Art Flashcards

1
Q

This field of study centers on the
social, cultural, and economic
backgrounds of a work of art.

A

art history

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2
Q

This historical discipline is closely
linked with anthropology, history,
and sociology.

A

art history

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3
Q

This philosophical field centers on
the expression of beauty.

A

aesthetics

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4
Q

Art criticism uses this tool to explain
current art events to the public.

A

press

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5
Q

Tattoos are an example of this type
of art.

A

body art

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6
Q

This method of art analysis centers
on the visual aspects of the artwork.

A

formal analysis

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7
Q

Formal analysis requires excellency
in these two skills.

A

observation and description

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8
Q

This method of art analysis
examines the context of an artwork
for understanding.

A

contextual analysis

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9
Q

Art historians using this method
would analyze matters such as the
physical location and cost of an
artwork.

A

contextual analysis

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10
Q

Art historians emphasize this type of
development when analyzing a work
of art.

A

chronological

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11
Q

This method of art study compares
two artworks to understand stylistic
differences between them.

A

comparative

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12
Q

This method of examination is highly
preferred by historians when first
analyzing an artwork.

A

direct examination

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13
Q

Art historians cannot accurately
examine the scale and three-
dimensional properties of this artistic
style in reproductions.

A

sculpture

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14
Q

Art historians will consult these two
draft materials to further their
analysis.

A

sketches and preparatory
models

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15
Q

Art historians use this method of
study for cultures that have a more
oral history.

A

interviews

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16
Q

Art historians can study masquerade
traditions in this location.

A

West Africa

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17
Q

Art history as an academic discipline
emerged in this century.

A

mid-eighteenth

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18
Q

This ancient Roman historian
analyzed historical art in his work
Natural History.

A

Pliny the Elder

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19
Q

Pliny the Elder created this text that
examined historical and
contemporary art.

A

Natural History

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20
Q

This Renaissance artist compiled
biographies of Italian artists in The
Lives of the Artist.

A

Giorgio Vasari

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21
Q

This German scholar focused on
stylistic development and historical
context.

A

Johann Joachim
Winckelmann

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22
Q

Feminist historians claim that
traditional art history focused on this
demographic.

A

white men

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23
Q

Art history has included these three
ideologies in recent years.

A

Marxism, feminism, and
psychoanalytic methods

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24
Q

Art historians consider these three
materials to be enduring.

A

stone, metal, and fired clay

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25
Q

Art historians consider these two
materials to be perishable.

A

wood and fibers

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26
Q

This coastal North African country
has the ideal conditions for art
preservation.

A

Egypt

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27
Q

Egypt’s climate has these conditions
which make it favorable for art
preservation.

A

hot and dry

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28
Q

The humid climate of this region of
Africa makes art preservation very
difficult.

A

West Africa

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29
Q

Art in the sites of these two regions
of the Americas is largely
unexplored.

A

Central and South America

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30
Q

Cave paintings in this cave are
considered the one of the oldest
works of art.

A

Chauvet Cave

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31
Q

Chauvet Cave paintings date from
this period.

A

Old Stone Age

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32
Q

These two materials were used to
depict animals in the Chauvet Cave.

A

ochre and charcoal

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33
Q

Art in the Lascaux and Altamira
caves depicts these five animals.

A

horses, bears, lions, bison,
and mammoths

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34
Q

Female figures in the Old Stone Age
tended to have exaggerated
characteristics in these three areas.

A

bellies, breasts, and pubic

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35
Q

This Old Stone Age statue
exemplifies the stone female figure
of the era.

A

Venus (or Woman) of
Willendorf

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36
Q

The Venus of Willendorf is this
height.

A

four and one-eighth inches

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37
Q

Cave dwellers tended to relocate
from their caves in this stone age.

A

Middle Stone Age

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38
Q

This subject of rock shelter paintings
differentiates them from cave
paintings.

A

humans

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39
Q

Art historians date formations of
rings of rough-hewn stones to as
early as this time.

A

4000 BCE

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40
Q

Megaliths could measure up to this
height.

A

seventeen feet

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41
Q

Megaliths could weigh up to this
amount.

A

fifty tons

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42
Q

Art historians coined this word to
describe “great stones”.

A

megaliths

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43
Q

This location features one of the
most well-known megalith
arrangements.

A

Salisbury Plain in Wiltshire,
England

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44
Q

This form of sandstone is used to
create the rings of Stonehenge.

A

sarsen

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45
Q

The heel-stone of Stonehenge is in
this direction.

A

northeast

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46
Q

Many surviving artifacts have come
from these three structures.

A

burial chambers, caves, and
tombs

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47
Q

Mesopotamian civilizations arose
between these two rivers.

A

Tigris and Euphrates

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48
Q

Sumerian life revolved around this
cultural feature.

A

religion

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49
Q

This term refers to the stepped
pyramids of Sumerian.

A

ziggurats

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50
Q

This ruler conquered the cities of
Sumer around 2334 BCE.

A

Sargon of Akkad

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51
Q

Rather than centering around a king,
Akkadian culture was based on this
entity.

A

city-state

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52
Q

The Guti ruled over Mesopotamia for
this number of years.

A

fifty

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53
Q

Ziggurats primarily served as these
institutions.

A

temples

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54
Q

This ruler led the city-state of
Babylonia around 1800 BCE.

A

Hammurabi

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55
Q

This Babylonian law is the oldest
legal code in human history.

A

Code of Hammurabi

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56
Q

The Code of Hammurabi is
preserved in this museum.

A

Louvre Museum

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57
Q

Hammurabi claimed inspiration from
this god when creating the Code of
Hammurabi.

A

Shamash

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58
Q

The Assyrians dominated this
geographical era during the rise of
Sumerian, Akkadian, and
Babylonian civilizations.

A

North Mesopotamia

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59
Q

Assyrian artwork mostly took the
form of this artistic style.

A

relief carvings

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60
Q

The ziggurat of the temple of Bel is
known by this name.

A

Ishtar Gate

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61
Q

The Persian Empire ruled in this
present-day country.

A

Iran

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62
Q

The palace at Persepolis includes
these three materials.

A

stone, brick, and wood

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63
Q

This civilization created the portrait
head of Queen Nefertiti.

A

Ancient Egyptian

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64
Q

This art style bases the relative sizes
of objects based on status.

A

hierarchical scale

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65
Q

This Egyptian relic demonstrates
hierarchical scale.

A

Palette of King Narmer

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66
Q

King Narmer holds this part of a
fallen enemy in the Palette of King
Narmer.

A

hair

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67
Q

This art style represents figures so
that each body part is clearly visible.

A

fractional representation

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68
Q

This Egyptian king’s tomb remained
intact until 1922.

A

Tutankhamun

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69
Q

These two types of materials
decorated King Tutankhamun’s
tomb.

A

blue glass and semiprecious
stones

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70
Q

The kingdom of Nubia is in this
direction in relation to Egypt.

A

south

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71
Q

These three major cultures thrived
on the Aegean Island.

A

Cycladic, Minoan, and
Mycenaean

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72
Q

The art of this culture featured
simplified, geometric nude female
figures.

A

Cycladic

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73
Q

This culture replaced the Cycladic
culture on the island of Crete.

A

Minoan

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74
Q

The Minoans were primarily known
for this artistic style.

A

naturalistic pictorial

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75
Q

These three qualities characterized
Minoan palaces.

A

light, flexible, and organic

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76
Q

This ancient Greek culture was
skilled in creating elaborate tombs
and relief sculptures.

A

Mycenaean

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77
Q

Greeks in the Archaic Period created
sculptures using these two
materials.

A

marble and limestone

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78
Q

This style of Greek vase featured
figures set against a floral
background.

A

Corinthian

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79
Q

Early Classic Period sculpture is
significant for these three
characteristics.

A

solemnity, strength, and
simplicity

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80
Q

This Greek term means “counter
positioning”.

A

contrapposto

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81
Q

This Greek pose features a standing
figure with its weight shifted to one
leg.

A

contrapposto

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82
Q

This Middle Classical structure was
restored in 447 BCE.

A

Parthenon

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83
Q

This Greek period mixed Greek
styles with those of Asia Minor.

A

Hellenistic

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84
Q

These two freestanding sculptures
exemplified the Hellenistic Period.

A

Venus de Milo and Laocoon
Group

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85
Q

This civilization’s art mixes Greek
and Roman styles.

A

Etruscan

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86
Q

In Etruscan ceramic models, temple
roofs have these two characteristics.

A

tiled and gabled

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87
Q

Many Etruscan paintings depict
figures doing these two activities.

A

playing music and dancing

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88
Q

The Romans were one of the first
civilizations to make advances in
these two civic design areas.

A

architecture and engineering

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89
Q

Roman discovery of this material
greatly advanced the field of
architecture.

A

concrete

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90
Q

The Romans used this architectural
form to build bridges and aqueducts.

A

curved arch

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91
Q

The Colosseum and the Pantheon
are engineering marvels of this
civilization.

A

Roman

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92
Q

Roman relief sculptures frequently
portrayed these two subjects.

A

emperors and military
victories

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93
Q

This style often characterized
Roman funerary sculptures.

A

idealistic

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94
Q

Byzantium is best known for this
type of art.

A

mosaic

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95
Q

Art historians are particularly
interested in studying the mosaics of
this Italian city.

A

Ravenna

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96
Q

This piece of Byzantine architecture
is considered one of the great
architectural works in history.

A

Hagia Sophia

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97
Q

This group preserved most of the art
of the medieval period.

A

Church

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98
Q

In the medieval era, only these two
social classes had formal education.

A

noble and clergy

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99
Q

The Book of Kells and the
Coronation Gospels are examples of
this type of medieval art.

A

illuminated manuscripts

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100
Q

Nomadic Germans of the early
medieval period were known for this
art form.

A

metalwork

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101
Q

Medieval German metalwork was
most notable for these three
characteristics.

A

abstract, decorative, and
geometric

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102
Q

This medium was central to Viking
art.

A

wood

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103
Q

This term refers to the combination
of Viking, Anglo-Saxon England and
Celtic Ireland artistic styles.

A

Hiberno-Saxon

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104
Q

This architectural style refers to the
use of Roman arches in medieval
churches.

A

Romanesque

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105
Q

The church of Saint-Sernin is in this
French city.

A

Toulouse

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106
Q

This arch-shaped architectural
structure is used as a ceiling or
support for a roof.

A

vault

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107
Q

This type of vault is a tunnel of
arches in Romanesque churches.

A

barrel

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108
Q

This European art style was popular
from the twelfth century to the
sixteenth century.

A

Gothic

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109
Q

This architectural feature provided
an upward sense to Gothic interiors.

A

pointed arches

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110
Q

This type of vault is a framework of
thin stone ribs or arches.

A

ribbed

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111
Q

Gothic architects developed this
technique to counteract the
downward and outward pressures of
the barrel vault arches.

A

flying buttresses

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112
Q

This French Gothic cathedral
exemplifies the flying buttress.

A

Chartres Cathedral

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113
Q

This artist mastered the transition
between the Gothic and
Renaissance styles.

A

Giotto di Bondone

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114
Q

Giotto di Bondone used this type of
perspective in his works.

A

simple

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115
Q

Giotto di Bondone specialized in this
art form.

A

frescoes

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116
Q

This Renaissance development led
to accumulation of fortunes by
wealthy families.

A

paper money

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117
Q

This often-condescending term
referred to painters and sculptors
prior to the Renaissance.

A

artisans

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118
Q

In 1401, this artist won the city of
Florence’s competition to design the
doors for the new baptistery.

A

Lorenzo Ghiberti

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119
Q

Lorenzo Ghiberti depicted this
biblical event in his door panel
design.

A

sacrifice of Isaac

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120
Q

Michelangelo referred to Ghiberti’s
second set of doors by this name.

A

Gates of Paradise

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121
Q

This artist first developed linear
perspective.

A

Filippo Brunelleschi

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122
Q

The painter Masaccio used these
two perspectives in his frescoes.

A

linear and aerial

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123
Q

This Renaissance artist is
considered the founder of modern
sculpture.

A

Donatello

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124
Q

Donatello is best known for this
bronze statue.

A

David

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125
Q

This painting is Botticelli’s best-
known work.

A

The Birth of Venus

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126
Q

These two Renaissance artists are
considered models for the
“Renaissance Man”

A

Leonardo da Vinci and
Michelangelo

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127
Q

These two Leonardo di Vinci
paintings are considered icons of
modern culture.

A

The Last Supper and the
Mona Lisa

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128
Q

Leonardo di Vinci pioneered this
painting technique.

A

sfumato

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129
Q

“Sfumato” stems from this root word.

A

fumo

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130
Q

Michelangelo created this marble
sculpture as part of a contest in
Florence.

A

David

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131
Q

Michelangelo’s David was sculpted
out of this material.

A

marble

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132
Q

This Pope asked Michelangelo to
design his tomb in 1505.

A

Julius II

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133
Q

Michelangelo sculpted these three
statues for the Pope.

A

Moses, The Dying Slave,
and The Bound Slave

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134
Q

This papal action was one of the
biggest disappointments of
Michelangelo’s career.

A

cancellation of the
commission to design the
Pope’s tomb

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135
Q

Pope Julius II asked Michelangelo to
decorate the ceiling of this chapel.

A

Sistine Chapel

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136
Q

Michelangelo spent this number of
years to decorate the ceiling of the
Sistine Chapel.

four

A

four

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137
Q

The ceiling of the Sistine Chapel
covers this number of square yards.

A

seven hundred

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138
Q

This artist was considered Raphael
Sanzio’s older rival.

A

Michelangelo

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139
Q

Raphael painted this fresco as
tribute to the great Greek
philosophers and scientists.

A

School of Athens

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140
Q

The Sistine Madonna depicts this
biblical character.

A

Virgin Mary

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141
Q

This Giorgione painting featured the
landscape as the subject of the
painting.

A

The Tempest

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142
Q

This artist is considered to have
been the greatest colorist of the
Renaissance.

A

Titian Vecelli

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143
Q

These two objects are examples of
Titian’s the backdrop elements.

A

column and curtain

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144
Q

Tintoretto is often associated with
this artistic style.

A

Mannerism

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145
Q

This artistic technique refers to
dramatic contrasts between light and
dark.

A

chiaroscuro

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146
Q

This sixteenth-century religious
event greatly influenced art of the
time.

A

Reformation

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147
Q

Dominikos Theotokopoulos is
commonly known by this nickname.

A

El Greco

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148
Q

El Greco moved from Italy to this
location in 1576.

A

Toledo, Spain

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149
Q

The detail of Northern Renaissance
artists could be described with this
adjective.

A

realistic

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150
Q

The realistic detail of northern
European artists was mainly due to
the use of this new medium.

A

oil paints

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151
Q

These two figures are considered
the greatest artists of the Northern
Renaissance.

A

Matthias Grünewald and
Albrecht Dürer

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152
Q

This number of Grünewald’s works
still exist today.

A

ten

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153
Q

Grünewald depicted this biblical
event in the Isenheim Altarpiece.

A

Christ’s crucifixion

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154
Q

The Isenheim Altarpiece consisted
of this number of panels.

A

nine

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155
Q

Albrecht Dürer created this woodcut
in 1498.

A

The Four Horsemen of the
Apocalypse

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156
Q

This artist is one of the greatest
Renaissance portraitists.

A

Hans Holbein the Younger

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157
Q

Holbein was a court painter to this
English king.

A

Henry VIII

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158
Q

This artistic period included artwork
from the late sixteenth century
through the mid-eighteenth century.

A

Baroque

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159
Q

The ruling class in the seventeenth
and eighteenth centuries believed
their power to be this type of right.

A

divine

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160
Q

This Austrian ruler dominated the
lives of her subjects during the
Baroque era.

A

Maria Theresa

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161
Q

This Enlightenment thinker
documented the social inequality of
the Baroque era.

A

Jean-Jacques Rousseau

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162
Q

The name of this art period alludes
to the rich colors and great
ornamentation of the art of the
period.

A

baroque

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163
Q

Baroque painters used this
technique to make subjects appear
to be in the spotlight.

A

chiaroscuro

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164
Q

This Baroque painter was widely
known for his dramatic contrasts of
light and dark.

A

Caravaggio

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165
Q

Caravaggio was from this country.

A

Italy

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166
Q

This term often refers to
Caravaggio’s extreme contrasts of
dark and light.

A

caravaggesque

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167
Q

Caravaggio often depicted these two
biblical figures.

A

Virgin Mary and apostles

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168
Q

This female artist was one of the
most prominent Baroque artists.

A

Artemisia Gentileschi

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169
Q

Artemisia Gentileschi often painted
these two subjects.

A

herself and Old Testament
women

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170
Q

The Pope recognized this Baroque
artist at the age of seventeen.

A

Gianlorenzo Bernini

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171
Q

This artwork is considered Bernini’s
most important masterpiece.

A

Ecstasy of Saint Teresa

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172
Q

The Ecstasy of Saint Teresa stands
in the altar of this chapel.

A

Cornaro Chapel

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173
Q

Peter Paul Rubens established a
huge workshop in this location.

A

Flanders

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174
Q

This 1642 portrait is considered
Rembrandt van Rijn’s best-known
work.

A

The Night Watch

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175
Q

This ruler built the grand palace at
Versailles in 1669.

A

Louis XIV

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176
Q

This system refers to Louis XIV’s
method of selecting artists to
support.

A

Salon

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177
Q

This court painter served the
Spanish court of King Philip IV.

A

Diego Velázquez

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178
Q

This subsequent artistic style is
considered an extension of the
Baroque period.

A

Rococo

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179
Q

Rococo works emphasized these
ideas.

A

gaiety, romance, and frivolity

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180
Q

Jean-Antoine Watteau is considered
the creator of this genre of painting.

A

fête galante

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181
Q

Madame Pompadour favored this
Rococo painter.

A

François Boucher

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182
Q

This artist studied with Boucher and
found favor with Madame
Pompadour.

A

Jean Honoré Fragonard

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183
Q

This 1789 revolution emphasized
democratic ideals that the artwork of
the time reflected.

A

French Revolution

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184
Q

This artistic style represented a
revival in classical Greek and
Roman art.

A

Neoclassicism

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185
Q

Jacques-Louis David painted this
work that demonstrated republic
values.

A

Oath of the Horatii

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186
Q

This artist painted Oath of the Horatii
in 1784.

A

Jacques-Louis David

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187
Q

David became a dedicated painter to
this leader.

A

Napoleon Bonaparte

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188
Q

This pupil of Jacques-Louis David
was also a prominent Neoclassical
artist.

A

Jean-Dominique Ingres

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189
Q

Jean-Dominique Ingres
demonstrated these four
Neoclassical characteristics.

A

sharp outlines, unemotional
figures, geometric
composition, and rational
order

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190
Q

This artistic style shared
characteristics with the emotional
Baroque style but with a differing
subject matter.

A

Romanticism

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191
Q

This Romantic artist was considered
Ingres’s rival.

A

Eugène Delacroix

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192
Q

Romantic artists valued this idea
over reason.

A

feeling

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193
Q

These two artists also exemplified
the Romantic style.

A

Théodore Gericault and
William Blake

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194
Q

This artistic style was considered a
reaction to Neoclassicism and
Romanticism.

A

Realism

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195
Q

This Realist artist showed a painting
of ordinary workmen repairing a road
at the Salon.

A

Gustave Courbet

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196
Q

Gustave Courbet created this
conventional painting beginning in
1849.

A

The Stonebreakers

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197
Q

The Stonebreakers alluded to the
series of revolutions in Europe that
began in this year.

A

1848

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198
Q

These two artists frequently used the
Realist style.

A

Honoré Daumier and Jean
François Millet

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199
Q

This artistic style developed from
dissatisfaction with the rules of the
Salon.

A

Impressionism

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200
Q

This artist is considered to be the
first Impressionist.

A

Édouard Manet

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201
Q

Manet included this painting in the
Salon des Refusés in 1863.

A

Luncheon on the Grass

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202
Q

The woman in the Luncheon on the
Grass is in this state of dress.

A

nude

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203
Q

This 1872 Monet work gave
Impressionism its name.

A

Impression, Sunrise

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204
Q

Impressionist artists captured this
type of stroke to capture quickly
changing light.

A

rapid

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205
Q

Paul Cézanne attempted to redefine
art in terms of this artistic element.

A

form

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206
Q

This artistic element unified most
Post-Impressionists.

A

color

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207
Q

This artist emphasized the scientific
rules regarding colors.

A

Georges Seurat

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208
Q

Vincent van Gogh focused on
capturing the light in this region of
France.

A

southern France

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209
Q

Van Gogh believed that artist’s
colors should portray this feature of
life.

A

inner human emotion

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210
Q

Paul Gauguin spent time in this
profession before pursuing art.

A

stockbroker

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211
Q

Gauguin traveled to this location in
pursuit of more intense colors and
an “unschooled” style.

A

Tahiti

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212
Q

Edgar Degas utilized this type of
perspective in his work.

A

Japanese-like

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213
Q

This group of artists mixed
Romantic, archaic, and moralistic
elements to create a unique style.

A

Pre-Raphaelites

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214
Q

This artistic style featured leaves
and flowers with flowing and curvy
lines.

A

Art Nouveau

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215
Q

Post-Impressionists that emphasized
arbitrary color were given this name.

A

fauves

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216
Q

These two artists collaborated to
pioneer Cubism.

A

Pablo Picasso and Georges
Braque

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217
Q

Cubists drew inspiration from the art
of this continent.

A

Africa

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218
Q

Die Brücke consisted of these two
artists.

A

Ernst Ludwig and Emil Nolde

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219
Q

This artistic style refers to when the
inner functions of the mind can be
seen in a work of art.

A

Expressionism

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220
Q

Piet Mondrian utilizes this type of
canvas consisting of primary color.

A

De Stijl

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221
Q

The Barnes Foundation arranged
this major display of modern art in
1913.

A

Armory Show

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222
Q

This Marcel Duchamp artwork
appeared at the Armory Show.

A

Nude Descending a
Staircase

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223
Q

These two adjectives describe the
figures in Brancusi’s The Kiss.

A

abstracted and block-like

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224
Q

This New York City neighborhood
became a hub for African-American
innovation during the 1920s.

A

Harlem

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225
Q

This post-World War I movement
arose from disillusionment with the
war.

A

Dada

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226
Q

Duchamp’s LHOOQ in 1919 was a
reproduction of this famous artwork.

A

Mona Lisa

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227
Q

This category of art created by
Duchamp refers to ordinary objects
with new contexts.

A

ready-mades

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228
Q

The theories of this psychologist
influenced Surrealists.

A

Sigmund Freud

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229
Q

This school of design developed in
Germany between the First and
Second World Wars

A

Bauhaus

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230
Q

This graphic artist and designer of
the Bauhaus faculty travelled to the
United States to teach.

A

Josef Albers

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231
Q

Government-sponsored art during
World War II mainly served for this
purpose.

A

propaganda

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232
Q

This 1940s style of art emphasized
direct feelings, dramatic colors, and
sweeping brushstrokes.

A

Abstract Expressionism

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233
Q

These types of Abstract
Expressionist paintings consisted of
broad areas of color and simple
geometric forms.

A

Color Field paintings

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234
Q

These two artists are well-known for
their color field paintings.

A

Mark Rothko and Josef
Albers

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235
Q

Jasper John’s work often included
these four common elements.

A

flags, numbers, maps, and
letters

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236
Q

This twentieth-century artist created
sculptures from objects around him
and coined them “combines”.

A

Robert Rauschenberg

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237
Q

Rauschenberg created this work in
1959 featuring many “found” items.

A

Monogram

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238
Q

This style of art included images of
mass culture in the 1960s.

A

Pop Art

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239
Q

This pop artist recreated comic book
imagery on a large-scale using
patterns of dots.

A

Roy Lichtenstein

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240
Q

This artistic style focused on simple
form and monochromatic colors.

A

Minimalism

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241
Q

Dan Flavin used this medium in his
minimalist works.

A

neon tubing

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242
Q

This version of realism emphasizes
a sharp focus on the subject.

A

Photorealism

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243
Q

This artist famously worked with
Christo to create environmental art.

A

Jeanne-Claude

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244
Q

Christo built a cloth fence in
California that was this number of
miles long.

A

twenty-four

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245
Q

This performance art group utilizes
guerrilla-warfare tactics to fight
against the art world they see as
dominated by white men.

A

Guerrilla Girls

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246
Q

The Guerrilla Girls wear these types
of masks to conceal their identities.

A

gorilla

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247
Q

Architect Philip Johnson is a
proponent of this art style.

A

Postmodernism

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248
Q

Philip Johnson was at one time
considered one of the leading
modern architects of this style.

A

International Style

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249
Q

Philip Johnson added a finial for
decoration to this building.

A

the AT&T building (1984),
now 550 Madison Avenue

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250
Q

This Bauhaus idea dominated
architecture before Philip Johnson
and the International Style.

A

form follows function

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251
Q

The remains of painted wares from
China date back to approximately
this date.

A

the fourth millennium BCE

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252
Q

This person was the first to unite the
Chinese kingdom.

A

the Emperor of Qin

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253
Q

The sculptures the Emperor of Qin
had created of his soldiers were
made of this material.

clay

A

The sculptures the Emperor of Qin
had created of his soldiers were
made of this material.

clay

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254
Q

The dynasties succeeding Qin were
known for these types of artworks.

A

bronze statues and
ceremonial vessels

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255
Q

This dynasty is often referred to as
the Chinese Golden Age.

A

Tang Dynasty

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256
Q

Art historians still do not understand
this aspect of the intricately
designed vessels from ancient
China.

A

the methods of casting

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257
Q

Traditional Chinese art placed a high
value on this type of drawing.

A

ink drawings

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258
Q

After the communist revolution in
China, art was primarily used for this
purpose.

A

political propaganda

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259
Q

India has more than this number of
spoken languages and dialects.

A

1,600

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260
Q

This ancient civilization influenced
images of Buddha in India.

A

Greece

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261
Q

Indian art shows influence from
these two religions.

A

Buddhism and Hinduism

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262
Q

Images from India show this god
dancing with multiple arms.

A

Shiva

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263
Q

This major religion influenced the art
of both Japan and China.

A

Buddhism

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264
Q

During the Impressionist movement,
Japan sent a group of artists to this
country.

A

France

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265
Q

The Japanese artists that returned
from France introduced these three
artistic techniques to Japan.

A

linear perspective and the
colors and subjects of
Impressionism

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266
Q

Japan is best known in the Western
world for this type of art.

A

printmaking

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267
Q

Artists from this country imitated
Japanese prints in the late
nineteenth century.

A

France

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268
Q

This part of Africa is incorporated
into the history of Western art.

A

northern Africa

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269
Q

Some of the oldest examples of
African art are cave paintings from
this country.

A

Namibia

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270
Q

The Nok civilization had an influence
on later groups such as this one,
most numerous in Nigeria.

A

Yoruba

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271
Q

This cultural group created the Benin
Kingdom.

A

the Edo people

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272
Q

The Benin king has this title.

A

the oba

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273
Q

The Benin Kingdom made this type
of art for ancestral altars.

A

bronze portrait heads

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274
Q

During this year, the British
destroyed or confiscated many
artworks from the Benin Kingdom.

A

1897

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275
Q

Many artworks from Africa are made
from these two perishable materials.

A

fiber and wood

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276
Q

Western colonists used to see
African artworks as symbols of this
religious idea and destroyed them as
a result.

A

paganism

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277
Q

The functionality of African art
challenges this Western art idea.

A

art for art’s sake

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278
Q

African cultural groups such as
these two are well-known for their
masks.

A

the Dan and the Bwa

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279
Q

Oceania is the name for the
thousands of islands that make up
these three areas.

A

Polynesia, Melanesia, and
Micronesia

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280
Q

In Polynesia, tattoos and other body
arts express this idea.

A

social stature

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281
Q

This type of art preserved
Polynesian body art before the
invention of photography.

A

engraving

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282
Q

Melanesian cultures used these
types of artworks to summon the
spirits of ancestors and honor the
dead.

A

masks

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283
Q

Pacific islanders, such as those from
this New Zealand group, are reviving
old traditions in a new context.

A

the Maori

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284
Q

Practitioners of Islam follow the
teachings of this prophet.

A

Muhammad

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285
Q

This building is one of the oldest
examples of Islamic architecture.

A

the Dome of the Rock

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286
Q

Some of the most valued art objects
in Islam are beautiful copies of this
book.

A

the Koran

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287
Q

Jews, Muslims, and Christians
believe this city in Israel is sacred.

A

Jerusalem

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288
Q

Great civilizations in the Americas
include these five nations.

A

Olmec, Toltec, Maya, Aztec,
and Inca

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289
Q

This pyramid, located in Mexico, is
one of the best known in the
Americas.

A

the Pyramid of the Sun

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290
Q

There is now evidence of people
living in present-day Canada and the
United States dating back to this
number of years.

A

12,000

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291
Q

The Native Americans of the
Southwest built this kind of building
that often contained over one
hundred rooms.

A

pueblo complexes

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292
Q

These are the six basic elements of
art.

A

line, shape, form, space,
color, and texture

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293
Q

This element of art is defined as the
path of a point moving through
space.

A

line

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294
Q

A line consisting of a series of
interrupted dots or lines is called this
type of line.

A

implied line

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295
Q

Using these two types of lines
creates a stable and static feeling.

A

horizontal and vertical

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296
Q

An artist can create a sense of
activity with these types of lines.

A

curving and jagged lines

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297
Q

This element of art is the two-
dimensional area of an object.

A

shape

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298
Q

This element of art is three-
dimensional objects.

A

form

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299
Q

This type of shape/form can be
defined mathematically and is
precise and regular.

A

geometric

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300
Q

This type of shape/form is irregular
and freeform.

A

organic

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301
Q

This term refers to the area that the
shapes and forms in an artwork
occupy.

A

positive space

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302
Q

High and bas are the two types of
this form of sculpture.

A

relief

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303
Q

This type of sculpture is made fully
in the round.

A

freestanding

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304
Q

This element of art is the illusion of
depth.

A

perspective

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305
Q

This technique makes objects that
are farther away appear lighter and
more neutral in color.

A

aerial/atmospheric
perspective

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306
Q

Artists invented mathematical
techniques to create the illusion of
space during this time period.

A

Renaissance

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307
Q

This technique is founded on the
visual phenomenon that lines appear
to converge into a point on the
horizon.

A

linear perspective

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308
Q

This term is defined as the name of
a color.

A

hue

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309
Q

Red, blue, and yellow make up this
group of colors.

A

primary

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310
Q

Mixing two primary colors creates
this group of colors.

A

secondary

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311
Q

Combining a primary and an
adjacent secondary color creates
this group of colors.

A

tertiary

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312
Q

This physicist developed the
underlying concepts of the color
wheel.

A

Sir Isaac Newton

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313
Q

This term refers to the lightness or
darkness of a color or of gray.

A

value

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314
Q

Black and white are not hues and
are instead referred to by this term.

A

neutrals

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315
Q

This term refers to the brightness or
purity of a color.

A

intensity

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316
Q

This type of color is the most intense
or pure.

A

primary

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317
Q

Adding equal parts of two
complements creates a dull tone of
this color.

A

brown

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318
Q

Scientists discovered the relativity of
color in this century.

A

nineteenth

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319
Q

Red, orange, and yellow are
considered this type of color in
Western art because they are
associated with heat.

A

warm

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320
Q

This type of color is the “true” color
of an object without the effects of
distance or reflections.

A

local

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321
Q

This type of color refers to the effect
of lighting on the color of objects.

A

optical

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322
Q

Artists use this type of color for its
emotional or aesthetic impact.

A

arbitrary

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323
Q

This element of art refers to how
things feel, or how we think they
would feel, when touched.

A

texture

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324
Q

Two-dimensional artworks use this
type of texture, which gives an
illusion of a textured surface.

A

visual

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325
Q

This art term refers to the artist’s
organization of the elements of art

A

composition

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326
Q

Artworks that can literally be touched
or felt use this type of texture.

A

actual

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327
Q

Repeating elements in an artwork
creates this principle of art.

A

rhythm

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328
Q

This term refers to the repetition of
certain elements or motifs and is an
aspect of rhythm.

A

pattern

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329
Q

This term refers to a single element
of a pattern.

A

motif

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330
Q

This type of balance occurs when
both sides of an artwork are exactly
the same.

A

symmetrical

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331
Q

This type of balance includes slight
variations on both sides of the
central axis.

A

approximate symmetry

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332
Q

This type of balance occurs through
the organization of unlike objects.

A

asymmetrical balance

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333
Q

To create asymmetrical balance,
artists place heavier objects in this
area of an artwork.

A

the center

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334
Q

This term refers to the point at which
our eye tends to rest.

A

focal point

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335
Q

This term refers to the size
relationships of the parts of an
artwork.

A

proportion

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336
Q

This term refers to the size
relationship of the parts of a work to
the work in its entirety.

A

scale

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337
Q

The Greeks established the
standards for the size relationships
of the human body during this period
of Greek sculpture.

A

the Classical Period

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338
Q

In Greek art theory, the ideal human
figure is this number of heads high.

A

seven and one-half

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339
Q

According to the ancient Greeks, the
bottom of our lips falls on a line
halfway between the chin and the
bottom of this body part.

A

nose

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340
Q

Drawing is primarily based on the
use of this element of art.

A

line

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341
Q

This type of pencil makes thick lines
that vary considerably from light to
very dark.

A

white soft

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342
Q

In this process, lines are placed
closely side by side to create
shading.

A

hatching

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343
Q

This technique is the process in
which lines are crisscrossed to make
shading.

A

crosshatching

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344
Q

This technique uses a pattern of
dots to create shading.

A

stippling

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345
Q

Colored pastels became popular
during this century.

A

eighteenth century

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346
Q

The surface of a pastel drawing is
often sprayed with this type of
material to reduce smearing.

A

fixative

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347
Q

These four techniques make up the
principal printmaking processes.

t

A

relief, intaglio, lithograph,
and screen prin

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348
Q

In printmaking, this term refers to the
plate on which the image is made.

A

the matrix

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349
Q

In this printmaking process, the artist
cuts parts from the surface of the
plate.

A

relief

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350
Q

In relief printmaking, the matrix can
be made of these three materials.

A

wood, linoleum, or a
synthetic material

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351
Q

In relief printmaking, the artist rubs
the plate and paper with this tool to
force the ink onto the paper.

A

burnisher

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352
Q

This printmaking process works in
the opposite manner from relief
printmaking.

A

intaglio

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353
Q

In this printmaking process, the artist
creates the design using a layer of
wax or varnish.

A

etching

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354
Q

In etching, the artist incises the
design using this substance.

A

acid

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355
Q

In this printmaking process, the artist
draws the image with a waxy pencil
or crayon.

A

lithography

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356
Q

In lithography the plate is made of
one of these three materials.

A

stone, zinc, or aluminum

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357
Q

Unlike woodcutting or engraving,
anyone can perform this simple
printmaking process.

A

lithography

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358
Q

This printmaking process is used to
print most T-shirts.

A

screen printing

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359
Q

In silk-screening, the artist forces the
ink through the fabric using this tool.

A

squeegee

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360
Q

Johannes Gutenberg created the
printing press in this century.

A

Fifteenth

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361
Q

Oil paints first became widely used
during this century.

A

Fifteenth

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362
Q

This part of paint gives the paint its
color.

A

Pigment

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363
Q

This component of paint holds the
pigment together and allows the
paint to adhere to surfaces.

A

binder

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364
Q

This component of paint changes
the consistency and drying time of
the paint.

A

solvent

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365
Q

In a buon (“true”) fresco, the artist
applies the paint to this type of
plaster.

A

wet

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366
Q

In a fresco secco, the artist applies
paints to this kind of plaster.

A

dry

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367
Q

Diego Rivera created murals using
this painting technique.

A

Fresco

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368
Q

Before oil paints, this kind of paint
was the most common.

A

tempera

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369
Q

This term refers to the technique of
applying oil paints in thick or heavy
lumps.

A

impasto

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370
Q

Hot irons fuse this type of wax-
based paint to surfaces.

A

encaustic

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371
Q

Scientists created this type of paint
after World War II.

A

acrylic

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372
Q

Scientists developed photography
during this time period.

A

mid-nineteenth century

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373
Q

This sculpture-making process is
subtractive, meaning parts of the
material are removed.

A

carving

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374
Q

This sculpture-making process is
additive, meaning materials are
added to the surface to make the
sculpture.

A

modeling

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375
Q

This sculpture-making process
allows more than one copy of the
original to be made.

A

casting

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376
Q

Alexander Calder made mobiles
suspended by this material.

A

wire

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377
Q

Environmental art first emerged

during this decade.

A

1960s

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378
Q

Artists use this technique to
preserve the image of their
temporary Earthworks.

A

photography

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379
Q

This term refers to a category of
artworks in which the artist uses
several art media.

A

mixed media

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380
Q

This term refers to artworks that
combine various materials that can
be adhered to a surface.

A

collage

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381
Q

These two artists are credited with
introducing collages to the high-art
sphere.

A

Pablo Picasso and Georges
Braque

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382
Q

Robert Rauschenberg is known for
his mixed media works that combine
silkscreen images with this material.

A

paint

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383
Q

This artist is known for filling open
boxes with a variety of objects to
represent a metaphoric statement.

A

Joseph Cornell

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384
Q

This art form is based upon the use
of natural materials to build three-
dimensional works.

A

pottery

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385
Q

This pottery term refers to liquid
clay.

A

slip

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386
Q

This term refers to pots that have
been made using a potter’s wheel.

A

“thrown” pots

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387
Q

This pottery tool removes all the
moisture from clay to make the clay
harden.

A

kiln

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388
Q

This material, made of clay and
minerals, provides color to pottery
works.

A

glaze

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389
Q

Glass was first made in this area of
the world.

A

the Middle East

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390
Q

Glass is primarily made of this
material.

A

silica

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391
Q

Stained glass became a dominant
art form during this time period,
when it was used to create windows
for cathedrals.

A

the medieval period

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392
Q

Northwest Coast Indians carve
boxes and house boards with
traditional designs out of this
material.

A

wood

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393
Q

This term refers to the science and
art of designing and constructing
buildings.

A

architecture

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394
Q

In this architectural technique, a long
beam lies horizontally across upright
posts.

A

post-and-lintel construction

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395
Q

The use of columns in the Greek
Parthenon exemplifies this ancient
architectural technique.

A

post-and-lintel construction

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396
Q

The Romans developed this key
construction material that is still used
today.

A

concrete

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397
Q

This architectural technique refers to
an external arch that
counterbalances the outward thrust
of a high ceiling.

A

flying buttress

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398
Q

This building, located in London, is
made of glass walls held in place by
slim iron rods.

A

the Crystal Palace

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399
Q

The Crystal Palace was built for this
major event in 1851.

A

the World’s Fair in London

400
Q

Antoni Gaudi created buildings of
stone without any flat surfaces or
straight lines in this country.

A

Spain

401
Q

These two materials are the most
common for large public,
commercial, and multi-family
housing.

A

steel and concrete

402
Q

These two materials are the most
common for residential homes.

A

wood and brick

403
Q

The Puritans settled in New England
during this time period.

A

early to mid-seventeenth
century

404
Q

Puritans used this type of art to
establish identity and record family
lineages.

A

portraiture

405
Q

Puritans rejected this kind of painting
because they believed it to be
associated with excess and idolatry.

A

religious painting

406
Q

The Puritans believed in this
doctrine, which said that God
rewarded the hardworking and
faithful with wealth.

A

Calvinist

407
Q

This artist’s court paintings inspired
the Grand Manner style.

A

Anthony van Dyck

408
Q

Puritans preferred this style of
portraiture.

A

Elizabethan

409
Q

The portraits of John Freake and
Elizabeth Freake and Baby Mary
show this portraiture style.

A

Elizabethan

410
Q

The portraits of John Freake and
Elizabeth Freake and Baby Mary
show this portraiture style.

A

Elizabethan

411
Q

This term refers to painters that
moved from place to place painting
signage and portraits.

A

itinerant limner

412
Q

In the portrait of her and baby Mary,
Elizabeth Freake wore pearls
imported from this country.

A

China

413
Q

Thomas Smith’s “Self-Portrait”
depicts a seascape with ships from
these two European countries.

A

Netherlands and England

414
Q

Thomas Smith’s wealth is most
apparent from this piece of clothing
in his portrait.

A

the fine ruffled lace on his
neck

415
Q

This Latin phrase translates to
“remember that you will die.”

A

memento mori

416
Q

Thomas Smith likely had this job.

A

sea captain/mariner

417
Q

These two qualities characterize
colonial folk portraiture.

A

flatness and linearity

418
Q

This Scottish artist helped introduce
modeling and naturalism to the
colonies.

A

John Smibert

419
Q

This man gave John Singleton
Copley an introduction to painting,
drawing, and printmaking.

A

Peter Pelham

420
Q

Copley taught himself to paint using
these two resources from his
stepfather as guides.

A

anatomy books and art prints

421
Q

Copley purchased the contents of
this Scottish artist’s studio.

A

John Smibert

422
Q

Copley became highly sought after
in Boston for this type of art.

A

portraits

423
Q

Copley submitted this painting to the
annual exhibition of the Society of
Artists of Great Britain.

A

Boy with a Squirrel

424
Q

Copley’s Boy with a Squirrel
attracted the attention of this artist,
who invited Copley to London.

A

Benjamin West

425
Q

Copley and his wife bought a house
next to John Hancock in this
location.

A

Beacon Hill

426
Q

Paul Revere’s father originally went
by this name before he anglicized it.

A

Apollos Riviore

427
Q

Paul Revere had this number of
siblings.

A

eleven

428
Q

Paul Revere briefly worked as a
soldier during this war.

A

French and Indian War

429
Q

Paul Revere performed these three
services in his shop.

A

engraving silverware,
engraving plates for printing,
and operating a printing
press

430
Q

Paul Revere famously engraved a
drawing of the Boston Massacre
originally by this man.

A

Henry Pelham

431
Q

After the Boston Tea Party, Paul
Revere served as a courier, bringing
news from Boston to these two
cities.

A

New York and Philadelphia

432
Q

Paul Revere was best known during
his lifetime for this job.

A

silversmith

433
Q

The removal of British tea taxes led
to increased post-Revolutionary War
demand for items such as these two.

A

teapots and sugar bowls

434
Q

Paul Revere made his teapots using
silver from this country.

A

Mexico

435
Q

Examples of Paul Revere’s silver
work can be found in these two
museums.

A

Museum of Fine Arts, Boston
and the Metropolitan
Museum of Art, New York
City

436
Q

Paul Revere became famous thanks
to this poet’s poem “Paul Revere’s
Ride.”

A

Henry Wadsworth Longfellow

437
Q

The poem “Paul Revere’s Ride” was
published in this newspaper.

A

The Atlantic Monthly

438
Q

While Revere was detained by
British forces, this man alerted the
residents of Concord of the incoming
British.

A

Samuel Prescott

439
Q

Copley knew Revere before painting
him because Revere made these
items for Copley’s portrait
miniatures.

A

silver frames

440
Q

In Copley’s portrait of him, Revere is
holding this item that he crafted
himself.

A

a silver teapot

441
Q

In Copley’s portrait of him, Paul
Revere’s right hand is touching this
part of his body.

A

chin

442
Q

The Townshend Acts taxed these six
items.

A

tea, oil, lead, paper paint,
and glass

443
Q

This man was Copley’s father-in-law
and owned one of the ships involved
in the Boston Tea Party.

A

Richard Clarke

444
Q

The portrait of Paul Revere focuses
on the nobility of these three ideas.

A

work, thoughtfulness, and
egalitarianism

445
Q

During the years before the
Revolutionary War, Americans
limited rights to this group of people.

A

white, landowning men

446
Q

This Boston location held portraits of
Samuel Adams and John Hancock.

A

Faneuil Hall

447
Q

Revere’s portrait was mostly
unknown until it was lent to this
museum in 1928.

A

Museum of Fine Arts

448
Q

Phillis Wheatley came to America
aboard this slave ship.

A

the Phillis

449
Q

During the 1760s, this many
enslaved people lived in Boston.

A

one thousand

450
Q

This merchant bought Phillis
Wheatley when she came to
America.

A

John Wheatley

451
Q

Phillis was taught to read these
three languages by her enslaves.

A

Greek, Latin, and English

452
Q

Phillis Wheatley published her first
poem in this newspaper.

A

the Rhode Island Newport
Mercury

453
Q

Phillis Wheatley’s work shows she
was familiar with the works of these
five writers.

A

Alexander Pope, John
Milton, Virgil, Ovid, and
Homer

454
Q

Phillis Wheatley gained attention
after writing a poem about this
Anglican preacher.

A

Reverend George Whitefield

455
Q

This woman helped Phillis Wheatley
secure a publisher and printer in
London.

A

Selena Hastings

456
Q

With the help of her patron Selena,
Phillis Wheatley published this
poetry book when she was twenty.

A

Poems on Various Subjects,
Religious and Moral

457
Q

Selena Hastings held this noble title.

A

Countess of Huntingdon

458
Q

In this year a legal judgement ruled
that enslaved people could not be
moved out of England against their
will.

A

1772

459
Q

Phillis Wheatley was born in this
West African nation.

A

Gambia

460
Q

After she sent him a poem, George
Washington invited Phillis Wheatley
to meet him at this location.

A

Cambridge

461
Q

Before meeting George Washington,
Phillis Wheatley met these two men
while in London.

A

Benjamin Franklin and Sir
Brook Watson

462
Q

Phillis Wheatley commemorated the
end of the Revolutionary War with
this poem.

A

Liberty and Peace, A Poem

463
Q

Phillis Wheatley married this man in
1778.

A

John Peters

464
Q

Phillis Wheatley died at this age
after giving birth to her third child.

A

31

465
Q

This book used the Moorhead
portrait of Wheatley as its
frontispiece.

A

Poems on Various Subjects,
Religious and Moral

466
Q

This man printed the portrait of
Wheatley by Moorhead.

A

Archibald Bell

467
Q

In the portrait of her, Phillis Wheatley
is wearing this type of hat.

A

mobcap

468
Q

This African American artist painted
the portrait of Phillis Wheatley.

A

Scipio Moorhead

469
Q

In the Moorhead portrait, Phillis
Wheatley held a quill pen in this
hand.

A

her right hand

470
Q

In 1772 Copley painted a portrait of
this woman, who had a similar pose
to Wheatley in Moorhead’s portrait.

A

Dorothy Quincy (Mrs. John
Hancock)

471
Q

Women in portraiture were typically
shown in this type of posture.

A

passive

472
Q

This man was the first signer of the
Declaration of Independence and
the first governor of Massachusetts.

A

John Hancock

473
Q

In the portrait of Dorothy Quincy by
Copley, Dorothy is shown wearing
this color gown.

A

pink

474
Q

The text inscribed on the border of
the portrait of Phillis Wheatley reads
this.

A

“Phillis Wheatley, Negro
servant to John Wheatley, of
Boston.”

475
Q

The oval frame around Phillis in the
portrait of her symbolizes this about
her.

A

she was defined and
confined by her
circumstances

476
Q

Scipio Moorhead was an enslaved
person in the household of this man.

A

Reverend John Moorhead

477
Q

Scipio Moorhead probably learned to
draw from this woman, who was an
art teacher.

A

Sarah Moorhead

478
Q

Scipio Moorhead advertised his
artistic services in this newspaper,
saying he had an “extraordinary
genius.”

A

the Boston Newsletter

479
Q

The original portrait of Phillis
Wheatley by Moorhead was this kind
of artwork.

A

ink drawing

480
Q

Wheatley dedicated this poem to
Scipio Moorhead.

A

“To S.M., a young African
painter on seeing his works”

481
Q

This number of Scipio Moorhead’s
original paintings remain today.

A

zero

482
Q

Most women during the eighteenth
century were taught handicrafts like
these three.

A

sewing, weaving, and
embroidery

483
Q

This term refers to a piece of
needlework that displays various
stitches and often shows the
alphabet or an embroidered verse.

A

sampler

484
Q

In private academies during the
eighteenth century, middle-class
girls learned needlework along with
these two skills.

A

music and watercolor
painting

485
Q

Before women could join the
National Academy of Design, their
only opportunity to show their
creativity was through exhibitions in
these places.

A

private academies

486
Q

Prudence Punderson’s embroidered
picture is just under this number of
inches tall.

A

13

487
Q

In her embroidered picture,
Prudence Punderson depicts a room
in this state.

A

Connecticut

488
Q

The title of Prudence Punderson’s
embroidered picture is signed in this
material.

A

black ink

489
Q

In the picture inside Prudence
Punderson’s embroidered picture, a
woman is standing beside a man of
this profession.

A

soldier or guard

490
Q

In the center of her embroidered
picture, Prudence Punderson shows
herself performing this activity.

A

working on an art project

491
Q

Prudence Punderson depicted a tea
table of this style in her embroidered
picture.

A

Chippendale-style

492
Q

The average life expectancy for a
woman in New England during the
eighteenth century was this many
years.

A

forty-two years

493
Q

Outbreaks of these three diseases
were common in the colonies during
the eighteenth-century.

A

smallpox, typhus, and yellow
fever

494
Q

Prudence Punderson died at this
age after giving birth to her first
child.

A

26

495
Q

Prudence Punderson was born in
this place in 1758.

A

Preston, Connecticut

496
Q

Prudence Punderson had this many
siblings.

A

seven

497
Q

Prudence Punderson married this
man.

A

Dr. Timothy Wells Rossiter

498
Q

Wright was born in this city.

A

Bordentown, New Jersey

499
Q

This waxwork sculptor was born to
Quaker parents in 1725.

A

Patience Wright

500
Q

Wright married this cooper after she
moved to Philadelphia.

A

Joseph Wright

501
Q

Wright went into business with her
sister creating portraits in this
medium.

A

wax

502
Q

Wright had sculpted with this
medium as a hobby since childhood.

A

modeling clay

503
Q

Wright moved to this state so that
her business could reach a wider
clientele.

A

New York

504
Q

Wright’s portrait sculpture of this
famous evangelist toured the East
Coast

A

Reverend Whitefield

505
Q

Waxworks were not considered fine
art because they were exhibited at
these venues.

A

fairs

506
Q

One of Wright’s clients held this
official position in New York.

A

lieutenant governor

507
Q

Wright’s New York studio caught fire
in this year.

A

1771

508
Q

While in London, Wright modeled a
portrait bust of this famed expatriate
artist.

A

Benjamin West

509
Q

This phenomenon causes wax to
develop breakage and be damaged
over time.

A

temperature changes

510
Q

Wright’s portrait statue of Sir William
Pitt, Earl of Chatham can be found in
this collection.

A

Westminster Abbey

511
Q

Pitt defended colonial rights against
this legislation.

A

Stamp Act

512
Q

Pitt is wearing these clothes in
Wright’s portrait sculpture of him.

A

parliamentary robes

513
Q

Wright referred to Pitt with this
nickname.

A

guardian angel

514
Q

Wright advocated these two causes.

A

American Independence women ’s rights

515
Q

Wright would pass notes with
political information hidden in this
part of her sculptures.

A

head

516
Q

Pine was a British portrait painter
born in this city.

A

London

517
Q

The British Royal Academy of Art
excluded Pine for this reason.

A

his radical politics

518
Q

In Pine’s painting, this object is in
Wright’s lap.

A

lump of wax

519
Q

Wright used heat from this source to
warm her wax for sculpting.

A

her thighs

520
Q

Wright’s sculpting process, as
described by these sources, gives
the impression of giving birth.

A

contemporary accounts

521
Q

This title appeared on a published
print of Wright lifting a sculpted bust
from her skirts.

A

“Mrs. Wright Finishing a
Busto”

522
Q

Pine’s portrait of Wright emphasizes
this hand.

A

right

523
Q

Wax and clay modeling involve this
kind of sculptural process.

A

additive

524
Q

Marble and word carving involve this
kind of sculptural process.

A

subtractive

525
Q

This kind of wax is easily tinted
when mixed with pigments.

A

beeswax

526
Q

The earliest wax figures come from
this time and place.

A

ancient Egypt

527
Q

This worldwide chain of wax
museums is associated with popular
entertainment.

A

Madame Tussaud’s

528
Q

Stuart was born in this city in 1755.

A

Newport, Rhode Island

529
Q

Stuart’s Scottish immigrant father
manufactured this product.

A

snuff

530
Q

Stuart apprenticed with a local of this
profession.

A

limner

531
Q

Stuart studied art in England with

this instructor.

A

Benjamin West

532
Q

Stuart established his critical
reputation when he exhibited this
painting.

A

The Skater

533
Q

Stuart’s The Skater has this kind of
brushwork.

A

impressionistic

534
Q

Stuart fled England for Ireland in
order to escape these people.

A

his debtors

535
Q

After fleeing Ireland because of debt,
Stuart arrived at this American city.

A

Philadelphia

536
Q

Stuart painted more than a hundred
portraits of this person between
1795 and 1825.

A

George Washington

537
Q

This portrait is Stuart’s most
recognizable painting.

A

Athenaeum portrait

538
Q

This institution acquired the
Athenaeum portrait shortly after the
artist’s death.

A

Boston Athenaeum

539
Q

The Athenaeum portrait was used as
the engraving that appears on this
object.

A

dollar bill

540
Q

Stuart charged this amount for each
of his copies of the Athenaeum
portrait.

A

$100

541
Q

Stuart referred to the copies of the
Athenaeum portrait with this
nickname.

A

$100 bills

542
Q

The Athenaeum portrait’s neutral
background gives the painting this
quality.

A

timelessness

543
Q

Stuart’s depiction of Washington
emphasized these three qualities.

A

moderation, restraint, resolve

544
Q

The commissioner of Stuart’s
Lansdowne Portrait was a senator of
this state.

A

Pennsylvania

545
Q

This 1796 Stuart painting depicts
Washington in full-length.

A

Lansdowne Portrait

546
Q

One copy of the Lansdowne Portrait
has hung in this room of the White
House since 1800.

A

East Room

547
Q

These two people rescued the
Lansdowne Portrait during the
burning of Washington in the War of
1812.

A

Dolley Madison, Paul
Jennings

548
Q

Stuart based the Lansdowne
portrait’s pose on a 1723 engraving
by this artist.

A

Pierre Drevet

549
Q

Ancient Roman statues of these
figures commonly had an upright
posture and extended arm

A

Republican senators

550
Q

In the Lansdowne Portrait, these two
items allude to Washington’s signing
bills into law.

A

quill pen and inkwell

551
Q

In the Lansdowne Portrait, the
thirteen stars and stripes appear on
this object.

A

medallion

552
Q

The legs of Washington’s desk in the
Lansdowne Portrait are carved with
this animal.

A

bald eagle

553
Q

This organizing body of the Six
Nations used eagles and arrows as
symbols.

A

Iroquois Confederacy

554
Q

The table leg in the Lansdowne
Portrait is carved to resemble these
ancient Roman power symbols.

A

fasces

555
Q

This item in the background of the
Lansdowne Portrait alludes to Greek
democratic ideals.

A

classical column

556
Q

European Grand Manner portraits of
nobility commonly used these two
features as a backdrop.

A

column and drapery

557
Q

This 1701 Rigaud painting
demonstrates the European Grand
Manner style.

A

Portrait of Louis XIV

558
Q

This 1636 van Dyck painting
demonstrates the European Grand
Manner style.

A

Portrait of Charles I

559
Q

This symbol of continuing hope
appears to emerge in the
background of the Lansdowne
Portrait.

A

rainbow

560
Q

The first fine art academies in Italy
arose to replace these institutions.

A

guilds

561
Q

This institution formed in 1648 and
codified the curriculum and function
of academies.

A

French Royal Academy

562
Q

Before the Academy, French
monarchs imported their artworks
from these two countries.

A

Italy, Flanders

563
Q

Instruction at fine art academies first
focused on teaching this artistic
technique.

A

drawing from etchings

564
Q

Instruction at fine art academies
finished with teaching this artistic
technique.

A

drawing from life

565
Q

Fine art academies propagated this
idea to rank artistic genres.

A

hierarchy of genres

566
Q

This genre ranked highest in the
Academic hierarchy of genres.

A

history painting

567
Q

This genre ranked lowest in the
Academic hierarchy of genres.

A

still life

568
Q

This Academy prized this genre for
its complex figure drawing
requirements.

A

history painting

569
Q

History painting subjects usually
come from these two sources.

A

the Bible, classical
mythology

570
Q

History painting required artists to
exercise this skill to develop a scene
they had not witnessed.

A

imagination

571
Q

These types of art students were not
allowed to study from nude models.

A

women

572
Q

Women admitted to academies often
had this kind of connection to an
existing member.

A

familial

573
Q

Female academicians found
themselves guided towards these
two genres.

A

floral painting, portraiture

574
Q

This person founded the Royal
Academy in London.

A

Sir Joshua Reynolds

575
Q

After Reynolds’s death, this person
became the president of the Royal
Academy.

A

Benjamin West

576
Q

This painting introduced the idea of
history painting based on
contemporary events.

A

“The Death of General
Wolfe”

577
Q

The French Royal Academy
dissolved after this historical event.

A

French Revolution

578
Q

The American Academy of the Fine
Arts originally had this name.

A

New York Academy of the
Fine Arts

579
Q

Trumbull was president of the
American Academy for this many
years.

A

twenty

580
Q

This person painted conflict-defining
history paintings of the
Revolutionary War.

A

John Trumbull

581
Q

The American Academy’s
conservativism led to dissatisfaction
among this group of people.

A

young painters

582
Q

These three people founded the
National Academy of Design in
1825.

A

Morse, Durand, Cole

583
Q

Indigenous Americans painted the
Segesser Hides under the influence
of this country.

A

Spain

584
Q

Jesuit priest Segesser oversaw this
mission from 1732 to 1735.

A

San Xavier del Bac

585
Q

Segesser acquired three painted
hides in New Spain from this
prominent military family.

A

the Anzas

586
Q

This museum acquired the Segesser
hides in 1983.

A

New Mexico History Museum

587
Q

The Segesser hides are most likely
made of hide from this animal.

A

bison

588
Q

This material binds the Segesser
hides.

A

sinew

589
Q

Segesser I shows a skirmish in the
vicinity of these two cities.

A

El Paso, Ciudad Juarez

590
Q

Segesser II measures this many feet
in length.

A

seventeen

591
Q

Segesser II depicts these two tribes
defeating Spanish troops.

A

Skidi Pawnees, Otoes

592
Q

This 1720 governor sent Spanish
forces into the Great Plains over
concern for French traders.

A

Antonio Valverde y Cosio

593
Q

The Spanish troops in Segesser II
set up camp near the confluence of
these two rivers.

A

Loup, Platte

594
Q

This number of Spaniards were
killed in the battle depicted in
Segesser II.

A

three dozen

595
Q

This clothing item identifies the
Spaniards in Segesser II.

A

wide-brimmed hats

596
Q

The Pueblos in Segesser II wear
their hair in this style.

A

buns

597
Q

Frenchmen in Segesser II wore this
kind of hat.

A

tricorne

598
Q

The Pawnee and Otoe warriors in
Segesser II each wear this vivid,
individualized decoration.

A

body paint

599
Q

This priest accompanied the
expedition depicted in Segesser II.

A

Father Juan Mingez

600
Q

This aspect of Segesser II implies
that it was based on first-hand
accounts of the battle.

A

amount of detail

601
Q

Pueblo artists painted these
decorated hides in workshops.

A

reposteros

602
Q

The Indigenous artists of the
Segesser hides likely drew on
drawing conventions introduced by
these people.

A

Spaniards

603
Q

Techniques like foreshortening and
overlapping figures in space
originate from this continent.

A

Europe

604
Q

In both Segesser hides, this
decorative element is the same.

A

border

605
Q

West was born in this kind of
religious community in 1738.

A

Quaker

606
Q

West’s parents owned this kind of

establishment.

A

Inn

607
Q

When he was seventeen, West
entered this college.

A

College of Philadelphia

608
Q

West was this age when he left the
colonies to study art in Europe.

A

Twenty-one

609
Q

This many Philadelphia families
financially backed West to study art
in Europe.

A

two

610
Q

West traveled in this country before
settling in London.

A

Italy

611
Q

West was the official painter to this
figure throughout the American
Revolution.

A

King George III

612
Q

West returned to the United States
this many times after leaving to
study in Europe.

A

zero

613
Q

This painting is West’s best-known.

A

The Death of General Wolfe

614
Q

The Death of General Wolfe
commemorates the general’s death
in this war.

A

French and Indian War

615
Q

This institution exhibited The Death
of General Wolfe in 1771.

A

Royal Academy

616
Q

These two generals were killed in
the Battle of the Plains of Abraham.

A

Montcalm, Wolfe

617
Q

This person purchased The Death of
General Wolfe.

A

Lord Grosvenor

618
Q

The Death of General Wolfe was
made into an engraving and was
even displayed on these mundane
objects.

A

ceramic mugs

619
Q

West revolutionized history painting
by insisting subjects wear this kind
of clothing.

A

modern

620
Q

General Wolfe was wounded this
many times in battle.

A

three

621
Q

West brought pathos to Wolfe’s
death with body positioning from this
Biblical subject.

A

lamentation

622
Q

The “lamentation” refers to scenes of
this person’s mourning.

A

Jesus

623
Q

West transforms Wolfe into this kind
of figure for the British cause.

A

martyr

624
Q

The Death of General Wolfe
attempted to remind the British and
colonists that they used to be united
against this group.

A

the French

625
Q

West created this painting of Native
Americans the same year as The
Death of General Wolfe.

A

Penn’s Treaty with the
Indians

626
Q

West intended Penn’s Treaty with
the Indians to commemorate this
person’s arrival in Pennsylvania.

A

Penn

627
Q

Penn sought the freedom to practice
this religion.

A

Quakerism

628
Q

This equality-focused Quaker tenet
attracted negative attention in
England.

A

egalitarianism

629
Q

Penn’s Treaty with the Indians
depicts this tribe’s chiefs.

A

Lenni Lenape

630
Q

The meeting in Penn’s Treaty with
the Indians occurs under an ancient
tree of this species.

A

elm

631
Q

The site of the meeting in Penn’s
Treaty with the Indians is known by
this name.

A

Shackamaxon

632
Q

This treaty marked the first time
colonists paid Native Americans for
land granted by the British.

A

Treaty of Shackamaxon

633
Q

Penn’s Treaty with the Indians
promoted the idea that Penn
maintained this kind of relation with
local Indigenous people.

A

peaceful

634
Q

This person eroded harmony
between the Delaware tribes and
settlers by 1737.

A

Penn’s son

635
Q

This aspect of Penn’s Treaty with
the Indians emphasizes balance and
equal exchange.

A

horizontality

636
Q

West embedded these kinds of
tropes in Penn’s Treaty with the
Indians.

A

racist

637
Q

Penn’s Treaty with the Indians can
be structurally divided into this many
parts.

A

three

638
Q

The main action takes place in this
part of Penn’s Treaty with the
Indians

A

middle ground

639
Q

The three vertical sections in Penn’s
Treaty with the Indians call to mind
these types of Renaissance artworks.

A

triptychs

640
Q

The division in Penn’s Treaty with
the Indians emphasizes the
competition of these three factions.

A

merchants, Quakers, Native
Americans

641
Q

West claimed that Native Americans
showed him this painting technique.

A

pigment mixing

642
Q

West’s portrayal of Native
Americans embodies this
generalizing trope.

A

“noble savage”

643
Q

This philosopher and writer
popularized the “noble savage”
trope.

A

Jean-Jacques Rousseau

644
Q

These artworks shaped public
opinion about the revolutionary
cause.

A

cheap prints

645
Q

These three popular art forms could
circulate ideas quickly in urban
areas.

A

prints, cartoons, broadsides

646
Q

Artists used this cutting tool to create
engravings.

A

burin

647
Q

Print artists would combine humor
with these two elements to make
their points.

A

words, images

648
Q

Prints helped make this
demographic more aware of political
debates and controversies.

A

general populace

649
Q

In colonial America, these goods
were easily available on the street
and from bookstores.

A

prints

650
Q

People could buy prints with this
kind of recurring payment method.

A

subscription

651
Q

This person was the original source
of The Boston Massacre print.

A

Henry Pelham

652
Q

At the Boston Massacre, the crowd
threw these two projectiles at the
soldiers.

A

snowballs, rocks

653
Q

This dockworker of African and
Native American descent died in the
Boston Massacre.

A

Crispus Attucks

654
Q

Historians believe Attucks may have
been an escaped slave from this
city.

A

Framingham, Massachusetts

655
Q

The Boston Massacre print
appeared this many weeks after the
incident.

A

three

656
Q

The issuing of The Boston Massacre
print helped foment this feeling
towards the British.

A

anger

657
Q

The redcoats in The Boston
Massacre stand in front of this
building.

A

Customs House

658
Q

This sign is present in The Boston
Massacre print, even though it did
not exist in real life.

A

Butcher’s Hall

659
Q

The redcoats in The Boston
Massacre stand with this leg
extended forward.

A

left

660
Q

The redcoats in The Boston
Massacre hold this weapon.

A

musket

661
Q

The woman in the crowd in The
Boston Massacre calls to mind this
mourning figure.

A

Virgin Mary

662
Q

The Old State House had this name
at the time of the Boston Massacre.

A

Towne House

663
Q

The steeple of this building can be
seen in The Boston Massacre.

A

First Church

664
Q

This person created a print of the
Boston Massacre that was copied
from a Pelham design.

A

Paul Revere

665
Q

Copley, who painted Pelham in
1765, was related to him in this way.

A

stepbrother

666
Q

Pelham was this age when the
Boston Massacre took place.

A

twenty-two

667
Q

Pelham lived on this street, blocks
away from the location of the Boston
Massacre.

A

Congress Street

668
Q

Revere captioned The Boston
Massacre with this many lines of
verse.

A

eighteen

669
Q

Pelham responded to Revere’s
copying of his design with this kind
of correspondence.

A

angry letter

670
Q

England established these kinds of
laws to protect publishers around
1735.

A

copyright

671
Q

Leutze was born in this country in
1816.

A

Germany

672
Q

Leutze’s parents were political
refugees who immigrated when he
was this age.

A

nine

673
Q

Leutze initially found work in this
profession.

A

itinerant portraitist

674
Q

Leutze pursued formal art training in
this city in 1840.

A

Dusseldorf

675
Q

Leutze studied history painting in
Dusseldorf with these two people.

A

Schadow, Lessing

676
Q

In the early 1840s, these two cities
replaced London as the major draw
for American artists.

A

Rome, Florence

677
Q

This institution, led by Hunt,
attracted painters internationally in
the 1850s.

A

Dusseldorf Academy

678
Q

Characteristics of this artistic
approach included attention to
drafting, dynamic compositions, and
dramatic lighting.

A

Dusseldorf style

679
Q

Leutze supported this 1848 German
event.

A

uprising

680
Q

Leutze returned to the United States
from Germany in this year.

A

1851

681
Q

This painting is Leutze’s most
famous work.

A

Washington Crossing the
Delaware

682
Q

After 1851, Leutze moved between
these three cities.

A

Dusseldorf, New York,
Washington

683
Q

Leutze’s Westward the Course of
Empire Takes Its Way is this kind of
artwork.

A

mural

684
Q

Westward the Course of Empire
Takes Its Way hangs in this stairwell
of the House wing in the Capitol.

A

west

685
Q

Leutze died in 1868 in this city.

A

Washington DC

686
Q

Washington Crossing the Delaware
commemorates this event.

A

fiftieth anniversary of
Washington’s death

687
Q

Washington Crossing the Delaware
depicts the colonist victory against
these mercenary soldiers.

A

Hessian

688
Q

Washington Crossing the Delaware
creates a visual equivalency
between these two objects.

A

Washington, the flag

689
Q

This artist was one of the most
prominent Black artists of the early
twentieth century.

A

Jacob Lawrence

690
Q

Lawrence painted with this medium
on hardboard.

A

egg tempera

691
Q

Lawrence’s series Struggle… From
the History of the American People
contains this many pictures.

A

thirty

692
Q

Lawrence’s version of Washington
Crossing the Delaware has this
many rowboats.

A

three

693
Q

Lawrence’s version of Washington
Crossing the Delaware emphasizes
this kind of effort.

A

collective

694
Q

This artist painted his own version of
Washington Crossing the Delaware
in 1975.

A

Robert Colescott

695
Q

In Colescott’s version of Washington
Crossing the Delaware, this person
leads the group.

A

George Washington Carver

696
Q

This Japanese American artist
painted his own version of
Washington Crossing the Delaware
in 2010.

A

Roger Shimomura

697
Q

Shimomura Crossing the Delaware
has this many canvas panels.

A

three

698
Q

Shimomura Crossing the Delaware
is painted in this medium.

A

acrylic

699
Q

Shimomura Crossing the Delaware
depicts these people instead of
colonial soldiers.

A

samurai warriors

700
Q

Shimomura’s flattened pictorial
composition recalls this earlier artist.

A

Hokusai

701
Q

Hokusai was a Japanese artist from
this period.

A

Edo

702
Q

Shimomura Crossing the Delaware
depicts this location.

A

San Francisco Harbor

703
Q

This land mass appears in the
background of Shimomura Crossing
the Delaware.

A

Angel Island

704
Q

Angel Island processed thousands
of immigrants arriving from this
continent.

A

Asia

705
Q

Shimomura was detained in this
United States state at an internment
camp during World War II.

A

Idaho

706
Q

Colonial women excluded from
formal artistic training expressed
complex narratives through these
two art forms.

A

sewing, needlepoint

707
Q

Colonial women often developed
basic sewing skills by this age.

A

four or five

708
Q

Wills often mentioned these female-
created artworks.

A

quilts

709
Q

Piecework (or patchwork) often
takes this kind of pattern.

A

geometric

710
Q

In the early nineteenth century, New
England factories were
manufacturing this kind of cloth.

A

roller-printed

711
Q

This type of cotton is printed with
small repeating patterns.

A

calico

712
Q

One person makes this kind of quilt
in honor of a special event.

A

presentation

713
Q

A group of people make this kind of
quilt, with each member contributing
a square.

A

album

714
Q

This popular quilting motif came
from patterns found on palampores.

A

tree of life

715
Q

Stiles’s Trade and Commerce Quilt
shows this riverfront.

A

Delaware

716
Q

In the 1980s, this artist created a
genre called “story quilts.”

A

Faith Ringgold

717
Q

This Alabama community brought
renewed attention to Black quilting
traditions in 2002.

A

Gee’s Bend

718
Q

This museum first exhibited the
Gee’s Bend quilts.

A

Museum of Fine Arts in
Houston

719
Q

Powers was born in this state in
1837.

A

Georgia

720
Q

Harriet and Armstead Powers had at
least this many children.

A

nine

721
Q

Powers’ gravestone bears this date
as her death date.

A

January 1, 1910

722
Q

Powers created these two story
quilts.

A

Pictorial Quilt, Bible Quilt

723
Q

Bible Quilt appeared at this event in
Athens, Georgia.

A

1886 Cotton Fair

724
Q

This 1780 event occurred when
smoke from forest fires darkened the
skies.

A

Black Friday

725
Q

A panel in Pictorial Quilt tells the
story of this animal running five
hundred miles from Georgia to
Virginia.

A

hog

726
Q

Bible Quilt has this many panels.

A

eleven

727
Q

These people gave Pictorial Quilt to
Dr. Hall upon his retirement.

A

faculty ladies of Atlanta
University

728
Q

Powers’s quilts recall the textiles of
this Western African kingdom.

A

Fon kingdom of Dahomey

729
Q

Archaeological excavations at these
two locations inspired
Neoclassicism.

A

Herculaneum, Pompeii

730
Q

Neoclassicism revived these three
ideals of Greco-Roman art.

A

balance, symmetry, harmony

731
Q

Neoclassicism visually expressed
this movement’s emphasis on
rationality.

A

Enlightenment

732
Q

Jefferson spent his free time on this
amateur hobby.

A

architecture

733
Q

Jefferson designed this building
while he was a minister to the
French court in Paris.

A

Virginia State Capitol

734
Q

This Charlottesville building was one
of Jefferson’s architectural projects.

A

University of Virginia

735
Q

Jefferson embraced the buildings of
this earlier society as an
architectural ideal.

A

Roman Republic

736
Q

This French architect advocated
Neoclassicism and influenced
Jefferson.

A

Charles-Louis Clérisseau

737
Q

This Italian word means “little
mountain.”

A

Monticello

738
Q

Jefferson inherited this many acres
of land from his father.

A

5,000

739
Q

This style influenced Monticello’s
initial design.

A

Palladian

740
Q

This Italian Renaissance architect
published several landmark
treatises.

A

Andrea Palladio

741
Q

The Palladian style relies heavily on
this artistic element.

A

symmetry

742
Q

Jefferson placed Monticello on top of
a hill in order to gain a view of this
environmental feature.

A

Blue Ridge Mountains

743
Q

At the start of the second stage of
construction on Monticello, Jefferson
held this governmental office.

A

vice president

744
Q

Jefferson changed the proportions of
this part of Monticello so that the two
stories appeared as one.

A

main pavilion

745
Q

When Jefferson altered the main
pavilion of Monticello, he added this
kind of entablature across the
house.

A

Doric

746
Q

This scholar claims that Jefferson’s
design for Monticello projects an
unassuming narrative about himself.

A

Dell Upton

747
Q

One typical characteristic of
Jefferson’s architecture is the use of
this shape.

A

octagon

748
Q

Monticello is made of these local
materials.

A

brick and wood

749
Q

More than this many enslaved
people worked at Monticello.

A

80

750
Q

Thomas Jefferson owned this many
enslaved people in his lifetime.

A

more than 600

751
Q

Isaac Granger held these three
occupations.

A

nail maker, tinsmith, and
blacksmith

752
Q

Thomas Jefferson served food and
drinks to enslaved workers using this
unobtrusive invention.

A

dumb waiter

753
Q

Thomas Jefferson forbade the use of
his image in this way to distinguish
his rule from this British monarchy.

A

on coins

754
Q

Along with being a politician,
Thomas Jefferson held these three
occupations.

A

scientist, farmer and
architect

755
Q

This act designated the District of
Columbia as the site of the United
States Capitol in 1790.

A

The Residence Act

756
Q

Congress hired this French engineer
to plan the District of Columbia.

A

Pierre L’Enfant

757
Q

Thomas Jefferson’s capitol design
competition gave this award to the
winner.

A

$500

758
Q

This man won Thomas Jefferson’s
Capitol design competition.

A

Dr. William Thornton

759
Q

Dr. William Thornton held these two
occupations.

A

Physician and amateur
architect

760
Q

President Washington praised these
three characteristics of the Capitol.

A

grandeur, simplicity, and
convenience

761
Q

President Jefferson later hired this
architect to oversee the ongoing
construction of the Capitol.

A

Benjamin Henry Latrobe

762
Q

Benjamin Latrobe studied
architecture and engineering with
these two people.

A

Samuel Pepys Cockerell and
John Smeaton

763
Q

These buildings were the three
former projects of Benjamin Latrobe.

A

St. John’s Church, D. C’s
Lafayette Square, and the
Bank of Pennsylvania

764
Q

Benjamin Latrobe made these two
additions to the Capitol.

A

grand staircase and
Corinthian colonnade

765
Q

Lack of funding paused the
construction of the Capitol in this
year.

A

1811

766
Q

Benjamin Latrobe left the Capitol
project but returned to restore the
building after this war.

A

War of 1812

767
Q

Benjamin Latrobe designed these
three interior spaces at the Capitol.

A

National Statuary Hall, Old
Senate Chamber, and the
Old Supreme Court Chamber

768
Q

The domed, top-lit halls in the
Capitol resemble this temple in
Rome

A

Pantheon

769
Q

These types of spaces usually evoke
the heavens and enlightenment.

A

expansive spaces

770
Q

This architect replaced Benjamin
Latrobe in the Capitol project in
1818.

A

Charles Bulfinch

771
Q

This man was the first official
architect of the Capitol to be born in
the United States.

A

Charles Bulfinch

772
Q

Charles Bulfinch is best known for
the design of this building.

A

Massachusetts Statehouse

773
Q

In 2012, the Capitol installed this
object to acknowledge the
contributions of enslaved workers.

A

a sandstone marker

774
Q

The British troops who burned the
Capitol were under the command of
these two officers.

A

Vice Admiral Sir Alexander
Cockburn and Major General
Robert Ross

775
Q

American troops burned this
country’s capital in 1813.

A

Canada

776
Q

The British set fire to these three
locations during their attack on
Washington.

A

The Capitol, the White
House, and the Navy Yard.

777
Q

Benjamin Latrobe used these five
fireproof materials, which managed
to survive the Capitol fire.

A

iron, marble, sandstone,
zinc, and copper

778
Q

Congress members advocated
moving the federal government to
this established city after the Capitol
fire.

A

Philadelphia

779
Q

On the Capitol columns, Benjamin
Latrobe replaced traditional
acanthus leaves with these two
American agricultural staples.

A

corncobs and tobacco leaves

780
Q

The four sandstone relief panels
above the rotunda in the Capitol
mythologize this relationship.

A

the relationship between the
settler colonialists and the
native North Americans

781
Q

The four sandstone relief panels
above the rotunda in the Capitol
feature these three artists.

A

Antonio Capellano, Nicholas
Gevelot and Enrico Causici

782
Q

These architectural details of the
Capitol symbolize the unity and
consensus of the nation.

A

the geometric, symmetrical,
and harmonious architecture.

783
Q

Liberty caps are traditionally
associated with these people.

A

freed Roman slaves

784
Q

This headgear replaced the liberty
cap on the Statue of Freedom atop
the Capitol dome.

A

a feathered Native American
headdress

785
Q

This architect designed the Statue of
Freedom sitting atop the Capitol
dome.

A

Thomas Crawford

786
Q

This Senator and future president of
the Confederacy objected to the
liberty cap on the Statue of
Freedom.

A

Jefferson Davis

787
Q

Thomas Crawford cast the model of
the Statue of Freedom in this alloy.

A

bronze

788
Q

Enslaved laborer Phillip Reid
devised this invention to
disassemble the Statue of Freedom.

A

a pulley system

789
Q

Thomas Crawford’s Statue of
Freedom arrived from Italy in this
many pieces.

A

five

790
Q

Phillip Reid’s emancipation
coincided with this event.

A

the installation of the Statue
of Freedom

791
Q

Horatio Greenough created a chalk
statue of this man at twelve.

A

William Penn, the Quaker
founder of Pennsylvania

792
Q

This man taught Horatio Greenough
to carve marble.

A

Alpheus Cray

793
Q

This man taught Horatio Greenough
to model with clay.

A

Solomon Willard

794
Q

Before enrolling at Harvard
University, Horatio Greenough
studied at this academy.

A

Phillips Academy in Andover,
Massachusetts

795
Q

While at Harvard, Horatio
Greenough met this mentor who
encouraged his interest in classical
sculpture.

A

Washington Allston

796
Q

Horatio Greenough was the first
American sculptor to live and train in
this city.

A

Florence, Italy

797
Q

This Danish sculptor mentored
Horatio Greenough in Rome.

A

Albert Bertel Thorvaldsen

798
Q

Horatio Greenough wrote this book
based on his experiences in
Florence.

A

The Travels, Observations
and Experiences of a
Yankee Stonecutter

799
Q

Horatio Greenough’s writings on
architecture drew from this
architectural principle.

A

functionalism

800
Q

Horatio Greenough died of a fever at
this age in 1852.

A

forty-seven

801
Q

Horatio Greenough created a
sculpture of this person in 1832 after
being given the first major federal
government art commission.

A

George Washington

802
Q

Horatio Greenough’s first
government art commission
awarded him this amount of money.

A

$20,000

803
Q

Horatio Greenough based
Washington’s pose on his sculpture
of this ancient Greek statue by the
sculptor Phidias.

A

statue of Zeus at Olympia

804
Q

Horatio Greenough fully embraced
this architectural style in his
sculpture of George Washington

A

neoclassical style

805
Q

This 1806 portrait by French painter
Jean-Auguste-Dominique Ingres
employed the same frontal pose as
the Greek statue of Zeus at Olympia.

A

Napoleon on his Imperial
Throne

806
Q

The statue of Zeus at Olympia was
this many feet tall.

A

forty-one feet tall

807
Q

The statue of Zeus at Olympia and
the temple that housed it were both
destroyed by this year.

A

425 CE

808
Q

Horatio Greenough derived
Washington’s sculpture’s head from
this French artist’s portrait of
Washington.

A

Jean-Antoine Houdon’s

809
Q

In Jean-Antoine Houdon’s portrait of
Washington, these two details show
the blend of Neoclassicism and
realism.

A

personalized facial features
and contemporary civilian
dress

810
Q

In his portrait, Jean-Antoine Houdon
represented Washington in this
profession.

A

a gentleman farmer

811
Q

These two words describe
Washington’s expression in Horatio
Greenough’s sculpture.

A

stern and foreboding

812
Q

Relief sculptures on the sides of
Horatio Greenough’s Washington
sculpture depict these two Greek
figures.

A

infant Hercules and Apollo,
the Greek Sun god

813
Q

According to the Latin inscription on
the back of Horatio Greenough’s
Washington sculpture, Greenough
made the sculpture as an example
of this right.

A

freedom

814
Q

The base of the chair back in Horatio
Greenough’s Washington sculpture
represents these two figures.

A

a Native American and
Christopher Columbus

815
Q

This location first hosted Horatio
Greenough’s eleven-foot-tall
Washington sculpture in 1841.

A

the rotunda of the Capitol

816
Q

This museum currently holds Horatio
Greenough’s George Washington
sculpture.

A

the National American
History Museum in
Washington, D.C.

817
Q

Horatio Greenough blamed the poor
reception of his Washington
sculpture on these two external
factors.

A

poor lighting and an unstable
pedestal

818
Q

This art institute installed a
gravestone with a portrait and a
quote at Robert Duncanson’s
unmarked grave.

A

Detroit Institute of Arts

819
Q

Horatio Greenough’s Washington
sculpture weighed this many tons.

A

twelve

820
Q

Mary Edmonia Lewis was born on
this date.

A

July 4th, 1844

821
Q

Edmonia Lewis’s mother, Catherine
Lewis, is of this Native American
descent.

A

Ojibwa (Chippewa)

822
Q

Edmonia Lewis had this Chippewa
name.

A

Wildfire

823
Q

Both of Edmonia Lewis’s parents
died when Edmonia was this age.

A

nine

824
Q

Edmonia Lewis’s older brother left
for California following this historic
event.

A

the Gold Rush

825
Q

Edmonia and her family sold these
types of crafts to tourists.

A

Native American crafts

826
Q

Edmonia Lewis was cleared of this
first crime in 1862.

A

poisoning the wine of two
classmates with “Spanish fly”

827
Q

Oberlin College was the first college
in the United States to admit these
three demographics.

A

African Americans, Native
Americans, and women

828
Q

Edmonia Lewis could not graduate
despite being cleared of this second
crime.

A

theft

829
Q

These two abolitionists helped
Edmonia Lewis to become a
sculptor.

A

William Lloyd Garrison and
Lydia Maria Child

830
Q

Edmonia Lewis studied with this
sculptor, who also helped set up her
own studio.

A

Edward Brackett

831
Q

Edmonia Lewis achieved financial
success after selling her portrait of
these two abolitionists.

A

John Brown and Colonel
Robert Gould Shaw

832
Q

Edmonia Lewis traveled to these
three European cities before settling
in Rome.

A

London, Paris, and Florence

833
Q

This sculptor welcomed Edmonia
Lewis into a community of American
women sculptors in Rome.

A

Harriet Hosmer

834
Q

Harriet Hosmer unofficially led a
group that included these three
female sculptors.

A

Emma Stebbins, Louisa
Lander, and Vinnie Ream

835
Q

Many people in the nineteenth
century thought this aspect of
sculpting too “masculine” for women.

A

physicality

836
Q

The cult of true womanhood in the
United States emphasized these
four traits above all other qualities.

A

domesticity, piety, purity, and
submissiveness

837
Q

Edmonia Lewis did not want to find a
reminder of this human variation in
social situations.

A

color

838
Q

Plentiful sculpture, marble,
assistants, and wealthy clients made
this European country a popular
location for sculptors.

A

Rome

839
Q

This is Edmonia Lewis’s first major
work, finished the year after she first
arrived in Rome.

A

Forever Free

840
Q

Edmonia Lewis’s Forever Free has
this original title.

A

The Morning of Liberty

841
Q

The words “forever free” inscribed
on the base of Edmonia Lewis’s
Forever Free sculpture allude to this
executive order.

A

Emancipation Proclamation

842
Q

The classical pose of the bare-
chested man in Edmonia Lewis’s
Forever Free has this name.

A

contrapposto

843
Q

This detail in Edmonia Lewis’s
Forever Free implies that the
subjects have not fully attained
freedom.

A

an intact manacle on one of
their arms

844
Q

Critics of Edmonia Lewis’s Forever
Free argue that the man and woman
in the sculpture reinforce these
stereotypes.

A

male aggression and female
passivity

845
Q

This feature of the Edmonia Lewis’s
sculpture Forever Free could allude
to sexual assault.

A

lack of distinctly African
features

846
Q

Edmonia Lewis embraced this
architectural style.

A

Neoclassicism

847
Q

Edmonia Lewis’s 1872 work Old
Arrow Maker is based on this
Longfellow poem.

A

The Song of Hiawatha

848
Q

Hiawatha was from this Native
American group.

A

Ojibwa

849
Q

Edmonia Lewis’s Old Arrow Maker
counters this myth.

A

“vanishing Indian” myth

850
Q

Edmonia Lewis’s Old Arrow Maker
espouses these two values, which
appealed to middle-class audiences.

A

values of hard work and
family

851
Q

These types of sculptures use
nature as both material and subject
matter.

A

totem poles

852
Q

These peoples carved totem poles in
Alaska in the nineteenth century.

A

Haida and Tlingit people

853
Q

British artist and mapmaker John
White accompanied expeditions to
this location.

A

Roanoke Island, North
Carolina

854
Q

John White’s watercolors focused on
this aspect of marine life and
agriculture.

A

the abundance of natural
resources

855
Q

This artistic movement flourished in
Europe and North America in the
nineteenth century.

A

Romanticism

856
Q

American artists celebrated the
country’s identity and freedom from
tradition by focusing on these two
natural aspects of their nation in
their art.

A

the wilderness and dramatic
landscapes

857
Q

This man popularized the genre of
landscape painting in the United
States.

A

Thomas Cole

858
Q

Thomas Cole’s Oxbow depicts this
landscape.

A

The Connecticut River near
Northampton

859
Q

Thomas Cole’s followers adopted
this name.

A

the Hudson River School

860
Q

These two artists painted sublime
depictions of the western United
States that encouraged settlement
and westward expansion.

A

Albert Bierstadt and Alfred
Jacob Miller

861
Q

This painter documented natural
wonders for eastern audiences and
inspired the modern conservation
movement.

A

Thomas Moran

862
Q

This painter’s 1871 landscapes
persuaded Congress to establish
Yellowstone as a national park.

A

Thomas Moran

863
Q

The ancestral Pueblo people
inhabited the Four Corners region
during these centuries.

A

ninth and twelfth centuries

864
Q

These four states meet in the Four
Corners.

A

southeastern Utah,
northeastern Arizona,
northwest New Mexico, and
southwestern Colorado.

865
Q

The name “Pueblo” refers to this
community.

A

the region’s Indigenous
people and their stone or
adobe dwellings

866
Q

This is the ancient culture that lived
at the Four Corners.

A

the Anasazi

867
Q

The word “Anasazi” comes from
Navajo and translates to this.

A

“enemy ancestors”

868
Q

The ancestral Pueblo developed
farming communities sometime
between these Common Era years.

A

700 and 1000 CE

869
Q

This term describes Pueblo Bonito’s
massive, multi-story stone buildings
constructed directly from the natural
landscape.

A

great houses

870
Q

Pueblo Bonito was one of nine great
houses in this area in present-day
New Mexico.

A

Chaco Canyon

871
Q

The Spanish name “Pueblo Bonito”
translates to this English phrase.

A

“pretty village”

872
Q

This expedition first recorded the
name “Pueblo Bonito.”

A

Washington Expedition of
1849

873
Q

The name “Pueblo Bonito” may have
come from this expedition leader’s
Mexican guide.

A

.

Lieutenant James Simpson’s
Mexican guide, Carabajal

874
Q

The Navajo name for Pueblo Bonito,
“tse biyaa anii’ahi,” translates to this
English phrase.

A

“leaning rock gap”

875
Q

A slab of sandstone crushed part of
Pueblo Bonito in this year.

A

1941

876
Q

Pueblo Bonito held temporary clan
gatherings for these three events.

A

religious ceremonies,
trading. and knowledge
sharing.

877
Q

The oldest sections of Pueblo Bonito
consist of these types of stones.

A

rough stones staked to the
ground

878
Q

Between 1903 and 1904, Governor
Brady personally visited Tlingit and
Haida coastal villages in the vicinity
of this Southeast Alaskan island.

A

Prince of Wales Island

879
Q

The expansive structure of Pueblo
Bonito formed a semi-circle with
somewhere between this many
rooms.

A

600 to 800 rooms

880
Q

Although only the outlines of the first
floor of Pueblo Bonito are visible,
some sections were this many
stories high.

A

four stories

881
Q

In Pueblo Bonito, these circular,
below-ground rooms hosted
ceremonies political gatherings.

A

kivas

882
Q

Pueblo Bonito contained three large
kivas and this many smaller kivas.

A

thirty-two

883
Q

Rock carvings also have this name.

A

petroglyphs

884
Q

Many buildings in Pueblo Bonito
align with these astronomical events.

A

solstices

885
Q

Pueblo Bonito has this distinct door
design.

A

T-shaped doors

886
Q

A network of wide, straight roads
connects more than this many great
houses in the larger region of Pueblo
Bonito.

A

150

887
Q

The trees used for the roofs of the
buildings in Pueblo Bonito are native
to these two locations.

A

San Mateo and Chuska
Mountains

888
Q

Building a great house requires
about this many trees.

A

240,000

889
Q

The native trees used to construct
the roofs of buildings in Pueblo
Bonito came from more than this
many miles away.

A

fifty miles

890
Q

Structures of this material kept
people cool during the summer and
insulated inhabitants in the winter.

A

stone

891
Q

Archaeologists have uncovered this
many artifacts in Pueblo Bonito.

A

15,000

892
Q

Pueblo Bonito held remains of this
bird, native to a region a thousand
miles south of Mexico.

A

scarlet macaw

893
Q

Traces of this Mexican plant suggest
trade networks between
Mesoamerican and Southwestern
communities.

A

cacao

894
Q

Pueblo Bonito traded this gemstone
for other items.

A

turquoise

895
Q

This far south peninsula contained
turquoise from the region of Pueblo
Bonito.

A

Yucatan peninsula

896
Q

As Chaco Canyon receded from
prominence, this area took on
greater significance.

A

Mesa Verde, Colorado

897
Q

Around 1150 CE, people from
Pueblo Bonito moved from the valley
floor into these easier to defend
natural features.

A

side of cliffs

898
Q

Summer rain fell regularly and
plentifully between these two
centuries in Pueblo Bonito.

A

tenth and twelfth centuries

899
Q

Puebloans and these two tribes view
Pueblo Bonito as sacred land.

A

Zuni and Hopi

900
Q

President Theodore Roosevelt
passed this act establishing Chaco
as a national monument.

A

Antiquities Act of 1906

901
Q

Charles Willson Peale originally
studied to become this occupation in
Annapolis, Maryland.

A

saddler

902
Q

Charles Willson Peale met this artist
in Boston in 1765.

A

John Singleton Copley

903
Q

Peale convinced several lawyers
and merchants to fund a trip for him
to study painting in London with this
artist in 1767.

A

Benjamin West

904
Q

After studying abroad for two years,
Charles Willson Peale established
himself as a portrait painter in this
region.

A

Mid-Atlantic region

905
Q

Peale moved to this city in 1776.

A

Philadelphia

906
Q

In 1779, Peale painted a full-length
portrait of this man on the battlefield
as a commission.

A

George Washington

907
Q

Charles Willson Peale coordinated
the first group exhibition of American
art and artists in the United States in
this year.

A

1795

908
Q

Charles Willson Peale promoted this

subject as art.

A

science

909
Q

Charles Willson Peale opened the
first natural history museum in
America in this year.

A

1786

910
Q

Charles Willson Peale’s collection
included more than ninety mammals,
seven hundred birds, and this many
insects.

A

four thousand

911
Q

Charles Willson Peale’s national
museum integrated into this
museum in 1822.

A

Philadelphia Museum

912
Q

These two national museums
opened in 1759 and 1793,
respectively.

A

British Museum and the
Louvre

913
Q

Charles Willson Peale viewed art
and this ideology as profoundly
connected.

A

nationalism

914
Q

Charles Willson Peale stayed in the
United States despite these two
artists moving to England
permanently.

A

John Singleton Copley and
Benjamin West

915
Q

Charles Willson Peale named
several of his many children after
these four famous artists.

A

Angelica Kauffman,
Rembrandt, Titian and
Raphael

916
Q

Charles Wilson Peale devoted
himself to this political party.

A

Whig

917
Q

Charles Wilson Peale attempted to
establish a first American fine arts
academy by this name.

A

Columbianum

918
Q

Charles Willson Peale led an
expedition in New York’s Hudson
Valley to exhume this animal’s
skeleton that he eventually displayed
in his museum.

A

mastodon

919
Q

With this name, Peale’s self-portrait
shows Peale’s shared passion for art
and science.

A

The Artist in His Museum

920
Q

Charles Willson Peale died in this
city in 1827.

A

Philadelphia

921
Q

Charles Willson Peale purchased
the fossils and secured the rights to
excavate the mastodon for this much
money.

A

three hundred dollars

922
Q

A farmer from this city discovered
mastodon fossils on his property in
1798.

A

Newburgh, New York

923
Q

Charles Willson Peale excavated the
mastodon in August 1801 with this
many workers.

A

Thirty-five

924
Q

These are the dimensions of Charles
Willson Peale’s Exhumation of the
Mastodon.

A

Four by five-foot

925
Q

Despite only having a team of thirty-
five workers, Charles Willson
Peale’s Exhumation of the Mastodon
includes this many people.

A

seventy

926
Q

Only Peale’s son Rembrandt was on
the mastodon site, yet the painting
includes most of his children and
these two women.

A

Peale’s second and third
wives

927
Q

The dark storm clouds in Charles
Willson Peale’s Exhumation of the
Mastodon could refer to these
experiments.

A

Benjamin Franklin’s
electricity experiments

928
Q

Charles Willson Peale holds this
item with the help of his family in
The Exhumation of the Mastodon.

A

oversized drawing of a
mastodon bone

929
Q

The wooden scaffold at the center of
the Exhumation of the Mastodon
painting forms a pyramid that draws
the eye to this feature.

A

the water pit at the base of the scaffold

930
Q

The verticality of the pulley in the
Exhumation of the Mastodon
painting leads the eye upwards into
this region.

A

the sky

931
Q

The wooden scaffold and the
verticality of the pulley in Peale’s
Exhumation of the Mastodon imply
that the excavation is this type of
journey.

A

a journey from darkness to
enlightenment

932
Q

This location hosted the first
mastodon skeleton assembled for
display.

A

Madrid, Spain

933
Q

Charles Willson Peale tasked this
man with creating substitutes for the
missing mastodon bones.

A

Rembrandt Peale

934
Q

Rembrandt Peale, William Rush,
and Moses Williams created
substitute bones for the mastodon
from these two materials.

A

carved wood and papier-
mâche

935
Q

This prominent French scientist
claimed that North American animals
were inferior versions of European
animals.

A

Georges-Louis Leclerc

936
Q

In 1785, this man refuted Georges-
Louis Leclerc’s claims of North
American animals being inferior to
European animals.

A

Thomas Jefferson

937
Q

Robert Seldon Duncanson was born
around this year in Fayette, New
York.

A

1821

938
Q

Both Robert Duncanson’s father and
grandfather were free tradesmen
who worked in these two
occupations.

A

house painters and
carpenters

939
Q

This man was the first African
American to attain international
acclaim as an artist.

A

Robert Seldon Duncanson

940
Q

Robert Duncanson launched his
career by advertising these two
services in a local newspaper in
Monroe, Michigan.

A

housepainter and glazier

941
Q

Robert Duncanson taught himself to
draw with these two methods.

A

copying prints and painting
portraits

942
Q

Robert Duncanson moved to this city
to pursue a career as a fine artist.

A

Cincinnati, Ohio

943
Q

Robert Duncanson’s art improved
during the 1840s as he traveled as
an itinerant artist between these
three locations.

A

Cincinnati, Detroit, and
Monroe

944
Q

Robert Duncanson, T. Worthington
Whittredge, and William Sonntag
defined this art style.

A

Ohio River Valley style

945
Q

This character from Harriet Beecher
Stowe’s 1852 novel, Uncle Tom’s
Cabin, crossed the icy Ohio River
with her infant daughter in search of
freedom.

A

Eliza

946
Q

Nicholas Longworth commissioned
Robert Duncanson to paint a series
of murals in this location.

A

Nicholas Longworth’s home,
the Belmont Mansion

947
Q

After returning from a European tour
in 1853, Robert Duncanson gained a
new interest in the painterly
landscapes and atmospheric effects
of these two artists.

A

Claude Lorrain and J.M.W.
Turner

948
Q

These two men painted the
panoramic abolitionist painting
Mammoth Pictorial Tour of the
United States Comprising Views of
the African Slave Trade.

A

Robert Duncanson and
James Presley Ball

949
Q

Robert Duncanson colored
photographic prints and retouched
portraits in this studio.

A

Ball’s studio

950
Q

Racial strife and turmoil of the Civil
war caused Robert Duncanson to
flee to this city and country.

A

Montreal, Canad

951
Q

This photographer emigrated to
Liberia in search of equal rights.

A

Augustus Washington

952
Q

Robert Duncanson left Montreal for
these two countries in 1865.

A

England and Scotland

953
Q

Soon after returning to the United
States, Robert Duncanson started
suffering from this condition.

A

dementia

954
Q

This magazine described Robert
Duncanson’s work as “delicious” and
called him a master.

A

London Art Journal

955
Q

Exposure to house paint may have
led to Robert Duncanson’s dementia
via this cause.

A

lead poisoning

956
Q

This museum devoted an exhibition
to Robert Duncanson in 1972.

A

Cincinnati Art Museum

957
Q

These two structures fill the
Cincinnati skyline in Robert
Duncanson’s View of Cincinnati,
Ohio from Covington, Kentucky.

A

factory buildings and smokestacks

958
Q

Robert Duncanson based View of
Cincinnati, Ohio from Covington,
Kentucky on an engraving of a
daguerreotype that appeared in this
magazine in June 1848.

A

Graham’s Magazine

959
Q

Robert Duncanson changed this
detail on the figures of View of
Cincinnati, Ohio from Covington,
Kentucky.

A

their race (from white to
black)

960
Q

This river separated slave-state
Kentucky from the more
industrialized and abolitionist Ohio.

A

Ohio River

961
Q

Enslaved people would attempt to
flee Kentucky in this way during the
winter.

A

crossing the Ohio River on
foot

962
Q

The rivers in Robert Duncanson’s
landscapes correlate with these two
concepts

A

freedom and escape

963
Q

Harriet Beecher Stowe featured the
Ohio River prominently in this 1852
novel.

A

Uncle Tom’s Cabin

964
Q

This Robert Duncanson painting
features characters from Harriet
Beecher Stowe’s book, Uncle Tom’s
Cabin.

A

Uncle Tom and Little Eva

965
Q

This style is a second-generation
school of landscape painting.

A

Ohio River Valley style

966
Q

These three artists embarked on
several sketching tours searching for
inspiring views.

A

Robert Duncanson, T.
Worthington, and William
Sonntag

967
Q

This artist influenced the large
expanses of sky in Robert
Duncanson’s 1850s paintings.

A

Claude Lorrain

968
Q

Robert Duncanson created his own
style of the Ohio River Valley
landscape with literary allusions to
these three writers.

A

Henry Longfellow, Lord
Alfred Tennyson, and Harriet
Beecher Stowe.

969
Q

While leaving Canada for Britain in
1865, Robert Duncanson stopped
here to exhibit his work.

A

Dublin, Ireland

970
Q

These three aristocrats and royals
received Robert Duncanson.

A

Duchess of Sutherland,
Marquis of Westminster, and
the Duchess of Argyll

971
Q

The King of Sweden purchased this
painting by Robert Duncanson

A

The Land of the Lotus Eaters

972
Q

Totem poles require these types of

trees.

A

red cedar trees

973
Q

Most totem poles have this height

range.

A

nine to fifty-nine feet tall

974
Q

These three Indigenous tribes use
similar graphic design elements in
their wood carvings.

A

the Tlingit, Haida, and
Tsimshian people

975
Q

Common motifs on totem poles
include these art elements.

A

formlines

976
Q

This United States President
designated Stika National Historical
Park as a park in 1890.

A

Benjamin Harrison

977
Q

This area is the home of the Tlingit

people.

A

Southeastern panhandle of
Alaska

978
Q

This incident caused the Tlingit to
withdraw from their near victory
against the Russians in the Battle of
Sitka in 1804.

A

their gunpowder reserves
exploding

979
Q

The United States bought Alaska
from Russia for 7.2 million dollars,
approximately this much money per
acre.

A

two cents

980
Q

This governor of Alaska assembled
a collection of totem poles for the
Alaskan display in the Louisiana
Purchase Exhibition, or World’s Fair,
held in St. Louis in 1904.

A

John G. Brady

981
Q

The original Gaanax.ádi/Raven
Crest Pole was one of this many
Tlingit and Haida totem poles sent to
St. Louis.

A

15

982
Q

The two totem poles that John G.
Brady sold ended up in these two
museums.

A

Milwaukee Public Museum
and Eiteljorg Museum of
American Indians and
Western Art in Indianapolis

983
Q

After the St. Louis fair closed, the
Alaskan totem poles traveled to this
exposition in 1905.

A

Lewis and Clark Centennial
Exposition in Portland

984
Q

This practice remains controversial

within Tlingit and Haida
communities.

A

restoring and repairing totem
poles

985
Q

John G. Brady and this
photographer selected the locations
of the totem poles in the Sitka
National Park.

A

Elbridge W. Merrill

986
Q

This Tuxekan chief donated the
original Raven Crest Pole to
Governor John G. Brady and the
Alaskan government in 1903.

A

Chief Gunyah

987
Q

This United States president created
the Civilian Conservation Corps, or
CCC, work program in his New Deal.

A

President Franklin Roosevelt

988
Q

This many people visited the
Alaskan exhibition at the St. Louis
World’s fair.

A

between 18 million and 19
million people

989
Q

The CCC employed this master
carver to train younger CCC recruits
in traditional carving practices.

A

Lkeináa (George Benson)

990
Q

The Civilian Conservation Corps
employed nearly this many young
Native people.

A

200

991
Q

Sitka National Park collected this
many totem poles from uninhabited
villages.

A

100

992
Q

These two artists carved the 1983
reproduction of the Raven Crest
Pole.

A

Nathan Jackson and Steve
Brown

993
Q

The Raven, or totem animal, refers
to this type of group in Raven Crest
Pole.

A

the moiety or social group

994
Q

The Tlingit and Haida people belong
to either one of these two moieties.

A

Raven or Eagle

995
Q

A whale is present in this area of the

Raven Crest Pole.

A

near the center

996
Q

The whale on the Raven Crest Pole

may refer to this tale.

A

the legend of the raven and
the whale

997
Q

In the legend of the raven and the
whale, the raven is this kind of
figure.

A

a trickster figure/transformer