/Jl 25 I trr through rhe .

tgts

Nante: b^^l LVLI^

t:somtt

bclovv rvith tlte inlbrrnation reqtrestecl (4

l.rtrints): +_
Artist:
( lrlraggio
I itle {ol strhice r,,tC5}orS Y OL S),7 e re>"\
ir.
b. Gentilcschi
.r:a\/e I:1zq Lrcz
g!'/Rerrrini

Period:
a. Rerrtissancc
@Ruroqu"
c. Matrncrisrl
d. Rococo

llorv does the cnlit'e cornposition clerronstratc tl_te

"';.:r"l-h:;''i,ilt,,^rk^1i+
periocl's iDtc.r.cst ilt theatricalitv.l
fiot *t,u p*tuant {,^:ti ,"Wi- Lrr, l;l<, d f lo("
2. li!!]L!il) tlrc irragr' below vi ith thc inrilrr,ariorr req.resred
'l'it le
1-5 poi,rs): )ur. l\t *op dr"rra- hc
1or strhit-.ct ): nartS
Pcriod:
(', lli'.q/ ol 5n Aqt{frr-
a. Rcnaissancc
@ tlaroquc
c. Mannerisnt
d. Rococo

This,artist's Lrse trf sharply contrasting light ancl dark is:

Ia. rerlr-bfrsnt
VslLrr.at,r
Artist:
c. nrcloclrarra
('alar augitr
f! cl. contrapposto
b. Ccnt ilr'se h i

c. Vel6zclLrcz
Name .nc other crclair that makcs this tr,'picar .r its periocl:
d. Bernilti
/\ohvrr*i (Lt\r', allls #,,^l Yr; h izat ,r1r€tfu -1,
ra
3. ldentilv thc poinrs): ,;tSyA/\e h lra I /Sflal-
?h /, y
rvith thcinrr:i:ur.r,"o (1

ar:1lirr
-a, _J'lrar
f[y'( icrrr ilcsclri
c. Veliizcluez
d. Bernini

rirrc (or srrrl".ty,Ju Jll\ t,fro,rl scrq n | r,f l^, lh e

,n
H",, r/
l)criod:
a. Rcnaissancc
cf Hu[, lerrr 15
/E Bo,'o.,u.
V Manncris,,,
d. Rococo

what event in Ihc artist's lil-c.e.rplainss her

I cr obsessir-rn rvith this sLrb.icct,.,
"
'oses'";';:" "'i)'n':i.,
11y/r'{-k vrd) u ;;:;,",|);,' iii';
st*;r- , ,,, 5 t lrric,.s
p a)r,lt t 3 uJ,41,
bel'tr
\:,jil
(over
ft,titrr.r 1, fi1c,^iul7 f( ClcdM
,l
hen
 lIt 251 .,lrt througlt the ..tges
li.ram ll

4. How do these images in questions l-3 denronstrate the Baroque style? (3 points)
l

I hr" r tycn(I , jl+

lrr"lI r,Yrn 4+ :I c^t<- /(r7 €r,erc\e {t< t z b7 A< *tnte 6,n rA *sfd1:/rhj
A syr^,*ith,t- | tu t[t: r, ll an
,\. DLrring the Baloqr-rc period, Italian patronage tended 1o be ecclesiastical (church),
and Irrcnclr patronage was
tlte state. Who were the patrons ol'Flemislt/Dutch arl?
a. the churclr
b. the state
1ptn" rniddle-class
d. the aristocracy

6. Wlrat does the phlase Rtrl,t,nt,.tLttrc, rcl'cr to? ( I r-rrrinr)

'Vtnf 5tAu7tr'lq.r o\nJ chtakf
'(trrfilr,
tr./c,,,// r.,vywt(n
"ud[
7' llo\t r'ras Retltlll'arrdl's
tl irt,t Tt,-iln '*;ritt;
dcpictiolr
ttl'Ilitrlical
l";
n)eltcl rrrtrrc arrtllcrrlie llrarr lris prcdcccssors.,
''il;i"''e:;;;;;f.'-;;i;.;;;,"/;'i;';;
srrlr.ject

^ -l'lre Dutch artist verrrcer is best knov to. rvrrat type ol irnagcr-y:
P,
1a points)
'L:'
8.
furrrall. intirratc gcnrc scL'nes
Y rlonunt.'ntal ancl rnelodraltratic Biblical sccnes
c. landscapc painti n-rrs
d. portraits ol rvel l-endorvetl r,vornen

9. l'he Northern f..r-rropean artist

_ __ produccd ntore tharr 100 scll-_portraits ciuring his career
a- Watteau
@/Renbrandt
c. F'ragonard
d. Boucher

8th century (1700-177

10. ldcntify three elem ents seen in these two paintrpgslhat ntakt. thcnt
vcn, tl,pical ol'thc Rococ<t str, lc (5 pts)
I /c\t
L vP;''ls
'u('s
z 1,,)$l hc^ r irrl * h,lrulo,,
tgy"t{kar6) h vlcVal
:. 6r,,.il tn 5r-g nrr/

Identify this arrist:

a. WatteaLr Idcntilv this arrisl:
b. Rcrnbrandt a. WatteaLr
c. [rragonard b*!{cnr hrandt
p snr-.n.,. (,)trau,rnlr'd
cl. []ouchcr
 lll 251 .,lrt through the.lges
[:.rum ll
I l. Identily the image belorv rvith rhe inlbrmation requested (6 points).

Arlist: Pcriod:
@) witttu,, i togu,:rt., a. Romanticism
b. Beniarnin West b. [lealisnt
c. .lohn Singleton Copley c---Nco-C lassic isnr
d. Sardanapolis (./hn.,..o
c. Irnplessionisrn

N3tionaIity:
g*gl,5Lt
\'\ lrat elra;trctcrizcs rhi: arlist's utlrk and hor,r dot's this cranrple dcrrrorrstralc thi;|
.Aror,,.l;lT ,f lrfi, l, k"t b
fcl<c k" ^l "irc,-,li^,iii,'rliti-"5'^r,-, l\".\/t(-( 2i^4,;i rn lhc
k,',b^^l
i d h, it i n poLrn l" fitn s
7/h:,t
it,' I
llow does this artist nlanagc to scll intagery in an alt nrarket only interested in works by the Old Masters? (What

: );i)',"'/]i' fa,n{tnls l,.,,en rv\ot5t scIls (ny'ot ra

7 ),
12. flrst established the f]rench Acaclernv durine the periocl.
e;iii; iiV. Bu,.o.1u.
b. l.ouis XVI. Rococo
c. Voltaire. Neo-Classical
d. Napoleon, Neo-Classical

Wltat pLrrpose did.lhc Acadertty irritialll selvc? rWhl did rlris irrdividtlrl cr.catc ir'.)1

To can lnl I fnrlafu d r I nl t

categories ol-painting was deemed rlorq important by thc Frcncl.r Acadcmy'7 (3 points)
,\ltichol-thcse
grous
tA,/t'el r r nr agcs
hr. gcnrc ldaill lile) iruagcs
c. landscapes
d. still-lif'e irnages

l3' ]'hellaroclueaftists------.-.and-- bccarnesigniticantinthedebatethatdivided

artists into trvo schools o1'thotrght. disputing drawing vs. color. and u,hich was more "important.,, (10
pts)
<.. I)icgo Vcldzquez alrd I-rangois BoLrchcr
($ Nicolas Poussirr arrd pcter paLrl Rtrbcrrs
c. .lean-llonore Irragonard and Caravaggio
d. Anloine Watteau and .lan Vernteer

W ['' ov>s rt
Artist: RuLe^5
 .-lIt 251 .,lrt through the ..lges
I'-.rum Il

l#13 continLredl l)escribc thc trvo Rococo-period groups lbr ri,hich thesc artists later sen,e as the nalncsakc.

What qualities do the lnernbers of group ll I admire in their mascot's irnagery? What qualities appeal to the
members of Group #2? And which group argues that draiving is rnore important, and rvhich group argLres for
color'? ( l0 points)

croup #,,P-0!\d\'\ts
Qrralitics ol-(ilotrp ll I :
Qrralit ics ol' Group /12:

y'Aor( 665ea vaft,E F2{c ( ?ny r(ti tt€

T t<r lu t nLvrc
Tv,t^il
,*{,W^:,,ff;, a , , ,r)" cltlo' 41rc
,

'"ru/'{/z't /-
'+hrn ), a ,,rln,1
Which gror-rp is the more revolutionary of the trvo. and wlty?

k,,*,,:b^:,\::i"7!.^n!^,"Yp*'w:^'r^::,;Er*J3it^T*)[l/"
r"t,i.t, **'t'*,*?
14. The Neoclassicist and Ronrarrticist rnovenrents occurred in
a. 152-s-1575 flra ,{p,,*7" jrll"
b.1575-r650
c.1650-1750 oL al
@rzso-raso
l-5. What chtrracteristics rrotivatcd Ncoclitssicisnr arrcl Ronranticisnr'l lror cach movcnrcnt. pick an arlist/imagc
and idenlifl thc elenrents that nrark it as arn example of cithcl Ncoclassicisr.r.r or Rornnnticisnt. llow'do these
ne\\ ntoventcnts relate to the idcas of the groups mentioned in question li'? ( l0 point question)

Neoclassicism: Rontanticisnr:

?al)iafu,ll I
o"y1',o\o paa,t:i.zti'1
?rolt'/st;4
't- pt't uii e*rko^'p" ,rn- i^J"rlr,u b-l:/l
,

Less s,^sl+onut 'tS|-l[ | ,fpr

?,,rt{Ji:ii , n,wi,\e, ; ,, "urbss
rr ffi ,P So"ra{rs" ,t\e^W ol Sa rolantot fttlu>'l
lru{f ll^tt ht lL,,rltlt r ^

friri,,,i','fl^1uf
16. What do uc rrrcan br. tlr.' "sLrblirrrel'l
ra'tV )"r"'no'r/,iu- ?:l"fY;:t,l':;},')
n';t;n {t7'7s5

5;^i-ttirnz ;t **dblz {0u

Rotttattticisttr''
'' "p;"rl:T'rifi;ryi-classie ut b"il, 6''I 5l'2ut,*1!.1-r/
isrrt
'lrr
lcel
G ive an cxanr ple of a paintinu that contains an cxanrple ol thc .irrhlirrc anclloint out tlrc sp-gc jflc- elcrrent in i I f')''^ f 4
the paintine that indicatcs this concept. (4 pts) . b'td dA'/
5l."u-e 5 [ip, ."f t +h; Slacs d,,c*nt,1
s.ll-u r,,
toCJ^g

[rrnf cJ uvuboa'rA h, i n 1, ranc7

/A?/L<7,
 .4tl 251 Art throullh the Ages
I:.rum II

Identily the belolv r,vith the infornration requested: (6 points)

I itlc tor srrhicct ): I

0e"l\^ d! )va.ar
ls this an exarnole ol-Neo-Classicism or Ronranticism?

It e o tlasstliy,rt
irnase'l
llow is thiser idcnt in the details and/or nlot ol-thc
^ f'
)\qrfi,hr"srtl iinfr, 5Wd5 Sei-l Sc,crthtc fo{
$(
Iow
i lql'z
thc idcalizcdl,
I ha.s
q,\y 'b'1')i",1""h,
sLrb.iect bee'rr
lc
loilW icn(aA€ >h[t'e'l
Ja]\
i kt^, dttca& Nol )t||iar;
Arlist:
a. .lean-A Lrgr,tt.-i)r.-,,, iniq* I ngt"t
b. ['.ugine I)elacroix
c. ['hcodole CciricaLrlt
t)avid
@JacqLrcs-l.oiris
18. Iderrtifi,the image below with thc inlbrtnatiotr rcclLtested: (7 points)

1-itre(orsubiect): fk +\^ ol knfnrl IAJ'lk

Arrisr,s nationatitl:fi
N\ef {f ctn
Is this an cxarrrolc of Neo-Classicisnr or Rornanticisnr?

&,rL ff al b"i-u
Wlral spccilic clcnrcnts dcrlorrstlatc llris l r[' t - -
o clos,>l t ir/\ jnf Ll^t htrait trVe
A rtist:
-;lnWilliarn I logarth 'N(Jporl,,.^lt,j/\
id" lvre ilu l-d
lrf ltlC So'c'f
(!/ 13.'ni arn i rr \.\'c:t
c. .lohn Singleton Copley
Quu^,nl-1r,.'54 iA l.\t, fttrc er\oi laqc"
d. .loscph Mallord Willianr
'I'urncr
Pots
* clc,"Af tAu4cf tir/
19. Idcntil) thc inragc lre lori, with thc Llrauon feqLlcsrccl. (o pLsl

I itrc (trr st-rhicct"

$e (ut I L
ol- il^r
lk /Ailus^
/Ailuru^
(L ""i'?iY'J'
s hi,P "vrrc fc u*e) ' I

Is this a Neo-classical or Ronrarticisr ir,age'? KO*' n h'f '9 /-

What elcnrents of the paintiurl idcntjl\ it as such?
5hrW> i,\)J *rt1.e fu*nr,l, l, w cf ct ss ie hJ'
A rtist:
+4 J t'< o'\ f^lrl
a. .lcan-ALrrrr-rste'-ljorn i niq r-rc I ngres e ,rrollotr,,r,l J)Tnaartt /c'5c )
b. f'.Lrucne Delacroir
@'rt,ioaor. CclricaLrl r Nanre ore orrrer srrtr.iccr rhis arrisr painrs: /'g* lo'l pa lle nf S
d. .lacqr-rcs-l.oLris [)avid
 ,1II 251 tlrt thtouglt the Alles
[--ront I I

20. Identif' below rvith the infbrmation reqr-rested: (5 pts)

w tfJ*ffiil'. a,l 5^n)u^qP!l"t

,J;::" J:;1.";",-;:;,.,,, i,,og": Qow,t #o , , /-
What elerrents indicatc this'?
M,rrlty (o(6t1"1
Mofe tvoHo't
kt^,, ,r(le,rtt)
1/,7 ,z (o wer l?> \
A rtist: '5l1tw cJ 'ro u P
1. Jcrn-A uutrstc-I )orr irr i11rrc I rrLrlcs
d) t,,,ri,,.- I)"l".rni'.
'ti6fl l,a',,.1,,, e ( i,.iri ertrr I t
Y.1,,..1,,"r-l t,ttis Ihviil

th thc infbrnration recluested: (7 points)

I I'itlc rol subjecr
' 5luve
):

5l^i P
llor,i does tlrc artist's rtatiorralitr aflt'rt lris clrtrice ol'suhircl'.'
, uvetyta.r) alr&,Jl be(n ,^ile
vu5 hfi,,y
9l lll eyc,l i^ L'ykd
lo t"/lcii$ il e,,er{u'hzre n r, r

Is this a Neo-ctassicat or Ronranri.irt in,ag.t li{a*^Ahf i*

A rtist
a. William f Ioganlr
What e lenrcnts cll tl1r. paintint indicatc this?
b. Berr.jarrin Wcst
c. .lohn Singlcton Ooplcl, Maa r/1 N"furZ
fJ) .loscplr Mallorrl Williarrr lrrrncr
7,c lal In y5 4r"
1t*ttl<1 (obr,tt9
A rtist's national itr':

22. I.d.eql-ily the image belorv with the intbrrnation reclr.restcd (10 points):
A 11i st:
'I'hornas
a. [:akins
b. Bcnjarnin West
lplonn Singleton Copley
d. .loseph Mallord Willianr l'urne-r

Artist's narionalitr,': hW'lf^

^
Subject t,,,'titl")t''V0ll5;,2n I-W Sk^t lC
^nrl
Is tllis alr (.\atnplc o[ Nco-Classicisrn or Rorranticisrr?

N L; (lua;t,l frrs, il^ar f t,'y

.-k;,i;ul'' " olaa I
I;';f'.,,xr**:",'il ffi;,
\\r[at's,his n[inrarl sulrie cr irr rh,is [ocation durirrg tirese car.lr 5 ears')
i.^,r l,a c
tt 5

Yc{ lra,,lt ilL

\\'hcre docs he tXCr,noic to and
(olo,t'11) ed
prornprs rlris rnorc?
lrhir i
Englail, I'e v,,(.,\
" Ly a,v P\e Jt,.e "l *L'e /t'€r'r'i'
0'u olu It o"t
 lIl 251 ..ltt throui4h the .-lges
I.--ront I I

Realism (Besinnine of Chaplcr 21):

23. ]'he French aftist,_
-
rvas.jailcd in 1832 fbr his caricatures o1-the French king. (l pt)
a. Custave Cor:t',"i
b. .lean-Franqois Mil Iet
c. Edouard Manet
ttonnt" I)aurtrier'
&
24. ldentify the inrase below with the infonnation requested: (8 pts)
Peritrd:
a. Rorrranticisrrr
@ealisrn
c. Nco-(llassicisnr
tl. lrnpressionisrrr

Altisl: 5'[]i}'.ni5,,';,'$XT',""y;:"ii,?;"'W:',n;)'*1';l)tul;zr"l
/?) (iustave ( @^C Cf lof 7"4n fra4 ' fr il^
CoLu'bct
V .trll.r,.l Singcr Sarqcnl ^ did thc ilppcr class 1rgl'cL'iyc as tht'calcnitlg'.)
Wlral cle rrrcnttp
c.'lhonras [:akins
d. Honole Daurnier lowCr ol low(f ( last oq,Aif (5
Nanrc trvo rva\ s tlre artist oflends acaclernic tradition irr this
Afiist's nationaLit\':
Fr e"ttn ) "tt ,P'J t/ Ll
nel ilorP,.ttla€1"\
.t fiel C ie
l-itle I or sLrbicct ): vCr5lout cyl (fq:;,tnb ^n
:lone brtoL( i 5 b)(cn*i A,,tclnl- oi lrrvluv> pcatt;ta I rrroll,
*-.vJ.L r.rlftt tiar fi(qvsvJ
ragewiththe infbrnation.requestcd:(5 prs)
il;,ll.l'Uthe
6);:ffiJl;H:,
I. Renoir
t'i"rre Auguste
&il:i:'t:..''"'-\\.,1
I. Nco-Classicir,,,
','L
hil
d. Edgar Degas d. Inrpressionit,r,
(re"\:
11g*\i5)
ftr ;M
rirrc (or sLru.iectr:/\1 t\f lA
Olthesc three ir.nages, indicatc the inragc that denronstrates the ac_4-(-e
k\enrl,
Acaderlll). Identily at least one lactor that ollendcd the' lgtlr-ccnturv viewcr
,$.ffii*d,*,,"'
aboLrt thc rtrin-acadcrlic artist's
work and explain how this is seen in these cxamples.

AAo^z k, ntilrt were lvo ftul

'l
roknJke yoler"t
t i

l)ca)eu;, n"lrs were lrlttc^ lt y

frl&oi el tl,L I 0f'Ttr\(Y
tlctsStfor( wlt,tch
wrtudz i+ ol< ,
{tr. e LJctze
"l /a*e15 Pnuoles ,

o(.1- l\,tz Vitwer, h Le /vQdr,

 Itl 251 .4rt rhrouglr tht.lges
E.tom II

Impressionisrn (Chapter 2 I ):
26. The prints of which non-Europeun countr), influcnccd tlic lmpressionists'? 4n
J& P
flow did the French artists discover the prints?

lbl O e Yhtbtlton
ldentify this
one vvay irrfluence is demonstrated in [:uropean art in thc latc l9th centLrry. (3 pt.)

Tt,)lrnlng oV Fon * t
17. What isrneant [r1 thc Frerrchrerrn.fltine ur'? llorv was t.he /iiricra'irnpurtarrt {or thc Impressionists'? (2 pts.)

Pfople votLch(ro SubS'tcls l"oic ciL Vle/or, ^c,,v sr:rtc'e/h

28. Identify the irnage below with thc inl'crnration reqLrested:(,1pts)
Artisl:
a. Clar"rde Monct
b. [:dor-rard Manet
(}i.rr. Auguste Rcnoir'
d. I-.dgar Dcgas

Period: _

a. Romanticisnr
b. Rcalisnr
c. Neo-Classicisnr
^.1 nrptessronrsnr
flil
whar class is rhe arrist,?fl
fuilV ,.!ul
ClaS5 I tlo? uffc'r'
(la5t lmpr/25,P't '{-
29. florv do thc irrages ll24 & /128 dcrnonslrate the differences betrvecn thcsc trvo movcments'l (2 pts)

Z4o ),tg nV; hn*, h rcal"\ whgr6. Z7 )c lztcl': a h,//f frtu*f

Or lufrc:sttarl OL qrt fv?4f_

-fhe
30. French lrnpressionist best rcmcrnbered tbr his inragcs olballet dancers
a. Claude Monet
b. Frdouard Manet
g. Pierre Arrgrrsle Rerroir
/J) Edsa' DeIas
\-/
31. l-he two wonretl artists inclr-rded irr the Imprcssionist circle rvere and
a. Artemisia Gentileschi and Mary Classatt
b. Flida Kahlo ancl Berthe Morisot
@Rcrthe Morisot and Mary Cassatt
d. Flida Kahlo and Artentisia Gentileschi

Of rvhich class rvere these rvonren (i.e.. lower-. nriddle-. or Lrpper-class), and ho*,does gendcr
';;;;;, (i
ancl class status
afftct the sub.jects these altists paint?

O v ii;;
' pts)

vi'i't I' rc"int "br*ts ]\oi' we/'c t ort,{ i

f
akegTable h' ty'orvter' ^l lUe i"''el l"^ farl-lr> 1 Jctt/flni, wonvn

L^/,1-h 1,la\Ur6r',