Title: Periods in Art History
Course: Joni's Quizzes

Q: What dramatic change in the way humans lived from the Paleolithic period to the Neolithic period ultimately impacted the kinds of art humans made during this time?
- With the end of the last ice age, small groups of nomadic hunter-gatherers experienced a period of abundance of food and ease of movement.
- Increased trade and warring between communities created conditions where culture was shared.
- Rather than living in small groups of nomadic hunter-gatherers, humans began to gather in settlements, domesticating animals and growing crops.
A: Rather than living in small groups of nomadic hunter-gatherers, humans began to gather in settlements, domesticating animals and growing crops.

Q: What does it mean that the ancient Greeks, during classical antiquity, were the first Western culture that believed in finding rational answers to the great questions of earthly life?
- The Greeks attributed all things of earthly life to be govered by gods or supernatural foces.
- They believed that everything was driven by individualism and inherent natural rights.
- They assumed there were specific consistent laws that ruled the universe, including laws that govern harmony and beauty, along with physics and geometry.
A: They assumed there were specific consistent laws that ruled the universe, including laws that govern harmony and beauty, along with physics and geometry.

Q: What was fundamental to the ancient Greeks' approach to representing the human body during classical antiquity?
- Greek culture was dominated by early Christian beliefs that saw the body as sinful.
- The Greeks followed stylized traditions of representation of the body that had been maintained for thousands of years that were considered ideal and appropriate.
- The mathematical precision of the proportions of the body and how those proportions relate to each other and the larger whole.
A: The mathematical precision of the proportions of the body and how those proportions relate to each other and the larger whole.

Q: In which culture do we find the earliest written records?
- Egypt
- Ancient Greece
- Sumeria
A: Sumeria

Q: Which ruler of Egypt threw out rigid traditions of Egyptian depiction and ushered in a period of artistic experimentation?
- Ramses III
- Khaemwaset
- Akhenaten
A: Akhenaten

Q: In ancient Egypt, representations of figures often took on enlarged proportions not realistic to scale and were only represented from certain perspectives, resulting in depiction that was not realistic. Why did ancient Egyptians do this?
- Egyptians copied representational styles of ancient Sumerian culture which used idealized proportions and representation based on religious beliefs.
- There were specific ideals for rendering the body that were tied to subjective observation.
- There were specific ideals for rendering the body, especially royal imagery, governed by established traditions, sometimes tied to beliefs in the afterlife.
A: There were specific ideals for rendering the body, especially royal imagery, governed by established traditions, sometimes tied to beliefs in the afterlife.

Q: Which description of the Middle Ages matches contemporary understanding of this period of history?
- a period of intellectual darkness that falls between two periods of significant intellectual development
- a period of the rebirth of classical learning
- not a period of intellectual darkness, rather, a faith dominanted period; in particular Christianity flourished throughout Europe
A: not a period of intellectual darkness, rather, a faith dominanted period; in particular Christianity flourished throughout Europe

Q: Considering the Old Testament prohibitions against graven images, how is it that Christian art developed in the first place?
- Early Christians believed that images of divine figures were the embodiment of the divine and should be worshipped as such.
- Despite the Old Testament prohibition against graven images, iconoclasm never had a meaningful impact on medieval Christian art.
- Many newly converted Christians had been brought up in cultures that valued images, and they wanted to continue this in their Christian experience.
A: Many newly converted Christians had been brought up in cultures that valued images, and they wanted to continue this in their Christian experience.

Q: Early Christian art of the third century differs from later Christian art in what way?
- Early Christian art was dominated by abstraction and non-representational art to avoid being seen as graven images.
- Early Christian art continues the naturalistic representational canons developed during earlier Greek and Roman art.
- Early Christian art was not dominated the same representations that dominate in later periods of Christian art, such as the Nativity, Crucifixion, or Resurrection of Christ.
A: Early Christian art was not dominated the same representations that dominate in later periods of Christian art, such as the Nativity, Crucifixion, or Resurrection of Christ.

Q: One of the most visible aspects of mosque architecture is the minaret. What is its function?
- It is a domed shape that is a symbolic representation of the vault of heaven.
- It is the essential wall that indicates the direction of Mecca.
- It is a tower (adjacent to or attached to the mosque) from which the call to prayer is announced.
A: It is a tower (adjacent to or attached to the mosque) from which the call to prayer is announced.

Q: What is the most fundamental element of Gothic architecture?
- drum-like columns
- larger windows and more light
- the pointed arch
A: the pointed arch

Q: Why was landscape painting considered a high form of artistic endeavor to the Chinese during the eleventh century?
- Chinese artsits saw landscapes as more than just a setting for figures as Western medieval art did.
- China’s natural landscape played an important role in the shaping of the Chinese society.
- Landscapes represented a search for absolute truth embodied in nature.
A: Landscapes represented a search for absolute truth embodied in nature.

Q: Statues like the Shiva Nataraja held what kind of significance to eleventh-century Hindus of India?
- ornate decorative sculpture carried in processional parades, often luxuriously adorned
- symbols of the powerful Chola Dynasty which heralded a golden age of trade and artistic develoopment
- literal embodiment of the divine, when prayed to the divine energy of Shiva is present
A: literal embodiment of the divine, when prayed to the divine energy of Shiva is present

Q: What are the two defining formalistic characteristics of Renaissance art?
- static figures; their motionlessness represents their divine nature
- less realistic and more symbolic representation
- linear perspective and a return to realistic representation
A: linear perspective and a return to realistic representation

Q: Donnatello's sculpture of David represents what break in representation in art from the medieval period to the Renaissance?
- static motionless figure that was heavily draped and seemed to hover or float in space, referencing divine presence, rather than an earthly body
- a mixture of symbolic representation and realistic representation, bringing together stylistic conventions of depiction from medieval Christiandom with artistic ideals of the Renaissance
- first life-sized nude figure since classical antiquity, demonstrating a revival of artistic notions of more realistic representation from classical antiquity or Greek and Roman sculpture
A: first life-sized nude figure since classical antiquity, demonstrating a revival of artistic notions of more realistic representation from classical antiquity or Greek and Roman sculpture

Q: The Reformation had what impact on art in the sixteenth century?
- Images were useful in teaching the miracles of god, and how to live according to religious doctrine.
- It had little to no effect on the use of religious imagery.
- The use and abuse of images was a topic of debate, sometimes rising to the point of destroying religious images.
A: The use and abuse of images was a topic of debate, sometimes rising to the point of destroying religious images.

Q: Through the Council of Trent and emerging from the Reformation, the Catholic Church saw the use of religious images in what way that would ultimately impact the Baroque era?
- Since the invention of the printing press in the 15th century, books were more available to the masses and therefore religous art was less necessary to teach faith.
- Images were idolatrous and offensive to God, and therefore should be eliminated.
- They renewed their belief in the accessibiity and usefulness of images as vessles for teaching faith. Religious artwork should be clear, persuasive, and powerful.
A: They renewed their belief in the accessibiity and usefulness of images as vessles for teaching faith. Religious artwork should be clear, persuasive, and powerful.

Q: Originally a perjorative term, Baroque came to represent what formal qualities in artwork in the seventeenth and eighteenth centuries?
- artwork that championed tradition and restraint
- rendering multiple perspectives at once in the a single pictorial space
- Complex, sometimes ornate artwork that celebrated grandeur, but overall was stylistically diverse
A: Complex, sometimes ornate artwork that celebrated grandeur, but overall was stylistically diverse

Q: What key characteristics describe the painter Caravaggio's answer to creating religous artwork that was persuasive?
- daring feats of illusionism that mixed painting and sculpture, and blurred the lines between real and depicted worlds
- small scale paintings suitable for display in private homes that were realistic and poignant depictions of biblical narratives using style and dress of ordinary people of the time
- dramatic realism, extreme contrasts of light and dark, and tightly-cropped compositions that force the viewer to feel they are in physically close proximity to the unfolding scene
A: dramatic realism, extreme contrasts of light and dark, and tightly-cropped compositions that force the viewer to feel they are in physically close proximity to the unfolding scene

Q: How does the emergence of the Protestantism in North Europe (in areas like modern day Holland) change the type and style of art in those countries?
- These countries demonstrated a renewed influence of the Catholic church and resurgence of use of art to inspire and teach the faithful.
- Widespread iconoclastic beliefs discourged value and use of all types of art, so there was a precipitous decline of the production of artwork in these countries.
- The rise of wealthy middle class patrons filled the void of the Church support, and they demanded smaller scale paintings that depicted themselves and scenes from everyday life.
A: The rise of wealthy middle class patrons filled the void of the Church support, and they demanded smaller scale paintings that depicted themselves and scenes from everyday life.

Q: The shift from Rococo art to Neoclassicist art was influenced by ideals of the Enlightentment. Which best summarizes key aspects of Enlightentment philosophy?
- political and religious doctrine that the monarchy is not subject to earthly authority because power is conferred directly from God onto Monarchy
- renewed importance of the individual, but with limitations that still favored the land-owning class and monarchy
- the importance of the individual who can reason for himself, equality under the law, and a new turn towards the power of science and reason
A: the importance of the individual who can reason for himself, equality under the law, and a new turn towards the power of science and reason

Q: Which best describes the content of Fragonard's painting The Swing, a work that is emblematic of Rococo art and the rise of power of aristocracy in places like France in the early eighteenth century?
- whimsical interpretation of nobility enjoying leisure time
- formal portrait of nobility on their land
- luxury, pleasure seeking indulgence, and sexual frivolity
A: luxury, pleasure seeking indulgence, and sexual frivolity

Q: Art from Neoclassicism was a reflection of the ideas and beliefs of the Enlightentment. Which best describes the specific way Neoclassicist artists used form and subject matter to visually reflect the ideals of the Engligtentment?
- saturated color, ornate detail, and emphasizing grandeur
- loose textural brushstrokes, a sense of movement with strong diagonal line, and subject matter that emphasizes indulgence
- sober colors, shallow space, smooth surface, strong horizontal and verticals, and classical subject matter
A: sober colors, shallow space, smooth surface, strong horizontal and verticals, and classical subject matter

Q: Which statement best defines the stylistic conventions of Romanticsim?
- renewed interest in classical themes and a return to highly realistic representation
- loss of realism, exploration in abstraction, and flatness of pictorial space
- no unifying stylistic conventions, rather an unifying idea of individualism as a driving force
A: no unifying stylistic conventions, rather an unifying idea of individualism as a driving force

Q: Modernity was defined by many countries experiencing dramatic shifts from societies based on rural-centered agragarian life to urban life defined by industrialization and capitalism as the dominant economic force. Modernist art, approximately between 1850 to 1960, begins and ends with which major art movements?
- beginning with romanticism and end with abstract expressionism
- beginning with abstract expressionism and ending with minimalism
- beginning with realism and ending with abstract expressionism
A: beginning with realism and ending with abstract expressionism

Q: Which statement best describes art movements within modernism that are considered to be art of the avant-garde?
- highly politcally charged, sought to represent the sensation of movement in mechanized modern life
- sought to convey hallucinatory sense of super-reality in which the scenes depicted make no real sense
- techniques and subject matter that were a radical break from tradition, and were sometimes associated closely with political movements, and others times completely apolitical
A: techniques and subject matter that were a radical break from tradition, and were sometimes associated closely with political movements, and others times completely apolitical

Q: What was radical about impressionistic art in relation to technique and subject matter?
- It rendered multiple perspectives at once in a single pictorial space, it had strong geometric shapes, and its depictions focused on the dramatic changes to a mechanized and industrialized society.
- It returned to historical narratives, using a restrained color palette with emphasis on strong diagonal lines.
- It elevated depiction of scenes of contemporary life and landscapes, techniques that relied on optical mixing of color, and attempted to render the sensation of light constantly changing in the landscape.
A: It elevated depiction of scenes of contemporary life and landscapes, techniques that relied on optical mixing of color, and attempted to render the sensation of light constantly changing in the landscape.

Q: Why is the use of oil cloth and collage by Braque and Picasso significant not only in the development of cubism, but also in the trajectory of painting for decades to come?
- They mixed a physical object in with two-dimensional painting, questioning the traditional separation of mediums.
- They lowered the ideals of craftsmanship, freeing other artists to begin exploring concept over craft.
- They broke with tradition by placing a low culture, mass produced object in the realm of fine art, questioning the elitism of fine art, and rules of orginality, and craftsmanship.
A: They broke with tradition by placing a low culture, mass produced object in the realm of fine art, questioning the elitism of fine art, and rules of orginality, and craftsmanship.

Q: In the early twentieth century, which movement freed painting from traditions of representation and narrative and sparked a great deal of experimentation in abstraction?
- romanticism
- neo-classicism
- cubism
A: cubism

Q: World War I had what kind of definitive impact on social and cultural traditions that informed art?
- Countries affected by the war turned inward towards more traditionally beautiful and nationalistic subject matter that was intended to rally people around unified nationalistic identities.
- The war was seen as an immense social catastrophe that society could not recover from, and artists grew pessimestic, often portraying the bleakness with a sense of irony.
- The immense loss of life and devastation of such a massive war left an indelible mark, making the older ways of representing the world seem inadequate.
A: The immense loss of life and devastation of such a massive war left an indelible mark, making the older ways of representing the world seem inadequate.

Q: Artists in Italy aligned with Futurism were fascinated with depicting what aspect as a reflection of the mechanization of industrailization?
- highly saturated color
- layers and transparency
- movement
A: movement

Q: During the reign of the Nazi Party in Germany, how were "degenerate" artworks separated from "Aryan" artworks?
- Degenerate works had an academic style that celebrated youth, optimism, and power.
- Degenerate works were conventionally "beautiful" and stereotypically heroic.
- Degenerate works were experimental, personal, and non-representational.
A: Degenerate works were experimental, personal, and non-representational.

Q: Despite being distinguished by individual styles, Abstract Expressionists working in America after World War II shared what common artistic characteristics?
- sophistcated representational imagery that demonstrated a clear continuation of traditional academic styles
- desire to reflect on society as increasingly concerned with a consumerism and the proliferation of the mass media
- non-representational imagery and clear signs of the artist's working process, with metaphysical undertones in content
A: non-representational imagery and clear signs of the artist's working process, with metaphysical undertones in content

Q: Which of the following were major factors in why attitudes shifted from denigrating photography as an illlegimate artform, toward embracing photography as fine art in the twentieth century?
- photography's successful mimicry of techniques and visual conventions over other accepted fine art media like painting, eventually conferred the same status on photography
- photography became more affordable and therefore more accessible, and as more people used photography, the quality of photographs was elevated to the level or fine art
- photographers conscientious promotion of the medium as a legitimate artform combined with changing attitudes towards technology as the most relevant way to represent the fast-pace of modern life
A: photographers conscientious promotion of the medium as a legitimate artform combined with changing attitudes towards technology as the most relevant way to represent the fast-pace of modern life

Q: Though contemporary art is incredibly diverse, the movements of pop art and minimalism have what in common?
- Both were concerned with society's shift towards consumerism.
- Both were concerned with the originality of creation and the art object.
- Both used commercial techniques that blurred the lines between fine art and commercial production.
A: Both used commercial techniques that blurred the lines between fine art and commercial production.

Q: What does the "dematerialization of art" refer to in contemporary art?
- repositioning the forms and ideas from previous works of art to invest in creating new meanings in new contexts
- the use of appropriation, or the strategy of borrowing from earlier artwork, or other forms of visual culture
- turning away from traditional art objects like painting, toward conceptual work explored through performance, installation, and newer mediums
A: turning away from traditional art objects like painting, toward conceptual work explored through performance, installation, and newer mediums

Q: Which describes a philosophical shift that defines the break between modernism and post-modern artworks?
- Artists should explore the unique properties and effects of their medium and not dilute its impact by mixing media together.
- Fine art is robbed of its power when it is mixed with consumerist culture or vernacular imagery.
- The meaning of the artwork exists beyond the originality of the art object, in the range of interpretive experiences that are possible for viewers and in the cultural discourse it could initiate.
A: The meaning of the artwork exists beyond the originality of the art object, in the range of interpretive experiences that are possible for viewers and in the cultural discourse it could initiate.

Q: Though their specfic subject matter differed, what is one strategic device Beardon, Ringgold, and Lawrence all used?
- highly saturated color
- some level of abstraction of the body
- narrative structure
A: narrative structure

Q: Beardon, Ringgold, and Lawrence all explored aspects of the twentieth century black experience. Ringgold also explored what additional aspect of social conscience?
- treatment of the poor
- treatment of the environment
- treatment of women
A: treatment of women

Q: Beardon, Ringgold, and Lawrence share what commonality in relation to media?
- use of traditional media
- all use painting in some form
- use of non-traditional media
A: use of non-traditional media

Q: Both Lawrence and Beardon use the repetition of patterning to create visual rhythms in their work. What interest did they share in common that is suspected to be the inspiration for this compositional device?
- textile patterns
- urban landscape of New York, specifcally Harlem
- jazz music
A: jazz music

Q: How does early treatment of African art upon its arrival in Europe around the 1870s demonstrate a primitivist worldview by Europeans?
- African art was esteemed as examples of high culture by European art institutions like museums.
- African art was reviled and treated with suspicion because it represented unfamiliar spiritual practices of ancestral worship.
- African art was treated as lesser, valueless objects of a colonized culture.
A: African art was treated as lesser, valueless objects of a colonized culture.

Q: Why were modernist artists drawn to African sculpture?
- sophisticated approach to mathematical proportions
- refined attention to realist representation
- sophisticated approach to abstraction of the human figure
A: sophisticated approach to abstraction of the human figure

Q: What formal aspects in Picasso's painting, Bust of a Man, demonstrate the influence of African art on his work and the birth of cubism?
- elongated proportions of the face mixed with textural details
- curvilinear line and decorative embellishments that celebrated nature
- masklike face composed of faceted geometric shapes
A: masklike face composed of faceted geometric shapes

Q: Why were German Expressionists in interwar Germany, in particular, drawn to African compositional choices?
- Abstraction fit with their desire to create a distinctive new style that would celebrate the end of conflict.
- Embracing African aesthetics reflected their desire to reject colonialism and a primitist worldview of colonized societies.
- Abstraction fit with a desire to reject traditional representation as inadequate in depicting post-war anxiety and dislocation.
A: Abstraction fit with a desire to reject traditional representation as inadequate in depicting post-war anxiety and dislocation.

Q: What does it mean to say that 19th and 20th century fashion designers demonstrate "classicizing intent"?
- intentionally emulating sculptural traditions
- intentionally emulating Roman drapery
- intentionally emulating classical sculpture
A: intentionally emulating classical sculpture

Q: What stylizations most influenced 19th and 20th century fashion designers from classical and hellenistic sculpture?
- the use of fluted edges and swallowtail folds
- form-fitting fabrics that create smooth contours and minimal lines
- cloth that appears to cling to the body in animated folds revealing the contours of the body
A: cloth that appears to cling to the body in animated folds revealing the contours of the body

Q: What historical misunderstanding of the fabrics worn by ancient Greeks made its way into the designs of nineteenth and twentieth century fashion and became associated with the "classicizing" style in fashion?
- Fabrics were brightly colored.
- Fabrics were sheer and fragile.
- Fabrics were white or achromatic.
A: Fabrics were white or achromatic.