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Multiple Choice
1. The birth of Impressionism occurred in _____.
a.
Paris
b.
Rome
c.
London
d.
Florence
ANSWER:
a
2. Similar to the _____ movement, Impressionism took its subjects from everyday life.
a.
Symbolist
b.
Realist
c.
Post-Impressionist
d.
Nabi
ANSWER:
b
3. Impressionists deviated from Realists in their desire to convey _____.
a.
the working class
b.
politically charged ideas
c.
impermanence
d.
classical influence
ANSWER:
c
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
ANSWER:
d
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
ANSWER:
a
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
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ANSWER:
b
7. In their abbreviated details, speed, and spontaneity, Impressionist works had the quality of _____.
a.
Japanese prints
b.
academic art
c.
sketches
d.
photographs
ANSWER:
c
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
ANSWER:
d
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
ANSWER:
a
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
ANSWER:
b
11. Van Gogh used color as a vehicle to _____.
a.
continue Renaissance traditions
b.
form a composition
c.
express emotions
d.
faithfully copy nature
ANSWER:
c
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
ANSWER:
d
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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
ANSWER:
a
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
ANSWER:
b
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.
ANSWER:
c
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
ANSWER:
d
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
ANSWER:
a
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
ANSWER:
c
19. The subjects of Edvard Munch’s art largely dealt with _____.
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a.
the urban landscape
b.
industrialization
c.
emotions associated with love and death
d.
the classical past
ANSWER:
c
20. European culture at the end of the 1800s is called _____.
a.
Jugendstil
b.
post-industrialism
c.
the symbolist era
d.
fin-de-siècle
ANSWER:
d
21. Rodin’s concern for the effect of light on surface demonstrates the influence of _____.
a.
Impressionism
b.
Art Nouveau
c.
Symbolism
d.
Realism
ANSWER:
a
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
ANSWER:
b
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
ANSWER:
c
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
ANSWER:
d
25. Vincent van Gogh attempted to communicate _____ in his Starry Night.
a.
his fear of darkness
b.
his knowledge of astronomy
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c.
the vastness of the universe
d.
a comet streaking through the sky
ANSWER:
c
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
ANSWER:
b
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
ANSWER:
b
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
ANSWER:
c
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
ANSWER:
a
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
ANSWER:
b
31. The goal of Munch’s paintings was to describe the conditions of _____.
a.
modern cities
b.
modern psychic life
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c.
immigrant laborers
d.
Tahitian “primitives”
ANSWER:
b
SLIDE IDENTIFICATION
32. (Figure 13-16)
a.
American
b.
French
c.
British
d.
Dutch
ANSWER:
b
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SLIDE IDENTIFICATION
33. (Figure 13-2)
a.
La Bassin d’Argenteuil
b.
Impression: Sunrise
c.
Nocturne in Black and Gold
d.
Starry Night
ANSWER:
b
PREFACE NAME:
SLIDE IDENTIFICATION
34. (Figure 13-20)
a.
Art Nouveau
b.
Symbolist
c.
Impressionist
d.
Postimpressionist
ANSWER:
a
PREFACE NAME:
SLIDE IDENTIFICATION
35. (Figure 13-10)
a.
Colorism
b.
Pointillism
c.
Pointilation
d.
Colorisation
ANSWER:
b
PREFACE NAME:
SLIDE IDENTIFICATION
36. (Figure 13-15)
a.
Cézanne
b.
Van Gogh
c.
Toulouse-Lautrec
d.
Gauguin
ANSWER:
a
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b.
Toulouse-Lautrec
c.
Gauguin
d.
Rousseau
ANSWER:
d
PREFACE NAME:
SLIDE IDENTIFICATION
43. (Figure 13-16)
a.
Impressionist
b.
Post-Impressionist
c.
Symbolist
d.
Fin-de-siècle
ANSWER:
c
PREFACE NAME:
SLIDE IDENTIFICATION
44. (Figure 13-22)
a.
“Less is more.”
b.
“Art is dead.”
c.
“Less is a bore.”
d.
“Form follows function.”
ANSWER:
d
PREFACE NAME:
SLIDE IDENTIFICATION
45. (Figure 13-21)
a.
1869
b.
1879
c.
1889
d.
1899
ANSWER:
c
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SLIDE IDENTIFICATION
Subjective Short Answer
46. What did Impressionist subjects have in common with Realism? How were they different?
ANSWER:
Answers may vary
47. What did the second Industrial Revolution encompass?
ANSWER:
Answers may vary
48. What led to the urbanization of European cities in the latter part of the 19th century?
ANSWER:
Answers may vary
49. What does Modernism in art describe?
ANSWER:
Answers may vary
50. Identify the inventions that enabled plein air painting.
Name:
Class:
Date:
ANSWER:
Pierre-Auguste Renoir, Le Moulin de la Galette (13-4)
PREFACE NAME:
SLIDE QUESTIONS
ANSWER:
Claude Monet, Impression: Sunrise (13-2)
PREFACE NAME:
SLIDE QUESTIONS
ANSWER:
James Abbot McNeill Whistler, Nocturne in Black and Gold (13-8)
PREFACE NAME:
SLIDE QUESTIONS
ANSWER:
Answers may vary
51. How did the term Impressionism arise?
ANSWER:
Answers may vary
52. Which aspects of Japanese art did Impressionists admire?
ANSWER:
Answers may vary
53. Describe the differences between Van Gogh’s and Gauguin’s methods for applying paint in their artworks.
ANSWER:
Answers may vary
54. Describe the sensibility and associations of fin-de-siècle culture.
ANSWER:
Answers may vary
55. What factors made the American skyscraper a possibility?
ANSWER:
Answers may vary
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.
ANSWER:
Answers may vary
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.
ANSWER:
Answers may vary
58. Discuss the 19th-century architecture styles, and explain the role technology played in each. Use examples to support
your essay.
ANSWER:
Answers may vary
59. In what way did the ideals of Symbolism continue and amplify those of Romanticism? Use examples to support your
essay.
ANSWER:
Answers may vary
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ANSWER:
Answers may vary
ANSWER:
Answers may vary
ANSWER:
Answers may vary
ANSWER:
Answers may vary
ANSWER:
Answers may vary
63. How did this artist’s approach differ from Impressionist representations of leisure scenes?
ANSWER:
Henri de Toulouse-Lautrec, At the Moulin Rouge (13-9)
PREFACE NAME:
SLIDE QUESTIONS
64. What did this artist achieve through his color choices and combinations?
ANSWER:
Vincent Van Gogh, Night Café (13-11)
PREFACE NAME:
SLIDE QUESTIONS
65. How did this artist create the illusion of three-dimensional form and space?
ANSWER:
Paul Cézanne, Mont Sainte-Victoire (13-15)
PREFACE NAME:
SLIDE QUESTIONS
66. How did the artist evoke an emotional response from the viewer?
ANSWER:
Edvard Munch, The Scream (13-17)
PREFACE NAME:
SLIDE QUESTIONS
67. Which textual and artistic sources influenced this work?
ANSWER:
Auguste Rodin, The Gates of Hell (13-19)
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SLIDE QUESTIONS
68. How does this building’s design support its function?
ANSWER:
Louis Henry Sullivan, Sullivan Center (13-22)
PREFACE NAME:
SLIDE QUESTIONS
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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:
1. Another Impressionist painting by Manet
2. Another Post-Impressionist painting by Van Gogh
3. Another building by Sullivan
4. Another Symbolist work, perhaps by Munch
5. Another fin-de-sìecle work, perhaps by Klimt
PREFACE NAME:
UNKNOWN IMAGES