Art History II
Textbook Exam Questions
Course Introduction
Art History II offers an in-depth exploration of artistic developments from the Renaissance through the modern era, focusing on significant movements, styles, and cultural contexts in Europe and beyond. Students will examine the works of influential artists, analyze key themes and techniques, and consider how art reflects and shapes historical, social, and technological changes. This course encourages critical engagement with visual materials through lectures, discussions, and research, fostering an understanding of the impact and legacy of art across centuries.
Recommended Textbook
Art History 5th Edition Volume 2 by Marilyn Stokstad
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16 Chapters
1408 Verified Questions
1408 Flashcards
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Chapter 1: Fourtheenth-Century Art in Europe
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Q1) The _____________style seen in the great east window of Exeter Cathedral paved the way for the regularity,balanced horizontal and vertical lines,and plain wall or window surfaces that characterize Renaissance architecture in England.
A) Decorated
B) Perpendicular
C) Embroidered
D) Tudor
Answer: B
Q2) In England,during the later years of the thirteenth century and the early years of the fourteenth century,a distinctive and influential style developed,known as __________.
A) the Courtly Style
B) the Decorated Style
C) the Perpendicular
D) the Military Style
Answer: B
Q3) Discuss the techniques of buon fresco and fresco secco,citing examples of each.
Answer: Not Answer
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Chapter 2: Fifteenth-century Art in Northern Europe
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Q1) Discuss the Flemish school of painting in the fifteenth century.Address its origins,technique,major artists,individual styles,commissions,and subject matter.
Answer: Not Answer
Q2) How did the artists visually distinguish the duke of Berry in the illustration for the calendar page for January in the Très Riches Heures ?
A) hieratic scale
B) a written inscription above him
C) the banner with heraldic arms above him
D) positioning him in the center of the composition
Answer: C
Q3) A __________ was a selection of prayers and readings to be used in daily prayer and meditation; it also included a calendar of holy days.
A) Block Book
B) Nuremberg Chronicle
C) Book of Hours
D) Diptych
Answer: C
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Chapter 3: Renaissance art in fifteenth-century Italy
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Q1) The representation of the gold mosaic in Bellini's Virgin and Child Enthroned with SS.Francis,John the Baptist,Job,Dominic,Sebastian,and Louis of Toulouse refers to the long tradition of _______________in Venice.
A) Byzantine art
B) the sacra conversazione
C) classical Roman statuary
D) Neoplatonism
Answer: A
Q2) __________ by Masaccio demonstrates his study of perspective,ancient sculpture,and the accomplishments of fellow artists,including Giotto.
A) The Baptism of Christ
B) The Trinity
C) The Battle of San Romano
D) Jacob and Esau
Answer: B
Q3) Explain Brunelleschi's design for the Florence Cathedral .Be specific in your explanation.
Answer: Not Answer
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5
Chapter 4: Sixteenth-century art in Italy
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Q1) What was the function of the exquisitely crafted sculpture with figures of Neptune and Earth that Cellini made for the King of France?
A) It was an oil lamp.
B) It was a dispenser for salt and pepper.
C) It was a water basin.
D) It was a jewelry box.
Q2) Why is Sofonisba Anguissola unusual among women artists in the sixteenth century?
A) She painted miniatures.
B) She became a lady in waiting.
C) She was not the daughter of an artist.
D) She was from Bologna.
Q3) What characteristic of Tintoretto's painting style was criticized by his contemporaries?
A) the spontaneity of his slashing brushwork
B) his use of strong diagonals and active compositions
C) his deep colors and flashing highlights, reminiscent of Byzantine art
D) his elongated figures with non-classical proportions
Q4) What qualities or features typify Venetian Renaissance painting?
Q5) How was Titian regarded as an artist?
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Chapter 5: sixteenth-century art in northern Europe and the Iberian peninsula
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Q1) __________ carved an altarpiece for the Abbey of Saint Anthony in Isenheim.
A) Riemenschneider
B) Durër
C) Altdorfer
D) Hagenauer
Q2) Why did painters in the Netherlands begin producing smaller-scale paintings during the sixteenth century?
A) Canvas was in short supply.
B) Patrons wanted paintings appropriate for homes.
C) Church patrons desired less ostentatious artwork.
D) The smaller size made them easier to transport.
Q3) How did travel impact on Dürer's art?
Q4) In addition to painting,the arts of textiles,ceramics,and sculpture made of wood and metal flourished in the __________.
A) Danube
B) Netherlands
C) Bavaria
D) Toledo
Q5) How did Bruegel's travels impact his art?
Page 7
Q6) What was the impact of the Reformation on art in Northern Europe?
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Page 8
Chapter 6: Seventeenth-Century art in Europe
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Q1) What artist was most influential on George de la Tour and other French artists of the early seventeenth century?
A) Rosso Fiorentino
B) Rubens
C) Carvaggio
D) The Carracci
Q2) How does Anthony van Dyck's Charles I at the Hunt convey the king's powerful status?
A) through a naturalistic portrait, in which Charles's surroundings appear submissive
B) through an idealized portrait, where Charles appears as a powerful and godlike force
C) through a narrative image that shows Charles engaged in hunting wild beasts
D) none of the above
Q3) How is Bernini's David different from sculptures by Michelangelo and Donatello on the same subject? Discuss the artist's viewpoint,the expression,the moment in time,and the techniques.
Q4) How did Bernini unify the exterior of St.Peter's?
Q5) What is remarkable about English palace design during the Baroque period?
Q6) What is group portraiture and how did Dutch Baroque artists refine it?
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Chapter 7: art of south and southeast Asia after 1200
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Q1) The Qutb Minar,a minaret at Quwwat ul-Islam Mosque in Delhi was begun by whom
A) Babur
B) Aibak
C) Jahangir
D) Shah Jahan
Q2) Shwedagon stupa,Myanmar enshrines relics from the four past Buddhas,including hair from ______________.
A) Shakyamuni
B) Krishna
C) Amitabha
D) Gopi
Q3) The twentieth-century Indian painter,__________,rejected the academic approach of Western art and created images that reflect his ethnic origins,such as Bharat Mata (Mother India).
A) Abanindranath Tagore
B) Gandhi Bhavan
C) Shah Jahan
D) B.P. Mathur
Q4) Who is Krishna? Give examples of his representation in Indian art.
Page 10
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Chapter 8: Chinese and Korean art after 1279
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Q1) Explain the Silhak movement.What is the meaning of the word "silhak"?
Q2) How did the literati's view of painting differ from artists who were paid for their work?
A) their close attention to technical skill
B) an emphasis on art as personal expression
C) the preference for historical and intellectual subjects
D) all of the above
Q3) Describe the Joseon dynasty.What were its dates? Did it look to other traditions? Discuss the arts under this dynasty,citing specific examples.
Q4) Unlike many scholars of his time,the painter,__________,did serve the Yuan government and was made a high official.
A) Zhao Mengfu
B) Kublai Khan
C) Jenghiz Khan
D) Yuan Khan
Q5) What was the historical context for China in the first half of the twentieth century? How did it affect the arts?
Q6) What is the Forbidden City ? Who built it? Consider its origins,its design,its symbolism.
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Chapter 9: Japanese art after 1333
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Q1) During the Edo period,___________ flourished among rural peasants outside of Japan's urban centers.
A) Pure Land Buddhism
B) Zen Buddhism
C) Theravada Buddhism
D) Tibetan Buddhism
Q2) The designation of craftsmakers as _______________originated in 1897 as a means to safeguard Japan's rich artistic heritage.
A) Living National Treasures
B) Living National Icons
C) Living National Educators
D) Living National Heroes
Q3) __________ was the first artist to design woodblock prints to be printed in more than one color.
A) Toshusai Sharaku
B) Suzuki Harunobu
C) Utagawa Hiroshige
D) Katsushika Hokusai
Q4) What is "borrowed scenery"? Give an example.
Q5) What are registration marks in the woodblock print process? Are they necessary?
Page 12
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Chapter 10: Art of the Americas after 1300
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Q1) Hosteen Klah was a nadle,or Navajo third __________,and could learn both female and male arts.
A) warrior
B) chief
C) gender
D) artist
Q2) What is quillwork?
Q3) Some of the finest Hamatsa masks are the work of Willie __________.
A) Martinez
B) Smith
C) Seaweed
D) Algae
Q4) What features did the Aztecs and Incas share in their art?
Q5) What were the building traditions of the Incas?
Q6) What changes occurred in the production of Native American beadwork after European contact?
A) Native artists began to use glass beads from Venice and Bohemia.
B) Decorative beadwork became commonplace.
C) Native artists adapted European needlework techniques and floral designs.
D) All of the above.
Page 13
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Chapter 11: art of pacific cultures
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Q1) What are some distinctions between Melanesian and Polynesian peoples?
Q2) The creation of all Polynesian art is considered __________________.
A) a scholarly endeavor
B) a royal practice
C) a demonstration of cultural loyalty
D) a sacred act
Q3) What are the four geographic areas of Oceania?
Q4) Far-fetched theories regarding the origins of moai on Rapu Nui are challenged by
A) recent archaeological evidence
B) rock paintings at the site
C) their similarity to established Polynesian traditions
D) none of the above
Q5) How did the Aboriginal artists use cross-hatching?
Q6) What unusual feature appears in the relief carvings of ancestors covering the supporting structures of the Te-Hau-ki-Turanga meeting house?
A) a plaque calling for the rights of indigenous peoples in New Zealand
B) soft, shallow surface carving resulting from the use of stone tools
C) a naturalistic portrait of the artist
D) figures shown with their tongues sticking out
Page 14
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Chapter 12: art of Africa in the modern era
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Q1) Progression to higher grades of the Lega people's bwami association depends on the candidate' s character and __________.
A) gender
B) ability to pay
C) hereditary lineage
D) ethnic background
Q2) The Yoruba Palace Door by Olowe of Ise (29-20)depicts _____________.
A) a common Yoruba ritual
B) the king receiving a colonial administrator
C) portraits of the royal family
D) all of the above
Q3) How is contemporary African art different than tradition-based African art?
Q4) The Kuba create a variety of embroidered textiles that are used in celebratory festivals as well as in ____________.
A) disguised initiation ceremonies
B) armed funeral rituals
C) guarded everyday activities
D) decorated divination practices
Q5) How are African traditional art forms known to us today?
Q6) Why does African art idealize the spirits of community leaders and others?
Page 15
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Chapter 13: Eighteenth- and early-nineteenth century
Europe and NORTH America
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Q1) What feature of the Atrial Cross ,is a symbol of both Christianity and Native American traditions?
A) the image of Christ's face
B) the atrial cross
C) the holy shroud
D) pomegranates
Q2) With his success as a moralizing painter,the artist __________ was able to give up portraiture,which he considered a deplorable form of vanity.
A) Hogarth
B) Fragonard
C) Boucher
D) Gainsborough
Q3) How did Wright glorify science?
Q4) How was the career of Angelica Kauffmann distinctive among female painters of the eighteenth century?
A) She was trained by her father
B) She painted history paintings.
C) She was restricted to still life subjects.
D) She quit painting after having children.
Page 16
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Chapter 14: mid-to late nineteenth-century art in Europe and the united states
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Q1) Known as synthetism,Gauguin's style involved brilliantly colored flat shapes,anti-naturalist color and _____________.
A) gold leaf
B) one point perspective
C) bold outlines
D) shading
Q2) What is Japonisme?
Q3) How is early photography related to Realism?
Q4) Although associated with the Academy,Gustave Moreau's sensuous treatment of biblical themes served as a precursor to which art movement?
A) Neo-Impressionism
B) Symbolism
C) Impressionism
D) the Pre-Raphaelites
Q5) Discuss the use of light in Impressionist paintings.Give examples of specific artists and their work in your explanation of their innovative use of light and color.
Q6) Why are engravings important in spreading an artist reputation?
Q7) How did Manet break with conventions in his paintings?
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1900-1950
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Q1) Although academic in scale Matisse's Le Bonheur de Vivre was avant-garde in the
A) introduction of landscape
B) subject of figures
C) flattening of the figure
D) fragmentation of the objects
Q2) Weston believed that ____________ made a great photograph and not dark room manipulation.
A) natural beauty of an object
B) the picturesque quality of a scene
C) the artistic choices of the photographer
D) the ability to adjust lighting
Q3) How did Picasso's treatment of space in Les Demoiselles d'Avignon dramatically change the practice of painting in the west?
A) It was an alternative to traditional systems of perspective.
B) It legitimized non-objectivity as a viable interest in painting.
C) It rejected the use of color.
D) It implied that art was an intellectual activity not rooted in emotional expression.
Q4) Why did the Futurists embrace "the beauty of speed" in their art?
Page 18
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Chapter 16: The international scene since 1950
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Q1) Robert Venturi claimed "Less is a bore," in a parody of _________ famous phrase.
A) Frank Geahry's
B) Mies van der Rohe's
C) Philip Johnson's
D) Eero Saarinen
Q2) The Guerrilla Girls raise awareness of race and gender discrimination by appropriating strategies of ____________.
A) first-wave feminist artists
B) Modernism
C) guerilla warfare
D) Postcolonial discourse
Q3) What traditional folk art form does Kara Walker use in her provocative installations exploring historical issues of race?
A) glassblowing
B) cut-paper silhouettes
C) quiltmaking
D) dollmaking
Q4) What are Earthworks?
Q5) What is Performance Art?
Q6) How did the Conceptual artists eliminate the art object?
Page 19
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