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Chapter 11 – Nineteenth-Century Art
Multiple Choice Questions
1. Delacroix’s revolutionary technique used in Liberty Leading the People is a reaction to
the prevailing Neoclassicism in its:
a. loose brushstrokes.
b. blurred edges.
c. strong colors.
d. all of these.
e. none of these.
2. Manet’s A Bar at the Folies-Bergère exhibits new nineteenth century issues of the
individual in a modern, urban society, most particularly:
a. stoic virtue.
b. isolation and alienation.
c. vainglorious heroism.
d. all of these.
e. none of these.
3. The creation of an ukiyo-e woodblock print, such as Hokusai’s The Great Wave, was the
result of the work of:
a. a carver.
b. printing specialists.
c. an artist-designer.
d. all of these.
e. none of these.
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4. In his caricatures, Daumier’s heroes most often came from the:
a. working classes.
b. aristocracy.
c. ranks of amateur artists.
d. all of these.
e. none of these.
5. In the medium of lithography, the print form is a(n):
a. very smooth board of bamboo.
b. copper plate.
c. very smooth slab of limestone.
d. all of these.
e. none of these.
6. In England in the nineteenth century, the Gothic Revival style was perceived as the
style that best expressed:
a. truth.
b. the proper relationship between God and humans.
c. spiritual goodness.
d. all of these.
e. none of these.
7. Courbet’s aim was to create a “living art”; his style became known as:
a. Gothic Revival.
b. Realism.
c. Romanticism.
d. all of these.
e. none of these.
8. Manet’s Le Déjeuner sur l’herbe caused a scandal in 1863 because (of):
a. its subject is perplexing.
b. the lack of modeling on the nude.
c. its large strokes of thick paint.
d. its visual impact is unexpectedly powerful.
e. all of these.
9. The goal of Monet in Impression-Sunrise was to:
a. paint a beautiful picture.
b. record reality as he saw it.
c. display significant moral import.
d. all of these.
e. none of these.
10. The technique of the Impressionists was to:
a. work quickly before the natural light changed.
b. use loose, bold strokes of color.
c. paint outside, on the spot.
d. all of these.
e. none of these.
Fill–in–the-Blank Questions
11. At the Parisian Salon of 1863, there was such an outcry about the rejected works that
a special exhibition of rejected works was set up, known as the ____________.
12. Constable’s painting of The Hay Wain is unified by the flecks of ____________ and
____________ used to recreate the sparkling luminosity of the English countryside after
the rain.
13. The style of Hiroshige’s woodblock prints focuses on the subtleties of a particular
____________ and ____________.
14. Rodin’s The Burghers of Calais disappointed many people at first because it lacked
overtly ____________ references.
15. Seurat systematized contemporary scientific advances in color theory to create what
he termed ____________.
True-False Questions
16. In the period of Romanticism, a revealing consistency in the various arts can be
discerned.
17. Géricault’s The Raft of the Medusa is a history painting, and its subject is a heroic
event.
18. In Japanese woodblock technique, the design is carved into the wood, leaving the
lines and solid areas raised above the cut surface of the wood.
19. The highest goal of Academic painters was to create history paintings of significant
moral import.
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20. In The Vision after the Sermon, Paul Gauguin uses both line and color in an abstract,
expressive way.
Short Answer Questions
21. What did the declining percentage of commissioned works in the nineteenth century
22. Goya’s The Execution of Madrileños on the Third of May, 1808 emphasizes a
23. What was the advantage of William Henry Fox Talbot’s invention of the
photographic negative?
24. In Thomas Eakins’s Portrait of Dr. Samuel Gross, the touches of red are used for what
purposes?
25. In Arles in 1888-89, van Gogh adopted what Japanese belief about the color yellow?
Essay Questions
26. In Thomas Cole’s paintings, why is his emphasis on the uniqueness of American
27. The Crystal Palace demonstrates what two innovative developments that
transformed architecture in the second half of the nineteenth century? How did these
developments work, and what did they demonstrate for the future of architecture?