| ANSWER KEY |
| Diagnostic Test |
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Section I 1.A 2.C 3.B 4.B 5.C 6.D 7.A 8.A 9.D 10.B 11.B 12.C 13.A 14.A 15.C 16.D 17.A 18.B 19.C 20.B 21.B 22.D 23.C 24.D 25.A 26.D 27.C 28.C 29.A 30.C 31.D 32.A 33.A 34.C 35.C 36.B 37.C 38.B 39.C 40.B 41.D 42.C 43.D 44.B 45.C 46.C 47.A 48.B 49.A 50.C 51.C 52.D 53.A 54.C 55.A 56.B 57.D 58.D 59.D 60.D 61.A 62.B 63.C 64.C 65.D 66.D 67.A 68.A 69.D 70.D 71.C 72.A 73.D 74.D 75.D 76.B 77.C 78.A 79.A 80.B |
ANSWERS EXPLAINED
Section I
1.(A) Abakanowicz’s hollow sculptures symbolize, among other things, the emptiness of modern life, and the shallowness of people.
2.(C) The artist has said on occasion that the use of burlap has the texture of human skin and therefore symbolizes it.
3.(B) When placed in the center of the room, the emptiness of the insides of the sculpture become apparent. Many of this artist’s works are placed in open spaces or in the center of rooms so they can be appreciated from all sides.
4.(B) The Ikenga (shrine figure) is an abstracted human form. The other three are very or fairly realistic in comparison.
5.(C) Marble has traditionally been used to “set in stone” the reputations of great figures in ancient history. The use of marble in this sculpture equates Washington with hallowed men from the classical past.
6.(D) The David Vases were originally meant to be placed on the altar of a Chinese Daoist temple.
7.(A) The artists were inspired by the decorations on Chinese bronzes.
8.(A) American Indian pottery had begun to decline when Europeans, with mass-produced pots, began to arrive. Martinez revived pottery making as an art form.
9.(D) The David Vases on the left have no known artist, but the work on the right was done by Maria and Julian Martínez. There are no matte surfaces on the David Vases, nor are they dominated by geometric or zigzag motifs. Only the David Vases were meant to be used in rituals. The Martinez pot was made for the tourist trade. On the other hand, they both have abstracted forms derived from nature.
10.(B) Although all of these works are Mexican in origin, only the painting Virgin of Guadalupe has an image, on the bottom center, of the eagle perched on a cactus—a symbol of Mexico itself.
11.(B) The hypostyle hall, with its numerous columns forming a dense interior, can be paralleled only with the Mosque at Córdoba, which has a forest of columns. The interior of the Altar of Zeus and Athena has not survived, and the last two choices have open and airy interiors.
12.(C) The ideals of the Roman Republic, with an early version of a democratic system of government, were seen as models for the American republic. For example, both the Romans and the Americans had a senate. Jefferson’s building combines an ancient Greek portico with a Roman dome, as does the Pantheon in Rome.
13.(A) The Venetian Renaissance took religious and historical themes and made them more human, personal, and earthly than their Florentine counterparts.
14.(A) Francesco Borromini built a number of innovative and highly original churches in downtown areas of Rome. Hence, it was not possible to have extensive landscaping around his buildings. He preferred working in shades of white so that the dominant features of his building designs could stand out and not be camouflaged by brilliant colors. There is no evidence he used glass any more extensively than in windows.
15.(C) Egyptian writing is read left to right; Japanese writing is traditionally read right to left.
16.(D) The work on the left depicts the weighing of the soul of Hunefer.
17.(A) The work on the right is a depiction of an historical episode from Japanese history, specifically, a civil war culminating in the burning and looting of the Sanjô Palace.
18.(B) The work on the bottom, as is true with almost all Japanese scrolls, was never meant to be on permanent display. It was meant to be taken out, appreciated, and then stored away in scroll cabinets.
19.(C) Mende masks were worn by the Sande society of women, who prepared girls for adulthood and their subsequent roles in society through a ceremony in which the masks, along with appropriate costumes, were worn during a private ceremony without males.
20.(B) In the Last Judgment, Jesus comes at the end of the world to dictate who will go to heaven and who will go to hell. The human population on the planet will come to an end. The other choices do not reference global destruction.
21.(B) The Cranach print on the left is meant to promote Protestantism at the expense of Catholicism during the early stages of the Reformation.
22.(D) One of the many features of prints is that multiple original images can be mass produced and marketed.
23.(C) Angular and stiff figures are often rendered in woodcuts.
24.(D) The Kollwitz work on the right depicts the mourning over a deceased member of the Communist party.
25.(A) Santa Sabina has columns that were taken from the ruined Temple of Juno in Rome, the temple that occupied this site before Santa Sabina was built. The other choices were buildings made without reused elements.
26.(D) The Church of Sainte-Foy was built along a pilgrimage road to Santiago de Compostela in northwestern Spain.
27.(C) The huge number of pilgrims were accommodated by using an ambulatory around the apse. This architectural structure moved people from chapel to chapel without interfering with the main services held in the altar area.
28.(C) The Great Stupa at Sanchi was another point of pilgrimage.
29.(A) A reliquary is an object that houses sacred objects within it. Often the shape of the reliquary reflects the shape of the object it contains.
30.(C) Vigée Le Brun is at work at an easel in which the image of Marie Antoinette can be seen looking at her with admiration. She kept the queen’s memory alive well after her beheading during the French Revolution.
31.(D) The rulers at Great Zimbabwe kept food in large grain silos to be distributed in times of need. This solidified their position as powerful providers in times of want.
32.(A) Daumier’s exaggeration of Nadar’s efforts to photograph Paris from a hot-air balloon qualifies as caricature. None of the other images seek to humorize the subject.
33.(A) Iconoclasm is the destruction of images. The Bamiyan Buddhas were blown up in 2001 by the Taliban in Afghanistan as an act of iconoclasm.
34.(C) The imperial portraits of Justinian and Theodora are housed in the church of San Vitale in Ravenna.
35.(C) The bas-reliefs on the walls of the Palace of Persepolis depict the imperial guard of the Persian king, Darius. Their numbers always held at 10,000, and were thus called the Immortals.
36.(B) The stiffness of kouros figures is similar to the erect stance of Egyptian sculptures.
37.(C) Both male and female Greek Archaic sculptures are painted, young, and had large human heads, but only the males are nude.
38.(B) The sculpture probably represents a heroic male warrior.
39.(C) Stylistically, a French Gothic manuscript such as Blanche of Castile and Louis IX shows a great affinity for compartmentalizing narratives into squares as well as for showing elegant, richly decorated figures and scenes, much as the Golden Haggadah does.
40.(B) The patron of the Hagia Sophia was Emperor Justinian.
41.(D) This building offered the first use of a pendentive, a triangular structure that transitions the space between the round dome and a square base.
42.(C) This work is by Fragonard. The similarities to The Swing are striking, including the use of atmospheric perspective, the soft pastel colors, and the fête galante theme.
43.(D) Colophons are commentaries written at the end of Chinese scrolls. They can also be publication data and commentary that appear on manuscripts from around the world.
44.(B) The Golden Stool is the symbol of the Ashanti nation. It cannot touch the ground; therefore it is not used as part of a throne. It is not decorated with royal symbols but does have bells attached to warn people if it is being touched. It is not used in coming-of-age ceremonies; in fact, it is rarely exhibited at all, and its whereabouts is generally unknown.
45.(C) The navigation charts of the Marshall Islands are intensely personal objects whose interpretation is known only to their creator. For others, the exact meaning of the diagonal lines is not easily understood, although generally it is believed they represent ocean and wind currents.
46.(C) Vassily Kandinsky was noted for his sweeping gestural work that initiated the world of modern abstract art.
47.(A) This work is from the Amarna period of Egyptian art. Indicators for this include the soft, supple shapes given to the human form, the slack jaws, the thin arms, epicene bodies, and low-hanging bellies.
48.(B) The artist signed his name six times on this bowl, indicating a certain degree of pride in his work.
49.(A) Architects of this period, Le Corbusier among others, favored streamlined, even, and sleek spaces that avoided decoration and ornamentation.
50.(C) Vassily Kandinsky wrote extensively on art theory. His writings were extremely influential on the history of modern art.
51.(C) Kirchner was a member of an art movement called The Bridge, so-called because the movement saw itself as a bridge between traditional and modern painting.
52.(D) The work on the left is used in Islamic prayer rituals.
53.(A) Weaving traditionally has been thought of as a female art form.
54.(C) The works in the background are three paintings by the Renaissance artist, Leonardo da Vinci. These paintings are on display in the Louvre museum.
55.(A) The active Muslim and Jewish ban on images influenced the Byzantine ban on Christian images in the ninth and tenth centuries.
56.(B) Northern Renaissance altarpieces, like the Isenheim altarpiece, are cupboards that open and close.
57.(D) The prehistoric cave paintings were thought by some to be forgeries until the caves of Lascaux were discovered.
58.(D) The lost wax process is a way of creating bronze or brass sculptures.
59.(D) Islam does not have statues of holy figures, nor does this shrine have an east end to house relics. There are no animal sacrifices. Muslims worship at the Kaaba by circumambulating the shrine seven times as an act of devotion.
60.(D) In situ is a Latin expression that means “in its original place.”
61.(A) This work is located in a remote section of the Utah desert on the Great Salt Lake.
62.(B) Spiral Jetty resembles the curvilinear forms found at Great Serpent Mound in Ohio.
63.(C) Daumier was generally not happy about the invention of the photograph and tried to minimize its artistic impact by gently poking fun at Nadar and his photographic achievements.
64.(C) The Harlem Renaissance was a rich period that celebrated African-American culture in all artistic avenues.
65.(D) The rareness of certain birds with their colorful plumage meant that many birds had to be captured, plucked, and traded to create the garments. These garments, expensive and time consuming to make, thus carried great esteem.
66.(D) Etchings are dipped in acid after being covered in a wax ground. The acid eats into the surface and produces grooves filled with ink so that images can be reproduced on paper.
67.(A) Leonardo da Vinci was an endless experimenter, particularly in the types of paints he used. He combined watercolor, oil, and tempera paint in the creation of the Last Supper.
68.(A) The Great Portal figures symbolically hold up and support the church and its teachings.
69.(D) Like the Great Portals, the Lakshmana Temple has sculpture carved on its façade.
70.(D) This illustration comes from the medieval manuscript called The Book of Kells. Like the Book of Lindisfarne, this book has author portraits, cross pages, and decorative opening pages called incipit pages. This page does not have a dedication page with figures acting as a patron for the book, as in the dedication page with Blanche of Castile and Louis IX. Nor does it function as an iconic image as done in Byzantine art. Cross-carpet pages are dominated by large crosses that are filled in with elaborate interlacing patterns. This page has both text and image, with the opening words being emphasized. This signals the opening of a gospel book.
71.(C) Quoins are architectural features that are prominently placed on the edges of buildings to emphasize their perimeter.
72.(A) Most architecture from the Etruscan period does not survive. We know about it through the writings of the Roman author, Vitruvius.
73.(D) The ceilings by many Baroque masters open up the barrel vault of the church to a huge display of an infinite sky with figures, seen from below, hovering above the viewer’s eyes.
74.(D) Graywacke is an unusually hard stone, meant to last forever and maintain the spirit of an Egyptian’s ka indefinitely.
75.(D) Westminster Hall, adjacent to the Houses of Parliament, survived an early-nineteenth-century fire and formed the source of inspiration for the new building. Westminster Hall is a surviving example of Perpendicular Gothic, a native English architectural style.
76.(B) A moralized Bible compares the Old and New Testament stories, by placing them side by side.
77.(C) Scholars have demonstrated that Vermeer’s paintings were influenced by the use of the camera obscura.
78.(A) The beads used in bandolier bags were obtained by trading with the Europeans.
79.(A) Impressionist paintings, particularly those by Claude Monet, are especially concerned with the atmospheric effects of light and air on objects.
80.(B) The meticulous use of detail is a hallmark of the style of Jan van Eyck. None of the other characteristics apply to him.
Section II
MODEL RESPONSE FOR QUESTION 1
Throughout history, written works have often been accompanied by illustration to add meaning and further explain the text. This is evident in the Last judgment of Hunefer, from his tomb, which is a page from the Book of the Dead. This papyrus scroll is from the ancient Egyptian New Kingdom. It clearly utilizes text hand in hand with illustration to gets its full meaning across; it is the final judgment of the scribe, Hunefer, before he can go to heaven.
Similar to pyramid and coffin texts, this scroll text was a set of instructions that Hunefer would need in the afterlife. The writing would help lead Hunefer through his judgment so that his soul could finally be weighed and he could go to heaven. The writing also includes prayers. These prayers were to aid the dead in getting through their final judgment. Lastly, the writing allows us to identify who Hunefer is in the first place. We can follow the story of the ancient scribe using the text; however, the illustration helps us to visualize it.
The illustration helps to further explain what the text is saying. It fully shows the trip that Hunefer took to be judged. The illustration also helps to clarify what Hunefer may have somewhat looked like, as well as how important Hunefer was. He is dressed in a white robe, white being a pure color associated with high status in art. In one scene on the top left, Hunefer is kneeling in front of many figures. He is pleading with them and telling them that he is in fact a good person, worthy of heaven. On the bottom far left, the man in the white robe, the god, Anubis, leads Hunefer. Hunefer’s heart is being weighted against a feather to find the purity of soul. Thoth stands on the other side of the scale, recording what is going on to see if Hunefer has truly lived an ethical life. In one final scene on the right, Hunefer is introduced to one of the supreme gods, Osiris, by Osiris’s son, Horus, with the falcon head. Osiris sits in front of a lotus, a flower that represents eternal life.
Another important book is the Frontispiece of the Codex Mendoza, c. 1542, done on pigment on paper. Although named after the viceroy of New Spain, the work actually shows scenes of the founding of Tenochtitlan in Mexico City.
The work uses two different kinds of writing: Spanish, to explain the story to a European audience, and Aztec pictograms that illustrate the story in a native language.
The purpose of the book is to show life in New Spain to an audience that would probably never go there. To that end, Aztecs carry out events in daily life, as well as military conquests, both legible in their language and in the European tongue. Skulls, for example, represent sacrificial victims offered up in Aztec ceremonies. They are also words that symbolize this sacrifice. Therefore in the case of the Codex Mendoza, the words and pictures are actually one.
So powerful has this imagery become, that the current Mexican flag has some of the symbols seen on this frontispiece: an eagle, a cactus, and a rock.
MODEL RESPONSE FOR QUESTION 2
The Arnolfini Portrait by Jan van Eyck is an oil on wood painting created in the fifteenth century, more specifically done in the 1430s C.E.
A common distinguishing feature of artists in the Northern Renaissance is the presence of symbolism to create meaning in a work of art. For artists such as Jan van Eyck, this symbolism comes from “disguised symbols” or objects that appear as though they are everyday items, but hold a symbolic meaning that was quite recognizable at the time it was created.
For this piece in particular, there are many pieces of visual and contextual evidence that support the claim of symbolism being typical in the Northern Renaissance. In the foreground of the scene, a small dog stands between the couple, and while it appears as though the dog has no relevance in regards to the subject matter of the painting, the small creature holds an abundance of meaning. Not only does that particular breed of dog represent a load of wealth during the Northern Renaissance, a theme represented by many objects in this piece such as fabrics and furnishings, but it also represents marital fidelity.
While the actual action in the scene is not known entirely, one main theory is that the couple in the frame are in the middle of a betrothal ceremony, which aligns with symbol of faithfulness embodied by the dog. Another one of these disguised symbols is the lack of shoes worn by the man. This alone represents the idea of the “holy ground” and in combination of symbols such as the convex mirror and the burning candle in the background all demonstrate the omniscience and omnipresence of God. These religious symbols being disguised in works of art through everyday objects that hold meaning is common in the Northern Renaissance. The Arnolfini Portrait is just one example of the use of these disguised symbols to convey messages received by those present at the time of completion of the piece.
—Hannah B.
MODEL RESPONSE FOR QUESTION 3
The sculpture is made out of marble. There are three figures in agony and it looks like they are being constricted by a snake. They are nude and idealized and are showing a lot of emotion. They are attached to a piece of stone at the bottom, and they have some cloth being draped from them.
One technique that the artists used to create a sense of drama in this work is the crisscrossing diagonals that run all throughout the sculpture. The diagonal lines make the figures in this work look like they are moving. Another technique the artists used is the comparison between light and dark. The comparison adds perspective and depth and makes it also feel more dramatic. The figure in the middle looks like he is jumping out at the viewer because he is the lightest. The facial expressions and the movements also make it appear more dramatic. It is obvious that they are in pain by not only their face but their bodies. They are twisting all over in agony.
This work is part of the Hellenistic tradition for multiple different reasons. First of all, it is showing intense violence and overwhelming, raw emotion. The figures are very expressive and it is showing a dramatic theatricality. This was a big change from the earlier Greek Classical period which demonstrated a calmness and rationality. It is a snapshot of a scene, which is obvious by the twisting and straining bodies, the crisscrossing diagonals, and the vigorous movement. Lastly, it is showing a strong contrast of light and dark.
—Ellie C.
MODEL RESPONSE FOR QUESTION 4
The Funeral banner of Lady Dai was found in China laid on top of her innermost of four coffins.
An example of visual evidence that shows influence on materials is the use of silk. During the Han Dynasty, only wealthy people could afford silk garments. By using silk, Lady Dai was showing her wealth and power.
An example of visual evidence that shows influence on imagery is the artist’s use of symbols. For example, of the use of bi: symbol of heaven. This shape is seen twice on the banner: on the bottom where it is created by the intertwining of fish, and in the middle where the dragons intertwine. The bi shape has also been found with the jade congs in early Chinese graves. The symbol has continuously been connected with funerary art.
One example of contextual evidence that represents aspects of Chinese philosophy is the use of the banner. The banner was used to attract the spirit of Lady Dai to her tomb where she could begin her journey in the afterlife.
Another example of contextual evidence representing aspects of Chinese philosophy is where the banner was placed. The Funeral banner of Lady Dai was encompassed by three other coffins that were filled with offerings she would use in the afterlife. Confucianism is represented by Lady Dai’s relatives showing her respect with offerings and rituals. This is seen in the lower middle part of the banner where Lady Dai’s funeral is being held. Her body is on a platform with a table full of vessels holding food and wine offered by her family.
—Ava N.
MODEL RESPONSE FOR QUESTION 5
This building can be attributed to Louis Sullivan.
One specific detail that justifies my attribution is the inclusion of strips of vertical windows covering each side of this building and Sullivan’s Carson, Pirie, Scott and Company Building.
Another detail that justifies my attribution is the break from traditional architecture evident in the design of this building and the Carson, Pirie, Scott building. Sullivan’s motto became “Form Follows Function,” asserting that the building’s architecture should reflect its function or purpose. In addition, Sullivan utilizes terra cotta cladding in between the long strips of window to further emphasize the building’s function by revealing its structural system.
In his buildings, Sullivan uses steel girder framing which is best known in the development of architectural history for enabling buildings to have large, glass windows. As visible in the image of the plan, the steel framing allows for large windows to pour light and ventilation into the building, a concern of modern architects.
Sullivan also uses an elevator in his building. This is what allowed architects to create higher buildings that more efficiently fulfilled the needs of citizens.
—Allie C.
MODEL RESPONSE FOR QUESTION 6
This Ndop on the left is one of numerous other commemorative portraits portraying a Kuba ruler’s idealized spirit that celebrates the success and achievements contributed by each respective African ruler’s reign. Since these wooden figures were commissioned posthumously, they replaced deceased kings and acted as containers for their spirit. The Kuba people believed in the secular value of material possessions and the Ndop reflects this through the usage of royal regalia.
The king is shown sitting cross-legged on a base instead of directly on the surface, suggesting his high status. His facial expression appears disinterested, reflecting a detachment from worldly affairs. The peace knife in his left hand has its handle turned outward, symbolizing the peace that Kuba enjoyed under his authority.
The amount of accessories the artist included in this statue, such as the headdress or necklace, serves to communicate the economic prosperity of the rule and affluence of the king. His stiff posture evokes an aura of dignity to the audience.
The photo of Kuba King Nyim in regal dress on the right was taken during a royal event. Just as the Ndop figure, the king in the picture stands on a platform as opposed to directly on the ground with his subjects. As seen in the photograph, this ruler also wears an excessive amount of royal regalia. This method of conveying wealth, status, and power through costume and dress is a continuation within African art. Lastly, the amount of effort put into this event reveals the lasting tradition of honoring the Kuba kings with grand festivity and many celebratory objects.
EVALUATION OF DIAGNOSTIC TEST
NOTE: Because the AP Art History exam has been redesigned, there is no way of knowing exactly how the raw scores on the exams will translate into a 1, 2, 3, 4, or 5. The formula provided below is based on past commonly accepted standards for grading the AP Art History exam. Additionally, the score range corresponding to each grade varies from exam to exam, and thus the ranges provided below are approximate.
Section I: Multiple-Choice (50% of grade)
Your diagnostic test score can now be computed. The multiple-choice section of the actual test is scored by computer, but it uses the same method you will use to compute your score manually. Each correct answer earns one point. Each incorrect answer has no value, and cannot earn or lose points. Omitted questions or questions that the computer cannot read because of smudges or double entries are not scored at all. Go over your answers and mark the ones correct with a “C” and the ones incorrect with an “X.”
Enter the total number of correct answers: _________
Conversion of Raw Score to Scaled Score
Your raw score is computed from a total of 80 questions. In order to coordinate the raw score of the multiple-choice section with the free-response section, the multiple-choice section is multiplied by a factor of 1.25. For example, if the raw score is 65, the weighted score is 81.25. Enter your weighted score in the box on the right.
Enter your weighted multiple-choice score:
__________
Section II: Essay (50% of grade)
When grading your essay section, be careful to follow the rubric so that you accurately assess your achievement. The highest point total for this section is 34.
| Essay 1: (Total score: 8 points) | ________ |
| Essay 2: (Total score: 6 points) | ________ |
| Essay 3: (Total score: 5 points) | _________ |
| Essay 4: (Total score: 5 points) | _________ |
| Essay 5: (Total score: 5 points) | _________ |
| Essay 6: (Total score: 5 points) | _________ |
| Total Raw Score on Essay Section: | _________ |
In order to weight this section appropriately, the raw score is multiplied by 2.942, so that the highest weighted score is 100.
Enter your weighted essay score:
___________
Final Scoring
Add your weighted scores. A perfect score is 200. Although the weighting changes from year to year, a general rule of thumb is that 75% correct is a 5, 66% is a 4, and 55% is a 3. Use the following table as an estimate of your achievement.
Enter your total weighted score:
___________
| 5 | 150–200 points |
| 4 | 132–149 points |
| 3 | 110–131 points |
| 2 | 75–109 points |
| 1 | 0–74 points |
Enter your AP score:
___________
EXAMPLE
Section I: Multiple-Choice:
| Number correct: | 60 (out of 80) |
| Number correct × 1.25: | 75 (out of 100) |
Section II: Scores on the six essays could be:
| Essay 1: | 4 |
| Essay 2: | 5 |
| Essay 3: | 4 |
| Essay 4: | 3 |
| Essay 5: | 4 |
| Essay 6: | 2 |
| Total: | 22 × 2.942 = 64.7 |
Section I score:75
Section II score:64.7
Total score: 139.7
This test would likely score a 4.