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Chapter 13: Impressionism, Post-Impressionism, and Symbolism, 1870 to 1900
Multiple Choice
1. The birth of Impressionism occurred in _____.
a. Paris
b. Rome
c. London
d. Florence
2. Similar to the _____ movement, Impressionism took its subjects from everyday life.
a. Symbolist
b. Realist
c. Post-Impressionist
d. Nabi
3. Impressionists deviated from Realists in their desire to convey _____.
a. the working class
b. politically charged ideas
c. impermanence
d. classical influence
4. Although the artist Manet shared common aims with Realist artists, his A Bar at the Folies Bergère reflects the
influence of _____.
a. Symbolism
b. Romanticism
c. Pointilism
d. Impressionism
5. Baudelaire, whose ideas influenced Impressionist artists, considered _____ to be the essential characteristic of the
modern world.
a. impermanence
b. aristocratic society
c. traditional values
d. stability
6. By painting ____, Claude Monet could capture shifting atmospheric effects.
a. according to academic principles
b. en plein air
c. in multiple sittings
d. on divisionist principles
7. In their abbreviated details, speed, and spontaneity, Impressionist works had the quality of _____.
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Chapter 13: Impressionism, Post-Impressionism, and Symbolism, 1870 to 1900
a. Japanese prints
b. academic art
c. sketches
d. photographs
8. _____ is the label given to artists whose styles were rooted in Impressionism but were stylistically different.
a. Jugendstil
b. Symbolism
c. Primitivism
d. Post-Impressionism
9. The critic _____ wrote a scathing review of Whistler’s Nocturne in Black and Gold.
a. John Ruskin
b. Edvard Munch
c. Charles Darwin
d. Clement Greenberg
10. ____ was the technique employed by Seurat in which he applied tiny dots of color to his canvas.
a. Art Nouveau
b. Pointillism
c. Nocturne
d. Primitivism
11. Van Gogh used color as a vehicle to _____.
a. continue Renaissance traditions
b. form a composition
c. express emotions
d. faithfully copy nature
12. ____ was one influence on Gauguin’s use of flat color planes with strong contours.
a. En plein air
b. Pointilism
c. Van Gogh
d. Cloisonné metalwork
13. The artist ____ moved to Tahiti to remove himself from the materialism of Europe.
a. Paul Gauguin
b. Berthe Morisot
c. James Abbot McNeil Whistler
d. Henri Rousseau
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Chapter 13: Impressionism, Post-Impressionism, and Symbolism, 1870 to 1900
14. In contrast to Van Gogh’s thick brushstrokes, Gauguin _____.
a. painted in a slick, academic matter
b. created flat color areas
c. faithfully copied nature
d. used collage
15. How was Gauguin’s art affected by his move to Tahiti?
a. He started painting en plein air.
b. He moved to a smaller format.
c. He adopted a different color palette.
d. He painted only Parisian scenes.
16. Cézanne believed that Impressionism was lacking _____.
a. vivid brushwork
b. a vibrant color palette
c. the artist’s distinctive quality
d. form and structure
17. _____ was a new artistic movement that appeared at the end of the 19th century and rejected the subjects of the
everyday world.
a. Symbolism
b. Realism
c. Impressionism
d. The Barbizon School
18. Despite his lack of formal artistic training, the Symbolist artist _____ had a strong sense of design.
a. Paul Cézanne
b. Henri Rousseau
c. Victor Horta
d. Georges Seurat
19. The subjects of Edvard Munch’s art largely dealt with _____.
a. the urban landscape
b. industrialization
c. emotions associated with love and death
d. the classical past
20. European culture at the end of the 1800s is called _____.
a. Jugendstil
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Chapter 13: Impressionism, Post-Impressionism, and Symbolism, 1870 to 1900
b. post-industrialism
c. the symbolist era
d. fin-de-siècle
21. Rodin’s concern for the effect of light on surface demonstrates the influence of _____.
a. Impressionism
b. Art Nouveau
c. Symbolism
d. Realism
22. The artistic movement called _____ was based on natural forms and could be mass produced.
a. Pointilism
b. Art Nouveau
c. the Perpendicular style
d. Darwinism
23. To make buildings more fire resistant architects _____.
a. cloaked them in glass panels
b. reverted to Roman concrete
c. encased cast iron in masonry
d. built on a smaller scale
24. What was the architect Louis Sullivan’s motto?
a. Revival of ancient art
b. Design for the masses
c. Gothic national pride
d. Form follows function
25. Vincent van Gogh attempted to communicate _____ in his Starry Night.
a. his fear of darkness
b. his knowledge of astronomy
c. the vastness of the universe
d. a comet streaking through the sky
26. Through what means did Van Gogh communicate a charged energy and oppressive atmosphere in Night Cafe?
a. His choice of subject matter
b. Vivid, juxtaposed hues
c. Soft color and tilted perspective
d. Crowds of alienated café-goers
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Chapter 13: Impressionism, Post-Impressionism, and Symbolism, 1870 to 1900
27. Extreme subjectivity and the need to see through appearances to a deeper reality were most typical of the _____.
a. Impressionists
b. Symbolists
c. Post-Impressionists
d. Realists
28. Cassatt’s paintings of _____ reflected the limits French upper-class society placed on women.
a. male nudes
b. night life
c. domestic scenes
d. landscapes
29. Which of the following influenced Degas in his technique of using spatial projections and off-center empty space to
create illusion and direct the viewer’s attention into the picture?
a. Japanese woodblock prints
b. 16th-century German woodcuts
c. 15th-century German engravings
d. Islamic tilework
30. Who was the artist to associate with the night world of Paris, consorting with the tawdry population of entertainers,
prostitutes, and other social outcasts?
a. Cassatt
b. Toulouse-Lautrec
c. Van Gogh
d. Gauguin
31. The goal of Munch’s paintings was to describe the conditions of _____.
a. modern cities
b. modern psychic life
c. immigrant laborers
d. Tahitian “primitives”
SLIDE IDENTIFICATION
32. (Figure 13-16)
a. American
b. French
c. British
d. Dutch
33. (Figure 13-2)
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Chapter 13: Impressionism, Post-Impressionism, and Symbolism, 1870 to 1900
a. La Bassin d’Argenteuil
b. Impression: Sunrise
c. Nocturne in Black and Gold
d. Starry Night
34. (Figure 13-20)
a. Art Nouveau
b. Symbolist
c. Impressionist
d. Postimpressionist
35. (Figure 13-10)
a. Colorism
b. Pointillism
c. Pointilation
d. Colorisation
36. (Figure 13-15)
a. Cézanne
b. Van Gogh
c. Toulouse-Lautrec
d. Gauguin
37. (Figure 13-18)
a. Impressionist
b. Post-Impressionist
c. Art Noueveau
d. Fin-de-siècle
38. (Figure 13-11)
a. Red Room
b. Night Room
c. Night Café
d. Red Café
39. (Figure 13-11)
a. American
b. British
c. Dutch
d. Belgian
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Chapter 13: Impressionism, Post-Impressionism, and Symbolism, 1870 to 1900
40. (Figure 13-13)
a. Seurat
b. Van Gogh
c. Cézanne
d. Gauguin
41. (Figure 13-5)
a. Monet
b. Renoir
c. Degas
d. Cassatt
42. (Figure 13-16)
a. Van Gogh
b. Toulouse-Lautrec
c. Gauguin
d. Rousseau
43. (Figure 13-16)
a. Impressionist
b. Post-Impressionist
c. Symbolist
d. Fin-de-siècle
44. (Figure 13-22)
a. “Less is more.”
b. “Art is dead.”
c. “Less is a bore.”
d. “Form follows function.”
45. (Figure 13-21)
a. 1869
b. 1879
c. 1889
d. 1899
Subjective Short Answer
46. What did Impressionist subjects have in common with Realism? How were they different?
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Chapter 13: Impressionism, Post-Impressionism, and Symbolism, 1870 to 1900
47. What did the second Industrial Revolution encompass?
48. What led to the urbanization of European cities in the latter part of the 19th century?
49. What does Modernism in art describe?
50. Identify the inventions that enabled plein air painting.
51. How did the term Impressionism arise?
52. Which aspects of Japanese art did Impressionists admire?
53. Describe the differences between Van Gogh’s and Gauguin’s methods for applying paint in their artworks.
54. Describe the sensibility and associations of fin-de-siècle culture.
55. What factors made the American skyscraper a possibility?
56. Provide an example from each of the Post-Impressionist artists, and then describe their similarities to Impressionism
and the unique qualities of their personal style.
57. Color was an important component for several of the movements and individual artists discussed in this chapter.
Describe the new observations that were made about color and how individual artists exploited it for their own artistic
aims.
58. Discuss the 19th-century architecture styles, and explain the role technology played in each. Use examples to support
your essay.
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Chapter 13: Impressionism, Post-Impressionism, and Symbolism, 1870 to 1900
59. In what way did the ideals of Symbolism continue and amplify those of Romanticism? Use examples to support your
essay.
SLIDE QUESTIONS
60. How did the artist position the viewer as a participant?
61. How does this work break from traditional landscape painting?
62. What visual effect did his interest in capturing atmospheric effects produce?
63. How did this artist’s approach differ from Impressionist representations of leisure scenes?
64. What did this artist achieve through his color choices and combinations?
65. How did this artist create the illusion of three-dimensional form and space?
66. How did the artist evoke an emotional response from the viewer?
67. Which textual and artistic sources influenced this work?
68. How does this building’s design support its function?
Essay
69. The artist Degas broke away from traditional compositional conventions. How did he do this? What were his
influences? Which aspects of his art influenced other artists? Please provide examples.
70. Although Impressionism was open to female artists, they had greater limitations than their male counterparts. Which
female artists were identified with Impressionism? Using examples, describe their dominant stylistic qualities. How was
the subject matter of the female Impressionists similar to or different from that of male artists?
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Chapter 13: Impressionism, Post-Impressionism, and Symbolism, 1870 to 1900
71. Impressionist artists broke from many of the conventions of traditional art. Citing examples, identify how the broke
from the past. What outside influences informed their formal elements or compositional devices?
72. Compare and contrast Claude Monet’s and Paul Cézanne’s approaches to landscape. How are they similar or
different? Consider the formal qualities and suggestion of depth.
73. For each of the movements described in this chapter, select one work that is representative of that movement. Explain
the stylistic qualities and subject matter that made it typical of the movement in which you placed it.
UNKNOWN IMAGES
74. 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.
ANSWER: Suggested images, not in the text: