how long should an ap art history essay be

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The Ultimate Guide to Acing the AP Art History Exam

By Eric Eng

For high school students who are determined to make the most out of their four years at high school, learn the most, and fill their college applications with fantastic details for college admissions officers to fawn over, enrolling in numerous AP courses per year is one of the best ways to achieve all of those goals. One of the most exciting and eye-opening courses that students can take through the AP program is the AP Art History Exam.

AP, which stands for Advanced Placement , courses is a program offered in both the United States and Canada and is aimed at providing children the chance to take part in college-level curricula and exams at the high school level. Students who perform amongst the best in the country can earn college credits and placement at many schools nationwide .

This placement is ultimately decided by an end-of-course exam, which students all over the country will take to test the knowledge that they have gained as well as their ability to understand and explain related material at a critical and analytical level.

What is the AP Art History exam?

The AP Art History exam is a rigorous assessment designed to test your understanding of artworks, artistic movements, and cultural contexts throughout history . It is a college-level course and exam offered by the College Board as part of the Advanced Placement (AP) program. The exam evaluates students’ knowledge of global art history from prehistoric to contemporary times.

The AP Art History Exam is one of the rare classes that high school students take. In fact, in 2019, just under 25,000 high school students took the AP Art History Exam. More than 5 million students took AP exams last year. Just because it is rare, however, does not mean that it is not an incredibly worthwhile course for students to take, especially if they are interested in pursuing a college degree and a professional career in the arts, history, or the humanities.

Suppose you are amongst those students who plan on taking the AP Art History course and studying for the AP Art History Exam . In that case, we at AdmissionSight want to help you prepare by giving you a quick breakdown of everything you will face on the exam. On top of that, we will also go over the most effective way to study and prepare for this kind of exam.

What you will learn in the AP Art History course?

Overall, the AP Art History course allows high school students to dive deeply into the nature of art and artistic creation. Throughout the course, students will be encouraged to consider the uses, meanings, and production of art throughout the history of human civilization.

Beyond that, students will also be expected to learn and be able to explain the societal responses and impact that art has garnered and created throughout human history. In all, the class is aimed at immersing students into the wonderful world of an artistic tradition that spans across time, culture, and more. It is also aimed at fostering an immense and educated appreciation of art and the history of art.

Artistic analysis

One of the significant things that students can expect to gain out of taking the AP Art History Exam is the ability to learn visual, contextual, and comparative analysis that is applied to the many different forms of art. Beyond that, students will also gain a distinct understanding of some of the tremendous individual works. They will also learn about the evolution of processes and products that were used throughout history to help some of the man’s greatest artists create some of the man’s most significant works of art.

While there is no official prerequisite for the AP Art History Exam, students are most likely to excel and love this course if they have shown a distinct interest in and passion for courses such as literature , studio art classes, history, and other similar focuses.

One important thing to keep in mind

Before we at AdmissionSight start breaking down the many exciting ins and outs of the AP Art History Exam itself, there is one thing that we should go over with the class and the exam.

The course was dramatically overhauled during the 2015-16 school year and is now presented and taught specifically with the AP Art History Exam in mind. That is not to say that most of the information itself is not the same; it certainly is! However, the course now has a more direct objective of teaching students to prepare for the exam. This means that the scope of the course overall has been changed to focus on teaching students how to understand art from a more conceptual standpoint, as well as encouraging deep critical thinking regarding art and analytical skills.

With the emphasis being put on these skills that certainly go far beyond just helping in the study of art history , less emphasis has subsequently been put on memorizing knowledge and facts regarding specific works of art. That said, the course itself will still require students to gain familiarity with specific works of art. Still, the number of particular works has been downsized from approximately 500 pieces to just about half of that since the redesign back in 2015-16.

What is on the AP Art History exam?

Typically, the course itself is broken down into ten unique units. Here at AdmissionSight , we think preparation is one of the best ways to increase the chances of success. With that in mind, we have made it a priority to allow you to take a look at the ten units below:

Throughout the exploration of these topics, you will also be encouraged to think conceptually about the content of the course by using the three big ideas. These are the overarching concepts of the course itself and are specifically inclined to try to help a student learn how to think critically and analyze and appreciate art regardless of when or where the art was from. The three big ideas are below:

• Artists manipulate materials and ideas to create an aesthetic object or event. Essential question: What is art, and how is it made?
• Art-making is shaped by tradition and change. Essential question: Why and how does art change?
• Interpretations of art are variable. Essential question: How do we describe our thinking about art?

Throughout studying the course material through these three big ideas related to the system, students are expected to develop foundational knowledge and thinking skills for understanding art and art critique. There are eight different art history skills that students will be asked to create in the course itself. Below is a breakdown of how much each skill will be tested on the AP Art History Exam:

The Fundamentals of the AP Art History Exam

Before you sign up for the AP Art History course, it is essential to know a lot of fundamental facts about the AP Art History Exam itself. First off, it is essential to understand that the exam itself is one of the longest exams within the AP curriculum. In total, it clocks in at three hours and – much like most of the other available AP courses – is broken into two halves: a multiple-choice section of questions and a free-response section.

Let’s break down the chances of students scoring a perfect 5 out of 5 on the AP Art History Exam. When it comes to scores of AP exams, students must score a 3 out of 5 to pass the exam. When gaining credit and placement from colleges, students will typically have to score at least a 4, and sometimes only a 5 will do. Beyond that, it is essential to keep in mind that the credit amount that placement students receive is based on the college or university that they are interested in attending.

Back to the AP Art History Exam, last year, just over 10 percent of students who took the exam scored a perfect 5 out of 5. Here is a breakdown of what percentage of students earned what score. While it may be difficult, scoring a 5 out of 5 on any AP exam will increase your chances of getting into the school of your dreams .

Multiple choice

The very first section of the exam is the multiple-choice section and will take up the first hour of the exam. Within that hour, a student will be tasked to answer 80 total questions, which account for exactly half of the total score of the exam.

Of the 80 total questions, there are about 40 of them that will be based on an image of a work of art. The remaining questions will be grouped into eight separate sets made up of three to six questions, each of which is based on a different color image. Once students complete the first portion of the exam, they will move on to the section of the exam, the free-response questions.

Free response

The second section of the AP Art History Exam is the free-response section and takes up the remaining two hours of the exam. Overall, this section includes six total questions and will make up the remaining half of the exam’s total score.

First, students will tackle two essays and get 30 minutes each to answer each question. From there, students will then be expected to answer four remaining questions and will get 15 minutes to answer each of the four questions.

For the 30-minute questions, students will be provided with three to five different works of art that share some unifying concept or idea. Students may also be expected to call upon an artwork they either covered in the course or learned about outside the course.

• The first 30-minute free response question will ask students to focus on art comparison. Here, students will have to compare specific artwork from the course while focusing on the similarities and differences between the works.
• The second 30-minute free response question will test the student on their visual and contextual analysis. Here, students will be chosen to analyze the contextual and visual features of a work of war directly from AP Art History and use evidence to defend and argue their theory.
• The third question (the first 15-minute question) will test a student’s ability to analyze a work of art from a visual standpoint. It will require students to examine elements of a work of art and use them to deduce things such as tradition, practice, era, style, and more.
• The fourth short answer question will test a student’s ability to analyze a work of art from a contextual standpoint. Here, students will evaluate the contextual elements from a specific image of a work of art and use it to explain how the context of the art can influence an artist’s decision.
• The fifth question will ask students to attribute a work of art to a specific artist and justify their attribution based on visual evidence they break down.
• Finally, the sixth question will ask students to focus on continuity and change within art. Here, students will have to identify relationships, such as tradition, style, practice, and more, between different works of art.

Sample questions from previous exams

Here are some sample questions from previous exams that might be helpful:

The above questions require students to choose a work of art that represents cultural or national identity and compare it to another relevant work. They must identify one similarity and one difference in how both works convey cultural or national identity and describe specific visual characteristics of both works to support their explanation.

Additionally, students must explain one similarity in how both works express the values of the society in which they were created, supported by relevant iconographic or contextual information from both works. This question aims to evaluate students’ ability to analyze and compare artworks in terms of cultural and national identity, visual characteristics, and societal values, demonstrating their understanding of art history and its cultural contexts.

How to study for the AP Art History exam

As you begin preparing for the AP Art History Exam, there are some great preparation styles and tools to remember throughout the process. To make sure that you get the very most out of your studying, we at AdmissionSight have broken down the very best way to study and prepare.

Analyze your knowledge and skill

The first step to preparing for the AP Art History Exam effectively is to analyze the knowledge and skills that you have already gained from the course itself. The best way to do this is to take a practice exam that you will either be able to find online or through one of the many great study guides that you can purchase in paperback. While it is helpful to time yourself when you take this practice exam to familiarize yourself with the speed at which you will be expected to take this course, it is unnecessary.

There are several tests and practices that you can either purchase or utilize without charge.

The most important thing to remember here is that you should cross-reference the answers that you came up with along with the answers that are provided in whatever resource you are using to study. From there, you can effectively manage your strengths and weaknesses to know what to do in the next step.

Study the material

Of course, what you will want to do next is take what you have learned about your mastery of the material and apply it to how you break up your studying the rest of the way. Make sure to focus on areas of weakness so that you may strengthen your overall knowledge while making sure not to forget to study and test yourself on your areas of strength.

The goal here is to not only familiarize yourself with the specific pieces of art that you will be expected to know for the exam but also gain a great understanding of the Big Ideas and overarching concepts of the course itself. This will give you the very best chance at success and scoring that coveted 5 out of 5.

Practice both sections of the exam

The next step is to return to sample questions and start quizzing yourself on both the multiple-choice and free-response style questions.

This will not only help you familiarize yourself with the facts and questions that you may face on the exam itself, but it will also help you gain total comfort with all the different kinds of questions and formats that they may come in. Here at AdmissionSight , we believe the goal for an AP exam is to test yourself not only on the content but also on the format of the exam. Going through practice sessions of multiple-choice and free-response questions is a great way to do just that.

Take more practice tests

When preparing your mind for the rigors of taking an AP exam, especially one as long as the AP Art History Exam, the best way is to take as many practice tests as possible.

Ideally, you will be able to take many complete practice exams before the date of the actual exam approaches. One thing to keep in mind is that you will want to give yourself the amount of time that is allotted during the actual exam. That means one hour for the multiple-choice section and two hours for the free-response section.

That way, you will be guaranteed that your body and mind are prepared to answer all those fascinating questions and deal with all those great topics when the exam finally arrives.

Form study groups

Collaborate with your peers and discuss different artworks, concepts, and historical periods. Sharing perspectives and knowledge can deepen your understanding of art history. Consider organizing study sessions where each group member presents a specific artwork or topic, leading a discussion and encouraging critical thinking. This collaborative approach can help you gain new insights and perspectives, as well as reinforce your understanding of the material.

Seek teacher guidance

Consult your art history teacher or instructor for advice and clarification on challenging topics. They can provide valuable insights and resources to enhance your understanding of art history. Take advantage of their expertise and ask questions to deepen your knowledge. Additionally, consider forming study groups with classmates and meeting with your teacher to discuss specific artworks or concepts. This personalized guidance can significantly contribute to your preparation for the AP Art History exam.

How hard is the AP Art History exam?

The difficulty of the AP Art History exam can vary depending on your level of interest, prior knowledge, and study habits. Some students find the exam challenging due to its expansive content and the need to analyze and interpret artworks within their broader historical and cultural contexts.

Studying for the AP Art History exam requires a deep dive into the art world, spanning various periods and cultures. From ancient Egyptian sculptures to Renaissance masterpieces and from African tribal art to contemporary installations, the exam covers a wide range of artistic styles and movements. This breadth of content can be overwhelming for some students, as it requires them to become familiar with a vast array of artworks and their historical significance.

Furthermore, the exam demands a high level of critical thinking and analytical skills. It is not enough to memorize names and dates; you must be able to analyze artworks and understand their cultural and historical contexts. This involves interpreting the meaning behind the painting, identifying the techniques used by the artist, and recognizing the influences and connections between different art movements.

However, with dedicated study and practice, it is possible to succeed in the AP Art History exam. The key is to develop strong visual analysis skills and a solid understanding of art historical concepts. Effective study strategies, such as creating study guides flashcards, and practicing timed essays, can help you overcome any difficulties you may encounter.

Immerse yourself in the art world by visiting museums, galleries, and exhibitions. Engage in discussions with art enthusiasts and experts to gain different perspectives and insights. By actively engaging with art, you will deepen your understanding and appreciation for the subject, making it easier to tackle the exam.

Additionally, take advantage of online resources and textbooks designed explicitly for AP Art History. These resources often provide detailed explanations of critical artworks, historical contexts, and influential art movements. Supplement your learning with online quizzes and practice exams to test your knowledge and identify areas that require further study.

Remember, your innate artistic talent does not solely determine success in the AP Art History exam. It tests your ability to analyze, interpret, and connect artworks to their historical and cultural contexts. With consistent effort, a passion for art, and a well-rounded study plan, you can conquer the challenges posed by the exam and achieve a high score.

When is the AP Art History exam in 2024?

In 2024, the AP Art History exam is scheduled for May 6th . It is crucial to know the exam date well in advance and plan your study schedule accordingly. Mark your calendar and ensure you have ample time to review the content, practice exam questions, and feel confident leading up to the exam.

The AP Art History exam is an important milestone for students interested in art history. This exam allows students to showcase their knowledge and understanding of various art movements, styles, and historical contexts. It is a comprehensive assessment that tests not only factual knowledge but also critical thinking skills and the ability to analyze and interpret works of art.

Remember, the AP Art History exam is not just about memorizing facts and dates. It is about developing a deep appreciation and understanding of art and its role in human history. By immersing yourself in the subject matter, actively engaging with the artworks, and honing your analytical skills, you will be well-prepared to excel on the AP Art History exam in 2024.

Here is the complete schedule for 2024’s AP examinations:

How long is the AP Art History exam?

The AP Art History exam lasts approximately three hours and is divided into two sections. The multiple-choice section accounts for about 50% of the total score and consists of 80 questions to be completed in one hour. The free-response area contributes to the remaining 50% of the score and requires you to respond to two questions over two hours.

When taking the AP Art History exam, time management is crucial. With three hours, it is essential to allocate your time wisely to ensure you have enough time to answer all the questions. The multiple-choice section, which makes up 50% of your score, should be completed within one hour. This means that you have approximately 45 seconds to answer each question. It is advisable to read the questions carefully and eliminate any incorrect answers to maximize your chances of selecting the correct option.

After completing the multiple-choice section, you will move on to the free-response area, contributing to the remaining 50% of your score. This section requires you to respond to two questions for two hours. It is essential to read each question and plan your response accordingly carefully. Take your time to analyze the prompt, gather your thoughts, and organize your ideas before beginning to write. Remember, the quality of your response is more important than the quantity, so focus on providing well-developed and insightful answers.

Preparing for the AP Art History exam involves not only studying the content but also practicing timed exams to build your time management skills. Set specific time limits for each section and practice completing the questions within those time constraints. This will help you become familiar with the pace at which you need to work and ensure that you can effectively manage your time during the actual exam.

In addition to time management, it is also beneficial to familiarize yourself with the format and structure of the exam. Understanding how the questions are presented and what is expected in your responses can help you feel more confident and prepared on exam day. Take advantage of any available practice materials, such as sample questions or previous exams, to understand the types of questions you may encounter and the level of detail required in your answers.

Remember, the AP Art History exam is not just a test of your knowledge of art history but also your ability to effectively communicate your understanding. By practicing time management, familiarizing yourself with the exam format, and honing your analytical and writing skills, you can approach the exam with confidence and maximize your chances of success.

When do AP scores come out?

AP scores for the Art History exam are typically released in early July. You will receive an email notification when your scores are available. Additionally, you can access your scores online through the College Board’s AP scores website. Remember that specific score release dates may vary slightly each year, so it is always a good idea to check the College Board’s official website for the most accurate information.

By following this ultimate guide and implementing effective study strategies, you will be well-equipped to ace the AP Art History exam. Remember, success in art history requires not only knowledge but also a passion for the subject. Embrace the beauty of art, immerse yourself in its history, and enjoy exploring the art world through the AP Art History exam.

If you want to discuss the matter to a greater extent or inquire about college admissions, look no further! Our experts here at AdmissionSight can help you! Here at AdmissionSight, we have over a decade’s worth of experience guiding students through the competitive admissions process to get accepted to the top universities in the world. Feel free to set up an appointment today to book your initial consultation .

Want to assess your chances of admission? Take our FREE chances calculator today!

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Curated Guides > Syllabus > AP®︎ Art History

AP®︎ Art History

Below are short videos, essays, high-resolution photographs, and additional resources for each of the 250 required works of art that form the central curriculum for the AP®︎ Art History course. These works of art were selected by the College Board because they "represent foundational exemplars of global artistic traditions." You might find our free world art history textbook ( Reframing Art History ) useful—it contains many of the 250 required works, and will eventually include them all. It is officially listed on the College Board's textbook list in their Course Audit. AP®︎ Art History is a registered trademark of the College Board, which was not involved in the production of this product.

Content Area 1: Global Prehistory, 30,000–500 B.C.E. -->

Viewers in front of Emanuel Leutze, Washington Crossing the Delaware , 1851, oil on canvas, 378.5 x 647.7 cm (The Metropolitan Museum of Art, New York)

• Introduction
• Ever wondered…why study art of the past?
• Common questions about dates
• Paleolithic art, an introduction
• The Neolithic revolution
• Neolithic period in China, an introduction
• Glossary for Global Prehistory
• Works of art
• 1. Apollo 11 Stones
• 1a. Origins of rock art in Africa
• 2. Great Hall of the Bulls
• 3. Camelid sacrum in the shape of a canine
• 4. Running horned woman
• 5. Beaker with ibex motifs
• 6. Anthropomorphic stele
• 7. Jade cong
• 8. Stonehenge
• 9. The Ambum Stone
• 10. Tlatilco female figurine
• 11. Terra cotta fragment

Content Area 2: Ancient Mediterranean, 3,500 B.C.E.–300 C.E. -->

East porch of the Erechtheion, 421–407 B.C.E., marble, Acropolis, Athens

• A brief history of Western culture
• Ancient West Asia: Cradle of civilization
• Sumer, an introduction
• Babylonia, an introduction
• Assyria, an introduction
• Ancient Egypt, an introduction
• Ancient Egyptian art, an introduction
• Predynastic and Early Dynastic, an introduction
• Old Kingdom and First Intermediate Period, an introduction
• Middle Kingdom and Second Intermediate Period, an introduction
• New Kingdom and Third Intermediate Period, an introduction
• Introduction to ancient Greek art
• Kouroi and Korai, an introduction
• Greek Vase-Painting, an introduction
• Contrapposto explained
• Greek architectural orders
• The Etruscans, an introduction
• Introduction to ancient Rome
• Introduction to ancient Roman art
• An introduction to ancient Roman architecture
• Ancient Rome
• Pompeii, an introduction
• Roman wall painting styles
• 12. White Temple and its ziggurat
• 13. Palette of King Narmer
• 14. Statues of votive figures, from the Square Temple at Eshnunna (modern Tell Asmar, Iraq)
• 15. Seated scribe
• 16. Standard of Ur from the Royal Tombs at Ur (modern Tell el-Muqayyar, Iraq)
• 17. Great Pyramids (Menkaura, Khafre, Khufu) and Great Sphinx
• 17a. Pyramid of Khufu
• 17b. Pyramid of Khafre and the Great Sphinx
• 17c. Pyramid of Menkaure
• 18. King Menkaura and queen
• 19. The Code of Hammurabi
• 20. Temple of Amun-Re and the Hypostyle Hall
• 21. Mortuary temple of Hatshepsut
• 22. Akhenaton, Nefertiti, and three daughters
• 23. Tutankhamun’s tomb, innermost coffin
• 24. Last judgment of Hunefer, from his tomb (page from the Book of the Dead )
• 25. Lamassu from the citadel of Sargon II, Dur Sharrukin (modern Khorsabad, Iraq)
• 26. Athenian Agora
• 27. Anavysos Kouros
• 28. Peplos Kore from the Acropolis
• 29. Sarcophagus of the Spouses
• 30. Audience Hall ( apadana ) of Darius and Xerxes
• 30a. Capital of a column from the audience hall of the palace of Darius I, Susa
• 31. Temple of Minerva (Veii, near Rome, Italy) and sculpture of Apollo, Master sculptor Vulca
• 32. Tomb of the Triclinium
• 33. Niobides Krater
• 34. Doryphoros (Spear-Bearer) , Polykleitos
• 35. Acropolis: the Parthenon
• 35a. Parthenon sculptures (pediments, metopes and frieze)
• 35b. Who owns the Parthenon sculptures?
• 35c. Plaque of the Ergastines
• 35d. The Many Lives of the Parthenon
• 35e. Nike Adjusting Her Sandal from the Temple of Athena Nike
• 36. Grave stele of Hegeso
• 37. Winged Victory of Samothrace
• 38. Great Altar of Zeus and Athena at Pergamon
• 39. House of the Vettii
• 40. Alexander Mosaic from the House of Faun, Pompeii
• 41. Seated boxer
• 42. Head of a Roman patrician
• 42a. Veristic male portrait
• 43. Augustus of Prima Porta
• 44. Colosseum (Flavian Amphitheater)
• 45. Forum of Trajan, Apollodorus of Damascus
• 45a. Column of Trajan
• 46. Pantheon
• 47. Ludovisi Battle Sarcophagus

Content Area 3: Early Europe and Colonial Americas, 200–1750 C.E. -->

What is iconography? Background image: Crucifixion, from the Rabbula Gospels , 586, parchment, 25.5 x 33.5 cm (Biblioteca Medicea-Laurenziana, Florence)

• Iconography and iconographic analysis, an introduction
• Who’s who? How to recognize saints…
• Christianity, an introduction
• Architecture and liturgy
• Introduction to the Middle Ages
• A new pictorial language: the image in early medieval art
• Medieval manuscripts, an introduction
• Byzantine art, an introduction
• Icons, an introduction
• Anglo-Saxon England
• Jewish history to the middle ages
• Gothic architecture, an introduction
• Introduction to Late Gothic art
• The Medieval and Renaissance Altarpiece
• How to recognize Italian Renaissance art
• Humanism in renaissance Italy
• Humanism in Italian renaissance art
• How one-point linear perspective works
• Toward the High Renaissance, an introduction
• Types of renaissance patronage
• An introduction to the Northern Renaissance in the 15th century
• Mannerism, an introduction
• An introduction to the Northern Renaissance in the 16th century
• Baroque art, an introduction
• How to recognize Baroque art
• Introduction to the Global Baroque
• The Protestant Reformation
• New Spain, an introduction
• Introduction to the Spanish Viceroyalties in the Americas
• Introduction to the Viceroyalty of Peru
• Defensive saints and angels in the Spanish Americas
• 48. Catacomb of Priscilla
• 49. Santa Sabina
• 50. Vienna Genesis
• 50a. Jacob Wrestling the Angel, from the Vienna Genesis
• 50b. Rebecca and Eliezer at the Well, from the Vienna Genesis
• 51. San Vitale
• 51a. Empress Theodora, rhetoric, and Byzantine primary sources
• 52. Hagia Sophia, Anthemius of Tralles and Isidorus of Miletus
• 52a. Theotokos mosaic
• 52b. Deësis mosaic
• 52c. Hagia Sophia as a mosque
• 53. Merovingian looped fibulae
• 54. Virgin (Theotokos) and Child between Saints Theodore and George
• 55. Lindisfarne Gospels : St. Matthew, cross-carpet page; St. Luke portrait page; St. Luke incipit page
• 56. Great Mosque, Córdoba
• 57. Pyxis of al-Mughira
• 58. Church of Sainte-Foy
• 59. Bayeux Tapestry
• 60. Chartres Cathedral
• 61. Dedication Page with Blanche of Castile and King Louis IX of France, Scenes from the Apocalypse from Bibles moralisées
• 61a. Moralized Bible (Paris-Oxford-London)
• 62. Röttgen Pietà
• 63. Arena (Scrovegni) Chapel, Giotto di Bondone, introduction
• 63a. Arena (Scrovegni) Chapel, Giotto di Bondone, fresco cycle
• 63b. Arena (Scrovegni) Chapel, Giotto di Bondone, Lamentation
• 63c. Arena (Scrovegni) Chapel, Giotto di Bondone, Last Judgment
• 63d. The Arena Chapel in virtual reality
• 64. Golden Haggadah (The Plagues of Egypt, Scenes of Liberation, and Preparation for Passover)
• 65. Alhambra
• 66. Annunciation Triptych (Merode Altarpiece), Workshop of Robert Campin
• 67. Pazzi Chapel, Filippo Brunelleschi
• 68. The Arnolfini Portrait, Jan Van Eyck
• 69. David , Donatello
• 70. Palazzo Rucellai, Leon Battista Alberti
• 71. Madonna and Child with Two Angels , Fra Filippo Lippi
• 72. Birth of Venus , Sandro Botticelli
• 73. Last Supper , Leonardo da Vinci
• 74. Adam and Eve , Albrecht Dürer
• 75. Sistine Chapel ceiling frescos, Michelangelo
• 75a. Studies for the Libyan Sibyl (recto); Studies for the Libyan Sibyl and a small Sketch for a Seated Figure (verso), Michelangelo
• 75b. Sistine Chapel altar wall frescos, Michelangelo
• 75c. Who was Michelangelo?
• 76. School of Athens , Raphael
• 76a. Raphael, an introduction
• 77. Isenheim Altarpiece , Matthias Grünewald
• 78. Entombment of Christ , Jacopo da Pontormo
• 79. Allegory of Law and Grace , Lucas Cranach the Elder
• 80. Venus of Urbino , Titian
• 81. Frontispiece of the Codex Mendoza
• 82. Il Gesù, including Triumph of the Name of Jesus ceiling fresco
• 83. Hunters in the Snow , Pieter Bruegel the Elder
• 84. Mosque of Selim II, Mimar Sinan
• 85. Calling of Saint Matthew , Caravaggio
• 86. Henri IV Receives the Portrait of of Marie de’Medici , from the Marie de’Medici Cycle, Peter Paul Rubens
• 87. Self-Portrait with Saskia , Rembrandt van Rijn
• 88. San Carlo alle Quattro Fontane, Francesco Borromini
• 89. Ecstasy of Saint Teresa , Gian Lorenzo Bernini
• 90. Angel with Arquebus, Asiel Timor Dei , Master of Calamarca
• 91. Las Meninas , Diego Velázquez
• 92. Woman Holding a Balance , Johannes Vermeer
• 93. The Palace at Versailles
• 94. Screen with the Siege of Belgrade and hunting scene
• 95. The Virgin of Guadalupe (Virgen de Guadalupe) , Miguel González
• 95a. Virgin of Guadalupe
• 96. Fruit and Insects , Rachel Ruysch
• 97. Spaniard and Indian Produce a Mestizo , attributed to Juan Rodríguez Juárez
• 98. The Tête à Tête , from Marriage a la Mode , William Hogarth

Content Area 4: Later Europe and Americas, 1750–1980 C.E. -->

Francisco de Goya, Third of May, 1808 , 1814, oil on canvas, 266 x 345.1 cm (Museo del Prado, Madrid)

• Art historical analysis with Goya’s Third of May, 1808
• The Age of Enlightenment, an introduction
• A beginner’s guide to Rococo art
• Neoclassicism, an introduction
• A beginner’s guide to Romanticism
• Romanticism in France
• Orientalism
• Early Photography: Niépce, Talbot, and Muybridge
• The Daguerreotype (2 of 12)
• A beginner’s guide to Realism
• Introduction to lithography
• Impressionism, an introduction
• Introduction to Neo-Impressionism, Part I
• Art Nouveau
• Fauvism, an introduction
• Expressionism, an introduction
• Inventing Cubism
• Cubism and multiple perspectives
• 291—Little Galleries of the Photo Secession
• Introduction to Dada
• Surrealism, an introduction
• De Stijl, Part I: Total Purity
• Abstract Expressionism, an introduction
• Conceptual Art: An Introduction
• 99. Portrait of Sor Juana Inés de la Cruz, Miguel Cabrera
• 100. A Philosopher Giving a Lecture on the Orrery , Joseph Wright of Derby
• 101. The Swing , Jean-Honoré Fragonard
• 102. Monticello, Thomas Jefferson
• 103. The Oath of the Horatii , Jacques-Louis David
• 104. George Washington , Jean-Antoine Houdon
• 105. Self-Portrait , Elisabeth Louise Vigée Le Brun
• 106. Y no hai remedio (And There’s Nothing to Be Done) , from Los Desastres de la Guerra (The Disasters of War) , plate 15, Francesco de Goya
• 107. La Grande Odalisque , Jean-Auguste-Dominique Ingres
• 108. Liberty Leading the People , Eugène Delacroix
• 109. The Oxbow (View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm) , Thomas Cole
• 110. Still Life in Studio , Louis-Jacques-Mandé Daguerre
• 111. Slave Ship (Slavers Throwing Overboard the Dead and Dying, Typhoon Coming On) , J.M.W. Turner
• 112. Palace of Westminster (Houses of Parliament), Charles Barry and A.W.N. Pugin
• 113. The Stone Breakers , Gustave Courbet
• 114. Nadar Raising Photography to the Height of Art , Honoré Daumier
• 115. Olympia , Édouard Manet
• 116. The Saint-Lazare Station , Claude Monet
• 117. The Horse in Motion , Eadweard Muybridge
• 118. The Valley of Mexico from the Hillside of Santa Isabel (El Valle de México desde el Cerro de Santa Isabel) , José María Velasco
• 119. The Burghers of Calais , Auguste Rodin
• 120. The Starry Night , Vincent van Gogh
• 121. The Coiffure , Mary Cassatt
• 122. The Scream , Edvard Munch
• 123. Where do we come from? What are we? Where are we going? , Paul Gauguin
• 124. Carson, Pirie, Scott and Company Building, Louis Sullivan
• 125. Mont Sainte-Victoire , Paul Cézanne
• 126. Les Demoiselles d’Avignon , Pablo Picasso
• 127. The Steerage , Alfred Stieglitz
• 128. The Kiss , Gustav Klimt
• 129. The Kiss , Constantin Brancusi
• 130. The Portuguese , Georges Braque
• 130a. Pablo Picasso and the new language of Cubism
• 131. Goldfish , Henri Matisse
• 132. Improvisation 28 (second version) , Vasily Kandinsky
• 133. Self-Portrait As a Soldier , Ernst Ludwig Kirchner
• 134. Memorial Sheet of Karl Liebknecht , Käthe Kollwitz
• 135. Villa Savoye, Le Corbusier
• 136. Composition with Red, Blue, and Yellow , Piet Mondrian
• 137. Illustration from The Results of the First Five-Year Plan , Varvara Stepanova
• 138. Object (Le Déjeuner en fourrure) , Meret Oppenheim
• 139. Fallingwater, Frank Lloyd Wright
• 140. The Two Fridas , Frida Kahlo
• 141. The Migration of the Negro, Panel no. 49 , Jacob Lawrence
• 142. The Jungle , Wifredo Lam
• 143. Dream of a Sunday Afternoon in the Alameda Park , Diego Rivera
• 144. Fountain (second version), Marcel Duchamp
• 145. Woman, I , Willem de Kooning
• 146. Seagram Building, Ludwig Mies van der Rohe, Philip Johnson
• 147. Marilyn Diptych , Andy Warhol
• 148. Narcissus Garden , Yayoi Kusama
• 149. The Bay , Helen Frankenthaler
• 150. Lipstick (Ascending) on Caterpillar Tracks , Claes Oldenburg
• 151. Spiral Jetty , Robert Smithson
• 152. House in New Castle County, Robert Venturi, John Rausch and Denise Scott Brown

Content Area 5: Indigenous Americas, 1000 B.C.E.–1980 C.E. -->

Map of North America showing the regions of Native American cultures

• About geography and chronological periods in Native American art
• Terms and Issues in Native American Art
• Glossary for Indigenous Americas
• Introduction to Andean Cultures
• Introduction to Ancient Andean Art
• Mesoamerica, an introduction
• Defining “Pre-Columbian” and “Mesoamerica”
• Periods in Mesoamerican history
• The Maya, an introduction
• Introduction to the Aztecs (Mexica)
• Introduction to the Inka
• 153. Chavín de Huántar
• 154. Mesa Verde cliff dwellings
• 155. Yaxchilán
• 155a. Yaxchilán Lintels
• 156. Great Serpent Mound
• 157. Templo Mayor (Main Temple)
• 157a. The Coyolxauhqui Stone
• 157b. The Calendar Stone
• 157c. Olmec-style mask
• 158. Ruler’s feather headdress (probably of Motecuhzoma II)
• 159. City of Cusco, including Qorikancha (Inka main temple), Santo Domingo (Spanish colonial convent), and Walls at Saqsa Waman (Sacsayhuaman)
• 160. Maize cobs
• 161. City of Machu Picchu
• 162. All-T’oqapu tunic
• 163. Bandolier bag
• 163a. What is a bandolier bag?
• 164. Transformation mask
• 165. Painted elk hide, attributed to Cotsiogo (Cadzi Cody)
• 166. Black-on-black ceramic vessel, Maria Martínez and Julian Martínez

Content Area 6: Africa, 1100–1980 C.E. -->

Linguist Staff (Okyeame), 19th–early 20th century (Ghana, Akan peoples, Asante), gold foil, wood, nails, 156.5 x 14.6 x 5.7 cm (The Metropolitan Museum of Art, New York)

• Historical overview: to 1600
• Historical overview: from the 1600s to the present
• African art and the effects of European contact and colonization
• Form and meaning in African art
• Aesthetics and African art
• African religion and the spiritual realm
• Kingdom of Ife: Sculptures from West Africa
• The human figure, animals and symbols in African art
• African art and politics
• Rites of passage in Africa
• 167. Conical tower and circular wall of Great Zimbabwe
• 168. Great Mosque of Djenné
• 169. Wall plaque, from Oba's palace
• 169a. Benin plaques
• 169b. The Benin “Bronzes”: a story of violence, theft, and artistry
• 170. Sika dwa kofi (Golden Stool)
• 171. Ndop (portrait figure) of King Mishe miShyaang maMbul
• 172. Power figure ( Nkisi n'kondi )
• 173. Female ( Pwo ) mask
• 174. Portrait mask ( Mblo )
• 175. Bundu mask
• 176. Ikenga (shrine figure)
• 177. Lukasa (memory board)
• 178. Aka elephant mask
• 179. Reliquary figure ( byeri )
• 180. Veranda post of enthroned king and senior wife (Opo Ogoga)
• 180a. Olowe of Ise, veranda post

Content Area 7: West and Central Asia, 500 B.C.E.–1980 C.E. -->

Mosaic, Great Mosque of Damascus (photo: american rugbier, CC BY-SA 2.0)

• A brief history of the cultures of Asia
• Introduction to Buddhism
• The historical Buddha
• Sacred arts of Tibet
• Introduction to Islam
• Introduction to mosque architecture
• Common types of mosque architecture
• Arts of the Islamic world: The early period
• The Umayyads, an introduction
• The vibrant visual cultures of the Islamic West, an introduction
• Arts of the Islamic world: The medieval period
• Arts of the Islamic world: The later period
• The Safavids, an introduction
• Introduction to the court carpets of the Ottoman, Safavid, and Mughal empires
• 181. Petra, Jordan: Treasury and Great Temple
• 181a. Petra and the Treasury
• 181b. Petra and the Great Temple
• 182. Buddha, Bamiyan
• 183. The Kaaba
• 184. Jowo Rinpoche, enshrined in the Jokhang Temple
• 185. Dome of the Rock
• 186. Great Mosque (Masjid-e Jameh), Isfahan
• 187. Folio from a Qur’an
• 188. Basin ( Baptistère de Saint Louis ), Mohammed ibn al-Zain
• 189. Bahram Gur Fights the Karg , folio from the Great Il-Khanid Shahnama
• 189a. Folio from a Shahnama , The Bier of Iskandar (Alexander the Great)
• 190. The Court of Gayumars , folio from Shah Tahmasp’s Shahnama
• 190a. Making and Mutilating Manuscripts of the Shahnama
• 191. The Ardabil Carpet

Content Area 8: South, East, and Southeast Asia, 300 B.C.E.–1980 C.E. -->

Krishna Killing the Horse Demon Keshi , 5th century (Gupta period), terracotta, 53.3 x 40.6. x 10.8 cm (The Metropolitan Museum of Art, New York)

• Hinduism and Buddhism, an introduction
• Geographic regions of South Asia
• Beliefs made visible: Buddhist art in South Asia
• Buddhist monasteries
• Imperial China, an introduction
• Qin dynasty (c. 221–206 B.C.E.), an introduction
• Han dynasty (206 B.C.E.–220 C.E.), an introduction
• Period of Division (220–589 C.E.), an introduction
• Tang dynasty (618–907), an introduction
• Nara period, an introduction
• Hindu temples
• Song dynasty (960–1279), an introduction
• Chinese calligraphy, an introduction
• Chinese landscape painting
• Kamakura period, an introduction
• Yuan dynasty (1279–1368), an introduction
• Chinese porcelain: decoration
• Ming dynasty (1368–1644), an introduction
• Nanbokuchō and Muromachi periods, an introduction
• A brief history of the arts of Japan: the Edo period
• Modern China (1912–present), an introduction
• 192. Great Stupa at Sanchi
• 193. Terra cotta warriors from mausoleum of the first Qin emperor of China
• 193a. The Tomb of the First Emperor
• 194. Funeral banner of Lady Dai (Xin Zhui)
• 194a. The Tomb of Lady Dai
• 195. Longmen caves
• 196. Gold and jade crown
• 196a. Gold crown and gold belt from the north mound of Hwangnamdaechong Tomb
• 197. Tōdai-ji
• 198. Borobudur Temple
• 199. Angkor, the temple of Angkor Wat
• 199a. The city of Angkor Thom
• 199b. Bayon Temple 
• 200. Lakshmana Temple
• 201. Travelers among Mountains and Streams , Fan Kuan
• 202. Shiva as Lord of the Dance (Nataraja)
• 203. Night Attack on the Sanjô Palace
• 204. The David Vases
• 205. Portrait of Sin Sukju (1417–1475)
• 206. Forbidden City
• 207. Ryōan-ji
• 208. Jahangir Preferring a Sufi Shaikh to Kings , Bichitr
• 209. Taj Mahal
• 210. Red and White Plum Blossoms , Ogata Kōrin
• 211. Under the Wave off Kanagawa (Kanagawa oki nami ura) , also known as The Great Wave, from the series Thirty-six Views of Mount Fuji, Katsushika Hokusai
• 212. Chairman Mao en Route to Anyuan , Liu Chunhua

Content Area 9: The Pacific, 700–1980 C.E. -->

Figure of the war god Ku-ka’ili-moku, probably 1790–1810 (Hawai’i), 272 cm high (© The Trustees of the British Museum, London)

• Polynesia, an introduction
• Melanesia, an introduction
• What is the impact and legacy of Cook’s voyages?
• Glossary for AP Content Area 9: The Pacific
• 213. Nan Madol
• 214. Moai on platform ( ahu )
• 214a. Rapa Nui (Easter Island) Moai
• 215. ‘Ahu ‘ula (feather cape)
• 216. Staff god
• 217. Female deity
• 218. Buk (mask)
• 219. Hiapo (tapa)
• 220. Tamati Waka Nene , Gottfried Lindauer
• 221. Navigation chart
• 222. Malagan display and mask
• 223. Presentation of Fijian Mats and Tapa Cloths to Queen Elizabeth II

Content Area 10: Global Contemporary, 1980 C.E. to present -->

Andy Warhol, Campbell's Soup Cans , 1962, synthetic polymer on 32 canvases, each 20 x 16 inches (The Museum of Modern Art, New York)

• Contemporary art, an introduction
• The Pictures Generation
• 224. The Gates , Christo and Jeanne-Claude
• 225. Vietnam Veterans Memorial, Maya Lin
• 226. Horn Players , Jean-Michel Basquiat
• 227. Summer Trees , Song Su-Nam
• 228. Androgyne III , Magdalena Abakanowicz
• 229. A Book from the Sky , Xu Bing
• 230. Pink Panther , Jeff Koons
• 231. Untitled #228, from the History Portraits series, Cindy Sherman
• 232. Dancing at the Louvre , from the series The French Collection , Part 1; #1, Faith Ringgold
• 233. Trade (Gifts for Trading Land with White People) , Jaune Quick-to-See Smith
• 234. Earth’s Creation , Emily Kame Kngwarreye
• 235. Rebellious Silence , from the Women of Allah series, Shirin Neshat (artist); photo by Cynthia Preston
• 236. En la barberia no se llora (No Crying Allowed in the Barbershop) , Pepón Osorio
• 237. Pisupo Lua Afe (Corned Beef 2000) , Michel Tuffery
• 238. Electronic Superhighway , Nam June Paik
• 239. The Crossing , Bill Viola
• 240. Guggenheim Museum Bilbao, Frank Gehry
• 241. Pure Land , Mariko Mori
• 242. Lying with the Wolf, Kiki Smith
• 243. Darkytown Rebellion , Kara Walker
• 244. The Swing (After Fragonard) , Yinka Shonibare
• 245. Old Man’s Cloth , El Anatsui
• 245a. Untitled , El Anatsui
• 246. Stadia II , Julie Mehretu
• 247. Preying Mantra , Wangechi Mutu
• 248. Shibboleth , Doris Salcedo
• 249. MAXXI National Museum of XXI Century Arts, Zaha Hadid
• 250. Kui Hua Zi (Sunflower Seeds) , Ai Weiwei

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