AP Art History UNIT 2: Ancient Mediterranean, 3500 BCE–300 CE Practice Exam

1. The Statues of votive figures from the Square Temple at Eshnunna (c. 2700 BCE) are stylistically distinct from Egyptian sculpture of the same period primarily through their use of

2. In the Standard of Ur, the artist employs the convention of registers primarily to

3. The choice of greywacke for the statue of King Menkaure and Queen was most likely motivated by the Egyptian cultural desire to

4. The relief stele of Akhenaten, Nefertiti, and Three Daughters demonstrates a radical shift from traditional Egyptian artistic conventions by depicting

5. The iconography at the top of the Stele of Hammurabi validates the king's right to rule by showing him

6. The architectural plan of the Temple of Amun-Re at Karnak reflects Egyptian cosmology through its use of

7. The Lamassu from the Citadel of Sargon II features five legs primarily to

8. In the 'Last Judgment of Hu-Nefer' from the Book of the Dead, the presence of the god Thoth recording the result of the weighing of the heart indicates the cultural importance of

9. The statue shown (Anavysos Kouros) demonstrates the influence of Egyptian artistic conventions on Archaic Greek art primarily through its

10. Which of the following architectural features of the Temple of Minerva at Veii distinguishes it from contemporary Greek temples and indicates a specific Etruscan architectural tradition?

11. The frescoes found in the Tomb of the Triclinium reveal specific Etruscan cultural practices by depicting

12. In the sculpture *Augustus of Prima Porta*, the artist adopted the contrapposto stance and idealized proportions of the Greek *Doryphoros* primarily to

13. The *Alexander Mosaic*, found in the House of the Faun in Pompeii, illustrates the active exchange of artistic styles in the Mediterranean because it is believed to be

14. The design of the Pantheon exemplifies Roman eclecticism and innovation by combining a traditional Greek pedimented portico with

15. The veristic style seen in the *Head of a Roman Patrician* differs significantly from the earlier Greek Hellenistic tradition by

16. The *Ludovisi Battle Sarcophagus* marks a transition in Roman art away from Classical Greek conventions of space and proportion toward

17. The design of the White Temple and its ziggurat at Uruk reflects the theocratic political structure of Sumerian society by

18. The sculpture of 'King Menkaura and Queen' exhibits a rigid, frontal stance with the figures attached to a back pillar. This form was chosen by the artist primarily to

19. The relief stele of 'Akhenaten, Nefertiti, and Three Daughters' demonstrates a shift in artistic purpose during the Amarna period by

20. The inclusion of the 'Plaque of the Ergastines' on the Parthenon's Ionic frieze reflects Athenian civic ideals by

21. Which of the following aspects of the 'Sarcophagus of the Spouses' most clearly distinguishes Etruscan funerary art from that of contemporary Archaic Greece?

22. The statue 'Augustus of Prima Porta' utilizes iconography on the breastplate (cuirass) and the inclusion of Cupid primarily to

23. The construction of the Colosseum (Flavian Amphitheater) served a specific political purpose for the Flavian dynasty by

24. Scholarly interpretation of Etruscan art, such as the Sarcophagus of the Spouses, differs significantly from the interpretation of contemporary Greek art primarily because of which of the following limitations?

25. Which of the following best explains why 18th-century European and American political leaders adopted the architectural forms of ancient Rome, such as the columned portico and the dome, for their government buildings?

26. Recent scientific analysis of the 'Augustus of Prima Porta' has challenged traditional 19th-century interpretations of Roman sculpture by revealing which of the following?

27. Our understanding of the 'Doryphoros' (Spear Bearer) by Polykleitos as a theoretical demonstration of perfect proportions relies most heavily on which type of evidence?

28. The interpretation of the 'Head of a Roman Patrician' as a manifestation of the Roman cultural value of 'gravitas' is best supported by which of the following?

29. The 'Alexander Mosaic' found in the House of the Faun in Pompeii functions as evidence for which of the following aspects of Roman artistic culture?

30. How does the archaeological location of the 'Ludovisi Battle Sarcophagus' near a tomb in Rome inform its interpretation compared to the 'Altar of Zeus at Pergamon'?