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Chapter 12: Romanticism, Realism, and Photography, 1800 to 1870
Multiple Choice
1. In the 19th century, Neoclassicism gave way to a new movement called _____.
a. academic art
b. the Hudson River School
c. Romanticism
d. the Pre-Raphaelite Brotherhood
2. Géricault criticized the rigidity of the Neocalssical style and instead injected _____ into his artwork.
a. drama and emotion
b. symmetrical compositions
c. strong contour lines
d. abstract forms
3. In the wake of the French Revolution, _____ seized power in France.
a. Charles X
b. King George IV
c. Ferdinand VII
d. Napoleon
4. With his ambitions to rival ancient Rome, Napoleon embraced the _____ style.
a. Barbizon
b. mystical
c. Neoclassical
d. Realist
5. _____ was Napoleon’s favorite sculptor.
a. Charles Barry
b. Edmonia Lewis
c. Antonio Canova
d. John Nash
6. In his Napoleon Visiting the Plague-Stricken in Jaffa, Gros borrowed the arcaded backdrop from _____.
a. David’s Oath of the Horatii
b. Delacroix’s Liberty Leading the People
c. Courbet’s The Stone Breakers
d. Ingre’s Grande Odalisque
7. The European curiosity about non-Western cultures is called _____.
a. the Pre-Raphaelite Brotherhood
b. the sublime
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Chapter 12: Romanticism, Realism, and Photography, 1800 to 1870
c. Realism
d. Orientalism
8. _____ left the studio of his teacher, David, claiming to have a truer Greek style.
a. Antoine-Jean Gros
b. Jean-Auguste-Dominique Ingres
c. Eugène Delacroix
d. Gustave Courbet
9. Romanticism was indebted to the ideas of _____.
a. Newton and Locke
b. empiricists
c. Jean-Jacques Rousseau
d. John Everett Millais
10. Romantic artists advocated for freedom and placed _____ over reason.
a. religious belief
b. artistic skill
c. imagination
d. common subjects
11. What is Edmund Burke’s definition of the sublime?
a. Awe mixed with terror
b. Courage and kindness
c. Sentimentality
d. Heroic action
12. Goya’s Third of May, 1808 represents _____.
a. the French suppression of a Spanish revolt
b. the peasant revolt
c. the American Civil War
d. an allegory of the French Revolution
13. In the landscapes of the British artist John Constable, _____.
a. nature and landscape become one
b. color is reduced to only a few values
c. the emotive power of color takes over
d. figures play a prominent role
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Chapter 12: Romanticism, Realism, and Photography, 1800 to 1870
14. The artist Caspar David Friedrich believed that closeness with nature would lead to _____.
a. a better understanding of God
b. better survival skills
c. mental illness
d. greater artistic talent
15. In America _____ specialized in landscape painting.
a. the Hudson River School
b. the Barbizon School
c. positivism
d. the Pre-Raphaelite Brotherhood
16. Society’s increasing emphasis on science in the 19th century led to the emergence of _____.
a. Romanticism
b. Realism
c. Orientalism
d. Indian Gothic
17. The only valid subjects in Realism were _____.
a. mythological scenes
b. what could be seen
c. allegories
d. religious stories
18. The _____ were French artists who specialized in scenes of the forest and countryside.
a. Neoclassicists
b. Hudson River School
c. Pre-Raphaelite Brotherhood
d. Barbizon school
19. After having numerous works rejected by the 1855 Salon, Gustave Courbet set up his own exhibition called _____.
a. Déjeuner sur l’Herbe
b. the Crystal Palace
c. the Barbizon School
d. Pavilion of Realism
20. The Realist artist ____ was a defender of the urban working class.
a. Honoré Daumier
b. Jean-Francois Millet
c. Eugène Delacroix
d. Rosa Bonheur
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Chapter 12: Romanticism, Realism, and Photography, 1800 to 1870
21. Daumier contributed to the liberal journal Caricature, which ridiculed _____.
a. the Catholic Church
b. French bourgeoisie
c. artists
d. Realists
22. Among the shocking aspects for critics and viewers of Monet’s Olympia was _____.
a. the unnatural color scheme
b. the domestic space
c. her cat
d. her defiant gaze
23. Timothy O’Sullivan documented which of the following wars?
a. Crimean War
b. American Civil War
c. Boer War
d. War of Spanish Succession
24. How did Corbet convey the dreary and dismal nature of menial labor in mid-19th-century France?
a. Palette of dirty browns and grays
b. Strong, diagonal line
c. Bright color to highlight the labor
d. Soft pastels for the stones
25. Eakins’s The Gross Clinic was rejected by critics for being too _____.
a. French
b. brutal
c. big
d. intellectual
26. The _____ was the English movement that refused to be tied to Realist subjects.
a. Barbizon School
b. sublime
c. Hudson River School
d. Pre-Raphaelite Brotherhood
27. _____ was one of the founders of the Pre-Raphaelite Brotherhood.
a. John Everett Millais
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Chapter 12: Romanticism, Realism, and Photography, 1800 to 1870
b. Thomas Cole
c. Thomas Eakins
d. Charles Barry
28. After a fire, the Houses of Parliament were rebuilt in _____ style.
a. a Greek
b. a Neo-Gothic
c. a Baroque
d. an Indian Gothic
29. The term _____ is used to describe the fantastic exterior of the Royal Pavilion with its domes and minarets.
a. Neo-Gothic
b. Indian Gothic
c. prefabricated
d. Neoclassical
SLIDE IDENTIFICATION
30. (Figure 12-5)
a. Fuseli
b. Goya
c. Ingres
d. Delacroix
31. (Figure 12-9)
a. Constable
b. Turner
c. Friedrich
d. Cole
32. (Figure 12-2)
a. Canova
b. Ingres
c. Friedrich
d. Delacroix
33. (Figure 12-6)
a. Spain
b. England
c. Germany
d. Italy
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Chapter 12: Romanticism, Realism, and Photography, 1800 to 1870
34. (Figure 12-7)
a. Gericault
b. Delacroix
c. Goya
d. Turner
35. (Figure 12-12)
a. Turner
b. Friedrich
c. Constable
d. Cole
36. (Figure 12-23)
a. Paxton
b. Barry
c. Pugin
d. Nash
37. (Figure 12-26)
a. Daguerre
b. Nadar
c. O’Sullivan
d. Talbor
38. (Figure 12-15)
a. Courbet
b. Millet
c. Manet
d. Eakins
39. (Figure 12-19)
a. France
b. England
c. Italy
d. United States
40. (Figure 12-18)
a. Courbet
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Chapter 12: Romanticism, Realism, and Photography, 1800 to 1870
b. Eakins
c. Homer
d. Manet
41. (Figure 12-20)
a. Canova
b. Millet
c. Courbet
d. Lewis
42. (Figure 12-2)
a. Pre-Raphaelite
b. Neoclassicism
c. Realism
d. Romanticism
43. (Figure 12-16)
a. Daumier
b. Homer
c. Courbet
d. Millet
44. (Figure 12-27)
a. Daguerre
b. Talbot
c. Nadar
d. O’Sullivan
Subjective Short Answer
45. Which aspects of Napoleon Visiting the Plague-Stricken in Jaffa reflect Orientalism?
46. Which stylistic features of Ingres emulated Greek art?
47. What concept did the philosopher Edmund Burke explore, and how was it significant to Romantic artists?
48. Describe the dialogue that exists in the realm of painting at the beginning of the 19th century.
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Chapter 12: Romanticism, Realism, and Photography, 1800 to 1870
49. How does Delacroix exemplify Romantic colorist painting?
50. What was Constable’s unique contribution to landscape painting?
51. What are the main premises of Realism, and how were they put forth by Gustave Courbet?
52. Describe Gustave Courbet’s painting technique.
53. What is lithography?
54. Why was Edmonia Lewis’s background unusual among artists?
55. What was the Pre-Raphaelite Brotherhood? Which artistic principles did they embrace?
56. What meaning did the Middle Ages hold for artists and architects such as Pugin?
SLIDE QUESTIONS
57. What elements of the composition go against Neoclassical principles?
58. What qualities does Napoleon assume in this painting?
59. What debate exists over the interpretation of the imagery in this work?
60. How did the artist encourage viewers to empathize with the Spanish victims?
61. How was this artist’s approach to color innovative?
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Chapter 12: Romanticism, Realism, and Photography, 1800 to 1870
62. How was this work timely and populist?
63. Which aspects of this work offended critics?
64. How does this work challenge traditional values of painting?
Essay
65. Describe the differences between Romantic and Neoclassical artists. Providing examples, please consider influences,
subjects, technique, and formal qualities.
66. Several artists in the 19th century used current events as their subjects. Providing examples, please describe why
certain subjects were chosen and how the artists represented them.
67. Why did landscape painting become such a significant subject in the Romantic movement? Describe the different
approaches to landscape at the time and the general qualities of Romantic landscapes.
68. Describe the factors that encouraged the emergence of Realism as a movement. Providing examples, describe subjects
and techniques that conform to Realist principles.
69. Describe how artists developed new approaches to color and to technique. Providing examples, explain their artistic
aims and how they challenged traditional painting.
70. Citing examples, describe the different approaches to the styles and techniques of architecture encountered in the 19th
century.
UNKNOWN IMAGES
71. Attribute the images on the screen to a culture and give an approximate date. Give the reasons for your attributions,
using complete sentences and referring to specific works discussed in class.
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Chapter 12: Romanticism, Realism, and Photography, 1800 to 1870