why Abstract Expressionism transformed painting after 1945. d. intimate Consider This: They look nevertheless organic. 20.1 Describe how and why Abstract Expressionism transformed painting after 1945.

Answer: a Learning Objective: 20.1 Describe how and why Abstract Expressionism transformed painting after 1945.

Topic: Abstract Expressionism Difficulty Level: Easy Skill Level: Apply Quiz: The Expanding Art World EOM Q20.2.1 Using his combines to “undermine ideas about art’s autonomy in the real world,” Rauschenberg shows that art __________. a. is not separate from society b. cannot have its own meaning Consider This: The materials of his combines make this clear. 20.2 Characterize the variety of artistic movements that followed Abstract Expressionism. c. is not meant to hang by itself Consider This: The materials of his combines make this clear. 20.2 Characterize the variety of artistic movements that followed Abstract Expressionism. d. cannot represent real life Consider This: The materials of his combines make this clear. 20.2 Characterize the variety of artistic movements that followed Abstract Expressionism.

Answer: a Learning Objective: 20.2 Characterize the variety of artistic movements that followed Abstract Expressionism Topic: The Expanding Art World Difficulty Level: Difficult Skill Level: Apply

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EOM Q20.2.2 Richard Hamilton’s Just What Is It That Makes Today’s Homes So Different, So Appealing? represents Pop Art’s interest in __________. a. consumerism b. formalism Consider This: This relates to the post-war recovery. 20.2 Characterize the variety of artistic movements that followed Abstract Expressionism. c. eclecticism Consider This: This relates to the post-war recovery. 20.2 Characterize the variety of artistic movements that followed Abstract Expressionism. d. minimalism Consider This: This relates to the post-war recovery. 20.2 Characterize the variety of artistic movements that followed Abstract Expressionism.

Answer: a Learning Objective: 20.2 Characterize the variety of artistic movements that followed Abstract Expressionism Topic: The Expanding Art World Difficulty Level: Moderate Skill Level: Understand EOM Q20.2.3 Minimalism shared Pop Art’s interest in __________. a. mass production b. abstraction Consider This: This involves the materials. 20.2 Characterize the variety of artistic movements that followed Abstract Expressionism. c. Politics Consider This: This involves the materials. 20.2 Characterize the variety of artistic movements that followed Abstract Expressionism. d. representational themes Consider This: This involves the materials. 20.2 Characterize the variety of artistic movements that followed Abstract Expressionism.

Answer: a Learning Objective: 20.2 Characterize the variety of artistic movements that followed Abstract Expressionism Topic: The Expanding Art World Difficulty Level: Moderate Skill Level: Understand

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EOM Q20.2.4 Kosuth’s conceptual One and Three Chairs illustrates the __________. a. nature of signs b. politics of contemporary art Consider This: This is why the chair appears three times. 20.2 Characterize the variety of artistic movements that followed Abstract Expressionism. c. symbolism of mundane items Consider This: This is why the chair appears three times. 20.2 Characterize the variety of artistic movements that followed Abstract Expressionism. d. incomprehensibility of art Consider This: This is why the chair appears three times. 20.2 Characterize the variety of artistic movements that followed Abstract Expressionism.

Answer: a Learning Objective: 20.2 Characterize the variety of artistic movements that followed Abstract Expressionism Topic: The Expanding Art World Difficulty Level: Moderate Skill Level: Understand EOM Q20.2.5 Chicago’s The Dinner Party exemplifies feminist art’s use of __________. a. traditional crafts to promote women’s contributions to history b. new media to critique social injustice against women Consider This: Schapiro’s Personal Appearance #3 shares this characteristic. 20.2 Characterize the variety of artistic movements that followed Abstract Expressionism. c. portraiture to personalize political struggle for equality Consider This: Schapiro’s Personal Appearance #3 shares this characteristic. 20.2 Characterize the variety of artistic movements that followed Abstract Expressionism. d. dematerialized art to represent female invisibility in the art world Consider This: Schapiro’s Personal Appearance #3 shares this characteristic. 20.2 Characterize the variety of artistic movements that followed Abstract Expressionism.

Answer: a Learning Objective: 20.2 Characterize the variety of artistic movements that followed Abstract Expressionism Topic: The Expanding Art World Difficulty Level: Moderate Skill Level: Understand

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Quiz: Postmodernism EOM Q20.3.1 In Postmodernism, appropriation refers to the __________. a. creative reuse of another work or image b. appropriate use of images or materials Consider This: Levine does this in After Walker Evans: 4. 20.3 Trace how Postmodernism and changing attitudes around identity affected art after the 1970s. c. funding of work through government grants Consider This: Levine does this in After Walker Evans: 4. 20.3 Trace how Postmodernism and changing attitudes around identity affected art after the 1970s. d. critique of politics and social institutions Consider This: Levine does this in After Walker Evans: 4. 20.3 Trace how Postmodernism and changing attitudes around identity affected art after the 1970s.

Answer: a Learning Objective: 20.3 Trace how Postmodernism and changing attitudes around identity affected art after the 1970s.

Topic: Postmodernism Difficulty Level: Easy Skill Level: Remember EOM Q20.3.2 The artist group known as the Guerrilla Girls critiques the __________. a. treatment of women in the art world b. U.S. neocolonial involvement in South Asia Consider This: This includes criticizing museums. 20.3 Trace how Postmodernism and changing attitudes around identity affected art after the 1970s. c. lack of public funding for the arts Consider This: This includes criticizing museums. 20.3 Trace how Postmodernism and changing attitudes around identity affected art after the 1970s. d. production of art by male artists Consider This: This includes criticizing museums. 20.3 Trace how Postmodernism and changing attitudes around identity affected art after the 1970s.

Answer: a Learning Objective: 20.3 Trace how Postmodernism and changing attitudes around identity affected art after the 1970s.

Topic: Postmodernism Difficulty Level: Easy Skill Level: Understand

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EOM Q20.3.3 Cindy Sherman’s film stills highlight the __________. a. constructed nature of identity b. dangers of American militarism Consider This: This is revealed as Sherman is the subject of every film still. 20.3 Trace how Postmodernism and changing attitudes around identity affected art after the 1970s. c. life of New York City’s underclass Consider This: This is revealed as Sherman is the subject of every film still. 20.3 Trace how Postmodernism and changing attitudes around identity affected art after the 1970s. d. effects of artistic censorship Consider This: This is revealed as Sherman is the subject of every film still. 20.3 Trace how Postmodernism and changing attitudes around identity affected art after the 1970s.

Answer: a Learning Objective: 20.3 Trace how Postmodernism and changing attitudes around identity affected art after the 1970s.

Topic: Postmodernism Difficulty Level: Moderate Skill Level: Understand EOM Q20.3.4 James Luna’s The Artifact Piece uses the artist’s body to comment on __________. a. prejudice b. gender roles Consider This: This is also addressed by Kara Walker. 20.3 Trace how Postmodernism and changing attitudes around identity affected art after the 1970s. c. economic inequality Consider This: This is also addressed by Kara Walker. 20.3 Trace how Postmodernism and changing attitudes around identity affected art after the 1970s. d. censorship Consider This: This is also addressed by Kara Walker. 20.3 Trace how Postmodernism and changing attitudes around identity affected art after the 1970s.

Answer: a Learning Objective: 20.3 Trace how Postmodernism and changing attitudes around identity affected art after the 1970s.

Topic: Postmodernism Difficulty Level: Moderate Skill Level: Understand

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EOM Q20.3.5 Whose work addresses the body and the AIDS crisis? a. Kiki Smith b. Eva Hesse Consider This: This is a highly personal subject for the artist. 20.3 Trace how Postmodernism and changing attitudes around identity affected art after the 1970s. c. Chris Ofili Consider This: This is a highly personal subject for the artist. 20.3 Trace how Postmodernism and changing attitudes around identity affected art after the 1970s. d. Richard Serra Consider This: This is a highly personal subject for the artist. 20.3 Trace how Postmodernism and changing attitudes around identity affected art after the 1970s.

Answer: a Learning Objective: 20.3 Trace how Postmodernism and changing attitudes around identity affected art after the 1970s.

Topic: Postmodernism Difficulty Level: Easy Skill Level: Understand Quiz: Contemporary Art in an Expanding World EOM Q20.4.1 How does Shirin Neshat’s photograph Rebellious Silence participate in the critical examination of globalization in contemporary art? a. It challenges simplified characterizations of women in Islamic cultures. b. It appropriates photography as a reference to images in the mass media.

Consider This: This is accomplished by the clothing and attributes. 20.4 Explain the ways in which contemporary artists have synthesized aesthetic interests, social content, and political activism in their work. c. It portrays Muslim women as Orientalist fantasies.

Consider This: This is accomplished by the clothing and attributes. 20.4 Explain the ways in which contemporary artists have synthesized aesthetic interests, social content, and political activism in their work. d. It employs text and image to challenge traditions of fine-arts media.

Consider This: This is accomplished by the clothing and attributes. 20.4 Explain the ways in which contemporary artists have synthesized aesthetic interests, social content, and political activism in their work.

Answer: a Learning Objective: 20.4 Explain the ways in which contemporary artists have synthesized aesthetic interests, social content, and political activism in their work.

Topic: Contemporary Art in an Expanding World Difficulty Level: Moderate Skill Level: Apply

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EOM Q20.4.2 Martin Puryear’s art is classified as New Formalism because it __________. a. focuses on materials b. addresses social injustice Consider This: This is similar to process art. 20.4 Explain the ways in which contemporary artists have synthesized aesthetic interests, social content, and political activism in their work. c. revives action painting Consider This: This is similar to process art. 20.4 Explain the ways in which contemporary artists have synthesized aesthetic interests, social content, and political activism in their work. d. promotes subjective experience Consider This: This is similar to process art. 20.4 Explain the ways in which contemporary artists have synthesized aesthetic interests, social content, and political activism in their work.

Answer: a Learning Objective: 20.4 Explain the ways in which contemporary artists have synthesized aesthetic interests, social content, and political activism in their work.

Topic: Contemporary Art in an Expanding World Difficulty Level: Moderate Skill Level: Understand EOM Q20.4.3 What issue does Kara Walker address in her work? a. Race in the United States b. Colonialism in West Africa Consider This: This is pictured in an old-fashioned material. 20.4 Explain the ways in which contemporary artists have synthesized aesthetic interests, social content, and political activism in their work. c. Diaspora artists in Europe Consider This: This is pictured in an old-fashioned material. 20.4 Explain the ways in which contemporary artists have synthesized aesthetic interests, social content, and political activism in their work. d. Apartheid in South Africa Consider This: This is pictured in an old-fashioned material. 20.4 Explain the ways in which contemporary artists have synthesized aesthetic interests, social content, and political activism in their work.

Answer: a Learning Objective: 20.4 Explain the ways in which contemporary artists have synthesized aesthetic interests, social content, and political activism in their work.

Topic: Contemporary Art in an Expanding World Difficulty Level: Easy Skill Level: Understand

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EOM Q20.4.4 Krzysztof Wodiczko’s Homeless Vehicle exemplifies a type of contemporary art concerned with __________. a. social practice b. arts institutions Consider This: This recalls a concern of Constructivism. 20.4 Explain the ways in which contemporary artists have synthesized aesthetic interests, social content, and political activism in their work. c. design thinking Consider This: This recalls a concern of Constructivism. 20.4 Explain the ways in which contemporary artists have synthesized aesthetic interests, social content, and political activism in their work. d. environmental policy Consider This: This recalls a concern of Constructivism. 20.4 Explain the ways in which contemporary artists have synthesized aesthetic interests, social content, and political activism in their work.

Answer: a Learning Objective: 20.4 Explain the ways in which contemporary artists have synthesized aesthetic interests, social content, and political activism in their work.

Topic: Contemporary Art in an Expanding World Difficulty Level: Moderate Skill Level: Understand EOM Q20.4.5 Based on what you have read, which statement best explains a goal of new media art? a. It is concerned with the viewer’s experience. b. It is focused on the objects.

Consider This: Bill Viola’s The Crossing is a good example. 20.4 Explain the ways in which contemporary artists have synthesized aesthetic interests, social content, and political activism in their work. c. It takes a critical stance toward other arts.

Consider This: Bill Viola’s The Crossing is a good example. 20.4 Explain the ways in which contemporary artists have synthesized aesthetic interests, social content, and political activism in their work. d. It takes the artist’s identity as its central concern.

Consider This: Bill Viola’s The Crossing is a good example. 20.4 Explain the ways in which contemporary artists have synthesized aesthetic interests, social content, and political activism in their work.

Answer: a Learning Objective: 20.4 Explain the ways in which contemporary artists have synthesized aesthetic interests, social content, and political activism in their work.

Topic: Contemporary Art in an Expanding World Difficulty Level: Difficult Skill Level: Apply

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Quiz: Postwar Architecture EOM Q20.5.1 Postmodern architect Robert Venturi rejected the Modernist architectural style and instead sought __________. a. eclecticism because “less is a bore” b. uniformity because “less is more” Consider This: This allowed for experimentation. 20.5 Recognize new developments in contemporary architecture. c. purity because “form ever follows function” Consider This: This allowed for experimentation. 20.5 Recognize new developments in contemporary architecture. d. abstraction because “function ever follows form” Consider This: This allowed for experimentation. 20.5 Recognize new developments in contemporary architecture.

Answer: a Learning Objective: 20.5 Recognize new developments in contemporary architecture.

Topic: Postwar Architecture Difficulty Level: Moderate Skill Level: Understand EOM Q20.5.2 The Seagram Building is a quintessential example of the International Style due to its __________. a. glass skin and lack of ornamentation b. unique, personalized decoration Consider This: This reflects the basic principles of Le Corbusier’s architecture. 20.5 Recognize new developments in contemporary architecture. c. bronze beams on the façade Consider This: This reflects the basic principles of Le Corbusier’s architecture. 20.5 Recognize new developments in contemporary architecture. d. dignified and sober appearance Consider This: This reflects the basic principles of Le Corbusier’s architecture. 20.5 Recognize new developments in contemporary architecture.

Answer: a Learning Objective: 20.5 Recognize new developments in contemporary architecture.

Topic: Postwar Architecture Difficulty Level: Moderate Skill Level: Understand

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EOM Q20.5.3 The fact that Gehry’s Guggenheim Museum in Bilbao looks more like a ship or a living organism exemplifies Deconstructivist architecture’s __________. a. decentering b. destruction Consider This: This refers to shifting meanings. 20.5 Recognize new developments in contemporary architecture. c. debilitation Consider This: This refers to shifting meanings. 20.5 Recognize new developments in contemporary architecture. d. deregulation Consider This: This refers to shifting meanings. 20.5 Recognize new developments in contemporary architecture.

Answer: a Learning Objective: 20.5 Recognize new developments in contemporary architecture.

Topic: Postwar Architecture Difficulty Level: Moderate Skill Level: Understand Chapter Quiz: Art Since 1945 EOC Q20.1 De Kooning’s paintings, though not fully abstract, are included in the Abstract Expressionist style because they __________. a. record how he manipulates paint b. do not include references to the visible world Consider This: Woman I was scraped and repainted repeatedly. 20.1 Describe how and why Abstract Expressionism transformed painting after 1945. c. picture the artist’s subjective experience Consider This: Woman I was scraped and repainted repeatedly. 20.1 Describe how and why Abstract Expressionism transformed painting after 1945. d. employ highly stylized figures Consider This: Woman I was scraped and repainted repeatedly. 20.1 Describe how and why Abstract Expressionism transformed painting after 1945.

Answer: a Learning Objective: 20.1 Describe how and why Abstract Expressionism transformed painting after 1945.

Topic: Art Since 1945 Difficulty Level: Difficult Skill Level: Apply

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EOC Q20.2 Assemblages of everyday objects challenge Abstract Expressionism’s __________. a. high-minded intellectualism b. obsession with the figure Consider This: Rauschenberg’s Canyon is a good example. 20.2 Characterize the variety of artistic movements that followed Abstract Expressionism. c. elitist narrative imagery Consider This: Rauschenberg’s Canyon is a good example. 20.2 Characterize the variety of artistic movements that followed Abstract Expressionism. d. denial of the artist’s role Consider This: Rauschenberg’s Canyon is a good example. 20.2 Characterize the variety of artistic movements that followed Abstract Expressionism.

Answer: a Learning Objective: 20.1 Describe how and why Abstract Expressionism transformed painting after 1945.

Topic: Art Since 1945 Difficulty Level: Moderate Skill Level: Understand EOC Q20.3 The Gutai group was known for __________. a. regularly destroying its creations b. inventing the term “Happenings” Consider This: This places the emphasis on the event. 20.2 Characterize the variety of artistic movements that followed Abstract Expressionism. c. composing songs with no music Consider This: This places the emphasis on the event. 20.2 Characterize the variety of artistic movements that followed Abstract Expressionism. d. filling galleries with tires and tar Consider This: This places the emphasis on the event. 20.2 Characterize the variety of artistic movements that followed Abstract Expressionism.

Answer: a Learning Objective: 20.2 Characterize the variety of artistic movements that followed Abstract Expressionism.

Topic: Art Since 1945 Difficulty Level: Moderate Skill Level: Understand

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EOC Q20.4 In what way did Schneeman’s art make the creative act, not the object, the outcome of her work? a. Her work could not be hung in a gallery. b. Her work was made without the use of materials.

Consider This: This also applies to other forms of performance art. 20.2 Characterize the variety of artistic movements that followed Abstract Expressionism. c. Her work celebrated the unconfined finished object.

Consider This: This also applies to other forms of performance art. 20.2 Characterize the variety of artistic movements that followed Abstract Expressionism. d. Her work was made to be displayed outside the museum.

Consider This: This also applies to other forms of performance art. 20.2 Characterize the variety of artistic movements that followed Abstract Expressionism.

Answer: a Learning Objective: 20.2 Characterize the variety of artistic movements that followed Abstract Expressionism.

Topic: Art Since 1945 Difficulty Level: Difficult Skill Level: Understand EOC Q20.5 Warhol’s Marilyn Diptych is a commentary on __________. a. the mass media b. Protestant values Consider This: This was a common concern for Pop Art. 20.2 Characterize the variety of artistic movements that followed Abstract Expressionism. c. World War II Consider This: This was a common concern for Pop Art. 20.2 Characterize the variety of artistic movements that followed Abstract Expressionism. d. the rise of feminism Consider This: This was a common concern for Pop Art. 20.2 Characterize the variety of artistic movements that followed Abstract Expressionism.

Answer: a Learning Objective: 20.2 Characterize the variety of artistic movements that followed Abstract Expressionism.

Topic: Art Since 1945 Difficulty Level: Moderate Skill Level: Understand

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EOC Q20.6 Resistance to the commodification of art in the 1970s resulted in artworks that __________. a. could not be sold in a gallery b. were made in series Consider This: This is most spectacularly illustrated by earthworks. 20.2 Characterize the variety of artistic movements that followed Abstract Expressionism. c. pictured U.S. consumerism Consider This: This is most spectacularly illustrated by earthworks. 20.2 Characterize the variety of artistic movements that followed Abstract Expressionism. d. could not be interpreted Consider This: This is most spectacularly illustrated by earthworks. 20.2 Characterize the variety of artistic movements that followed Abstract Expressionism.

Answer: a Learning Objective: 20.2 Characterize the variety of artistic movements that followed Abstract Expressionism.

Topic: Art Since 1945 Difficulty Level: Difficult Skill Level: Apply EOC Q20.7 Eva Hesse’s art is classified as Conceptual Art because it investigates __________. a. process b. style Consider This: No Title illustrates this. 20.2 Characterize the variety of artistic movements that followed Abstract Expressionism. c. content Consider This: No Title illustrates this. 20.2 Characterize the variety of artistic movements that followed Abstract Expressionism. d. context Consider This: No Title illustrates this. 20.2 Characterize the variety of artistic movements that followed Abstract Expressionism.

Answer: a Learning Objective: 20.2 Characterize the variety of artistic movements that followed Abstract Expressionism.

Topic: Art Since 1945 Difficulty Level: Moderate Skill Level: Apply

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EOC Q20.8 By making earthworks, artists reject the __________. a. buyer b. viewer Consider This: Smithson’s Spiral Jetty qualifies. 20.2 Characterize the variety of artistic movements that followed Abstract Expressionism. c. experience Consider This: Smithson’s Spiral Jetty qualifies. 20.2 Characterize the variety of artistic movements that followed Abstract Expressionism. d. material Consider This: Smithson’s Spiral Jetty qualifies. 20.2 Characterize the variety of artistic movements that followed Abstract Expressionism.

Answer: a Learning Objective: 20.2 Characterize the variety of artistic movements that followed Abstract Expressionism.

Topic: Art Since 1945 Difficulty Level: Moderate Skill Level: Understand EOC Q20.9 Feminist artists who embraced the constructivist view of gender made art that __________. a. criticized institutions that oppressed women b. focused on the female anatomy and their own bodies Consider This: This reflects the idea of gender as a cultural construct. 20.2 Characterize the variety of artistic movements that followed Abstract Expressionism. c. attacked male artists and their institutional supporters Consider This: This reflects the idea of gender as a cultural construct. 20.2 Characterize the variety of artistic movements that followed Abstract Expressionism. d. addressed the U.S. civil rights movement Consider This: This reflects the idea of gender as a cultural construct. 20.2 Characterize the variety of artistic movements that followed Abstract Expressionism.

Answer: a Learning Objective: 20.2 Characterize the variety of artistic movements that followed Abstract Expressionism.

Topic: Art Since 1945 Difficulty Level: Moderate Skill Level: Understand

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EOC Q20.10 Kelly’s Post-Partum Document is an example of feminist art because it __________. a. addresses the female experience b. critiques the art historical canon Consider This: This is similar to Chicago’s Dinner Party. 20.2 Characterize the variety of artistic movements that followed Abstract Expressionism. c. employs the ideas of Marxism Consider This: This is similar to Chicago’s Dinner Party. 20.2 Characterize the variety of artistic movements that followed Abstract Expressionism. d. uses an array of media Consider This: This is similar to Chicago’s Dinner Party. 20.2 Characterize the variety of artistic movements that followed Abstract Expressionism.

Answer: a Learning Objective: 20.2 Characterize the variety of artistic movements that followed Abstract Expressionism.

Topic: Art Since 1945 Difficulty Level: Moderate Skill Level: Understand EOC Q20.11 Faith Ringgold and Kerry James Marshall both represent Postmodernism’s interest in __________. a. identity b. appropriation Consider This: This is also addressed by James Luna. 20.3 Trace how Postmodernism and changing attitudes around identity affected art after the 1970s. c. the artistic canon Consider This: This is also addressed by James Luna. 20.3 Trace how Postmodernism and changing attitudes around identity affected art after the 1970s. d. the status of the artist Consider This: This is also addressed by James Luna. 20.3 Trace how Postmodernism and changing attitudes around identity affected art after the 1970s.

Answer: a Learning Objective: 20.3 Trace how Postmodernism and changing attitudes around identity affected art after the 1970s.

Topic: Art Since 1945 Difficulty Level: Moderate Skill Level: Understand

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EOC Q20.12 The “culture wars” surrounding Postmodernism involve conflicting __________. a. religious and political values b. views of the role of arts institutions Consider This: The work of Chris Ofili and David Wojnarowicz has been affected. 20.3 Trace how Postmodernism and changing attitudes around identity affected art after the 1970s. c. national agendas in the global context Consider This: The work of Chris Ofili and David Wojnarowicz has been affected. 20.3 Trace how Postmodernism and changing attitudes around identity affected art after the 1970s. d. meaning in contemporary art Consider This: The work of Chris Ofili and David Wojnarowicz has been affected. 20.3 Trace how Postmodernism and changing attitudes around identity affected art after the 1970s.

Answer: a Learning Objective: 20.3 Trace how Postmodernism and changing attitudes around identity affected art after the 1970s.

Topic: Art Since 1945 Difficulty Level: Moderate Skill Level: Understand EOC Q20.13 Gu Wenda dedicates his art to __________. a. bringing different peoples together b. ending world hunger Consider This: This appears in the material he uses. 20.4 Explain the ways in which contemporary artists have synthesized aesthetic interests, social content, and political activism in their work. c. raising awareness about AIDS Consider This: This appears in the material he uses. 20.4 Explain the ways in which contemporary artists have synthesized aesthetic interests, social content, and political activism in their work. d. promoting childhood literacy Consider This: This appears in the material he uses. 20.4 Explain the ways in which contemporary artists have synthesized aesthetic interests, social content, and political activism in their work.

Answer: a Learning Objective: 20.4 Explain the ways in which contemporary artists have synthesized aesthetic interests, social content, and political activism in their work.

Topic: Art Since 1945 Difficulty Level: Moderate Skill Level: Understand

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EOC Q20.14 Chen and Santiago’s Flower is an example of a video game that uses __________. a. interactive technology b. a formalist aesthetic Consider This: Viewers assume the role of the wind. 20.4 Explain the ways in which contemporary artists have synthesized aesthetic interests, social content, and political activism in their work. c. an activist strategy Consider This: Viewers assume the role of the wind. 20.4 Explain the ways in which contemporary artists have synthesized aesthetic interests, social content, and political activism in their work. d. video projection Consider This: Viewers assume the role of the wind. 20.4 Explain the ways in which contemporary artists have synthesized aesthetic interests, social content, and political activism in their work.

Answer: a Learning Objective: 20.4 Explain the ways in which contemporary artists have synthesized aesthetic interests, social content, and political activism in their work.

Topic: Art Since 1945 Difficulty Level: Easy Skill Level: Understand EOC Q20.15 When architect Robert Venturi stated “less is a bore,” he referred to __________. a. Modernism’s simplicity b. Postmodernism’s appropriation Consider This: This made buildings very similar. 20.5 Recognize new developments in contemporary architecture. c. Modernism’s structural system Consider This: This made buildings very similar. 20.5 Recognize new developments in contemporary architecture. d. Postmodernism’s materials Consider This: This made buildings very similar. 20.5 Recognize new developments in contemporary architecture.

Answer: a Learning Objective: 20.5 Recognize new developments in contemporary architecture.

Topic: Art Since 1945 Difficulty Level: Moderate Skill Level: Apply

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