[Solved] Final History 1

Assignment Prompt & Instructions

Please look at the files carefully, especially the instructions and the links in the following.

**files (3)**

– ## InstructionsArtGallery.pdf

– ## FInalExam2610Spring2025.docx

– LinksforEachTopic.pdf

**## InstructionsArtGallery.pdf**

(Google Art Project Worksheet)

Overview:

Your final exam will require you to apply what you have learned throughout the
semester to objects presented through Google Arts and Culture. These will
consist of an array of short answer questions, drawing parallels to objects and
ideas presented in the modules and discussed in Stokstad. The objects will
be similar but not identical to those you have encountered in class. You will
need to apply the knowledge you gained in class to answer questions about
these objects.

Instructions

Download, complete, and reupload the final exam file Download final exam
fileto the assignment. In completing the exam, carefully follow these
directions/guidelines:

• Do each of the six required assignments listed in the first section. (10
points each; 60 points total).

• Choose an additional five questions from the subsequent lists based
on the different regions we have studied. Each question must come
from a different list (8 points each; 40 points total)

• For each artwork you write about, you must place it in a Google Arts and
Culture gallery and paste a link to the collection in your final paper. See
the below tutorial for directions on how to do this.

• In writing up the assignment, use the modules, your notes, and the
textbook to support your answers, citing your sources properly. DO NOT
USE THE INTERNET (OUTSIDE OF GOOGLE ARTS AND CULTURE) –
DOING SO MAY RESULT IN FAILURE.

• Before you hand in your work, make sure your assignment is complete
(remember to include the link!), proofread, and typed. Be sure to answer
every part of the questions in COMPLETE SENTENCES.

[https://www.google.com/culturalinstitute/project/art-project](https://www.google.com/culturalinstitute/project/art-project)

[https://ucdenver.instructure.com/courses/571638/files/28158607?wrap=1](https://ucdenver.instructure.com/courses/571638/files/28158607?wrap=1)

[https://ucdenver.instructure.com/courses/571638/files/28158607/download?download_frd=1](https://ucdenver.instructure.com/courses/571638/files/28158607/download?download_frd=1)

[https://ucdenver.instructure.com/courses/571638/files/28158607/download?download_frd=1](https://ucdenver.instructure.com/courses/571638/files/28158607/download?download_frd=1)

• Citing your sources
• You will utilize the footnotes and bibliography formats for the textbook and the

modules. Since this is an exam, you only have to cite what you are directly
quoting or paraphrasing. If you are simply recalling general concepts from the
course, you do not need to cite them. As a refresher, here are the citation
formats for the book and modules.

• Your first footnote/endnote will look like this:
• 1Marilyn Stokstad and Michael Cothren, Art History (Upper Saddle River, NJ:

Prentice-Hall, 2017), page or section number.
• Every following footnote/endnote will look like this:
• 2 Stokstad and Cothren, Art History, page or section number.
• You must also have a Works Cited at the end of the paper. Use this to cite the

text in your works cited:
• Stokstad, Marilyn and Michael Cothren. Art History. Upper Saddle River, NJ:

Prentice-Hall, 2017.
• If you wish to utilize the course modules, you should follow this format for the

initial footnote.
• 3Sarah Nichols, “Title of Lesson,” Art History II. 2016. Date Accessed. URL.
• The shortened footnote should look like this:
• 4Nichols, “Title of Lesson.”
• The works cited entry should follow this format:
• Nichols, Sarah. “Title of Lesson.” Art History II. 2016. Date Accessed. URL.

**## FInalExam2610Spring2025.docx**

## Final Exam

## -Google Art project Worksheet-

## INSTRUCTIONS:

1) Do each of the
**six required** assignments listed in the first section. (10 points each; 60 points total).

2) Choose an additional
**five** in the subsequent lists. These questions must all come from different lists (8 points each; 40 points total)

3) For each artwork you write about, you must include it in your exam gallery. Instructions on how to make and publish your gallery are in the video linked in the instructions.

4) Be sure to answer all the parts of the questions in
**COMPLETE SENTENCES**. 
In writing up the assignment, use the modules, your notes, and the textbook to support your answers, citing your sources properly.
**DO NOT USE THE INTERNET (OUTSIDE OF THE GOOGLE ART PROJECT) – DOING SO MAY RESULT IN FAILURE. THIS INCLUDES CHAT GPT AND OTHER LLMS.**

5) Before you hand in your work, make sure your assignment is complete (remember to include the link to your gallery!), proofread, and typed.

6) Upload your assignment to the provided space on Canvas in either a Microsoft Word Document by Friday, May 16th, 2025.

## Required Questions

1)
**Mandy Martin,**
**_Break_, 1988. [Canberra Museum and Gallery].**

a) Briefly compare this work to
_The Oxbow_ by Thomas Cole (30-64).

b) How might Martin’s work embody the idea of a Romantic landscape like Cole’s work?

c) How do these two paintings differ in their interpretation of the Sublime?

2)
**El Anatsui,**
**_Many Came Back,_ 2005. [Newark Museum]**

a) What materials are used in this work? (Use the zoom function!) How do those materials used in this piece contribute to its meaning?

b) What other art form does he adapt to make his work? How does this convey meaning?

3)
**Unknown Artist, Kiowa Warriors in Regalia, c. 1890. [Harvard Art Museums]**

a) What art form did this one replace in the late 19th century? What social conditions led to the adoption of this art form?

b) What function did both art forms serve to the plains tribes?

c) How does this image have a similar function and style to the examples in the book and modules?

4)
**Sesson Shūkei,**
**_Landscape in Moonlight,_ 16th century. [Los Angeles County Museum of Art]**

1) Give a brief visual analysis of this work.

a) What qualities does this painting have with other works by Zen masters?

b) How might this painting act as a koan (Zen Buddhist riddle)?

5)
**Alfred Sisley,**
**_Moret: The Banks of the River Loing_, 1877 [Albertina]—AND—William-Adolphe Bouguereau,**
**_Orestes Pursued by Furies_, 1862. [Chrysler Museum of Art]**

a) Study the two paintings.

b) Based on the rules of the academic salons of the 18th and 19th centuries, which painting would be most likely admitted to the Salon?

c) Explain your choice, citing those rules and relevant examples from the material.

6)
**Australian Aboriginal Peoples, Bark Painting depicting a Coiled Snake, 1800s-1968. [Spencer Museum of Art]**

a) Analyze the painting using the elements: line, color, and texture.

b) How was this medium adapted by Clifford Possum Tjapaltjarri? How does this painting compare to his?

c) What socioeconomic changes led to this adaptation? Be specific.

## Precolumbian and Latin America

1)
**Sebastian Salcedo,**
**_Virgin of Guadalupe,_ 1779.**
**[Denver Art Museum]**

a) Find a similar work in your book from Europe in the 17th/18th century. Include the artist, title,
country, and date.

b) Name two similarities and one difference between these two works.

2)
**Unknown Artist,**
**_Sacred Eucharistic Featherwork,_ 1000 (?) [Museo Nacional de Arte]**

a) What is the material of this work? How was this material significant to the Aztec approach to empire building and maintenance?

b) How was this medium adapted post-conquest? Use this piece as an example.

## American Indian

1)
**Hosteen Klah**
**_, Sandpainting Tapestry,_ Navajo, about 1925. [The Art Institute of Chicago]**

a) What social/economic conditions led to the use of this medium?

b) What art form(s) have we studied that are like these works in their function? Be sure to explain what they have in common

2)
**Emmi Whitehorse,**
**_Self Surrender_ (**
**_#1242_), 1999. [Spencer Musuem of Art]**

a) Read the description of this work. How does the artist straddle the conventions of Navajo art and Western modern art?

b) How is this negotiation of and struggle for identity like that of the modern artists from Africa and Australia we have discussed? Mention specific examples to support your answer.

## Africa

1)
**Unknown Artist, Power Figure (Nkisi), Kongo, 19th century. [The Baltimore Museum of Art]**

a) What is the function of this object in the practices of the Kongo people?

b) What is the importance of nails in the body of the figure?

c) How does this compare to the similar object in your book?

2)
**Unknown Artist, Sowei Mask, Sierra Leone, late 19th century. [Denver Art Museum]**

a) Sketch the mask.

b) Compare it to the one in Stokstad (29-16). How is it similar? How is it different?

c) Name at least three common markers of beauty found in both masks.

3)
**Unknown Artist,**
**_Egungun Mask_, Oyo Peoples, late 1950s. [Spencer Museum of Art]**

a) How is this mask displayed to the viewer in this format?

b) Do you think that this mode of display accurately represents the performative elements inherent in many African masks? Why or why not?

4)
**Julie Mehretu,**
**_Mogamma, (A Painting in Four Parts): Part_ 2, 2012. [High Museum of Art]**

a) What is diaspora? What changing conditions caused diaspora in Africa?

b) How is this explored in this work? Support your ideas with specific visual analysis.

## Asia

1)
**Chojiro, Tea Bowl known as “Jirobo,” 16th century. [Fukuoka Art Museum] –AND– Artist Unknown, Longquan ware drinking bowl, China, Zhejiang province, 12th-13th centuries. [Freer Gallery of Art, National Museum of Asian Art]**

a. Sketch these bowls side by side.

b. Would these objects belong to the Shoin (Audience Hall) or Soan (Grass-Hut) style of tea?

c. Briefly explain your choice with stylistic analysis, using examples you have encountered this semester.

2)
**Unknown Artist,**
**_Thangka_, Tibet, 19th century. [Freer Gallery of Art, National Museum of Asian Art]**

a) Compare this image to the thangkas presented in the modules.

b) Discuss at least three similar motifs, characters, and/or gestures.

3)
**Unknown Artist,**
**_Section of Palace Facade, Pakistan, Swat Valley,_ Pakistan**
**_,_ 1835.**
**[Denver Art Museum]**

a) Compare this structure to Mughal structures.

b) Name at least three common motifs/techniques employed in this facade.

c) Support your observations with examples from the book and modules.

4)
**Abu’l-Hasan,**
**_Jahangir Shooting the Head of Malik Ambar_, India, 19th century. [Freer Gallery of Art, National Museum of Asian Art]**

a) Compare these pages to the pages from the reign of Jahangir shown in the modules.

b) How are they similar in both style and subject matter? Give at least two similarities.

c) How is this type of imagery also present in the ruler portraits of Europe? Give an example.

5)
**Gade,**
**_Little Red Book_, Tibet, 2013. [Imago Mundi]**

a) Compare this work to Takashi Murakami’s
_727._

b) What relationship do both artists have with the artistic traditions of their respective cultures?

c) Support your conclusions with analysis.

## Modern and Contemporary

1)
**Nick Cave,**
**_Soundsuit_, 2010. [Minneapolis Institute of Art]**

a) From what past art historical movements does Nick Cave appear to be drawing in this work?

b) There are many possibilities so be sure to fully support your reasoning with analysis and examples.

2)
**Nam Kyung Min,**
**_Magritte’s Atelier,_ 2004. [Korean Art Museum Association]**

a) How does this painting illustrate Magritte’s goals and approach to Surrealism?

b) Point out at least two parts of the painting to support your answer, citing the works by Magritte featured in this class.

3)
**Roy Lichtenstein,**
**_Live Ammo (Ha! Ha! Ha!),_ 1962. [Chrysler Museum of Art]**

a) What medium does adapt in his work? Use this painting as an example, citing two features of this medium that he replicates in painting.

b) What is the meaning created by this adaptation? How does it interpret “Pop Art?”

4)
**Juan Gris,**
**_The Painter’s Window,_ 1925. [The Baltimore Museum of Art]**

a) Compare to
_Vanitas_(from the module) and
_Still Life with Tazza_ by Pieter Claesz (23-46). What commonalities do you see among these works?

b) How does Gris’s cubist style reinforce the goals of the Vanitas genre? Support with analysis.

## Europe

1)
**Unknown Artist, Robert Dudley, Earl of Leicester, ca. 1595. [Yale Center for British Art]**

a) Compare this portrait to Jean Clouet’s portrait of Francis I (22-13).

b) Discuss at least three similarities between these two paintings and how they communicate power and influence in Early Modern Europe.

2)
**Master of San Torpé,**
**_Madonna and Child with St. Bartholomew and St. John the Baptist_, circa 1320. [North Carolina Museum of Art]**

a) Compare to the Virgin and Child altarpieces of Cimabue, Duccio, and Giotto.

b) Which of those three most resembles the example on display?

c) How does this altarpiece shows a negotiation between the stylized icon paintings and newer, more humanistic beliefs?

3)
**Jean-Pierre Latz (Cabinetry) and Francis Bayley (Clockwork), Wall Clock, 1735-1740. [Art Institute of Chicago]**

a) Compare this item to the interior of the
_Salon de la Princesse_ in the Hotel Soubise (30-2).

b) Who would likely be the patron/owner of this work?

c) How do the similarities among these art forms reflect the tastes of their very specific audience? Be specific.

## Extra Credit

Choose any of the galleries with the
[museum view option](https://www.google.com/culturalinstitute/collections?projectId=art-project&hl=en), and digitally tour the space. In no more than
**FIVE** well-chosen and organized sentences, explain how this compares to the “real thing.” Can this tool replace the museum experience? Or does it provide a different experience altogether?

**LinksforEachTopic.pdf**

This file is too large to display. [View in new window](https://www.sweetstudy.com/files/linksforeachtopic-pdf-10545939)

**LinksforEachTopic.pdf**

This file is too large to display. [View in new window](https://www.sweetstudy.com/files/linksforeachtopic-pdf-10545939)

**## InstructionsArtGallery.pdf**

(Google Art Project Worksheet)

Overview:

Your final exam will require you to apply what you have learned throughout the
semester to objects presented through Google Arts and Culture. These will
consist of an array of short answer questions, drawing parallels to objects and
ideas presented in the modules and discussed in Stokstad. The objects will
be similar but not identical to those you have encountered in class. You will
need to apply the knowledge you gained in class to answer questions about
these objects.

Instructions

Download, complete, and reupload the final exam file Download final exam
fileto the assignment. In completing the exam, carefully follow these
directions/guidelines:

• Do each of the six required assignments listed in the first section. (10
points each; 60 points total).

• Choose an additional five questions from the subsequent lists based
on the different regions we have studied. Each question must come
from a different list (8 points each; 40 points total)

• For each artwork you write about, you must place it in a Google Arts and
Culture gallery and paste a link to the collection in your final paper. See
the below tutorial for directions on how to do this.

• In writing up the assignment, use the modules, your notes, and the
textbook to support your answers, citing your sources properly. DO NOT
USE THE INTERNET (OUTSIDE OF GOOGLE ARTS AND CULTURE) –
DOING SO MAY RESULT IN FAILURE.

• Before you hand in your work, make sure your assignment is complete
(remember to include the link!), proofread, and typed. Be sure to answer
every part of the questions in COMPLETE SENTENCES.

[https://www.google.com/culturalinstitute/project/art-project](https://www.google.com/culturalinstitute/project/art-project)

[https://ucdenver.instructure.com/courses/571638/files/28158607?wrap=1](https://ucdenver.instructure.com/courses/571638/files/28158607?wrap=1)

[https://ucdenver.instructure.com/courses/571638/files/28158607/download?download_frd=1](https://ucdenver.instructure.com/courses/571638/files/28158607/download?download_frd=1)

[https://ucdenver.instructure.com/courses/571638/files/28158607/download?download_frd=1](https://ucdenver.instructure.com/courses/571638/files/28158607/download?download_frd=1)

• Citing your sources
• You will utilize the footnotes and bibliography formats for the textbook and the

modules. Since this is an exam, you only have to cite what you are directly
quoting or paraphrasing. If you are simply recalling general concepts from the
course, you do not need to cite them. As a refresher, here are the citation
formats for the book and modules.

• Your first footnote/endnote will look like this:
• 1Marilyn Stokstad and Michael Cothren, Art History (Upper Saddle River, NJ:

Prentice-Hall, 2017), page or section number.
• Every following footnote/endnote will look like this:
• 2 Stokstad and Cothren, Art History, page or section number.
• You must also have a Works Cited at the end of the paper. Use this to cite the

text in your works cited:
• Stokstad, Marilyn and Michael Cothren. Art History. Upper Saddle River, NJ:

Prentice-Hall, 2017.
• If you wish to utilize the course modules, you should follow this format for the

initial footnote.
• 3Sarah Nichols, “Title of Lesson,” Art History II. 2016. Date Accessed. URL.
• The shortened footnote should look like this:
• 4Nichols, “Title of Lesson.”
• The works cited entry should follow this format:
• Nichols, Sarah. “Title of Lesson.” Art History II. 2016. Date Accessed. URL.

**## FInalExam2610Spring2025.docx**

## Final Exam

## -Google Art project Worksheet-

## INSTRUCTIONS:

1) Do each of the
**six required** assignments listed in the first section. (10 points each; 60 points total).

2) Choose an additional
**five** in the subsequent lists. These questions must all come from different lists (8 points each; 40 points total)

3) For each artwork you write about, you must include it in your exam gallery. Instructions on how to make and publish your gallery are in the video linked in the instructions.

4) Be sure to answer all the parts of the questions in
**COMPLETE SENTENCES**. 
In writing up the assignment, use the modules, your notes, and the textbook to support your answers, citing your sources properly.
**DO NOT USE THE INTERNET (OUTSIDE OF THE GOOGLE ART PROJECT) – DOING SO MAY RESULT IN FAILURE. THIS INCLUDES CHAT GPT AND OTHER LLMS.**

5) Before you hand in your work, make sure your assignment is complete (remember to include the link to your gallery!), proofread, and typed.

6) Upload your assignment to the provided space on Canvas in either a Microsoft Word Document by Friday, May 16th, 2025.

## Required Questions

1)
**Mandy Martin,**
**_Break_, 1988. [Canberra Museum and Gallery].**

a) Briefly compare this work to
_The Oxbow_ by Thomas Cole (30-64).

b) How might Martin’s work embody the idea of a Romantic landscape like Cole’s work?

c) How do these two paintings differ in their interpretation of the Sublime?

2)
**El Anatsui,**
**_Many Came Back,_ 2005. [Newark Museum]**

a) What materials are used in this work? (Use the zoom function!) How do those materials used in this piece contribute to its meaning?

b) What other art form does he adapt to make his work? How does this convey meaning?

3)
**Unknown Artist, Kiowa Warriors in Regalia, c. 1890. [Harvard Art Museums]**

a) What art form did this one replace in the late 19th century? What social conditions led to the adoption of this art form?

b) What function did both art forms serve to the plains tribes?

c) How does this image have a similar function and style to the examples in the book and modules?

4)
**Sesson Shūkei,**
**_Landscape in Moonlight,_ 16th century. [Los Angeles County Museum of Art]**

1) Give a brief visual analysis of this work.

a) What qualities does this painting have with other works by Zen masters?

b) How might this painting act as a koan (Zen Buddhist riddle)?

5)
**Alfred Sisley,**
**_Moret: The Banks of the River Loing_, 1877 [Albertina]—AND—William-Adolphe Bouguereau,**
**_Orestes Pursued by Furies_, 1862. [Chrysler Museum of Art]**

a) Study the two paintings.

b) Based on the rules of the academic salons of the 18th and 19th centuries, which painting would be most likely admitted to the Salon?

c) Explain your choice, citing those rules and relevant examples from the material.

6)
**Australian Aboriginal Peoples, Bark Painting depicting a Coiled Snake, 1800s-1968. [Spencer Museum of Art]**

a) Analyze the painting using the elements: line, color, and texture.

b) How was this medium adapted by Clifford Possum Tjapaltjarri? How does this painting compare to his?

c) What socioeconomic changes led to this adaptation? Be specific.

## Precolumbian and Latin America

1)
**Sebastian Salcedo,**
**_Virgin of Guadalupe,_ 1779.**
**[Denver Art Museum]**

a) Find a similar work in your book from Europe in the 17th/18th century. Include the artist, title,
country, and date.

b) Name two similarities and one difference between these two works.

2)
**Unknown Artist,**
**_Sacred Eucharistic Featherwork,_ 1000 (?) [Museo Nacional de Arte]**

a) What is the material of this work? How was this material significant to the Aztec approach to empire building and maintenance?

b) How was this medium adapted post-conquest? Use this piece as an example.

## American Indian

1)
**Hosteen Klah**
**_, Sandpainting Tapestry,_ Navajo, about 1925. [The Art Institute of Chicago]**

a) What social/economic conditions led to the use of this medium?

b) What art form(s) have we studied that are like these works in their function? Be sure to explain what they have in common

2)
**Emmi Whitehorse,**
**_Self Surrender_ (**
**_#1242_), 1999. [Spencer Musuem of Art]**

a) Read the description of this work. How does the artist straddle the conventions of Navajo art and Western modern art?

b) How is this negotiation of and struggle for identity like that of the modern artists from Africa and Australia we have discussed? Mention specific examples to support your answer.

## Africa

1)
**Unknown Artist, Power Figure (Nkisi), Kongo, 19th century. [The Baltimore Museum of Art]**

a) What is the function of this object in the practices of the Kongo people?

b) What is the importance of nails in the body of the figure?

c) How does this compare to the similar object in your book?

2)
**Unknown Artist, Sowei Mask, Sierra Leone, late 19th century. [Denver Art Museum]**

a) Sketch the mask.

b) Compare it to the one in Stokstad (29-16). How is it similar? How is it different?

c) Name at least three common markers of beauty found in both masks.

3)
**Unknown Artist,**
**_Egungun Mask_, Oyo Peoples, late 1950s. [Spencer Museum of Art]**

a) How is this mask displayed to the viewer in this format?

b) Do you think that this mode of display accurately represents the performative elements inherent in many African masks? Why or why not?

4)
**Julie Mehretu,**
**_Mogamma, (A Painting in Four Parts): Part_ 2, 2012. [High Museum of Art]**

a) What is diaspora? What changing conditions caused diaspora in Africa?

b) How is this explored in this work? Support your ideas with specific visual analysis.

## Asia

1)
**Chojiro, Tea Bowl known as “Jirobo,” 16th century. [Fukuoka Art Museum] –AND– Artist Unknown, Longquan ware drinking bowl, China, Zhejiang province, 12th-13th centuries. [Freer Gallery of Art, National Museum of Asian Art]**

a. Sketch these bowls side by side.

b. Would these objects belong to the Shoin (Audience Hall) or Soan (Grass-Hut) style of tea?

c. Briefly explain your choice with stylistic analysis, using examples you have encountered this semester.

2)
**Unknown Artist,**
**_Thangka_, Tibet, 19th century. [Freer Gallery of Art, National Museum of Asian Art]**

a) Compare this image to the thangkas presented in the modules.

b) Discuss at least three similar motifs, characters, and/or gestures.

3)
**Unknown Artist,**
**_Section of Palace Facade, Pakistan, Swat Valley,_ Pakistan**
**_,_ 1835.**
**[Denver Art Museum]**

a) Compare this structure to Mughal structures.

b) Name at least three common motifs/techniques employed in this facade.

c) Support your observations with examples from the book and modules.

4)
**Abu’l-Hasan,**
**_Jahangir Shooting the Head of Malik Ambar_, India, 19th century. [Freer Gallery of Art, National Museum of Asian Art]**

a) Compare these pages to the pages from the reign of Jahangir shown in the modules.

b) How are they similar in both style and subject matter? Give at least two similarities.

c) How is this type of imagery also present in the ruler portraits of Europe? Give an example.

5)
**Gade,**
**_Little Red Book_, Tibet, 2013. [Imago Mundi]**

a) Compare this work to Takashi Murakami’s
_727._

b) What relationship do both artists have with the artistic traditions of their respective cultures?

c) Support your conclusions with analysis.

## Modern and Contemporary

1)
**Nick Cave,**
**_Soundsuit_, 2010. [Minneapolis Institute of Art]**

a) From what past art historical movements does Nick Cave appear to be drawing in this work?

b) There are many possibilities so be sure to fully support your reasoning with analysis and examples.

2)
**Nam Kyung Min,**
**_Magritte’s Atelier,_ 2004. [Korean Art Museum Association]**

a) How does this painting illustrate Magritte’s goals and approach to Surrealism?

b) Point out at least two parts of the painting to support your answer, citing the works by Magritte featured in this class.

3)
**Roy Lichtenstein,**
**_Live Ammo (Ha! Ha! Ha!),_ 1962. [Chrysler Museum of Art]**

a) What medium does adapt in his work? Use this painting as an example, citing two features of this medium that he replicates in painting.

b) What is the meaning created by this adaptation? How does it interpret “Pop Art?”

4)
**Juan Gris,**
**_The Painter’s Window,_ 1925. [The Baltimore Museum of Art]**

a) Compare to
_Vanitas_(from the module) and
_Still Life with Tazza_ by Pieter Claesz (23-46). What commonalities do you see among these works?

b) How does Gris’s cubist style reinforce the goals of the Vanitas genre? Support with analysis.

## Europe

1)
**Unknown Artist, Robert Dudley, Earl of Leicester, ca. 1595. [Yale Center for British Art]**

a) Compare this portrait to Jean Clouet’s portrait of Francis I (22-13).

b) Discuss at least three similarities between these two paintings and how they communicate power and influence in Early Modern Europe.

2)
**Master of San Torpé,**
**_Madonna and Child with St. Bartholomew and St. John the Baptist_, circa 1320. [North Carolina Museum of Art]**

a) Compare to the Virgin and Child altarpieces of Cimabue, Duccio, and Giotto.

b) Which of those three most resembles the example on display?

c) How does this altarpiece shows a negotiation between the stylized icon paintings and newer, more humanistic beliefs?

3)
**Jean-Pierre Latz (Cabinetry) and Francis Bayley (Clockwork), Wall Clock, 1735-1740. [Art Institute of Chicago]**

a) Compare this item to the interior of the
_Salon de la Princesse_ in the Hotel Soubise (30-2).

b) Who would likely be the patron/owner of this work?

c) How do the similarities among these art forms reflect the tastes of their very specific audience? Be specific.

## Extra Credit

Choose any of the galleries with the
[museum view option](https://www.google.com/culturalinstitute/collections?projectId=art-project&hl=en), and digitally tour the space. In no more than
**FIVE** well-chosen and organized sentences, explain how this compares to the “real thing.” Can this tool replace the museum experience? Or does it provide a different experience altogether?

**LinksforEachTopic.pdf**

This file is too large to display. [View in new window](https://www.sweetstudy.com/files/linksforeachtopic-pdf-10545939)

**## InstructionsArtGallery.pdf**

(Google Art Project Worksheet)

Overview:

Your final exam will require you to apply what you have learned throughout the
semester to objects presented through Google Arts and Culture. These will
consist of an array of short answer questions, drawing parallels to objects and
ideas presented in the modules and discussed in Stokstad. The objects will
be similar but not identical to those you have encountered in class. You will
need to apply the knowledge you gained in class to answer questions about
these objects.

Instructions

Download, complete, and reupload the final exam file Download final exam
fileto the assignment. In completing the exam, carefully follow these
directions/guidelines:

• Do each of the six required assignments listed in the first section. (10
points each; 60 points total).

• Choose an additional five questions from the subsequent lists based
on the different regions we have studied. Each question must come
from a different list (8 points each; 40 points total)

• For each artwork you write about, you must place it in a Google Arts and
Culture gallery and paste a link to the collection in your final paper. See
the below tutorial for directions on how to do this.

• In writing up the assignment, use the modules, your notes, and the
textbook to support your answers, citing your sources properly. DO NOT
USE THE INTERNET (OUTSIDE OF GOOGLE ARTS AND CULTURE) –
DOING SO MAY RESULT IN FAILURE.

• Before you hand in your work, make sure your assignment is complete
(remember to include the link!), proofread, and typed. Be sure to answer
every part of the questions in COMPLETE SENTENCES.

[https://www.google.com/culturalinstitute/project/art-project](https://www.google.com/culturalinstitute/project/art-project)

[https://ucdenver.instructure.com/courses/571638/files/28158607?wrap=1](https://ucdenver.instructure.com/courses/571638/files/28158607?wrap=1)

[https://ucdenver.instructure.com/courses/571638/files/28158607/download?download_frd=1](https://ucdenver.instructure.com/courses/571638/files/28158607/download?download_frd=1)

[https://ucdenver.instructure.com/courses/571638/files/28158607/download?download_frd=1](https://ucdenver.instructure.com/courses/571638/files/28158607/download?download_frd=1)

• Citing your sources
• You will utilize the footnotes and bibliography formats for the textbook and the

modules. Since this is an exam, you only have to cite what you are directly
quoting or paraphrasing. If you are simply recalling general concepts from the
course, you do not need to cite them. As a refresher, here are the citation
formats for the book and modules.

• Your first footnote/endnote will look like this:
• 1Marilyn Stokstad and Michael Cothren, Art History (Upper Saddle River, NJ:

Prentice-Hall, 2017), page or section number.
• Every following footnote/endnote will look like this:
• 2 Stokstad and Cothren, Art History, page or section number.
• You must also have a Works Cited at the end of the paper. Use this to cite the

text in your works cited:
• Stokstad, Marilyn and Michael Cothren. Art History. Upper Saddle River, NJ:

Prentice-Hall, 2017.
• If you wish to utilize the course modules, you should follow this format for the

initial footnote.
• 3Sarah Nichols, “Title of Lesson,” Art History II. 2016. Date Accessed. URL.
• The shortened footnote should look like this:
• 4Nichols, “Title of Lesson.”
• The works cited entry should follow this format:
• Nichols, Sarah. “Title of Lesson.” Art History II. 2016. Date Accessed. URL.

**## FInalExam2610Spring2025.docx**

## Final Exam

## -Google Art project Worksheet-

## INSTRUCTIONS:

1) Do each of the
**six required** assignments listed in the first section. (10 points each; 60 points total).

2) Choose an additional
**five** in the subsequent lists. These questions must all come from different lists (8 points each; 40 points total)

3) For each artwork you write about, you must include it in your exam gallery. Instructions on how to make and publish your gallery are in the video linked in the instructions.

4) Be sure to answer all the parts of the questions in
**COMPLETE SENTENCES**. 
In writing up the assignment, use the modules, your notes, and the textbook to support your answers, citing your sources properly.
**DO NOT USE THE INTERNET (OUTSIDE OF THE GOOGLE ART PROJECT) – DOING SO MAY RESULT IN FAILURE. THIS INCLUDES CHAT GPT AND OTHER LLMS.**

5) Before you hand in your work, make sure your assignment is complete (remember to include the link to your gallery!), proofread, and typed.

6) Upload your assignment to the provided space on Canvas in either a Microsoft Word Document by Friday, May 16th, 2025.

## Required Questions

1)
**Mandy Martin,**
**_Break_, 1988. [Canberra Museum and Gallery].**

a) Briefly compare this work to
_The Oxbow_ by Thomas Cole (30-64).

b) How might Martin’s work embody the idea of a Romantic landscape like Cole’s work?

c) How do these two paintings differ in their interpretation of the Sublime?

2)
**El Anatsui,**
**_Many Came Back,_ 2005. [Newark Museum]**

a) What materials are used in this work? (Use the zoom function!) How do those materials used in this piece contribute to its meaning?

b) What other art form does he adapt to make his work? How does this convey meaning?

3)
**Unknown Artist, Kiowa Warriors in Regalia, c. 1890. [Harvard Art Museums]**

a) What art form did this one replace in the late 19th century? What social conditions led to the adoption of this art form?

b) What function did both art forms serve to the plains tribes?

c) How does this image have a similar function and style to the examples in the book and modules?

4)
**Sesson Shūkei,**
**_Landscape in Moonlight,_ 16th century. [Los Angeles County Museum of Art]**

1) Give a brief visual analysis of this work.

a) What qualities does this painting have with other works by Zen masters?

b) How might this painting act as a koan (Zen Buddhist riddle)?

5)
**Alfred Sisley,**
**_Moret: The Banks of the River Loing_, 1877 [Albertina]—AND—William-Adolphe Bouguereau,**
**_Orestes Pursued by Furies_, 1862. [Chrysler Museum of Art]**

a) Study the two paintings.

b) Based on the rules of the academic salons of the 18th and 19th centuries, which painting would be most likely admitted to the Salon?

c) Explain your choice, citing those rules and relevant examples from the material.

6)
**Australian Aboriginal Peoples, Bark Painting depicting a Coiled Snake, 1800s-1968. [Spencer Museum of Art]**

a) Analyze the painting using the elements: line, color, and texture.

b) How was this medium adapted by Clifford Possum Tjapaltjarri? How does this painting compare to his?

c) What socioeconomic changes led to this adaptation? Be specific.

## Precolumbian and Latin America

1)
**Sebastian Salcedo,**
**_Virgin of Guadalupe,_ 1779.**
**[Denver Art Museum]**

a) Find a similar work in your book from Europe in the 17th/18th century. Include the artist, title,
country, and date.

b) Name two similarities and one difference between these two works.

2)
**Unknown Artist,**
**_Sacred Eucharistic Featherwork,_ 1000 (?) [Museo Nacional de Arte]**

a) What is the material of this work? How was this material significant to the Aztec approach to empire building and maintenance?

b) How was this medium adapted post-conquest? Use this piece as an example.

## American Indian

1)
**Hosteen Klah**
**_, Sandpainting Tapestry,_ Navajo, about 1925. [The Art Institute of Chicago]**

a) What social/economic conditions led to the use of this medium?

b) What art form(s) have we studied that are like these works in their function? Be sure to explain what they have in common

2)
**Emmi Whitehorse,**
**_Self Surrender_ (**
**_#1242_), 1999. [Spencer Musuem of Art]**

a) Read the description of this work. How does the artist straddle the conventions of Navajo art and Western modern art?

b) How is this negotiation of and struggle for identity like that of the modern artists from Africa and Australia we have discussed? Mention specific examples to support your answer.

## Africa

1)
**Unknown Artist, Power Figure (Nkisi), Kongo, 19th century. [The Baltimore Museum of Art]**

a) What is the function of this object in the practices of the Kongo people?

b) What is the importance of nails in the body of the figure?

c) How does this compare to the similar object in your book?

2)
**Unknown Artist, Sowei Mask, Sierra Leone, late 19th century. [Denver Art Museum]**

a) Sketch the mask.

b) Compare it to the one in Stokstad (29-16). How is it similar? How is it different?

c) Name at least three common markers of beauty found in both masks.

3)
**Unknown Artist,**
**_Egungun Mask_, Oyo Peoples, late 1950s. [Spencer Museum of Art]**

a) How is this mask displayed to the viewer in this format?

b) Do you think that this mode of display accurately represents the performative elements inherent in many African masks? Why or why not?

4)
**Julie Mehretu,**
**_Mogamma, (A Painting in Four Parts): Part_ 2, 2012. [High Museum of Art]**

a) What is diaspora? What changing conditions caused diaspora in Africa?

b) How is this explored in this work? Support your ideas with specific visual analysis.

## Asia

1)
**Chojiro, Tea Bowl known as “Jirobo,” 16th century. [Fukuoka Art Museum] –AND– Artist Unknown, Longquan ware drinking bowl, China, Zhejiang province, 12th-13th centuries. [Freer Gallery of Art, National Museum of Asian Art]**

a. Sketch these bowls side by side.

b. Would these objects belong to the Shoin (Audience Hall) or Soan (Grass-Hut) style of tea?

c. Briefly explain your choice with stylistic analysis, using examples you have encountered this semester.

2)
**Unknown Artist,**
**_Thangka_, Tibet, 19th century. [Freer Gallery of Art, National Museum of Asian Art]**

a) Compare this image to the thangkas presented in the modules.

b) Discuss at least three similar motifs, characters, and/or gestures.

3)
**Unknown Artist,**
**_Section of Palace Facade, Pakistan, Swat Valley,_ Pakistan**
**_,_ 1835.**
**[Denver Art Museum]**

a) Compare this structure to Mughal structures.

b) Name at least three common motifs/techniques employed in this facade.

c) Support your observations with examples from the book and modules.

4)
**Abu’l-Hasan,**
**_Jahangir Shooting the Head of Malik Ambar_, India, 19th century. [Freer Gallery of Art, National Museum of Asian Art]**

a) Compare these pages to the pages from the reign of Jahangir shown in the modules.

b) How are they similar in both style and subject matter? Give at least two similarities.

c) How is this type of imagery also present in the ruler portraits of Europe? Give an example.

5)
**Gade,**
**_Little Red Book_, Tibet, 2013. [Imago Mundi]**

a) Compare this work to Takashi Murakami’s
_727._

b) What relationship do both artists have with the artistic traditions of their respective cultures?

c) Support your conclusions with analysis.

## Modern and Contemporary

1)
**Nick Cave,**
**_Soundsuit_, 2010. [Minneapolis Institute of Art]**

a) From what past art historical movements does Nick Cave appear to be drawing in this work?

b) There are many possibilities so be sure to fully support your reasoning with analysis and examples.

2)
**Nam Kyung Min,**
**_Magritte’s Atelier,_ 2004. [Korean Art Museum Association]**

a) How does this painting illustrate Magritte’s goals and approach to Surrealism?

b) Point out at least two parts of the painting to support your answer, citing the works by Magritte featured in this class.

3)
**Roy Lichtenstein,**
**_Live Ammo (Ha! Ha! Ha!),_ 1962. [Chrysler Museum of Art]**

a) What medium does adapt in his work? Use this painting as an example, citing two features of this medium that he replicates in painting.

b) What is the meaning created by this adaptation? How does it interpret “Pop Art?”

4)
**Juan Gris,**
**_The Painter’s Window,_ 1925. [The Baltimore Museum of Art]**

a) Compare to
_Vanitas_(from the module) and
_Still Life with Tazza_ by Pieter Claesz (23-46). What commonalities do you see among these works?

b) How does Gris’s cubist style reinforce the goals of the Vanitas genre? Support with analysis.

## Europe

1)
**Unknown Artist, Robert Dudley, Earl of Leicester, ca. 1595. [Yale Center for British Art]**

a) Compare this portrait to Jean Clouet’s portrait of Francis I (22-13).

b) Discuss at least three similarities between these two paintings and how they communicate power and influence in Early Modern Europe.

2)
**Master of San Torpé,**
**_Madonna and Child with St. Bartholomew and St. John the Baptist_, circa 1320. [North Carolina Museum of Art]**

a) Compare to the Virgin and Child altarpieces of Cimabue, Duccio, and Giotto.

b) Which of those three most resembles the example on display?

c) How does this altarpiece shows a negotiation between the stylized icon paintings and newer, more humanistic beliefs?

3)
**Jean-Pierre Latz (Cabinetry) and Francis Bayley (Clockwork), Wall Clock, 1735-1740. [Art Institute of Chicago]**

a) Compare this item to the interior of the
_Salon de la Princesse_ in the Hotel Soubise (30-2).

b) Who would likely be the patron/owner of this work?

c) How do the similarities among these art forms reflect the tastes of their very specific audience? Be specific.

## Extra Credit

Choose any of the galleries with the
[museum view option](https://www.google.com/culturalinstitute/collections?projectId=art-project&hl=en), and digitally tour the space. In no more than
**FIVE** well-chosen and organized sentences, explain how this compares to the “real thing.” Can this tool replace the museum experience? Or does it provide a different experience altogether?

**LinksforEachTopic.pdf**

This file is too large to display. [View in new window](https://www.sweetstudy.com/files/linksforeachtopic-pdf-10545939)