AP Art History UNIT 4: Later Europe and Americas, 1750–1980 CE Practice Exam

1. Mary Cassatt's drypoint and aquatint 'The Coiffure' (1890–1891 CE) demonstrates the influence of Japanese ukiyo-e woodblock prints on late 19th-century European and American art through its use of

2. In 'The Saint-Lazare Station' (1877 CE), Claude Monet responds to the rapid industrialization and urbanization of Paris by

3. The stylization of the faces of the two figures on the right side of Pablo Picasso's 'Les Demoiselles d'Avignon' (1907 CE) provides evidence of the artist's appropriation of visual forms from

4. Joseph Wright of Derby’s 'A Philosopher Giving a Lecture on the Orrery' (c. 1763–1765 CE) reflects the cultural shift of the Enlightenment by

5. Francisco de Goya’s 'Y no hai remedio' (And There’s Nothing to Be Done) from 'The Disasters of War' (1810–1823 CE) diverges from traditional military history painting by

6. In 'The Valley of Mexico from the Hillside of Santa Isabel' (1882 CE), José María Velasco asserts a distinct Mexican national identity in the context of modernization by

7. Alfred Stieglitz's photograph 'The Steerage' (1907 CE) addresses the complexity of the modern American experience by contrasting

8. During the 19th century, the annual Salon exhibitions in Paris became the dominant venue for artists to display their work. Which of the following best explains how this specific exhibition context influenced the scale and subject matter of many academic paintings?

9. The establishment of national museums in the late 18th and early 19th centuries, such as the Louvre in Paris or the Altes Museum in Berlin, marked a significant shift in the function of art by:

10. In the design of the Carson, Pirie, Scott and Company Building, Louis Sullivan adapted the architectural form to serve the needs of a new type of patron, the commercial corporation, by doing which of the following?

11. Which of the following best describes the primary motivation for the formation of independent artist groups, such as the Impressionists (Anonymous Society of Painters, Sculptors, Engravers, etc.) in 1874?

12. Honoré Daumier’s print 'Nadar Raising Photography to the Height of Art' demonstrates how the mass medium of lithography changed the relationship between artist and audience by:

13. By the late 19th and early 20th centuries, the concept of the 'avant-garde' emerged. How did this shift affect the artistic goals of painters such as those associated with Expressionism or Cubism?

14. The design of the Carson, Pirie, Scott and Company Building by Louis Sullivan incorporates a steel frame structure. Which of the following specific architectural features was made possible by this use of steel framing?

15. In the Villa Savoye, Le Corbusier utilized ferroconcrete (reinforced concrete) to implement his 'Five Points of Architecture.' How did this material specifically influence the building's structural support system?

16. Andy Warhol's 'Marilyn Diptych' utilizes the technique of photo-silkscreen serigraphy. Which of the following best explains how this medium contributed to the meaning of the work?

17. The Seagram Building by Ludwig Mies van der Rohe exemplifies the International Style through its use of industrial materials. Although the building's internal structure is steel, why did the architect apply bronze I-beams to the exterior facade?

18. Robert Smithson's 'Spiral Jetty' is a monumental earthwork created in the Great Salt Lake. Which of the following statements best describes the relationship between the work's creation process and its environment?

19. Louis-Jacques-Mandé Daguerre's 'Still Life in Studio' (1837) demonstrates the capabilities of the early daguerreotype process. Which visual characteristic of this work is a direct result of the technical limitations and advantages of this new medium?

20. [Skill: 4A | Topic: 4.4] A museum label for Marcel Duchamp’s *Fountain* (1917; replica 1950) includes the excerpt below: > “Early audiences dismissed *Fountain* as a prank and an insult to artistic skill. Later scholars, drawing on new archival evidence about the work’s submission to an exhibition and on theories of language and institutions, have argued that the object functions as a critique of how art is defined and validated. More recent interpretations also consider issues of authorship and identity in light of debates about who proposed the idea for the work.” Which of the following best explains what the label suggests about interpreting later European and American art?

21. When analyzing Pablo Picasso's 'Les Demoiselles d'Avignon', an art historian utilizing a post-colonial theoretical lens would most likely critique which aspect of the painting?

22. Alfred Stieglitz, in discussing his photograph 'The Steerage', wrote: 'I saw a picture of shapes and underlying that the feeling I had about life.' This statement suggests that Stieglitz intended the work to be interpreted primarily through which art historical approach?

23. Meret Oppenheim's 'Object' (Le Déjeuner en fourrure) is a Surrealist work that combines a teacup, saucer, and spoon covered in gazelle fur. To fully explain the viewer's visceral reaction to this work, an art historian would most likely draw upon theories from which discipline?

24. Gustave Courbet's 'The Stone Breakers' was destroyed during World War II, but surviving documentation allows for art historical analysis. When it was created in 1849, it challenged the French Academy's norms. Which theoretical interpretation best explains the political controversy surrounding this work?

25. The work shown, 'The Valley of Mexico from the Hillside of Santa Isabel' by José María Velasco, can be analyzed as a Romantic landscape. However, a contextual interpretation focusing on nation-building would emphasize which specific detail to support its argument?