1. Short Response Test 18 th and 19 th Century European and American Art Each question should take you no more than seven minutes to write. On the AP test, you will have only five minutes. You may choose the work of art you prefer and about which you can best write. Make sure that you identify the title and artist. Make sure you refer to any significant date(s) that may ground this work or movement. Your responses will be graded upon your ability to connect the characteristics of a certain “ism” to observed and thoughtfully described visual evidence. A solid answer may begin in a way that feels somewhat formulaic. A solid answer may feel like this….(see the next slide).

2. The Taking of Christ by Caravaggio (1602) is an excellent example of Baroque art. A product of Counter-Reformation impulses, the work deliberately attempts to engage the viewer with dramatic action and tenebrism. Carravaggio has chosen to depict the moment immediately after Judas has kissed Christ’s cheek; a soldier in full armour reaches in to this “embrace” to grasp Christ by the neck. The reflected light gleams across this “metal” arm, which presses against the foreground frame of the image both because of its placement in the composition and because the strong white highlights draw the viewer’s eye to this aggressive gesture. In strong contrast, Christ face appears sorrowful and calm. His face is depicted very naturalistically. He seems like a man— not a God. The viewer can easily anticipate the pain he will suffer on the cross. Judas’ face contrasts strongly with Christ’s: his wrinkled brow, darker skin, and almost puzzled expression suggest that he perhaps already regrets his betrayal. Around these three central figures, the action swirls. Immediately to Christ’s right, a disciple seems to be crying out into the darkness; perhaps he is calling for help or fending off other soldiers. To Christ’s left, two soldiers advance—both are helmeted and almost anonymous. All the figures emerge from an almost opaque darkness. Only the faces of the figures and the gestures of the central triad are in full light. Caravaggio may be using the figure on Christ’s right as a proxy for the viewer’s reaction to this scene: this disciple in green cries out helplessly and throws his hands up in the air (one arm is actually cut off by the frame of the composition). This figure seems to embody the despair that the viewer is meant to feel as he too watches helplessly as this scene of betrayal is re-enacted before his eyes. Because all the dramatic action is pressed up against the foreground of the image, the viewer feels full engaged—as if he is present. (331 words)

3. Rococo How does this work demonstrate the characteristics of Rococo?

7. Neoclassicism How does this work demonstrate the characteristics of Neoclassicism?

11. Romanticism How does this work demonstrate the characteristics of Romanticism?

15. Romanticism How does this work demonstrate the characteristics of Romanticism?

19. Realism How does this work demonstrate the characteristics of Realism?

23. Impressionism How does this work demonstrate the characteristics of Impressionism?

27. Japonisme How does this work demonstrate the influence of Japonisme?

31. Post-Impressionism How does this work demonstrate the characteristics of Post-Impressionism?