Born in 1891 to a Quechua-speaking family in theAndes Mountains of Peru, Martín Chambi is todayconsidered to be one of the most renowned figures ofLatin American photography. In a paper for an arthistory class, a student claims that Chambi’sphotographs have considerable ethnographicvalue—in his work, Chambi was able to capturediverse elements of Peruvian society, representing hissubjects with both dignity and authenticity.Which finding, if true, would most directly supportthe student’s claim?A) Chambi took many commissioned portraits ofwealthy Peruvians, but he also producedhundreds of images carefully documenting thepeoples, sites, and customs of Indigenouscommunities of the Andes.B) Chambi’s photographs demonstrate a high levelof technical skill, as seen in his strategic use ofillumination to create dramatic light and shadowcontrasts.C) During his lifetime, Chambi was known andcelebrated both within and outside his nativePeru, as his work was published in places likeArgentina, Spain, and Mexico.D) Some of the peoples and places Chambiphotographed had long been popular subjectsfor Peruvian photographers................................................................................................................................................................................................................................................................................................................Unauthorized copying or reuse of any part of this page is illegal. CO NTI N U E614

Ethnographic analogy features too in some of the pa-pers in Chav´ın: art, architecture and culture. Ever sincethe 1930s, when the great Peruvian archaeologist JulioC. Tello identified it as the font of Andean civilisation,the monumental site of Chav´ın de Huantar, high inthe Central Andes in Ancash, has loomed over Andeanprehistory. And while this status has long been underassault, Chav´ın material culture – the so-called ‘EarlyHorizon’ – continues to mark the first period in whichsome degree of unity is visible in the archaeologicalrecord across great expanses of the Central Andes.For Richard Burger and many others its iconographyof fanged ‘chimeras’ – wonderfully illustrated in thispublication – conveys dread purpose. Burger (p. 91)evokes precisely this in his proposed name of Manchay(from the Quechua for ‘to be afraid’) for a currentlyunnamed precursor culture of the Central Coast.Indeed this illustrates how relatively unexplored thearchaeology of the Andes still is; for where elsedo entire ‘cultures’ still remain nameless? Burger isperhaps the leading authority on the Early Horizonand he contributes two papers to this volume, theproduct of a round-table at Dumbarton Oaks heldsome three decades on from a precursor meetingthere published under the same title. This collectionbenefits from the excellent editing of Quilter andConklin, the latter also contributing a typically lucidchapter on Chav´ın textiles

While attending school in New York City in the 1980s, Okwui Enwezor encountered few works by African artists in exhibitions, despite New York’s reputation as one of the best places to view contemporary art from around the world. According to an arts journalist, later in his career as a renowned curator and art historian, Enwezor sought to remedy this deficiency, not by focusing solely on modern African artists, but by showing how their work fits into the larger context of global modern art and art history.14 Mark For ReviewWhich finding, if true, would most directly support the journalist’s claim? A) As curator of the Haus der Kunst in Munich, Germany, Enwezor organized a retrospective of Ghanaian sculptor El Anatsui’s work entitled El Anatsui: Triumphant Scale, one of the largest art exhibitions devoted to a Black artist in Europe’s history. B) In the exhibition Postwar: Art Between the Pacific and the Atlantic, 1945–1965, Enwezor and cocurator Katy Siegel brought works by African artists such as Malangatana Ngwenya together with pieces by major figures from other countries, like US artist Andy Warhol and Mexico’s David Siqueiros. C) Enwezor’s work as curator of the 2001 exhibition The Short Century: Independence and Liberation Movements in Africa, 1945–1994 showed how African movements for independence from European colonial powers following the Second World War profoundly influenced work by African artists of the period, such as Kamala Ibrahim Ishaq and Thomas Mukarobgwa. D) Enwezor organized the exhibition In/sight: African Photographers, 1940 to the Present not to emphasize a particular aesthetic trend but to demonstrate the broad range of ways in which African artists have approached the medium of photography.

Mexican photographer Manuel Álvarez Bravo was a self-taught artist who employed his camera to capture banal, everyday moments through the lenses of surrealism and irony. He engaged with subjects that were associated with stereotypical views of Mexico, such as Mexican folk art, indigenous dress, and the streets of Mexico City, but he captured elements that went against expectations of what those subjects “should” look like. His photographs resisted romanticization and sentimental elements and instead showed everyday people in everyday situations. Which choice best describes Álvarez Bravo’s approach to art, as presented in the text? He drew from the work of surrealist artists to show the absurdism of the lives of famous Mexicans. eliminateHe worked to counteract the conventional representations of Mexico by showing what life in Mexico was really like. eliminateHe captured deeply personal images of his daily life that mimicked and satirized Mexican stereotypes.eliminateHe wanted to share romanticized images of traditional Mexican life.

The passage given below is followed by a set of questions. Choose the correct answer to each question. Things were very different from today when monarchies ruled Europe. Painted portraits were serious affairs — whether of state, commerce, historical record or private life, and whether for royalty, aristocrats and their hangers-on, or the bourgeoisie, who usually could afford only pastel. The career of the French portraitist Elisabeth Louise Vigée Le Brun (1755-1842), the subject of a ravishing, overdue survey at the Metropolitan Museum of Art, unfolded in those earlier times, almost entirely in the courts of Europe. She is best known as a painter of unusually sympathetic portraits of beautiful women of high rank. Only one-sixth of the sitters in these works are male, but their portraits confirm that she was equally effective with men. Vigée Le Brun painted Marie Antoinette numerous times. Made at the request of Marie Antoinette’s mother, Empress Maria Theresa of Austria, it is less than perfect. The queen’s white satin panniers look so hard and shiny they might almost be enameled metal; the background is crowded with competing architectural elements. But the painting pleased Maria Theresa, who was not as interested in a good likeness as proof of her daughter’s regal bearing in court dress. And the treatment of Marie Antoinette’s face captures her dignity, her sweetness and something of the Hapsburg chin. She excelled in more intimate formats, the three-quarter and especially bust-length portraits, where her renderings of expression, lightly powdered ringlets and fabric are beyond reproach. This is confirmed by her 1782 portrait of the Duchess of Polignac in a white chemise and a black wrap, wearing a straw hat decorated with flowers. The image has a casual, almost snapshot-like freshness, and the ruffles at the neckline are as soft as flower petals. Vigée Le Brun was also known for her sensitive depictions of children, best represented here by a 1786 portrait of her beloved daughter, Julie. It shows the 6-year-old holding a mirror and studying her face, and is a kind of double portrait. We see her full-face and in profile, connected to the viewer (and her mother) and aloof. The artist’s portraits are distinctive for their colours, which are unusual, daringly combined and still startling. As suggested by the softened red, yellow and blues that dominate the portrait of the Countess of Ségur, Vigée Le Brun’s colour choices give her paintings an unexpected abstract force that often emboldens their subjects. She could also go for blunt elegance: Paintings using different combinations of red, white and black recur throughout the show, including in three self-portraits.  Question 8.Vigée Le Brun’s portraits discussed in the passage are representative of: miniature artcourt or public art religious art art which uses symbolic motifs

The passage given below is followed by a set of questions. Choose the correct answer to each question. Things were very different from today when monarchies ruled Europe. Painted portraits were serious affairs — whether of state, commerce, historical record or private life, and whether for royalty, aristocrats and their hangers-on, or the bourgeoisie, who usually could afford only pastel. The career of the French portraitist Elisabeth Louise Vigée Le Brun (1755-1842), the subject of a ravishing, overdue survey at the Metropolitan Museum of Art, unfolded in those earlier times, almost entirely in the courts of Europe. She is best known as a painter of unusually sympathetic portraits of beautiful women of high rank. Only one-sixth of the sitters in these works are male, but their portraits confirm that she was equally effective with men. Vigée Le Brun painted Marie Antoinette numerous times. Made at the request of Marie Antoinette’s mother, Empress Maria Theresa of Austria, it is less than perfect. The queen’s white satin panniers look so hard and shiny they might almost be enameled metal; the background is crowded with competing architectural elements. But the painting pleased Maria Theresa, who was not as interested in a good likeness as proof of her daughter’s regal bearing in court dress. And the treatment of Marie Antoinette’s face captures her dignity, her sweetness and something of the Hapsburg chin. She excelled in more intimate formats, the three-quarter and especially bust-length portraits, where her renderings of expression, lightly powdered ringlets and fabric are beyond reproach. This is confirmed by her 1782 portrait of the Duchess of Polignac in a white chemise and a black wrap, wearing a straw hat decorated with flowers. The image has a casual, almost snapshot-like freshness, and the ruffles at the neckline are as soft as flower petals. Vigée Le Brun was also known for her sensitive depictions of children, best represented here by a 1786 portrait of her beloved daughter, Julie. It shows the 6-year-old holding a mirror and studying her face, and is a kind of double portrait. We see her full-face and in profile, connected to the viewer (and her mother) and aloof. The artist’s portraits are distinctive for their colours, which are unusual, daringly combined and still startling. As suggested by the softened red, yellow and blues that dominate the portrait of the Countess of Ségur, Vigée Le Brun’s colour choices give her paintings an unexpected abstract force that often emboldens their subjects. She could also go for blunt elegance: Paintings using different combinations of red, white and black recur throughout the show, including in three self-portraits.  Question 6According to the passage,  Vigée Le Brun’s portrait of Marie Antoinette:depicts fresh open-air settingshows prolific use of dark and light shadingshows brilliant reproduction of court dress captures the characteristic facial expression