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

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Test BankForArt: A Brief HistorySeventh EditionMarilyn StokstadMichael W. Cothren,Swarthmore CollegePrepared byJulie Thompson Borger,The University of Kansas

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iiiContentsIntroduction11Prehistoric Art in Europe302Art of the Ancient Near East603Art of Ancient Egypt904Early Asian Art1205Art of Ancient Greece and the Aegean World1506Etruscan and Roman Art1807Jewish, Early Christian, and Byzantine Art2108Islamic Art2419Later Asian Art27010Early Medieval and Romanesque Art30011Gothic Art33112Early Renaissance Art36313Art of the High Renaissance and Reformation39314Seventeenth-Century Art in Europe42215Art of the Americas45516Arts of Africa48617European and American Art, 1715–184051818European and American Art, 1840–191054819Modern Art in Europe and the Americas, 1900–194558420Art Since 1945615

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1IntroductionMultiple-Choice Questions1. Which of the following is a threat to the Sphinx today?a. pollutionb. unstable governmentsc. arid environmentd. the NileAnswer: aLearning Objective: NoneTopic: IntroductionDifficulty Level: EasySkill Level: Remember the Facts2. Which of the following terms best describes the paintingFlower Piece with CurtainbyAdriaen van der Spelt and Frans van Mieris?a. abstractionb. illusionisticc. nonrepresentationald. stylizationAnswer: bLearning Objective: Intro.1 Consider the criteria used to identify and characterize works of artand their various modes of visual representation.Topic: Modes of RepresentationDifficulty Level: ModerateSkill Level: Understand the Concepts3. Which of the following is an example oftrompe l’oeil?a.The Drawing Lessonb.Two Callasc.Diary (Minidoka Series #3)d.Flower Piece with CurtainAnswer: dLearning Objective: Intro.1 Consider the criteria used to identify and characterize works of artand their various modes of visual representation.Topic: Modes of RepresentationDifficulty Level: ModerateSkill Level: Understand the Concepts

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24. A painting that portrays inanimate objects taken out of their natural context is called a__________.a. self-portraitb. lithographc. still lifed.trompe l’oeilAnswer: cLearning Objective: Intro.1 Consider the criteria used to identify and characterize works of artand their various modes of visual representation.Topic: Modes of RepresentationDifficulty Level: EasySkill Level: Remember the Facts5. Which of the following terms best describes the paintingJack-in-the-Pulpit, No. IVbyGeorgia O’Keeffe?a. abstractb. naturalisticc. nonrepresentationald.trompe l’oeilAnswer: aLearning Objective: Intro.1 Consider the criteria used to identify and characterize works of artand their various modes of visual representation.Topic: Modes of RepresentationDifficulty Level: ModerateSkill Level: Understand the Concepts6. Which of the following terms best describes David Smith’sCubisculptures?a. abstractb. illusionisticc. nonrepresentationald. figuralAnswer: cLearning Objective: Intro.1 Consider the criteria used to identify and characterize works of artand their various modes of visual representation.Topic: Modes of RepresentationDifficulty Level: ModerateSkill Level: Understand the Concepts

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37. The artistic character of Imogen Cunningham’sTwo Callasdepends on the __________.a. compositional choices and lightingb. exacting details achieved by the camerac. aesthetic beauty of abstract artworkd. lack of representational subject matterAnswer: aLearning Objective: Intro.1 Consider the criteria used to identify and characterize works of artand their various modes of visual representation.Topic: Modes of RepresentationDifficulty Level: ModerateSkill Level: Apply What You Know and Analyze It8. How is Georgia O’Keeffe’sJack-in-the-Pulpit, No. IVdifferent from Adriaen van der Spelt’sand Frans van Mieris’Flower Piece with Curtain?a. It employs thetrompe l’oeiltechnique 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: dLearning Objective: Intro.1 Consider the criteria used to identify and characterize works of artand their various modes of visual representation.Topic: Modes of RepresentationDifficulty Level: DifficultSkill Level: Apply What You Know and Analyze It9. Which of the following is a central goal of art history?a. to determine the monetary value of works of art for museumsb. to establish definitive interpretations of artworksc. to investigate the artist’s reputation and state of mindd. to explore the cultural factors behind the production and initial use of artworksAnswer: dLearning Objective: Intro.1 Consider the criteria used to identify and characterize works of artand their various modes of visual representation.Topic: Modes of RepresentationDifficulty Level: ModerateSkill Level: Understand the Concepts

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410. Portrayals of the human body change over time and across cultures according to culturalconventions about __________.a. ideal beautyb. stylizationc. patronaged. realismAnswer: aLearning Objective: Intro.1 Consider the criteria used to identify and characterize works of artand their various modes of visual representation.Topic: “Real” and “Ideal” BodiesDifficulty Level: ModerateSkill Level: Understand the Concepts11. InCourtesan Wakaume From the Tamaya in Edomachi,how does Kitagawa Utamaro depicta different notion of ideal beauty than theMedici 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: bLearning Objective: Intro.1 Consider the criteria used to identify and characterize works of artand their various modes of visual representation.Topic: “Real” and “Ideal” BodiesDifficulty Level: DifficultSkill Level: Apply What You Know and Analyze It12. The study of subject matter and conventional symbols is called __________.a. contextualismb. iconographyc. connoisseurshipd. patronageAnswer: bLearning 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: EasySkill Level: Remember the Facts

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513. Understanding iconography demonstrates how artworks can be __________.a. identified according to artistic styleb. created for utilitarian purposesc. bearers of cultural meaningd. part of a Western aesthetic canonAnswer: cLearning 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: ModerateSkill Level: Understand the Concepts14. In seventeenth-century still-life paintings from the Netherlands, such as Adriaen van derSpelt’s and Frans van Mieris’Flower Piece with Curtain, what do tulips symbolize?a. weddingsb. destinyc. wealthd. permanenceAnswer: cLearning 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: ModerateSkill Level: Understand the Concepts15. In Clara Peeters’sStill Life with Fruit and Flowers, the coins could reference the__________.a. artist’s involvement in tradeb. owner’s wealthc. artist’s marriaged. owner’s political ideologyAnswer: bLearning 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: ModerateSkill Level: Understand the Concepts

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616. What is the significance of the quince in Zhu Da’sQuince (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: dLearning 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: ModerateSkill Level: Understand the Concepts17. Both Clara Peeters’sStill Life with Fruit and Flowersand Zhu Da’sQuincedemonstrate thatartworks can __________.a. have multiple meaningsb. include recognizable abstractionsc. be used in communal ritualsd. have more than one patronAnswer: aLearning 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: ModerateSkill Level: Apply What You Know and Analyze It18. The central rite of the Christian faith that celebrates Jesus’s Last Supper with his disciples isknown as the __________.a. canonb. iconographyc. Eucharistd. altarAnswer: cLearning 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 RitualDifficulty Level: EasySkill Level: Remember the Facts

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719. Both theChalice of Abbot Sugerand Olowe of Ise’sOffering Bowlexemplify how art can__________.a. teach moral lessonsb. express political interestsc. represent notions of ideal beautyd. be used in religious ritualsAnswer: dLearning 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 RitualDifficulty Level: ModerateSkill Level: Apply What You Know and Analyze It20. Roger Shimomura’sDiary (Minidoka Series #3)expresses his dual cultural heritage bycreating a personal style that references the tradition of __________.a. Classicismb. Japanese woodblock printsc. Renaissance engravingsd. Italian wall paintingsAnswer: bLearning 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 CommentaryDifficulty Level: ModerateSkill Level: Apply What You Know and Analyze It21. 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: aLearning 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 ArchitectureDifficulty Level: DifficultSkill Level: Apply What You Know and Analyze It

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822. In the ancient world, painters and sculptors were classified as __________.a. elite artisansb. wealthy merchantsc. divinely inspired geniusesd. laborersAnswer: dLearning Objective: Intro.3 Survey the various ways that artists and patrons have viewedthemselves and have been viewed by the societies in which they lived and worked.Topic: ArtistsDifficulty Level: EasySkill Level: Remember the Facts23. The English word “technique” comes fromtekne, the __________.a. Latin word for artistb. Greek word for artc. French word for pictured. Egyptian word for skillAnswer: bLearning Objective: Intro.3 Survey the various ways that artists and patrons have viewedthemselves and have been viewed by the societies in which they lived and worked.Topic: ArtistsDifficulty Level: EasySkill Level: Remember the Facts24. The English words for “art” and “artist” come from the Latin wordars, which means__________.a. skillb. techniquec. imaged. beautifulAnswer: aLearning Objective: Intro.3 Survey the various ways that artists and patrons have viewedthemselves and have been viewed by the societies in which they lived and worked.Topic: ArtistsDifficulty Level: EasySkill Level: Remember the Facts

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925. During which period did artists begin to be designated as “masters”?a. Baroqueb. Ancient Romec. Renaissanced. Middle AgesAnswer: dLearning Objective: Intro.3 Survey the various ways that artists and patrons have viewedthemselves and have been viewed by the societies in which they lived and worked.Topic: ArtistsDifficulty Level: EasySkill Level: Remember the Facts26. Which artist was known for capturing the unvarnished individuality of her sitters?a. Artemisia Gentileschib. Georgia O’Keeffec. Alice Neeld. Clara PeetersAnswer: cLearning Objective: Intro.3 Survey the various ways that artists and patrons have viewedthemselves and have been viewed by the societies in which they lived and worked.Topic: ArtistsDifficulty Level: ModerateSkill Level: Understand the Concepts27. Jan Steen’sThe Drawing Lessonprovides for modern viewers a record of __________.a. familial interactionb. an artist’s studioc. sculptural techniquesd. early self-portraitsAnswer: bLearning Objective: Intro.3 Survey the various ways that artists and patrons have viewedthemselves and have been viewed by the societies in which they lived and worked.Topic: ArtistsDifficulty Level: ModerateSkill Level: Understand the Concepts

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1028. Which of the following artworks best demonstrates how artists often learn their craft bystudying the works of other artists?a. Imogen Cunningham’sTwo Callasb. Kiki Smith’sUntitledc. Olowe of Ise’sOffering Bowld. Rembrandt van Rijn’sThe Last SupperAnswer: dLearning Objective: Intro.3 Survey the various ways that artists and patrons have viewedthemselves and have been viewed by the societies in which they lived and worked.Topic: ArtistsDifficulty Level: ModerateSkill Level: Understand the Concepts29. A person or group that commissions or finances an artwork is called the __________.a. connoisseurb. patronc. artistd. viewerAnswer: bLearning Objective: Intro.3 Survey the various ways that artists and patrons have viewedthemselves and have been viewed by the societies in which they lived and worked.Topic: PatronsDifficulty Level: EasySkill Level: Remember the Facts30. Whistler’sHarmony in Blue and Goldis an example of __________.a. a private commissionb. government-sponsored artc. a self-portraitd. religious architectureAnswer: aLearning Objective: Intro.3 Survey the various ways that artists and patrons have viewedthemselves and have been viewed by the societies in which they lived and worked.Topic: PatronsDifficulty Level: ModerateSkill Level: Understand the Concepts

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1131. Which of the following is an example of a work of art or architecture sponsored by agovernment?a. the Akropolisb. Whistler’sHarmony in Blue and Goldc. Zhu Da’sQuince (Mugua)d. Rembrandt’sThe Last SupperAnswer: aLearning Objective: Intro.3 Survey the various ways that artists and patrons have viewedthemselves and have been viewed by the societies in which they lived and worked.Topic: PatronsDifficulty Level: ModerateSkill Level: Understand the Concepts32. Who wroteLives of the Most Excellent Italian Architects, Painters, and Sculptors, the mainpublication from which many art historians trace the beginnings of the discipline?a. Giorgio Vasarib. Pliny the Elderc. Johann Joachim Winckelmannd. ParrhasiosAnswer: aLearning Objective: Intro.4 Characterize the interpretive enterprise we call “art history.”Topic: What is Art History?Difficulty Level: EasySkill Level: Remember the Facts33. The study of art as a product of its broad cultural framework is called __________.a. connoisseurshipb. iconographyc. formal analysisd. contextualismAnswer: dLearning Objective: Intro.4 Characterize the interpretive enterprise we call “art history.”Topic: What is Art History?Difficulty Level: EasySkill Level: Remember the Facts

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1234. Which of the following exemplifies the challenges art historians face when analyzing art andarchitecture that has been heavily restored?a. Le Corbusier’s Notre-Dame-Du-Hautb.Laöcoon and his Sonsc.Punitavati (Karaikkal Ammaiyar)d. Jan Steen’sThe Drawing LessonAnswer: bLearning Objective: Intro.4 Characterize the interpretive enterprise we call “art history.”Topic: Restoring and Destroying the PastDifficulty Level: ModerateSkill Level: Understand the Concepts35. Which of the following artworks best demonstrates the role of the viewer in determining themeaning of a work of art?a. Leonardo da Vinci’sThe Last Supperb. Clara Peeters’sStill Life with Fruit and Flowersc. Hendrick Goltzius’sDutch Visitors to Rome Looking at the Farnese Herculesd. Kitagawa Utamaro’sCourtesan Wakaume from the Tamaya in EdomachiAnswer: cLearning Objective: Intro.4 Characterize the interpretive enterprise we call “art history.”Topic: What are the Viewers’ Roles, Responsibilities, and Rewards?Difficulty Level: ModerateSkill Level: Understand the ConceptsEssay Questions36. What are the different modes of visual representation? For each mode of visualrepresentation, 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 naturalworld. An example would be Adriaen van der Spelt’s and Frans van Mieris’FlowerPiece with Curtainbecause it depicts a garland of flowers and a curtain that mimic theway these objects appear in the natural world.2.Abstract artworks transform recognizable natural subjects into patterns or make themconform to ideals. InJack in the Pulpit, No. IV,Georgia O’Keeffe abstracts a flower intoa stylized form that expresses the pure vigor of the flower’s life force rather than capturesits precise visual appearance.3.Nonrepresentational artworks do not depict a recognizable natural subject. David Smith’ssculpturesCubi XVII, Cubi XVIII, andCubi XIXdo not represent anything found innature but are a combination of geometric shapes and lines.Learning Objective: Intro.1 Consider the criteria used to identify and characterize works of artand their various modes of visual representation.Topic: Modes of RepresentationDifficulty Level: DifficultSkill Level: Apply What You Know and Analyze It

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1337. Describe and analyze the iconography ofStill Life with Fruit and Flowersby Clara Peeters.Answer: The ideal answer should include:1.The luscious fruits, such as grapes and cherries, and flowers represent the abundance ofnature as well as symbolize the transience of earthly existence because they will fade androt.2.The insects highlight the artist’s skill and symbolize the vulnerability of the worldlybeauty of flowers and fruit to destruction and decay.3.The coins and imported silver tazza may commemorate the owner’s wealth and theNetherlandish prosperity and trade during the seventeenth century.4.The iconography of the painting could symbolize the abundance of the natural world andthe prosperous mercantile society; however, it could also teach a moral lesson about theephemeral 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: DifficultSkill Level: Apply What You Know and Analyze It38. 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 otherswere designated as “masters.”3.During the Renaissance, artists such as Leonardo da Vinci considered themselves asgeniuses with unique God-given abilities.Learning Objective: Intro.3 Survey the various ways that artists and patrons have viewedthemselves and have been viewed by the societies in which they lived and worked.Topic: ArtistsDifficulty Level: ModerateSkill Level: Understand the Concepts39. Using Jan Steen’sThe Drawing Lessonas an example, explain the educational practice ofartists 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’sThe Drawing Lessondepicts an artist’s studio in which a boy and a youngwoman are learning the foundations of art from a master artist.4.This painting also demonstrates how drawing from sculpture and plaster casts was animportant part of an apprenticeship, especially for female pupils who were not permittedto work from male nude models.Learning Objective: Intro.3 Survey the various ways that artists and patrons have viewedthemselves and have been viewed by the societies in which they lived and worked.Topic: ArtistsDifficulty Level: DifficultSkill Level: Apply What You Know and Analyze It

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