AP Art History Unit 3 AP MCQs

A

flying buttresses and ribbed vaulting

The structural elements of French Gothic architecture can best be illustrated by the relationship between

A

flying buttresses and ribbed vaulting

B

spherical domes and compound piers

C

tunnel vaults and pier buttresses

D

stained glass and jamb sculptures

C

represent divine approval of the king and queen’s marriage

In the work shown, Rubens included the mythological figures of Jupiter and Juno to

A

comment satirically on the arrogance of the king and queen

B

appeal to the civic pride of the Florentine public

C

represent divine approval of the king and queen’s marriage

D

subvert the authority of the Roman Catholic Church

C

celebrate her virtues and advocate her political position

Marie de’ Medici, commissioned this work, as well as the larger cycle it belongs to, in order to

A

appease foreign governments during a time of war in France

B

support her husband’s rule and defend his unpopular decisions

C

celebrate her virtues and advocate her political position

D

justify France’s involvement in European military conflicts of the time

B

The use of a diagonal composition

Which of the following is an aspect of the work shown that is characteristic of the Baroque style of Peter Paul Rubens?

A

The use of hierarchical scale

B

The use of a diagonal composition

C

The use of a flattened pictorial plane

D

The use of expressively distorted figures

D

Velazquez showed the royal family in candid aspects of daily life.

Diego Velázquez' Las Meninas, though influenced by Rubens' royal portraits, differs from them in which of the following ways?

A

Velazquez depicted royalty as solemn and spiritual.

B

Velazquez created a dense allegorical narrative to portray royalty.

C

Velazquez provided a formal, idealized portrayal of the royal family.

D

Velazquez showed the royal family in candid aspects of daily life.

C

Hiberno Saxon Europe

On the basis of style and medium, the work shown can be attributed to which of the following cultures?

A

Late Antique Europe

B

Early Byzantine Europe

C

Hiberno Saxon Europe

D

Gothic Europe

B

theatrical illusion

Both works allude to the artist’s interest in

A

Neoplatonic ideals

B

theatrical illusion

C

Franciscan spirituality

D

Galileo’s theories

C

Baroque

The work of this artist dates to which of the following periods?

A

Renaissance

B

Mannerism

C

Baroque

D

Rococo

C

Bernini

Both of these works were created by

A

Michelangelo

B

Borromini

C

Bernini

D

Donatello

B

Donatello

The subject of the work on the right was also sculpted by

A

Degas

B

Donatello

C

Phidias

D

Luca Della Robbia

A

Hellenistic Greek sculpture

Both works show an interest in

A

Hellenistic Greek sculpture

B

Roman Republican portraiture

C

Neoclassical sculpture

D

Archaic Greek sculpture

D

members of the church hierarchy

The artist’s principal patrons were

A

Spanish royalty

B

Tuscan monks

C

members of the merchant class

D

members of the church hierarchy

B

incorporates calligraphic inscriptions

The decoration of the Pyxis of al-Mughira draws on Islamic artistic traditions in that it

A

includes only aniconic imagery

B

incorporates calligraphic inscriptions

C

was created through the process of repoussé

D

is accentuated by richly polychromed surfaces

B

detailed retelling of a historical narrative depicted in a scroll-like format

The Bayeux Tapestry can be linked to the influence of Roman Imperial works such as the Column of Trajan in its

A

use of animal scenes in the borders that provide a comment on the main story

B

detailed retelling of a historical narrative depicted in a scroll-like format

C

combination of historic individuals with characters from ancient mythology

D

use of contrapposto and wet-drapery in the portrayal of important leaders

B

an ambulatory

The image shown demonstrates that the building it refers to includes

A

an atrium

B

an ambulatory

C

a pylon

D

a peristyle court

A

Primavera

Botticelli, the artist of the work on the left, also painted which of the following?

A

Primavera

B

Sacred and Profane Love

C

Hercules and Antaeus

D

Wedding Portrait (Giovanni Arnolfini and His Bride)

B

Ravenna

This work was made in the fifth century C.E. in

A

Rome

B

Ravenna

C

Pompeii

D

Reims

A

a mosaic

The work is

A

a mosaic

B

a fresco

C

an encaustic

D

an oil

B

Christ

The central symbolic image of this work refers to

A

Apollo

B

Christ

C

a patron saint

D

Dionysus

B

He included several biblical scenes in a single image.

In in the work shown, Cranach used which of the following means of demonstrating that Luther’s radical ideas were still part of the Christian tradition?

A

He included nude saints modeled after specific classical examples.

B

He included several biblical scenes in a single image.

C

He depicted several characters from classical mythology.

D

He referenced the role of financial donations to the Church.

A

the connection made between the nude man on the right side and the crucified Christ shows that salvation can only be granted through God’s grace and sacrifice

The right side of the work shown, Cranach’s Allegory of Law and Grace, can be interpreted as being an illustration of Protestant Reformation theology, because

A

the connection made between the nude man on the right side and the crucified Christ shows that salvation can only be granted through God’s grace and sacrifice

B

the depiction of Moses with the Ten Commandments next to the nude man on the left side shows that all those who obey God’s law will enter Heaven

C

it contrasts with the depiction of chaos the left, showing that the upholding the hierarchy and order of the church by the faithful is essential for salvation

D

it depicts New Testament scenes that complement Old Testament scenes shown on the left, foreshadowing Christ’s death and resurrection

D

woodcuts were inexpensive and could be reproduced in large quantities

Works like Cranach’s Allegory of Law and Grace would have appealed to a wide audience because

A

people believed that buying them would improve their chances of salvation

B

people believed that they were holy objects that possessed healing properties

C

prints on paper were a novelty and therefore considered to be status symbols

D

woodcuts were inexpensive and could be reproduced in large quantities

A

oil paint

Jan van Eyck is known for his early use of

A

oil paint

B

egg tempera paint

C

chiaroscuro

D

gouache

A

emphasize her passion for religion and love of literature

The specific iconography used by Miguel Cabrera in his portrayal of Sor Juana Inés de la Cruz suggests the artist’s intention to

A

emphasize her passion for religion and love of literature

B

reference her translation of the Bible into Spanish

C

endow the painting with symbolism connected to the Virgin of Guadalupe

D

remind the viewer of her martyrdom and designation as a patron saint of learning

D

Retain the spatial orientation and reinforce the spiritual purpose of the building

The repetition of architectural elements in the Great Mosque at Córdoba, evident in the plan shown, indicates how the design could do which of the following as it was expanded over time?

A

Guide visitors to follow a prescribed route through the chambers

B

Use sliding temporary walls to create an open and flexible interior

C

Separate secular from sacred space to promote an atmosphere for worship

D

Retain the spatial orientation and reinforce the spiritual purpose of the building

D

They are nearly freestanding.

Which of the following is an innovative feature of these four figures?

A

They are part of a decorative program.

B

They represent biblical characters.

C

They portray French royalty.

D

They are nearly freestanding.

A

the French court style

The two figures on the left reflect the impact of

A

the French court style

B

vase painting

C

Renaissance naturalism

D

Mannerism

C

Gothic

These sculptures are from which of the following art historical periods?

A

Early Christian

B

Romanesque

C

Gothic

D

Baroque

A

cathedral

They are part of the decoration of a

A

cathedral

B

city hall

C

theater

D

palace

C

Annunciation

What is the subject of the two figures on the left?

A

Lamentation

B

Flight into Egypt

C

Annunciation

D

Adoration

C

Roman

The two figures on the right reflect the influence of which of the following earlier styles?

A

Archaic Greek

B

Islamic

C

Roman

D

Byzantine

B

several workshops were involved

The differences in style between the two pairs of figures confirm the fact that

A

the works were carved in different centuries

B

several workshops were involved

C

different materials were used

D

works were imported from other countries

B

elongated bodily proportions and the gesture of the Madonna’s head and neck

The artist of the Madonna and Child shown achieved an effect of elegance and grace primarily through the

A

arrangement of the cluster of angels on the left side of the painting

B

elongated bodily proportions and the gesture of the Madonna’s head and neck

C

alternation of light and dark colors across the middle and bottom of the painting

D

lines created by gazes, from the front angel, to the Madonna, to the infant Christ

B

the overlapping of forms

The painting suggests spatial recession by

A

one-point perspective

B

the overlapping of forms

C

consistent modeling of light

D

aerial perspective

D

abstract intertwined animal forms

Hiberno-Saxon manuscripts such as the Book of Kells often included

A

naturalistic landscapes

B

representations of the Last Judgment

C

donor portraits

D

abstract intertwined animal forms

C

coronation

The work has been interpreted as a visual document of all of the following EXCEPT

A

marriage

B

betrothal

C

coronation

D

legal contract

B

written text

The artist includes himself in the painting in the form of

A

animal representation

B

written text

C

symbolic representation

D

narrative elements

D

Bruges

The artist who created the painting worked primarily in

A

Paris

B

Antwerp

C

London

D

Bruges

C

Van Eyck

The work was painted by

A

Vermeer

B

Rembrandt

C

Van Eyck

D

Memling

B

Fifteenth

The work was painted in which century?

A

Thirteenth

B

Fifteenth

C

Seventeenth

D

Nineteenth

A

religious symbolism

The painting incorporates

A

religious symbolism

B

political propaganda

C

musical metaphors

D

Classical mythology

A

avoided making religious images to distinguish themselves from members of other religions

While different theories exist about why no Christian art older than the earliest paintings from catacombs seems to have survived, some scholars theorize that early Christians

A

avoided making religious images to distinguish themselves from members of other religions

B

had no time for image making since they were continually persecuted by Roman authorities

C

created religious art that was almost undistinguishable from other religious art of the time

D

only started making images once the literacy rate among the population began declining

A

burial place for members of the early Christian community

The Catacomb of Priscilla was designed by its original founders to provide a

A

burial place for members of the early Christian community

B

refuge for early Christian families at times of religious persecution

C

secret location to baptize early Christian converts

D

place of worship for large congregations of early Christians

D

believers in the act of prayer

Early Christians would probably have recognized the figures with raised arms shown between the lunettes of the fresco as representing

A

angels guarding the chapel

B

apostles preaching the Gospel

C

martyrs who died by crucifixion

D

believers in the act of prayer

D

favor stylized figures against a gold-leaf background, reflecting the emphasis of early Christian art on spirituality

The Byzantine mosaics of Emperor Justinian and Empress Theodora from the Church of San Vitale in Ravenna differ from classical Roman mosaics in that they

A

focus on realism, illustrating the concern of Byzantine art for making religious subject matter more relatable

B

employ diagonal lines and stacked bodies, showing the focus of early Christian art on drama and emotional impact

C

portray secular leaders, demonstrating the preference of Byzantine art for historic over religious subject matter

D

favor stylized figures against a gold-leaf background, reflecting the emphasis of early Christian art on spirituality

B

building on the site of Emperor Justinian’s tomb

In the Mosque of Selim II, the architect Sinan proclaimed the Ottoman sultan’s supremacy over the emperors of Byzantium through all of the following means EXCEPT by

A

creating a central space that surpassed that of Hagia Sophia

B

building on the site of Emperor Justinian’s tomb

C

locating the mosque on the tallest hill overlooking the city

D

adapting the central plan to meet the requirements of Islamic religious practices

D

Compound piers and transverse arches

Which of the following help to articulate the three-dimensional modules of the nave?

A

Pendentives and squinches

B

Colonnades and architraves

C

Posts and lintels

D

Compound piers and transverse arches

B

pilgrimage

The design of churches such as this was most likely a practical response to the medieval phenomenon of

A

the Inquisition

B

pilgrimage

C

feudalism

D

the papacy

B

a barrel vault

The nave of the church is covered by

A

a coffered ceiling

B

a barrel vault

C

groined vaults

D

domical vaults

A

bays

The builders organized the nave of the church in three-dimensional modules called

A

bays

B

cells

C

niches

D

apsidioles

B

crossing square

The mathematical unit that organizes the plan is derived from the

A

radiating chapels

B

crossing square

C

towers

D

apse

C

gallery

The interior shows a two-story elevation consisting of a nave arcade and a

A

clerestory

B

triforium

C

gallery

D

crypt

C

the interlacing of stylized animal forms to create dense patterns

The work shown demonstrates the influence of earlier northern European artistic traditions through

A

the avoidance of figurative imagery in favor of purely abstract shapes

B

the use of filigree to create complex ornamental designs

C

the interlacing of stylized animal forms to create dense patterns

D

the division of the page into four different registers

D

missionaries in the British Isles embraced the local artistic style in their efforts to spread Christianity to new converts

The influence of older northern European artistic traditions on the work shown demonstrates that

A

there was a steady exchange of ideas between Christians in the British Isles and mainland Europe during the early Middle Ages

B

a well-developed bookmaking tradition existed in the British Isles even before Christian missionaries arrived there

C

the patrons who commissioned such works wanted to uphold their old pagan beliefs even after they converted to Christianity

D

missionaries in the British Isles embraced the local artistic style in their efforts to spread Christianity to new converts

B

divider intended to mark the transition between different sections of a book

The complex designs that make up this work reflect its function as a

A

sacred icon that was used in private worship by early Christians

B

divider intended to mark the transition between different sections of a book

C

instructional tool intended to illustrate the content of sacred stories for illiterate people

D

status symbol that represented the wealth and high social standing of its owner

A

including multiple narrative episodes in one scene

The folio Rebecca and Eliezer at the Well from the Vienna Genesis belongs to an illuminated manuscript tradition that favors

A

including multiple narrative episodes in one scene

B

organizing the space using hierarchical scale

C

embellishing the text with interlacing patterns

D

faithful depictions of architectural settings

C

pendentives to support the central dome

The architects of the Hagia Sophia created an expansive internal space by using

A

groin vaults to channel the weight of the dome

B

an oculus to let in natural light

C

pendentives to support the central dome

D

a ring of radiating chapels to widen the interior

C

curved, undulating forms and broken entablatures

The design of the architectural work shown can be attributed to Francesco Borromini because of its

A

careful re-creation of an actual facade from Roman antiquity

B

bold and inventive use of coffers of varying shapes

C

curved, undulating forms and broken entablatures

D

combined use of molded concrete and carved stone

A

suggest that the viewer is seeing the painting from the perspective of the king and queen, whose presence it implies

Some art historians have theorized that Velasquez included a mirror in the background of Las Meninas in order to

A

suggest that the viewer is seeing the painting from the perspective of the king and queen, whose presence it implies

B

include a hidden portrait of himself in a painting depicting royalty, to document his important status as court painter

C

warn the members of the royal court against the sins of vanity and emphasize the importance of valuing faith over worldly pursuits

D

symbolize the wisdom of the young princess depicted in the painting by referencing the act of self-reflection

A

manuscript illumination

The narrative imagery in Gothic stained-glass windows is most comparable to that of

A

manuscript illumination

B

tomb sculpture

C

catacomb painting

D

jamb sculptures

B

the Palazzo Rucellai

The progressive arrangement of the three ancient architectural orders on the exterior of the Colosseum proved influential for the design of

A

the Palace at Versailles

B

the Palazzo Rucellai

C

the Pazzi Chapel

D

Monticello

D

Impressionism

The artist of the painting on the left is primarily associated with

A

Romanticism

B

Neoclassicism

C

Post-Impressionism

D

Impressionism

B

members of the court on an outing

The work illustrates

A

a parade of actors and musicians

B

members of the court on an outing

C

pilgrims on their way to a holy site

D

contestants about to enter a race

A

manuscript illumination

The work is a

A

manuscript illumination

B

wall painting from a private chapel

C

predella panel of an altarpiece

D

ceramic panel in a château

D

the Limbourg brothers

The work was painted by

A

Irish monks

B

Jan and Hubert van Eyck

C

the Lorenzetti brothers

D

the Limbourg brothers

C

A representation of the labors of the months

This example is taken from which of the following cycles?

A

Allegories of the virtues and vices

B

Biblical stories represented in contemporary dress

C

A representation of the labors of the months

D

A book on animal husbandry

D

International Gothic

This work is an example of which of the following period styles?

A

Roman

B

Byzantine

C

Carolingian

D

International Gothic

C

Pieter Bruegel

Works like this are related to themes found in the paintings of which of the following artists?

A

Giotto

B

Duccio

C

Pieter Bruegel

D

El Greco

B

Michelangelo

The outstretched hand of the figure on the far right is a visual homage to a famous painting by

A

Giotto

B

Michelangelo

C

Leonardo

D

Raphael

B

chapel

The painting was created as part of a larger decorative program for a

A

tavern

B

chapel

C

palace

D

prison

C

New Testament

The painting depicts a subject recorded in the

A

Decameron

B

Divine Comedy

C

New Testament

D

Old Testament

C

Caravaggio

The painting is by

A

Velázquez

B

Vermeer

C

Caravaggio

D

Rembrandt

D

Italian Baroque

Stylistic aspects of the painting identify it as being from the

A

Italian Renaissance

B

Northern Renaissance

C

Dutch Baroque

D

Italian Baroque

C

tenebrism

The drama in the painting is reinforced by the use of

A

complex symbolism

B

linear perspective

C

tenebrism

D

sfumato

A

conversion

The use of light symbolizes a moment of

A

conversion

B

coronation

C

damnation

D

betrothal

B

mosaic

Both works were created using

A

fresco

B

mosaic

C

oil paint

D

egg tempera

A

Apse

Both works are found in which part of a church?

A

Apse

B

Narthex

C

Transept

D

Baptistery

B

mystical vision

The golden background of the work on the left conveys a sense of

A

spatial recession

B

mystical vision

C

observed naturalism

D

site specificity

A

saint

The compositional focus of the work on the right is a

A

saint

B

prophet

C

pilgrim

D

pope

A

mandorla

The central figure in the work on the left is set within a

A

mandorla

B

tympanum

C

voussoir

D

portal

B

Transfiguration

Both works represent the

A

Ascension

B

Transfiguration

C

Resurrection

D

Crucifixion

A

Byzantine

The art historical period of both works is

A

Byzantine

B

Ottonian

C

Romanesque

D

Gothic

D

combination of symbolic gestures and indigenous textiles

The painting Spaniard and Indian Produce a Mestizo fuses elements of traditional European painting and its colonial context through its

A

rendering of local subjects through individualized portraiture

B

depiction of a historic incident known through engravings

C

use of oil painting to agitate for New World political autonomy

D

combination of symbolic gestures and indigenous textiles

B

political ambitions

Allegorical content in the work on the left alludes to the patron's

A

religious beliefs

B

political ambitions

C

literary talents

D

scientific achievements

C

Marie de' Medici

The patron for the work on the left was

A

Elizabeth I

B

Louis XIV

C

Marie de' Medici

D

Marie Antoinette

A

Baroque

Both works were painted in which period?

A

Baroque

B

Renaissance

C

Rococo

D

Neoclassical

A

Rubens

The artist of the work on the left is

A

Rubens

B

Rigaud

C

Holbein

D

Poussin

C

part of a series

The work on the left can best be described as

A

a genre scene

B

part of an altarpiece

C

part of a series

D

an illuminated manuscript

D

Engaged columns and decorative pediments

he facade shown contains which of the following architectural elements?

A

Flying buttresses and a central spire

B

Jamb statues and a recessed portal

C

Horseshoe arches and intricate muqarnas

D

Engaged columns and decorative pediments

A

heavily stylized figures that are depicted either frontally or in composite poses

The style of the relief sculpture on the tympanum is best demonstrated as Romanesque through the

A

heavily stylized figures that are depicted either frontally or in composite poses

B

representation of the figures using a realistic scale and classical proportions

C

dynamic motion suggested by elongated figural forms with graceful gestures and stances

D

figures that are arranged in a compact composition with an emphasis on linear patterns

B

the consequences of good and evil

The tympanum relief sculpture at the Church of Sainte-Foy uses contrasting iconography within a symmetrical composition to distinguish between

A

the events of the past and the future

B

the consequences of good and evil

C

beliefs held in two religious doctrines

D

sacred power and secular authority

C

dread at the scenes of punishment and torment

The scenes represented on the tympanum affected pilgrims entering the church by eliciting responses of

A

sadness at the depiction of Christ as a sacrificial lamb

B

joy at the sight of the Virgin Mary as Queen of Heaven

C

dread at the scenes of punishment and torment

D

enlightenment at the portrayal of events from historical texts

B

accommodate the large number of people who traveled to see the Reliquary of Sainte-Foy

Once inside, religious pilgrims would move through the church into an ambulatory and radiating chapels, which were special features adopted by churches of this period to

A

allow multiple services to be held simultaneously to appeal to people of various regions

B

accommodate the large number of people who traveled to see the Reliquary of Sainte-Foy

C

replace the separate construction of traditional sacristy and baptistry spaces

D

invite local wealthy patrons to sponsor the dedication of private familial chapels

A

inspire visiting pilgrims to similarly adopt humble reverence before the hand of God

In the lower left side of the tympanum, the church’s namesake, Saint Foy, is depicted kneeling before the outstretched hand of God in order to

A

inspire visiting pilgrims to similarly adopt humble reverence before the hand of God

B

inform visiting pilgrims of the tragedy of her death and her resulting sainthood

C

remind visitors that they should approach the altar on their knees

D

prepare visitors that they should also expect to die as Christian martyrs

D

Roman emperor

Both buildings are closely associated with a

A

Greek patriarch

B

Visigoth king

C

Catholic pope

D

Roman emperor

B

central

Both plans are best characterized as

A

axial

B

central

C

basilican

D

directional

B

A dome

Both San Vitale and the Pantheon have which of the following architectural features?

A

Pendentives

B

A dome

C

An oculus

D

An ambulatory

C

Christianity

One factor contributing to the difference between these structures is the rise of

A

Islam

B

paganism

C

Christianity

D

Russian Orthodoxy

B

narthex

The plan of San Vitale differs from that of the Pantheon by the inclusion of a

A

crypt

B

narthex

C

transept

D

westwork

D

Romanesque

Which of the following art historical periods did NOT influence San Vitale?

A

Roman

B

Byzantine

C

Early Christian

D

Romanesque