AP Art History : Renaissance to Contemporary 2D Art
Study concepts, example questions & explanations for AP Art History
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Example Questions
Example Question #524 : Ap Art History
Figure 3 Figure 4
The painting shown in Figure 4 creates depth by using __________.
a domestic scene
anatomically correct portrayal of the human body
perspective
bright colors
perspective
Perspective was still a relatively new innovation when Vermeer painted The Astronomer in 1668, having only been developed in the early sixteenth century in Italy. Vermeer's ability to portray the intense depth of the room shows his own mastery of perspective, and its utilization in painting.
Figure 3: The Night Watch by Rembrandt van Rijn (1642)
Figure 4: The Astronomer by Johannes Vermeer (1668)
Example Question #525 : Ap Art History
Figure 1 Figure 2
The painting shown in Figure 1 is an example of __________.
Expressionist painting
Baroque painting
Medieval painting
Neo-Classical painting
Baroque painting
The Spanish painter Diego Velázquez was one of the leading lights of Baroque painting, and Las Meninas, shown here, is widely held as his masterpiece. The 1656 painting shows many aspects typical of Baroque painting, including highly mannered poses, a strict composition, and ornate detail.
Figure 1: Las Meninas by Diego Velázquez (1656)
Figure 2: Charles IV of Spain and His Family Francisco de Goya (1801)
Example Question #526 : Ap Art History
Figure 1 Figure 2
Based on the content of the painting shown in Figure 2, it is most probably set in __________.
the Princesses' bedroom
a royal balcony
the royal dining room
the artist's studio
the artist's studio
Francisco de Goya's placement of himself behind an easel indicates the Royal Family stands in a room in which he is working, making "the artist's studio" the most likely choice, especially given the exhibition of other pieces of art in the room behind the Royal Family. This answer choice can be further confirmed by ruling out the other answer choices: nothing in the image suggests that it portrays a royal balcony, the Princess' bedroom, or the royal dining room. Plus, the members of the Royal Family in de Goya's painting look somewhat uncomfortable; this suggests that they are not in a space in which they would normally be, adding further evidence that the painting shows the artist's studio.
Figure 1: Las Meninas by Diego Velázquez (1656)
Figure 2: Charles IV of Spain and His Family Francisco de Goya (1801)
Example Question #531 : Ap Art History
Figure 3 Figure 4
Which of the following is a true statement contrasting the paintings shown in Figure 3 and Figure 4?
The use of light and shadow is much more pronounced in the painting shown in Figure 3 than in the painting shown in Figure 4.
The painting shown in Figure 3 uses duller colors than does the painting shown in Figure 4.
While both of the paintings use perspective, the use of perspective in the painting shown in Figure 3 is less developed and realistic than the use of perspective in the painting shown in Figure 4.
The painting shown in Figure 3 portrays more people than does the painting shown in Figure 4.
While both of the paintings use perspective, the use of perspective in the painting shown in Figure 3 is less developed and realistic than the use of perspective in the painting shown in Figure 4.
Caravaggio's Supper at Emmaus, painted in 1606, is like Fra Angelico's in that both men were Italian and the paintings are each of Biblical scenes. Yet the one hundred and fifty years between them demonstrates the revolution that happened in painting during the Renaissance. Caravaggio's work, emblematic of seventeenth century Baroque painting, has a sense of perspective that places Jesus well behind his disciples, and also places them in a realistic setting amid rich, dark colors. So, one can accurately say that the use of perspective in the Carravagio painting is more developed and realistic than the use of perspective in the Fra Angelico painting. The answer choices comparing the relative brightness of the paintings' colors and each painting's use of light and shadow are incorrect, as is the answer choice claiming that more figures are shown in the Fra Angelico painting than in the Caravaggio painting; the same number of figures are shown in each, though the three figures in the upper right hand corner of the Fra Angelico painting are easy to miss.
Figure 3: The Annunciation (Cortona) by Fra Angelico (1433)
Figure 4: Supper at Emmaus (Milan) by Caravaggio (1606)
Example Question #532 : Ap Art History
Figure 3 Figure 4
In the painting shown in Figure 4, the figure in green in the middle of the scene is __________.
Judas
John the Baptist
Saint Peter
Jesus Christ
Jesus Christ
Although not obviously marked out in any way, the figure in the middle of the Caravaggio painting is Jesus Christ. One clue is that this painting is entitled Supper at Emmaus, but the scene would be obvious to anyone familiar with the story from the Gospel of Luke, which many Renaissance-era Europeans would have been. The painting displays the wonderment of everyone around a serene bearded figure, who raises his hand in a traditional gesture of blessing associated with Jesus Christ.
Figure 3: The Annunciation (Cortona) by Fra Angelico (1433)
Figure 4: Supper at Emmaus (Milan) by Caravaggio (1606)
Example Question #533 : Ap Art History
Figure 1 Figure 2
In comparison to the painting shown in Figure 2, the subjects in the painting shown in Figure 1 are __________.
playful
uncertain
serious
reserved
playful
While de Goya based his painting on Velázquez', their portrayals of a royal family are completely different. Where Velázquez show the young princess Margaret Teresa smiling, with attendants and jesters trying to please her, de Goya shows only the royal family looking extremely uncomfortable. The seriousness of the family of Charles IV in a painting based on the playful Las Meninas was intentionally cultivated by de Goya.
Figure 1: Las Meninas by Diego Velázquez (1656)
Figure 2: Charles IV of Spain and His Family Francisco de Goya (1801)
Example Question #534 : Ap Art History
Figure 3
Figure 4
Figure 3 represents the King of __________.
Portugal
Spain
Scotland
France
Scotland
Figure 3 is Anthony van Dyck's triple portrait of King Charles I of England, Scotland, and Ireland from 1635. Charles inherited all of his crowns from his father James, and ruled all three beginning in 1625. Charles' reign was cut short after the English Civil War saw his subjects in England overthrow him and cut off his head in 1649.
Example Question #11 : Seventeenth And Eighteenth Century 2 D Art
Figure 3
Figure 4
In contrast to Figure 3, the King in Figure 4 is portrayed as __________.
an administrator
a coward
an autocrat
an outdoorsman
an outdoorsman
In Spanish, this 1633 portrait by Diego Velazquez is known as "Felipe IV Cazador," or "Philip IV the Hunter." This portrait is atypical for Velazquez' portraits of Philip, which are usually in his palace or against a simple background. This was done presumably to show a different side of Philip, that expressed his love of the outdoors, hunting, and adventurous pursuits.
Example Question #401 : Renaissance To Contemporary 2 D Art
Figure 3
Figure 4
Each of these kings represented monarchs who believed in __________.
constitutional monarchy
oligarchy
representative democracy
absolute monarchy
absolute monarchy
The image on the left is one of Anthony van Dyck's portrayals of King Charles I of England, Scotland, and Ireland, while the image on the right is a Diego Velazquez portrait of King Philip IV of Spain. As seventeenth-century monarchs, both kings believed in the divine right of kings to rule in an absolute monarchy. This worked out differently for each, however, as Philip IV ruled Spain at a time when it was at the apex of its power, and Charles I was the King who incited England into civil war.
Example Question #13 : Seventeenth And Eighteenth Century 2 D Art
Questions 7-12 are based on Figures 3 and 4.
Figure 3
Figure 4
Figure 3 most likely has three portraits because __________.
it presents the King in different clothing
it shows off the artist's skill
all of the other answers
it is a study for a sculpture
all of the other answers
As a practical purpose, this triple portrait of King Charles I, by Anthony van Dyck, was probably needed so that a bust could be made by a sculptor the King could not sit for. In executing it, however, van Dyck gets to show the King in multiple ways, showing his ability to capture different elements of the King. The King wears different robes, and his smile is ever so slightly different in each image.
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