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Test Bank for Revel for Art: A Brief History, 7th Edition

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    Test Bank For Art: A Brief History Seventh Edition Marilyn Stokstad Michael W. Cothren, Swarthmore College Prepared by Julie Thompson Borger, The University of Kansas

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    iii Contents Introduction 1 1 Prehistoric Art in Europe 30 2 Art of the Ancient Near East 60 3 Art of Ancient Egypt 90 4 Early Asian Art 120 5 Art of Ancient Greece and the Aegean World 150 6 Etruscan and Roman Art 180 7 Jewish, Early Christian, and Byzantine Art 210 8 Islamic Art 241 9 Later Asian Art 270 10 Early Medieval and Romanesque Art 300 11 Gothic Art 331 12 Early Renaissance Art 363 13 Art of the High Renaissance and Reformation 393 14 Seventeenth-Century Art in Europe 422 15 Art of the Americas 455 16 Arts of Africa 486 17 European and American Art, 1715–1840 518 18 European and American Art, 1840–1910 548 19 Modern Art in Europe and the Americas, 1900–1945 584 20 Art Since 1945 615

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    1 Introduction Multiple-Choice Questions 1. Which of the following is a threat to the Sphinx today? a. pollution b. unstable governments c. arid environment d. the Nile Answer: a Learning Objective: None Topic: Introduction Difficulty Level: Easy Skill Level: Remember the Facts 2. Which of the following terms best describes the painting Flower Piece with Curtain by Adriaen van der Spelt and Frans van Mieris? a. abstraction b. illusionistic c. nonrepresentational d. stylization Answer: b Learning Objective: Intro.1 Consider the criteria used to identify and characterize works of art and their various modes of visual representation. Topic: Modes of Representation Difficulty Level: Moderate Skill Level: Understand the Concepts 3. Which of the following is an example of trompe l’oeil ? a. The Drawing Lesson b. Two Callas c. Diary (Minidoka Series #3) d. Flower Piece with Curtain Answer: d Learning Objective: Intro.1 Consider the criteria used to identify and characterize works of art and their various modes of visual representation. Topic: Modes of Representation Difficulty Level: Moderate Skill Level: Understand the Concepts

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    2 4. A painting that portrays inanimate objects taken out of their natural context is called a __________. a. self-portrait b. lithograph c. still life d. trompe l’oeil Answer: c Learning Objective: Intro.1 Consider the criteria used to identify and characterize works of art and their various modes of visual representation. Topic: Modes of Representation Difficulty Level: Easy Skill Level: Remember the Facts 5. Which of the following terms best describes the painting Jack-in-the-Pulpit, No. IV by Georgia O’Keeffe? a. abstract b. naturalistic c. nonrepresentational d. trompe l’oeil Answer: a Learning Objective: Intro.1 Consider the criteria used to identify and characterize works of art and their various modes of visual representation. Topic: Modes of Representation Difficulty Level: Moderate Skill Level: Understand the Concepts 6. Which of the following terms best describes David Smith’s Cubi sculptures? a. abstract b. illusionistic c. nonrepresentational d. figural Answer: c Learning Objective: Intro.1 Consider the criteria used to identify and characterize works of art and their various modes of visual representation. Topic: Modes of Representation Difficulty Level: Moderate Skill Level: Understand the Concepts

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    3 7. The artistic character of Imogen Cunningham’s Two Callas depends on the __________. a. compositional choices and lighting b. exacting details achieved by the camera c. aesthetic beauty of abstract artwork d. lack of representational subject matter Answer: a Learning Objective: Intro.1 Consider the criteria used to identify and characterize works of art and their various modes of visual representation. Topic: Modes of Representation Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It 8. How is Georgia O’Keeffe’s Jack-in-the-Pulpit, No. IV different from Adriaen van der Spelt’s and Frans van Mieris’ Flower Piece with Curtain ? a. It employs the trompe l’oeil technique to portray an illusionistic flower. b. It references the Classical story of the competition between Zeuxis and Parrhasios. c. It is nonrepresentational because it depicts pure geometric forms. d. It captures the vigor of the flower’s life force through abstraction rather than realism. Answer: d Learning Objective: Intro.1 Consider the criteria used to identify and characterize works of art and their various modes of visual representation. Topic: Modes of Representation Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 9. Which of the following is a central goal of art history? a. to determine the monetary value of works of art for museums b. to establish definitive interpretations of artworks c. to investigate the artist’s reputation and state of mind d. to explore the cultural factors behind the production and initial use of artworks Answer: d Learning Objective: Intro.1 Consider the criteria used to identify and characterize works of art and their various modes of visual representation. Topic: Modes of Representation Difficulty Level: Moderate Skill Level: Understand the Concepts

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    4 10. Portrayals of the human body change over time and across cultures according to cultural conventions about __________. a. ideal beauty b. stylization c. patronage d. realism Answer: a Learning Objective: Intro.1 Consider the criteria used to identify and characterize works of art and their various modes of visual representation. Topic: “Real” and “Ideal” Bodies Difficulty Level: Moderate Skill Level: Understand the Concepts 11. In Courtesan Wakaume From the Tamaya in Edomachi, how does Kitagawa Utamaro depict a different notion of ideal beauty than the Medici Venus ? a. Utamaro accentuates the figure’s sexual attributes through the sensual posing of her body. b. Utamaro emphasizes rich textiles and surface patterns over bodily form. c. Utamaro uses the bronze medium to draw attention to the figure’s spiritual beauty. d. Utamaro references the figure’s lost beauty by depicting her as emaciated and ugly. Answer: b Learning Objective: Intro.1 Consider the criteria used to identify and characterize works of art and their various modes of visual representation. Topic: “Real” and “Ideal” Bodies Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 12. The study of subject matter and conventional symbols is called __________. a. contextualism b. iconography c. connoisseurship d. patronage Answer: b Learning Objective: Intro.2 Discover how to identify subject matter and symbols (iconography) and to situate the meaning of works of art within cultural contexts. Topic: How Do We Find the Meaning of Art? Difficulty Level: Easy Skill Level: Remember the Facts

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    5 13. Understanding iconography demonstrates how artworks can be __________. a. identified according to artistic style b. created for utilitarian purposes c. bearers of cultural meaning d. part of a Western aesthetic canon Answer: c Learning Objective: Intro.2 Discover how to identify subject matter and symbols (iconography) and to situate the meaning of works of art within cultural contexts. Topic: How Do We Find the Meaning of Art? Difficulty Level: Moderate Skill Level: Understand the Concepts 14. In seventeenth-century still-life paintings from the Netherlands, such as Adriaen van der Spelt’s and Frans van Mieris’ Flower Piece with Curtain , what do tulips symbolize? a. weddings b. destiny c. wealth d. permanence Answer: c Learning Objective: Intro.2 Discover how to identify subject matter and symbols (iconography) and to situate the meaning of works of art within cultural contexts. Topic: How Do We Find the Meaning of Art? Difficulty Level: Moderate Skill Level: Understand the Concepts 15. In Clara Peeters’s Still Life with Fruit and Flowers , the coins could reference the __________. a. artist’s involvement in trade b. owner’s wealth c. artist’s marriage d. owner’s political ideology Answer: b Learning Objective: Intro.2 Discover how to identify subject matter and symbols (iconography) and to situate the meaning of works of art within cultural contexts. Topic: How Do We Find the Meaning of Art? Difficulty Level: Moderate Skill Level: Understand the Concepts

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    6 16. What is the significance of the quince in Zhu Da’s Quince (Mugua) ? a. It symbolizes the transience of life. b. It functions as the artist’s signature. c. It represents the power of the imperial family. d. It references one of the artist’s friends. Answer: d Learning Objective: Intro.2 Discover how to identify subject matter and symbols (iconography) and to situate the meaning of works of art within cultural contexts. Topic: How Do We Find the Meaning of Art? Difficulty Level: Moderate Skill Level: Understand the Concepts 17. Both Clara Peeters’s Still Life with Fruit and Flowers and Zhu Da’s Quince demonstrate that artworks can __________. a. have multiple meanings b. include recognizable abstractions c. be used in communal rituals d. have more than one patron Answer: a Learning Objective: Intro.2 Discover how to identify subject matter and symbols (iconography) and to situate the meaning of works of art within cultural contexts. Topic: How Do We Find the Meaning of Art? Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It 18. The central rite of the Christian faith that celebrates Jesus’s Last Supper with his disciples is known as the __________. a. canon b. iconography c. Eucharist d. altar Answer: c Learning Objective: Intro.2 Discover how to identify subject matter and symbols (iconography) and to situate the meaning of works of art within cultural contexts. Topic: Art and Ritual Difficulty Level: Easy Skill Level: Remember the Facts

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    7 19. Both the Chalice of Abbot Suger and Olowe of Ise’s Offering Bowl exemplify how art can __________. a. teach moral lessons b. express political interests c. represent notions of ideal beauty d. be used in religious rituals Answer: d Learning Objective: Intro.2 Discover how to identify subject matter and symbols (iconography) and to situate the meaning of works of art within cultural contexts. Topic: Art and Ritual Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It 20. Roger Shimomura’s Diary (Minidoka Series #3) expresses his dual cultural heritage by creating a personal style that references the tradition of __________. a. Classicism b. Japanese woodblock prints c. Renaissance engravings d. Italian wall paintings Answer: b Learning Objective: Intro.2 Discover how to identify subject matter and symbols (iconography) and to situate the meaning of works of art within cultural contexts. Topic: Art as Sociopolitical Commentary Difficulty Level: Moderate Skill Level: Apply What You Know and Analyze It 21. What is the significance of Le Corbusier’s Notre-Dame-du-Haut? a. It symbolized the end of World War II and hope for the future. b. It represented the beauty and transience of the natural world. c. It employed Classical architectural conventions from ancient Greece. d. It expressed the injustice of Japanese internment camps. Answer: a Learning Objective: Intro.2 Discover how to identify subject matter and symbols (iconography) and to situate the meaning of works of art within cultural contexts. Topic: Art and Architecture Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It

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    8 22. In the ancient world, painters and sculptors were classified as __________. a. elite artisans b. wealthy merchants c. divinely inspired geniuses d. laborers Answer: d Learning Objective: Intro.3 Survey the various ways that artists and patrons have viewed themselves and have been viewed by the societies in which they lived and worked. Topic: Artists Difficulty Level: Easy Skill Level: Remember the Facts 23. The English word “technique” comes from tekne , the __________. a. Latin word for artist b. Greek word for art c. French word for picture d. Egyptian word for skill Answer: b Learning Objective: Intro.3 Survey the various ways that artists and patrons have viewed themselves and have been viewed by the societies in which they lived and worked. Topic: Artists Difficulty Level: Easy Skill Level: Remember the Facts 24. The English words for “art” and “artist” come from the Latin word ars , which means __________. a. skill b. technique c. image d. beautiful Answer: a Learning Objective: Intro.3 Survey the various ways that artists and patrons have viewed themselves and have been viewed by the societies in which they lived and worked. Topic: Artists Difficulty Level: Easy Skill Level: Remember the Facts

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    9 25. During which period did artists begin to be designated as “masters”? a. Baroque b. Ancient Rome c. Renaissance d. Middle Ages Answer: d Learning Objective: Intro.3 Survey the various ways that artists and patrons have viewed themselves and have been viewed by the societies in which they lived and worked. Topic: Artists Difficulty Level: Easy Skill Level: Remember the Facts 26. Which artist was known for capturing the unvarnished individuality of her sitters? a. Artemisia Gentileschi b. Georgia O’Keeffe c. Alice Neel d. Clara Peeters Answer: c Learning Objective: Intro.3 Survey the various ways that artists and patrons have viewed themselves and have been viewed by the societies in which they lived and worked. Topic: Artists Difficulty Level: Moderate Skill Level: Understand the Concepts 27. Jan Steen’s The Drawing Lesson provides for modern viewers a record of __________. a. familial interaction b. an artist’s studio c. sculptural techniques d. early self-portraits Answer: b Learning Objective: Intro.3 Survey the various ways that artists and patrons have viewed themselves and have been viewed by the societies in which they lived and worked. Topic: Artists Difficulty Level: Moderate Skill Level: Understand the Concepts

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    10 28. Which of the following artworks best demonstrates how artists often learn their craft by studying the works of other artists? a. Imogen Cunningham’s Two Callas b. Kiki Smith’s Untitled c. Olowe of Ise’s Offering Bowl d. Rembrandt van Rijn’s The Last Supper Answer: d Learning Objective: Intro.3 Survey the various ways that artists and patrons have viewed themselves and have been viewed by the societies in which they lived and worked. Topic: Artists Difficulty Level: Moderate Skill Level: Understand the Concepts 29. A person or group that commissions or finances an artwork is called the __________. a. connoisseur b. patron c. artist d. viewer Answer: b Learning Objective: Intro.3 Survey the various ways that artists and patrons have viewed themselves and have been viewed by the societies in which they lived and worked. Topic: Patrons Difficulty Level: Easy Skill Level: Remember the Facts 30. Whistler’s Harmony in Blue and Gold is an example of __________. a. a private commission b. government-sponsored art c. a self-portrait d. religious architecture Answer: a Learning Objective: Intro.3 Survey the various ways that artists and patrons have viewed themselves and have been viewed by the societies in which they lived and worked. Topic: Patrons Difficulty Level: Moderate Skill Level: Understand the Concepts

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    11 31. Which of the following is an example of a work of art or architecture sponsored by a government? a. the Akropolis b. Whistler’s Harmony in Blue and Gold c. Zhu Da’s Quince (Mugua) d. Rembrandt’s The Last Supper Answer: a Learning Objective: Intro.3 Survey the various ways that artists and patrons have viewed themselves and have been viewed by the societies in which they lived and worked. Topic: Patrons Difficulty Level: Moderate Skill Level: Understand the Concepts 32. Who wrote Lives of the Most Excellent Italian Architects, Painters, and Sculptors , the main publication from which many art historians trace the beginnings of the discipline? a. Giorgio Vasari b. Pliny the Elder c. Johann Joachim Winckelmann d. Parrhasios Answer: a Learning Objective: Intro.4 Characterize the interpretive enterprise we call “art history.” Topic: What is Art History? Difficulty Level: Easy Skill Level: Remember the Facts 33. The study of art as a product of its broad cultural framework is called __________. a. connoisseurship b. iconography c. formal analysis d. contextualism Answer: d Learning Objective: Intro.4 Characterize the interpretive enterprise we call “art history.” Topic: What is Art History? Difficulty Level: Easy Skill Level: Remember the Facts

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    12 34. Which of the following exemplifies the challenges art historians face when analyzing art and architecture that has been heavily restored? a. Le Corbusier’s Notre-Dame-Du-Haut b. Laöcoon and his Sons c. Punitavati (Karaikkal Ammaiyar) d. Jan Steen’s The Drawing Lesson Answer: b Learning Objective: Intro.4 Characterize the interpretive enterprise we call “art history.” Topic: Restoring and Destroying the Past Difficulty Level: Moderate Skill Level: Understand the Concepts 35. Which of the following artworks best demonstrates the role of the viewer in determining the meaning of a work of art? a. Leonardo da Vinci’s The Last Supper b. Clara Peeters’s Still Life with Fruit and Flowers c. Hendrick Goltzius’s Dutch Visitors to Rome Looking at the Farnese Hercules d. Kitagawa Utamaro’s Courtesan Wakaume from the Tamaya in Edomachi Answer: c Learning Objective: Intro.4 Characterize the interpretive enterprise we call “art history.” Topic: What are the Viewers’ Roles, Responsibilities, and Rewards? Difficulty Level: Moderate Skill Level: Understand the Concepts Essay Questions 36. What are the different modes of visual representation? For each mode of visual representation, identify, define, and discuss one artwork that employs it. Answer: The ideal answer should include: 1. Naturalism or realism is the lifelike descriptions of the visual appearance of the natural world. An example would be Adriaen van der Spelt’s and Frans van Mieris’ Flower Piece with Curtain because it depicts a garland of flowers and a curtain that mimic the way these objects appear in the natural world. 2. Abstract artworks transform recognizable natural subjects into patterns or make them conform to ideals. In Jack in the Pulpit, No. IV , Georgia O’Keeffe abstracts a flower into a stylized form that expresses the pure vigor of the flower’s life force rather than captures its precise visual appearance. 3. Nonrepresentational artworks do not depict a recognizable natural subject. David Smith’s sculptures Cubi XVII, Cubi XVIII , and Cubi XIX do not represent anything found in nature but are a combination of geometric shapes and lines. Learning Objective: Intro.1 Consider the criteria used to identify and characterize works of art and their various modes of visual representation. Topic: Modes of Representation Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It

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    13 37. Describe and analyze the iconography of Still Life with Fruit and Flowers by Clara Peeters. Answer: The ideal answer should include: 1. The luscious fruits, such as grapes and cherries, and flowers represent the abundance of nature as well as symbolize the transience of earthly existence because they will fade and rot. 2. The insects highlight the artist’s skill and symbolize the vulnerability of the worldly beauty of flowers and fruit to destruction and decay. 3. The coins and imported silver tazza may commemorate the owner’s wealth and the Netherlandish prosperity and trade during the seventeenth century. 4. The iconography of the painting could symbolize the abundance of the natural world and the prosperous mercantile society; however, it could also teach a moral lesson about the ephemeral meaning of worldly possessions or of life itself. Learning Objective: Intro.2 Discover how to identify subject matter and symbols (iconography) and to situate the meaning of works of art within cultural contexts. Topic: How Do We Find the Meaning of Art? Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It 38. How did the role of the artist change from the ancient world to the Renaissance? Answer: The ideal answer should include: 1. In the ancient world, painters and sculptors were considered laborers or craftspeople. 2. During the Middle Ages, some artists were still considered craftspeople while others were designated as “masters.” 3. During the Renaissance, artists such as Leonardo da Vinci considered themselves as geniuses with unique God-given abilities. Learning Objective: Intro.3 Survey the various ways that artists and patrons have viewed themselves and have been viewed by the societies in which they lived and worked. Topic: Artists Difficulty Level: Moderate Skill Level: Understand the Concepts 39. Using Jan Steen’s The Drawing Lesson as an example, explain the educational practice of artists in the seventeenth century. Answer: The ideal answer should include: 1. Artists spent years in training and apprenticeship to master their craft. 2. Both males and females could be apprenticed under a master artist in a studio. 3. Jan Steen’s The Drawing Lesson depicts an artist’s studio in which a boy and a young woman are learning the foundations of art from a master artist. 4. This painting also demonstrates how drawing from sculpture and plaster casts was an important part of an apprenticeship, especially for female pupils who were not permitted to work from male nude models. Learning Objective: Intro.3 Survey the various ways that artists and patrons have viewed themselves and have been viewed by the societies in which they lived and worked. Topic: Artists Difficulty Level: Difficult Skill Level: Apply What You Know and Analyze It

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