SECTION TEST FIVE
Art of the Modern and PostModern World
(Chapters 28-29, 33-34)
CHRONOLOGY
Place the following works in chronological order, putting the letters corresponding to the
oldest work in the first blank, the next oldest in the next blank, and so on.
1. ______Renoir Romanticism A
2. ______Daumier Symbolism B
3. ______Pollock Post Impressionism C
4. ______Moreau Art Nouveau D
5. ______Gauguin Furtuism E
6. ______Delacroix Realism F
7. ______Marc Impressionism G
8. ______Flack German Expressionism H
9. ______Balla Neo- Realism I
10. ______Gaudi Abstract Expressionism J
Answers:
1. G
2. F
3. J
4. B
5. C
6. A
7. H
8. I
9. E
10. D
MULTIPLE CHOICE
11. This room interior has softened architectural lines, sinuous curves, and walls that melt into the vault.
a. Baroque
b. Neoclassical
c. Rococo
d. Romantic
Answer: c. Rococo Comprehension/Analysis
12. The Rococo style was preeminently visible in which of the following?
a. small works
b. grand salons
c. large, open spaces
d. large-scale furniture
Answer: a. small works Comprehension
13. What specific style of Rococo painting depicted the outdoor amusements of the upper classes?
a. fête galante
b. pays bonheur
c. sans souci
d. fête de jour
Answer: a. fête galante Comprehension/Analysis
14. The Return from Cythera extols lovers on the island of eternal youth; Watteau captured that elegance and grace using which of the following?
a. form
b. shape
c. line
d. color
Answer: d. color Analysis/Comprehension
15. The theme of Arcadian love has been seen in earlier works of art. Which of the following artists also portrayed this theme?
a. Titian
b. Raphael
c. Giorgione
d. Leonardo
Answer: c. Giorgione Comprehension/Analysis
16. At the turn of the century, the French Academy was divided rather sharply between two doctrines. One taught that form was the most important element in the painting, and the other taught that color was the most important element. Which doctrine did the Rococo artist follow?
a. doctrine of form
b. doctrine of color
c. neither doctrine
d. combined the doctrines
Answer: b. doctrine of color Analysis/Comprehension
17. Vigée-Lebrun portrayed herself as a self-confident painter looking directly at the viewer. What earlier artist has this been copied from?
a. Artemisia Gentileschi
b. Caravaggio
c. Judith Leyster
d. Vermeer
Answer: c. Judith Leyster Comprehension//Analysis
18. Which of the following works functions as an “altarpiece” for the new civic religion? It was designed to inspire the viewer with the martyr’s dedication to service.
a. Death of Marat
b Death of General Wolfe
c. Cornelia, Presenting Her Children as Her Treasures or Mother of the Gracchi
d. Oath of the Horatii
Answer: a. Death of Marat Analysis/Comprehension
19. Which of the following Roman ruins provided the inspiration for the portico of the Panthéon, Paris (Ste-Geneviève), designed by Soufflot?
a. Pantheon, Rome
b. Maison Carrée, Nîmes
c. Pont-du-Gard, Nîmes
d. Baalbek, Syria
Answer: d. Baalbek, Syria Comprehension/Analysis
20. Which of the following supports this statement: In Courbet’s The Stonebreakers it has been said that he reveals to the viewer the drudgery of manual labor?
a. his palette of dirty browns and grays
b. his use of soft pastels for the stones
c. his use of swirling, diagonal line
d. his use of bright color to highlight the labor
Answer: a. his palette of dirty browns and grays Analysis
21. In The Night Café, the artist has shown us a benign scene, yet the scene has a sense of charged energy and atmosphere. Which of the following accounts for this energy and emotion?
a. bar always a bad place
b. harsh color and steeply tilted perspective
c. soft color and tilted perspective
d. the crowds create the tension
Answer: b. harsh color and steeply tilted perspective Analysis
22. The sculptor Carpeaux illustrated the emotions of frustration and despair in his Ugolino and His Children; the forms are intertwined and densely concentrated. Which of the following sculptors would have influenced Carpeaux?
a. Donatello
b. Goujon
c. Bernini
d. Houdon
Answer: c. Bernini Analysis
23. Rosa Bonheur in her most famous work, The Horse Fair, has depicted the power and strength of the Percherons. The dramatic lighting, loose brushwork, and rolling sky reveal her admiration for which of the following artists?
a. Géricault
b. Manet
c. Courbet
d. Millet
Answer: a. Géricault Analysis
24. Thomas Eakins was an artist who had a desire to portray things as he saw them and not as the public might want them portrayed. Which of the following works is follows the Eakins mandate?
a. Three Women in a Village Church
b. The Thankful Poor
c. The Gross Clinic
d. Beata Beatrix
Answer: c. The Gross Clinic Comprehension/Analysis
25. Which of the following artists had firsthand knowledge and experience of the American Civil War?
a. Thomas Eakins
b. John Singer Sargent
c. Henry Tanner
d. Winslow Homer
Answer: d. Winslow Homer Knowledge
26. Antonio Gaudi conceived an architecture that was both modern and appropriate to his native Spain. He conceived a building as a whole and molded it almost like clay, and he achieved this conception in his Casa Milá. Which of the following would describe Casa Milá?
a. squared structure sheathed in concrete
b. free-form mass wrapped around a street corner
c. vertical mass soaring above the landscape
d. horizontal mass tied to the earth
Answer: b. free-form mass wrapped around a street corner Analysis
27. In Klimt’s The Kiss, the artist has captured the flamboyance and decadence of the period, the fin de siècle. Which of the following would support this description?
a. decadence conveyed by he formalism of the subject matter
b. decadence conveyed by the linearity of the form
c. decadence conveyed by opulent and sensuous image
d. decadence conveyed by soft tonalities of the image
Answer: c. decadence conveyed by opulent and sensuous image Analysis
28. Throughout history artists have regularly served political ends by making visible statements, which are, in fact, political. Which of the following artists has indeed created a political statement with his/her work?
a. Dorothea Lange
b. John Sloan
c. Wassily Kandinsky
d. Barbara Hepworth
Answer: a. Dorothea Lange Comprehension/Analysis
29. Which of the following artists created large-scale, kinetic sculptures?
a. Henry Moore
b. Brancusi
c. Alexander Calder
d. Boccioni
Answer: c. Alexander Calder Knowledge
30. The work of Vera Mukhina, a Soviet artist, can be said to perform which of the following?
a. convey the horror of war
b. glorify communal labor
c. glorify urban lifestyles
d. show motion through dynamic line
Answer: b. glorify communal labor Comprehension/Analysis
31. Which of the following artists developed the theories of neoplasticism or the new pure plastic art?
a. Picasso
b. Chagall
c. Mondrian
d. Marc
Answer: c. Mondrian Knowledge/Comprehension
32. Which of the following works of art was melted down for ammunition by the Nazis in 1937?
a. War Monument
b. Bird in Space
c. Unique Forms of Continuity in Space
d. Column
Answer: a. War Monument Knowledge
33. Which of the following artists created a modern American art style combining Synthetic Cubism with jazz tempos and his perception of the fast-paced American culture?
a. Marsden Hartley
b. Charles Demuth
c. Georgia O’Keeffe
d. Stuart Davis
Answer: d. Stuart Davis Analysis/Comprehension
34. What style is described as compositions of shapes and forms abstracted from the conventionally conceived world, an analysis of form?
a. Fauvism
b. Cubism
c. De Styl
d. Neoplasticism
Answer: b. Cubism Analysis
35. The Champs de Mars or The Red Tower by Robert Delaunay depicts which of the following?
a. Eiffel Tower
b. Tower of Babel
c. Coit Tower
d. Tatlin Tower
Answer: a. Eiffel Tower Knowledge
36. Which of the following is executed in the Synthetic Cubist style?
a. The Dance
b. Fate of the Animals
c. Demoiselles d’Avignon
d. Still-Life with Chair-Caning
Answer: d. Still-Life with Chair-Caning Knowledge
37. Which of the following describes the Ashcan School?
a. captured the horror of trench warfare in WW II
b. captured the hurley-burley activity of farm life
c. captured the bleak and seedy aspects of city life
d. captured the dynamism of the machine
Answer: c. captured the bleak and seedy aspects of city life Comprehension
38. How did avant-garde artists go about challenging artistic convention?
a. sought innovative forms of expression
b. they did nothing, relaxed in their avant-gardism
c. advised a return to Renaissance traditions
d. advised a return to classical traditions
Answer: a. sought innovative forms of expression Analysis
39. What is the evidence of a Performance Art event?
a. documentary photos of a rehearsed performance
b. documentary photos at the time of the performance
c. script for a repeat Performance
d. script and direction transformed into video
Answer: b. documentary photos at the time of the performance Comprehension/Analysis
40. Because of he spontaneous and informal nature of Performance Art which of the following was the primary medium?
a. human body
b. newsprint
c. cheap paper
d. cardboard
Answer: a. human body Comprehension/Analysis
41. Which of the following earlier art styles formed the characterizing spirit of Performance Art?
a. German Expressionism
b. Cubism
c. Dada
d. Abstract Expressionism
Answer: c. Dada Analysis/Comprehension
42. Which of the following was the purpose of Performance Art?
a. challenge art’s function as commodity
b. challenge art’s function as art
c. challenge art’s function
d. challenge art’s function in the Post-Modern period
Answer: a. challenge art’s function as commodity Analysis/Comprehension
43. How did museum commissions of Performance events neutralize Performance Art?
a. commissions neutralized the purpose of art
b. commissions made the events mundane
c. commissions neutralized the subversiveness
d. commissions nullified Performance Art
Answer: c. commissions neutralized the subversiveness Analysis/Comprehension
44. How did Allan Kaprow view art?
a. had no views whatsoever
b. intersection of art and life
c. viewed art as the zenith of his existence
d. interested in music as an art form
Answer: b. intersection of art and life Analysis/Comprehension
45. How did the Fluxus group see aesthetic potential?
a. in the traditional
b. in the nontraditional and commonplace
c. in the traditional and unique
d. in the experimental
Answer: b. in the nontraditional and commonplace Analysis/Comprehension
SHORT ANSWER
46. How does Henry Fuseli evoke horror and possibly the dark terrain of the human subconscious?
Answer: He sought to combine the myth, Mara (who was thought to torment and suffocate those who were asleep), and create a visual image of such an occurrence. He used disturbing juxtapositionings with Baroque dynamism and naturalistic detail to create a convincing image. Analysis
47. How did the 18th century perceive the Middle Ages?
Answer: They perceived it as a time of barbarism, superstition, dark mystery and miracles. The romantic imagination specific to the late 18th stretched the Middle Ages into the worlds of fantasy, nightmare, the grotesque, and all images associated with consciousness as opposed to reason. Analysis
48. What was the Hudson River School?
Answer: It was a group of nineteenth-century American landscape painters who
worked in the eastern United States along the Hudson River. However, this label
is too restrictive as many of the artists depicted landscape from across the United
States. They presented panoramic landscapes but also the relationship the country
had with the land; they were trying to render the American landscape as unique.
Analysis
49. How did Thomas Cole respond to America’s direction as a civilization?
Answer: In his The Oxbow he divides the canvas into dark and stormy and civilized. The tiny artist seen in the bottom center is dwarfed by the scale of the landscape, and he seems to be asking for input for the direction of the country. He has incorporated the moods affecting the country at this time, reflection and romantically appealing. Analysis
50. How was photography perceived?
Answer: It was celebrated as embodying a revelation of the visible world. Both Louis Daguerre and Henry Fox Talbot demonstrated the practicality of the medium for recording the century’s discoveries. The shift of patronage from the elite to the increasingly powerful middle class made the medium perfectly suited as a medium that could record comprehensible images at a lower cost. Analysis
51. How did Timothy O’Sullivan’s A Harvest of Death, Gettysburg, Pennsylvania, July 1863 respond as a new medium, and how did it impact the nation?
Answer: It brought the immediacy of the soldier’s death to the people; it focused on the horror of the moment with its direct and objective recording of the awful harvest in that Gettysburg field with the endless horizon filled with dead bodies; it created a lament for the dead and for the nation; and it became a powerful tool to document and to communicate almost instantly events that took place within a short span of time. Analysis
52. What is the drawback to “wet-plate” processing?
Answer: The plate had to be prepared and processed on the spot, and working outdoors required a complete set-up. It was very time consuming and labor intensive. Knowledge
53. How does Louis Sullivan reflect truly modern architecture?
Answer: He synthesized industrial structure and ornamentation that expressed the late 19th century spirit of commerce. He used the latest in technology to invest the interiors with light and good ventilation. The interior and exterior ornamentation connected commerce and culture and gave these spaces a sense of refinement and taste. Analysis/Comprehension
54. What was the Arts and Crafts Movement?
Answer: It’s a reaction against industrialization with a distrust of capitalism and machines. Its goal was to produce functional objects with high aesthetic value for broader public consumption. Knowledge
55. What is academic art?
Answer: Work sanctioned by the official academies and art schools, this work was tightly controlled, competitive, and subsidized by the government. It supported a limited range of subject matter and a highly polished technique. It did not encourage experimentation or innovation. Knowledge
56. How does the work of Bouguereau favor state patronage in the late nineteenth century?
Answer: He adhered to the subject matter requirements, fictional or mythological themes, and used established painting conventions. He was not innovative; his work followed the traditional guidelines. His work was polished and natural, and he presented work which was decorative and non-judgmental. Analysis/Comprehension