141
Analysis
16. All of the following characterize Realist artists except ______.
a. they focused on the world around them
b. they focused on problems like poverty and political repression
c. they exposed the gritty details of contemporary life
d. they expressed a deep love of nature
e. all of these are correct
17. Considered to be the most controversial of French Realists, ______________ was not content simply
to caricature society but who actively set out to offend it.
a. Jacques-Louis David
b. Gustave Courbet
c. Théodore Géricault
d. Eugène Delacroix
e. Jean Auguste Dominique Ingres
142
18. The inspiration for The Gleaners by Jean Francois Millet, came from ______.
a. city life
b. a decade of living in Paris
c. rural life
d. Orientalism
e. none of these are correct
19. Dressing as a boy, ______________ remained unnoticed and free to go about research on animal
anatomy, which was conducted in slaughterhouses.
a. Vigee-Lebrun
b. Rosa Bonheur
c. Gustave Courbet
d. Jean Francois Millet
e. none of these are correct
20. What characterized the Barbizon School?
a. plein air painting
b. blending of Realist and Romantic notions
c. living together in rural France
d. all of these are correct
e. none of these are correct
143
© 2019 Cengage Learning, Inc. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Analysis
a. Incorrect. While the Barbizon School did take up painting in the outdoors, or en plein air painting, this
is not the complete answer. See REALISM: POLITICS AND NATURE.
b. Incorrect. While the Barbizon School did blend Realist and Romantic notions painting, this is not the
complete answer. See REALISM: POLITICS AND NATURE.
c. Incorrect. While the Barbizon School did live together in rural France painting, this is not the complete
answer. See REALISM: POLITICS AND NATURE.
d. Correct. The Barbizon School moved to rural France, began painting outdoors, and blended Romantic
and Realist notions. See REALISM: POLITICS AND NATURE.
e. Incorrect. The Barbizon School moved to rural France, began painting outdoors, and blended Romantic
and Realist notions. See REALISM: POLITICS AND NATURE.
SHORT ANSWER
1. As president of the Royal Academy in England, Sir Joshua Reynolds was able to dominate “official
2. How does the painting style of Francisco Goya differ from Jacques-Louis David?
3. Define the word sublime in the context of the early nineteenth century. Explain how this influenced
4. What were the favorite themes of J.M.W. Turner?
ESSAY
1. Compare and contrast Mrs. Siddons as the Tragic Muse by Sir Joshua Reynolds with The Blue Boy by
2. Compare and contrast Bonaparte crossing the Great Sian Bernard Pass with Death of Marat by
3. Compare and contrast the work of Francisco Goya with Honorè Daumier.
4. Discuss the strategies that Jean Auguste Domonique Ingres used in painting the portrait Comtesse
5. Discuss the influence of Orientalism on Western art. Cite specific examples from the text.
144
Chapter 17
Out of the Studio and into the Light: Impressionism and
Postimpressionism
MULTIPLE CHOICE
1. Begun in 1737, the __________________ , which contained officially sanctioned contemporary art,
remained the only important public exhibition available to artists.
a. The Salon des Refusés
b. Salon
c. Louvre
d. French Academy
e. none of these are correct
2. The Salon des Refusés was ____________.
a. known as the Salon of the Rejected
b. where art not accepted by official Salon was exhibited
c. created by the French government
d. scoffed at by the public
e. all of these are correct
145
3. Which of the following is NOT true concerning Manet’s Luncheon on the Grass?
a. The public and critics rejected it because they felt it was intended as pornography.
b. The composition was based on a design by Raphael.
c. Inspired by the Baroque artists, Manet used open brushwork to paint it.
d. It would be classified as Postimpressionist in style.
e. The figures were not modeled with a variety of value tones.
Analysis
4. Which of the following is true of Edouard Manet?
a. He came to be seen as the father of Impressionism.
b. He never took part in exhibitions arranged by the young Impressionists.
c. He was fascinated with the new medium of photography.
d. He was influenced by the younger Impressionists’ style.
e. All of these are correct.
5. Claude Monet attempted to ________ in his work Grainstacks (End of Summer).
a. convey the quality of light and atmosphere through color
b. convey the atmosphere of farm life
c. create a painting that looked like a photograph
d. both b and c are correct
e. none of these are correct
146
© 2019 Cengage Learning, Inc. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Analysis
a. Correct. Monet attempted to convey the quality of light and atmosphere through color. See
IMPRESSIONISM.
b. Incorrect. Monet did not attempt to convey the atmosphere of farm life. See IMPRESSIONISM.
c. Incorrect. Monet did not attempt to create a painting that looked like a photograph. See
IMPRESSIONISM.
d. Incorrect. Monet attempted neither a farm life atmosphere nor a photographic likeness. See
IMPRESSIONISM.
e. Incorrect. Monet attempted to convey the quality of light and atmosphere through color. See
IMPRESSIONISM.
6. All of the following are true of Claude Monet’s series of water lilies, such as Nympheas (Water Lilies)
except ______.
a. the water lilies bloomed in his own gardens
b. he called them “decorations”
c. they are his most famous and popular works
d. they symbolize love
e. there is a visual play of color and painted line
7. Like all of the Impressionists, Pierre-Auguste Renoir wanted to show the life he saw around him in
Paris. But even more than the others, he was concerned with ______.
a. human misery
b. human interactions and moods
c. photography
d. insulting art critics with new work
e. none of these are correct
8. Which artist decided to sue the art critic John Ruskin for libel when Ruskin referred to Nocturne in
Black and Fold: The Falling Rocket as “cockney impudence”?
a. Claude Monet
b. Vincent van Gogh
c. J.A.M. Whistler
d. Mary Cassatt
e. Edgar Degas
147
© 2019 Cengage Learning, Inc. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Analysis
a. Incorrect. Monet did not sue Ruskin. See ART NEWS: ARTIST VS CRITIC.
b. Incorrect. Van Gogh did not sue Ruskin. See ART NEWS: ARTIST VS CRITIC.
c. Correct. J.A.M. Whistler sued Ruskin for libel. See ART NEWS: ARTIST VS CRITIC.
d. Incorrect. Cassatt did not sue Ruskin. See ART NEWS: ARTIST VS CRITIC.
e. Incorrect. Degas did not sue Ruskin. See ART NEWS: ARTIST VS CRITIC.
9. Edgar Degas’s artwork draws its power from a fusion of ______.
a. Ingres’s line
b. the solid form of the Renaissance masters
c. the composition of the great Renaissance masters
d. the spontaneous realism of Impressionism
e. all of these are correct
10. The favorite subjects of Mary Cassatt were ______.
a. men and boys shown in unguarded moments
b. women and children shown in unguarded moments
c. the city life in Paris
d. all of these are correct
e. none of these are correct
148
11. The Gates of Hell, originally designed as a doorway to be cast in bronze for a new Museum of
Decorative Arts in Paris, were sculpted by
a. Claude Monet
b. Toulouse-Lautrec
c. Auguste Rodin
d. Paul Gauguin
e. Michelangelo
12. Which of his own sculptures did Rodin refer to as “a huge knick–knack”?
a. The Gates of Hell
b. The Kiss
c. The Thinker
d. none of these are correct
e. all of these are correct
13. Postimpressionism refers to _______.
a. what the Impressionists painted after their first exhibition
b. the Italian movement that admired Impressionist works for the depiction of the passage of time
c. anything painted in the avant garde style
d. a group of unrelated artists who reacted to the ideas of the Impressionists
e. the movement occurring right now where there is a reaction against the Impressionist philosophy
Analysis
149
14. Which best describes Toulouse-Latrec’s painting At the Moulin Rouge?
a. brightly lit
b. open-aired
c. aristocratic
d. claustrophobic
e. classical
15. Georges Seurat created a method of painting called _________, which consists of tiny dots.
a. Impressionism
b. Postimpressionism
c. Pointillism
d. Japonisme
e. none of these are correct
16. Which of the following is NOT true of Gauguin’s painting Spirit of the Dead Watching?
a. It depicts his wife.
b. It is based on his wife’s experience.
c. It shows a dead spirit.
d. It uses a traditional compositional form.
e. It is depicted in a rational space.
150
© 2019 Cengage Learning, Inc. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Analysis
a. Incorrect. This painting does depict the native woman that Gauguin married in Tahiti. See
POSTIMPRESSIONISM.
b. Incorrect. This painting does depict an experience that Gauguin’s wife had in which she saw a dead
spirit in the night. See POSTIMPRESSIONISM.
c. Incorrect. This painting does depict the dead spirit that his wife saw in the night. See
POSTIMPRESSIONISM.
d. Incorrect. Gauguin does use the traditional compositional form in this painting known as the reclining
nude. See POSTIMPRESSIONISM.
e. Correct. Because the painting depicts elements from beyond the natural world, Gauguin uses the
strategy of using an irrational space for them. See POSTIMPRESSIONISM.
17. Who painted The Night Café, and said of it “I have tried to express the idea that the café is a place
where one can ruin oneself, go mad, or commit a crime”?
a. Toulouse-Latrec
b. Gauguin
c. Degas
d. Van Gogh
e. none of these are correct
18. Which artist cut off part of his ear and painted some of his greatest works while battling mental
illness?
a. Van Gogh
b. Degas
c. Gauguin
d. Cezanne
e. Cassatt
151
19. Ukiyo-e, or “pictures of the floating world,” set off a wave of _______________, of a love of all
things Japanese in Western culture.
a. Impressionism
b. Postimpressionism
c. Pointillism
d. Japonisme
e. none of these are correct
20. All of the following are true of Paul Cezanne except ______.
a. he had the biggest impact on twentieth-century art
b. he used three of the most ordinary types of painting in his work
c. he reconceived the way pictures were made
d. he believed that perspective was a lie
e. he concealed his brushstrokes to create a smooth painted surface
Analysis
SHORT ANSWER
1. What was so shocking and insulting about Gustave Courbet’s Two Girls on the Banks of the Seine?
2. What past master influenced Manet? In what way did he do so?
3. How did the Impressionists become known as the Impressionists?
4. Why did Gauguin believe that he needed to move to Tahiti?
5. Who is described as the “father of expressionism” in the text and why?
152
ESSAY
1. Describe how art patronage changed in the nineteenth century. What happened in cities like Paris,
2. Photography was invented in the mid-nineteenth century. Describe the effect, especially on painting,
3. Painters in the nineteenth century often had a troubled relationship with the critics and the public.
4. Images from Japan had an enormous impact on nineteenth-century art. Using specific examples,
5. Which Postimpressionist painter was most influential to the modern artists of the twentieth century? In
what ways was that artist influential?
153
Chapter 18
The Real World on Trial: The Early Twentieth Century
MULTIPLE CHOICE
1. Which of the following is NOT true of artist networks?
a. They were first developed in the twentieth century.
b. They resist the notion that artists do not collaborate.
c. They have always played a key role in art making.
d. They encourage the exchange of ideas.
e. They are limited to artists working at the same time.
2. Which is NOT true of the Eiffel Tower?
a. It was an emblem of modernism.
b. It changed the way people saw reality.
c. It represented Eiffel’s distaste for French history.
d. It was a demonstration of France’s industrial power.
e. It offered a view of Paris that had rarely been seen before.
154
3. The aim of the Expressionists was to _________.
a. make inner feelings visible
b. create a better world
c. reveal the subconscious mind
d. imitate historical references
e. be dramatic
4. What was Edvard Munch trying to depict in his lithograph The Scream?
a. the feeling of being a social outcast
b. the fear of abandonment
c. the feeling of hearing a loud, piercing shriek from nature
d. a man emitting a loud shriek
e. none of these are correct
5. Why did Emil Nolde think that color was the gateway to our inner nature?
a. because every color harbors its own soul
b. because nature is colorful
c. because they affect us in different ways
d. all of these are correct
e. none of these are correct
155
© 2019 Cengage Learning, Inc. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Analysis
a. Correct. Nolde believed that “every color harbors its own soul.” See GERMAN EXPRESSIONISM.
b. Incorrect. Nolde was not interested in using colors to mimic nature. See GERMAN
EXPRESSIONISM.
c. Incorrect. Nolde did believe that colors were to be used merely to create a feeling in the viewer. See
GERMAN EXPRESSIONISM.
d. Incorrect. Nolde believed that “every color harbors its own soul.” See GERMAN EXPRESSIONISM.
e. Incorrect. Nolde believed that “every color harbors its own soul.” See GERMAN EXPRESSIONISM.
6. The word fauve means ______.
a. the bridge
b. the blue rider
c. nothing
d. wild beast
e. bright colors
7. In Olowe of Ise’s Veranda Post of Enthroned King and Senior Wife, the senior wife is depicted as the
largest figure in the sculpture because _______.
a. the wife was a key supporter of the king as well as being a pillar of strength in the community
b. the wife’s power in the community exceeded the authority and power of the king
c. the wife was older than the king, therefore larger in size
d. females are much more visually interesting than males, so there is more detail to depict
e. women in Yoruban society are physically stronger and are generally larger in size than men
156
8. How did Henri Matisse use color in his painting Red Room (Harmony in Red)?
a. to generate an emotion in the viewer
b. to mimic Rubens
c. he thought color could balance a composition
d. both a and c are correct
e. none of these are correct
9. Picasso was most inspired by French artist ________, whom Picasso referred to as “the father of us
all.”
a. Monet
b. Gauguin
c. Cézanne
d. Courbet
e. Manet
10. One characteristic of Analytical Cubism was _______.
a. showing inner feeling
b. using bright, wild colors
c. depicting speed and movement
d. a limited use of color
e. the incorporation of nonsensical elements
157
11. Picasso’s work Still Life with Chair Caning was the first ________.
a. work of modern art
b. Cubist collage
c. painting to incorporate African masks
d. collaboration between Georges Braque and Pablo Picasso
e. nonrepresentational sculpture
12. The Romanian sculptor Constantin Brancusi apprenticed for a short time in France under ______.
a. Emmanuel Fremiet
b. Marcel Duchamp
c. Pablo Picasso
d. Auguste Rodin
e. Henry Moore
Analysis
13. What did Brancusi mean by the statement “the sculptor is a thinker, not a photographer”?
a. Photography merely captures the external world.
b. The external form of things is not essentially real.
c. That the artist should discover the essence of things.
d. All of these are correct.
e. None of these are correct.
158
© 2019 Cengage Learning, Inc. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Analysis
a. Incorrect. While Brancusi did believe that photography could only capture the external form of things,
this is not the complete answer. See ABSTRACTING SCULPTURE: BRANCUSI.
b. Incorrect. While Brancusi did believe that the external forms of things were not essentially real, this is
not the complete answer. See ABSTRACTING SCULPTURE: BRANCUSI.
c. Incorrect. While Brancusi did believe that the artist should discover the essence of things, this is not the
complete answer. See ABSTRACTING SCULPTURE: BRANCUSI.
d. Correct. Brancusi was interested in capturing the essences of things that could not be captured in their
external form. See ABSTRACTING SCULPTURE: BRANCUSI.
e. Incorrect. Brancusi was interested in capturing the essences of things that could not be captured in their
external form. See ABSTRACTING SCULPTURE: BRANCUSI.
14. According to the Futurist manifesto, a(n) __________ is more beautiful than the Greek sculpture
Victory of Samothrace.
a. newborn baby
b. airplane
c. speeding car
d. modern dancer
e. fired weapon
Analysis
15. The Dada artists waged war on ________.
a. themselves
b. the old museums and libraries
c. the conventional way of thinking
d. reality
e. the subconscious mind
159
© 2019 Cengage Learning, Inc. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Analysis
a. Incorrect. The Dada artists did not wage war on themselves. See DADA: TO ONE MADNESS WE
OPPOSE ANOTHER.
b. Incorrect. The Dada artists did not wage war on the old museums and libraries. See DADA: TO ONE
MADNESS WE OPPOSE ANOTHER.
c. Correct. The Dada artists did wage war on the conventional way of thinking. See DADA: TO ONE
MADNESS WE OPPOSE ANOTHER.
d. Incorrect. The Dada artists did not wage war on reality. See DADA: TO ONE MADNESS WE
OPPOSE ANOTHER.
e. Incorrect. The Dada artists did not wage war on the subconscious mind. See DADA: TO ONE
MADNESS WE OPPOSE ANOTHER.
16. Marcel Duchamp’s Nude Descending a Staircase was compared to ________ by a critic.
a. the flight of birds
b. an explosion in a shingle factory
c. the ticking of a clock
d. a robot
e. a filmstrip
17. Duchamp selected an ordinary object that was mass produced and asserted it as art, something he
called _______.
a. an appropriation
b. a pictograph
c. a ready-made
d. an assemblage
e. a photomontage
160
© 2019 Cengage Learning, Inc. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Analysis
a. Incorrect. These ordinary objects Duchamp used were not called appropriations. See DADA: TO ONE
MADNESS WE OPPOSE ANOTHER.
b. Incorrect. These ordinary objects Duchamp used were not called pictographs. See DADA: TO ONE
MADNESS WE OPPOSE ANOTHER.
c. Correct. These ordinary objects Duchamp used were called ready-mades. See DADA: TO ONE
MADNESS WE OPPOSE ANOTHER.
d. Incorrect. These ordinary objects Duchamp used were not called assemblages. See DADA: TO ONE
MADNESS WE OPPOSE ANOTHER.
e. Incorrect. These ordinary objects Duchamp used were not called photomontages. See DADA: TO ONE
MADNESS WE OPPOSE ANOTHER.
18. A major influence on Surrealism was _________.
a. the invention of the automobile
b. Sigmund Freud’s Interpretation of Dreams
c. Paul Cézanne
d. World War II
e. all of these are correct
19. Giorgio de Chirico called his works ___________.
a. metaphysical pictures
b. ready-mades
c. Dada inspirations
d. Freudian images
e. Renaissance revivals
Analysis