History of Painting, Sculpture, and Architecture II
Final Exam
Course Introduction
History of Painting, Sculpture, and Architecture II explores the development and transformation of the visual arts from the Renaissance through the modern era. Building upon foundational knowledge, this course examines major movements, artists, and works across Europe and the wider world, analyzing how social, political, and cultural contexts influenced artistic creation and architectural innovation. Students will engage with styles such as Baroque, Neoclassicism, Romanticism, Impressionism, Modernism, and beyond, gaining insight into techniques, materials, and the evolving role of both artists and patrons. Critical discussion, visual analysis, and comparative study foster a comprehensive understanding of how painting, sculpture, and architecture reflect and shape human experience.
Recommended Textbook
Art History 5th Edition Volume 2 by Marilyn Stokstad
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Page 2
Chapter 1: Fourtheenth-Century Art in Europe
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Q1) __________ was a master mason for Exeter Cathedral .
A) Richard de Montefort
B) Thomas of Whitney
C) Thomas Acquinas
D) Nicholas of Verdun
Answer: B
Q2) __________ painted a huge altarpiece for the high altar of Siena Cathedral.
A) Gaddi
B) Duccio
C) Pisano
D) Daddi
Answer: B
Q3) The most complete Decorated-style building is the __________.
A) Chartres Cathedral
B) Durham Cathedral
C) Westminster Cathedral
D) Exeter Cathedral
Answer: D
Q4) Discuss the different phases of construction for Exeter Cathedral.
Answer: Not Answer
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Chapter 2: Fifteenth-century Art in Northern Europe
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Q1) For most of the fifteenth century,the __________ were the most powerful rulers and art patrons in northern Europe.
A) dukes of Normandy
B) earls of Hampden
C) dukes of Windsor
D) dukes of Burgundy
Answer: D
Q2) The major work of the Limbourg brothers was __________ commissioned for Jean,the Duke of Berry.
A) the Ghent Altarpiece
B) the Tres Riches Heures (Very Sumptuous Book of Hours)
C) the Merode Altarpiece
D) the Portinari Altarpiece
Answer: B
Q3) __________ was first achieved in the workshop of Johann Gutenberg in Germany.
A) relief printing
B) engraving
C) movable-type printing
D) block books
Answer: C
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Chapter 3: Renaissance art in fifteenth-century Italy
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Q1) In fifteenth-century Italy,wealthy families,such as the __________ in Florence,were powerful and influential patrons of the arts.
A) Narni
B) Montefeltro
C) Bellini
D) Medici
Answer: D
Q2) Reflecting its donor,the subject of Andrea Mantegna's murals in the Camera Picta of the Ducal Palace is _____________.
A) poetic allegories of moral virtues
B) trompe l'oeil
C) the return of Ludovico Gonzaga's son
D) themes of romantic love
Answer: C
Q3) Explain Brunelleschi's design for the Florence Cathedral .Be specific in your explanation.
Answer: Not Answer
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Chapter 4: Sixteenth-century art in Italy
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Q1) 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
Q2) Which of these works by Michelangelo was made in Rome?
A) the Pietà
B) David
C) Tomb of Giuliano de' Medici with Allegorical Figures of Day and Night
D) Vestibule of the Laurentian Library
Q3) Which artists worked simultaneously at the Vatican on separate commissions?
A) Leonardo da Vinci and Michelangelo
B) Michelangelo and Raphael
C) Raphael and Leonardo da Vinci
D) Leonardo da Vinci, Michelangelo, and Raphael
Q4) Leonardo da Vinci's portrait Mona Lisa has continued to entrance and mystify viewers over the centuries.Explain some of the mystery and enigma behind this portrait,as well as its beauty.
Q5) How was St.Peter's Basilica modified during the sixteenth century?
Page 6
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Chapter 5: sixteenth-century art in northern Europe and the Iberian peninsula
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Q1) How was Northern Renaissance art an amalgam of early Northern and Italian sources and influences?
Q2) Although Martin Luther never supported __________,many Protestant zealots destroyed sculpture,stained glass,and religious paintings they felt was idolatrous.
A) empire
B) legislature
C) iconoclasm
D) renaissance
Q3) Francis I transformed a hunting lodge in __________ into a grand palace.
A) Wittenberg
B) Nantes
C) Augsburg
D) Fontainebleau
Q4) Dürer's work in which media led to his fame and fortune?
A) goldsmithing
B) graphic arts and painting
C) architecture
D) sculpture
Q5) What was the role of miniatures in sixteenth-century English art?
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Chapter 6: Seventeenth-Century art in Europe
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Q1) Which of the following is NOT a characteristic of Baroque art?
A) an interest in Classicism
B) heightened dramatic effects
C) an appeal to the viewer's intellectual interests
D) different media used in a single work
Q2) According to art historians,Artemisia Gentileschi frequently painted heroic biblical women to ___________.
A) claim her rightful place in a male-dominated art world
B) to provide women with a pious model for behavior
C) use her body as a model
D) steal commissions from other artists.
Q3) 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
Q4) What are the subjects of debate regarding the enormous portrait Las Meninas (The Maids)by Velazquez? Discuss its many interpretations and the skills the artist used in creating it.
Page 8
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Chapter 7: art of south and southeast Asia after 1200
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Q1) 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
Q2) Define the movement known as bhakti.
Q3) The pointed cranial protuberance of the Seated Sukhotai Bronze Buddha from Thailand is interpreted as ________________ similar to its meaning in southern India and Sri Lanka.
A) a flame of divine knowledge
B) a stupa-like structure
C) a ray of golden light
D) a royal umbrella
Q4) __________ are the monumental entrance gateways to Hindu temple complexes.
A) Achalas
B) Vinyanas
C) Gopuras
D) Shakis
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Chapter 8: Chinese and Korean art after 1279
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Q1) Like the previous two dynasties,the __________ potters excelled in the manufacture of ceramics.
A) Beijing
B) Joseon
C) Taipei
D) Hong Kong
Q2) What factor did NOT impede Korea's artistic development in the early twentieth century?
A) a legacy of self-imposed isolationism
B) Communist imposed restrictions on artistic freedom
C) harsh circumstances brought on by war
D) colonial occupation by Japan
Q3) Dong Qichang based his ideas about China's Northern and Southern schools of painting on ________________.
A) regional centers of artistic production
B) parallels he saw in Buddhist practice
C) traditions associated with the Song dynasty
D) none of the above
Q4) What is a colophon?
Q5) Who was Marco Polo? What was his significance?
Page 10
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Chapter 9: Japanese art after 1333
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Q1) The first book on the artist Hokusai was published in __________.
A) Germany
B) Britain
C) France
D) Italy
Q2) What is "borrowed scenery"? Give an example.
Q3) Reaching great refinement in the Momoyama period,__________ are upper-class residences that combine a number of traditional features,always asymmetrically arranged.
A) fusuma
B) shoin
C) tatami
D) veranda
Q4) Discuss Zen Buddhism.Consider some of its foundational principles.Relate these principles to their impact on the arts,citing specific works.
Q5) Discuss the significance of the tea ceremony in Japan.What are its origins? Does it have other purposes besides the drinking of tea? What was its impact on the arts? Identify any significant individual and his/her role,distinctive phrases,special utensils and other particular features of the ceremony.
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Chapter 10: Art of the Americas after 1300
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Q1) Aztec art was definitely __________.
A) ashen
B) colorful
C) dull
D) minimal
Q2) How did the ideas of Dorothy Dunn impact Native American art in the United States?
A) She encouraged the practice of native traditions in the production of authentic tribal arts.
B) She taught native artists to create work that would appeal to tourists and collectors.
C) She organized regional craft festivals where native artists could sell their wares.
D) All of the above.
Q3) Two great empires,the __________ in Mexico and the Inca in South America,rose to prominence in the fifteenth century.
A) Aztec
B) Haarlem
C) Malta
D) Columbus
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Chapter 11: art of pacific cultures
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Q1) The ___________ refers to the period before humans existed and is integrally related to the life of indigenous Australians.
A) Awakening
B) Sleeping
C) Dreaming
D) Flight
Q2) How did missionaries play a role in the production of fiber arts?
Q3) What is the relationship of meeting houses such as Te-Hau-ki-Turanga to the Maori's ancestors?
A) The building is the site where tribal history and genealogy are preserved.
B) The building's framework depicts the tribal ancestors who symbolically uphold the structure.
C) The building's ridgepole and slanting bargeboards represent the tribe's founding ancestor.
D) All of the above.
Q4) What is bark painting?
Q5) How were korambo (haus tambaran)houses constructed?
Q6) How are the Pacific cultures similar and different?
Q7) What was Nan Madol?
Page 13
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Chapter 12: art of Africa in the modern era
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Q1) One aspect of the Bwa initiation ceremony includes instructing the initiates about the world of __________.
A) libraries
B) nature spirits
C) banking
D) cooking
Q2) The Dogon people are located in what country in west Africa?
A) Mali
B) Nigeria
C) Kenya
D) Angola
Q3) The doors of Yoruba palaces are often decorated with _______________.
A) complex geometric patterns indicating royalty
B) symbolic and narrative images carved in high relief
C) cast bronze relief panels depicting ancestral rulers
D) painted images of spirit beings who guard the palace
Q4) Why does tradition-based art in Africa appear in such a wide variety of forms?
Q5) In what contexts are African art objects used?
Q6) How do masks relate to ceremonial events in African art?
Q7) How is contemporary African art different than tradition-based African art?
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Chapter 13: Eighteenth-
and
early-nineteenth century art in
Europe and NORTH America
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Q1) Often considered the beginning of art-historical study _____________ published The History of Ancient Art (1764),which analyzed art history as a succession of styles.
A) Johann Winckelmann
B) Alessandro Alberti
C) Horace Walpole
D) Edmund Burke
Q2) Rococo ended because of Enlightenment ideas,the rising popularity of the __________ style,and imminent revolution.
A) Gothic
B) Realist
C) Neoclassical
D) Grand Tour
Q3) What was the role of art academies in the eighteenth century and how did they influence artistic development of the period?
Q4) What impact did the French Revolution have on art?
Q5) How do scientific discoveries impact on art during the eighteenth century?
Q6) What is Grand Manner painting and how did it inform art of the eighteenth and early nineteenth century?
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Chapter 14: mid-to late nineteenth-century art in Europe and the united states
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Q1) A common theme among Symbolist artists was ____________.
A) Egyptian culture
B) irrational fears and desires
C) the idealized landscape
D) primitive cultures
Q2) Monet was fascinated with the subject of _______________ because of the way light played across its surface.
A) Rouen Cathedral
B) The Crystal Palace
C) Mont Sainte-Victoire
D) wooded landscape
Q3) 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
Q4) Who was William Morris?
Q5) Who was Camille Claudel?
Q6) How is Central Park organized?
Page 16
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Page 17
1900-1950
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Q1) The manner in which Picasso and Braque broke objects into parts initiated
A) collage
B) analytic cubism
C) automatism
D) expressionism
Q2) In the years after World War II,Francis Bacon's paintings evoked the horrors of war and human suffering through ______________.
A) expressive images of distorted figures
B) raw, heavily worked abstract forms
C) biomorphic images that held personal symbolism
D) large scale murals inspired by Renaissance frescoes
Q3) How did Marcel Duchamp's Fountain change the course of art?
Q4) ___________ ideas of a collective unconscious of universal archetypes shared by all humans greatly influenced the Abstract Expressionist painters.
A) Sigmund Freud's
B) Carl Jung's
C) Clement Greenberg's
D) Vassily Kandinsky's
Page 18
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Chapter 16: The international scene since 1950
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Q1) Because her figures are all silhouettes,which does not identify race,the artist Kara Walker forces the viewer to read the narrative by ___________________.
A) recalling the novel from which the story was taken
B) comparing the scene to other artists
C) looking for other visual markers of race
D) reading the text panels accompanying each character
Q2) Which art movement employed commercial techniques to produce slick,cool works of art?
A) Assemblage
B) Process-based art
C) Pop
D) Art Happenings
Q3) Although initially a revolutionary style,_____________ architecture came to stand for corporate wealth and power.
A) International Style
B) Deconstructivist
C) High Tech
D) Postmodern
Q4) What did artists do from 1955 to 1965 to bring the real world into their art?
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