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Chapter 14: Modernism in Europe and America, 1900 to 1945
Multiple Choice
1. In which work did Picasso introduce a new manner of representing form in space?
a. Les Desmoiselles d’Avignon
b. Guernica
c. Unique Forms of Continuity in Space
d. The City
2. The striated faces of some of the female figures in Les Desmoiselles d’Avignon were influenced by _____.
a. Roman portrait busts
b. African art
c. Fauvism
d. Byzantine icons
3. _____ is the questioning of norms and conventions in art.
a. Automatism
b. Futurism
c. Avant-garde
d. Regionalism
4. In the employment of bright colors for expressive ends, _____ was influenced by Van Gogh and Gauguin.
a. Biomorphic Surrealism
b. Regionalism
c. Analytic Cubism
d. Fauvism
5. The first group of German Expressionist artists called themselves _____.
a. Die Brücke
b. Neue Sachlichkeit
c. De Stijl
d. Suprematism
6. Artists of _____ critiqued the negative aspects of German society at the beginning of the 20th century.
a. Fauvism
b. Die Brücke
c. Surrealism
d. Regionalism
7. Kandinsky and Marc named their Expressionist movement _____ because of their interest in the color blue and horses.
a. Suprematism
b. De Stijl
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Chapter 14: Modernism in Europe and America, 1900 to 1945
c. Der Blaue Reiter
d. Futurism
8. The artist _____ made animals the subject of much of his art.
a. Wifredo Lam
b. Giorgio de Chirico
c. René Magritte
d. Franz Marc
9. In Franz Marc’s Fate of the Animals, the colors that he associated with _____ dominate the painting.
a. brutality and severity
b. cheerfulness
c. spirituality and the male principle
d. religion
10. Cubism dismissed the centuries-old Western belief that art had to _____.
a. express emotions
b. describe reality
c. explore abstract form
d. use innovative materials
11. The first phase of Cubism is called _____.
a. Futurist Cubism
b. Collage Cubism
c. Analytic Cubism
d. Synthetic Cubism
12. Picasso and Braques used the innovative elements of Picasso’s Les Desmoiselles d’Avignon to create _____ in 1908.
a. Futurism
b. Purism
c. Fauvism
d. Cubism
13. _____ dominated the palette of Analytic Cubist paintings.
a. Subdued hues
b. Expressive colors
c. Contrasting colors
d. Naturalistic colors
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Chapter 14: Modernism in Europe and America, 1900 to 1945
14. The Purists thought that _____ should influence artistic design.
a. nature
b. machines
c. dreams
d. animals
15. _____ artists believe that reason had led to destruction caused by World War I.
a. Regionalist
b. Fauvist
c. Futurist
d. Dada
16. _____ was the movement that championed war as an agent to rid society of its past and traditions.
a. Futurism
b. Fauvism
c. Die Brücke
d. Suprematism
17. Although Dada artists did not share a particular style, they generally embraced _____.
a. the use of traditional media
b. the element of absurdity
c. easily comprehensible subjects
d. medieval craft techniques
18. Berlin Dada artists created a variation on collage called _____.
a. readymades
b. Neoplasticism
c. photomontage
d. metaphysical painting
19. Jean Arp’s Collage Arranged According to the Laws of Chance exhibits the Dada interest in _____.
a. representational subjects
b. symmetry of forms
c. traditional painting techniques
d. chance
20. Championed by Duchamp _____ were mass-produced objects selected by the artist.
a. readymades
b. photomontages
c. automatisms
d. collages
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Chapter 14: Modernism in Europe and America, 1900 to 1945
21. The Russian artist _____ developed a purely abstract style called Suprematism.
a. Vassily Kandinsky
b. Kazimir Malevich
c. Alfred Stieglitz
d. Piet Mondrian
22. The _____ is identified as the event that brought modern art to the United States.
a. opening of Gallery 291
b. Works Progress Administration
c. Armory Show
d. World War I
23. Artists of the _____ created art that celebrated the cultural history of African Americans.
a. Armory Show
b. Regionalist movement
c. Works Progress Administration
d. Harlem Renaissance
24. Aaron Douglas embraced the aims of the Harlem Renaissance by incorporating motifs from _____ in his art.
a. African sculpture
b. ancient Greek pottery
c. Italian Renaissance masters
d. Rembrandt
25. _____ promoted the avant-garde in the United States in his Gallery 291.
a. Tommaso Marinetti
b. Alfred Stieglitz
c. André Breton
d. Edward Hopper
26. The German movement known as _____ aimed to present an objective image of the world.
a. Neoplasticism
b. Suprematism
c. Neue Sachlichkeit
d. Bauhaus
27. Surrealists wanted to capture the _____ in art.
a. universal
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Chapter 14: Modernism in Europe and America, 1900 to 1945
b. natural world
c. essence of objects
d. dream world
28. _____ is the type of Surrealism that consists largely of abstract shapes.
a. Biomorphic Surrealism
b. Naturalistic Surrealism
c. Metaphysical painting
d. Automatism
29. Embraced by the artist Mìro, _____ was the creation of art without conscious control.
a. photomontage
b. automatism
c. collage
d. Bauhaus
30. _____ was the precursor to Surrealism.
a. Cubism
b. Regionalism
c. Metaphysical painting
d. De Stijl
31. _____ artists reduced the formal elements to simple geometric shapes.
a. Der Blaue Reiter
b. Fauvist
c. Futurist
d. De Stijl
32. Brancusi’s chief aim in his sculpture was to capture the _____ of his subject.
a. essence
b. factual appearance
c. movement
d. different viewpoints
33. Barbara Hepworth’s major contribution to the history of sculpture was the use of _____.
a. found materials
b. the void
c. collage
d. the readymade
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Chapter 14: Modernism in Europe and America, 1900 to 1945
34. ____ created a new kind of sculpture by hanging abstract colored forms on wire.
a. Henry Moore
b. Constantin Brancusi
c. Alexander Calder
d. Pablo Picasso
35. _____ became famous for her photographs of the triumphs of 20th-century engineering.
a. Käthe Kollwitz
b. Dorothea Lange
c. Margaret Oppenheimer
d. Margaret Bourke-White
36. _____ was the founder of Bauhaus.
a. Walter Gropius
b. Le Corbusier
c. Frank Lloyd Wright
d. Aaron Doughlas
37. ______ photographed the rural poor who were displaced by the Great Depression in the 1930s.
a. Alfred Stieglitz
b. Edward Weston
c. Dorothea Lange
d. Gertrude Kasebier
38. Max Beckmann’s painting Night was autobiographical because he _____.
a. included himself and his family in the work
b. committed atrocities while in the military service
c. was afraid of the dark
d. represented his fantasies
39. Which of the following artists developed the theory of Neoplasticism, or the new pure plastic art?
a. Picasso
b. De Chirico
c. Mondrian
d. Marc
40. Edward Hopper’s Nighthawks communicates the _____.
a. pervasive loneliness of modern humans
b. seediness of city life
c. energetic rhythm of city life
d. excitement of Broadway
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Chapter 14: Modernism in Europe and America, 1900 to 1945
41. Which of the following is an example of Synthetic Cubism?
a. The Dance
b. Nude Descending a Staircase
c. Les Demoiselles d’Avignon
d. Still Life with Chair-Caning
SLIDE IDENTIFICATION
42. (Figure 14-29)
a. Le Corbusier
b. Picasso
c. Mondrian
d. Malevich
43. (Figure 14-6)
a. Marc
b. Kandinsky
c. Arp
d. Braque
44. (Figure 14-13)
a. De Chirico
b. Brancusi
c. Boccioni
d. Beckman
45. (Figure 14-7)
a. Kollwitz
b. Kahlo
c. Hoch
d. Lange
46. (Figure 14-10)
a. Braque
b. Picasso
c. Mondrian
d. Arp
47. (Figure 14-19)
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Chapter 14: Modernism in Europe and America, 1900 to 1945
a. Stieglitz
b. Douglas
c. Lawrence
d. Hopper
48. (Figure 14-20)
a. The Passengers
b. The Steamship
c. The Immigrants
d. The Steerage
49. (Figure 14-41)
a. Gropius
b. Mies van der Rohe
c. Le Corbusier
d. Wright
50. (Figure 14-39)
a. Dorothea Lange
b. Edward Hopper
c. Jacob Lawrence
d. Frida Kahlo
51. (Figure 14-17)
a. Arp
b. Malevich
c. Mondrian
d. Höch
52. (Figure 14-38)
a. Lawrence
b. Hartley
c. Rivera
d. Kahlo
53. (Figure 14-37)
a. American Dream
b. American Farmer
c. American Gothic
d. American Life
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Chapter 14: Modernism in Europe and America, 1900 to 1945
54. (Figure 14-8)
a. Kirchner
b. Matisse
c. Picasso
d. Braque
55. (Figure 14–12)
a. Dada
b. Surrealism
c. Futurism
d. Cubism
56. (Figure 14-1)
a. Dada
b. Surrealism
c. Futurism
d. Cubism
Subjective Short Answer
57. Which characteristics contributed to the “expressiveness” of German Expressionist art?
58. Why did Franz Marc choose animals as the subject of his art?
59. What feelings or ideas did the artist Franz Marc associate with certain colors?
60. What did the incorporation of lettering achieve in Cubist paintings?
61. What were the artistic aims of Synthetic Cubism?
62. On what event did Picasso base Guernica?
63. Describe the basic assumptions of the Futurist movement.
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Chapter 14: Modernism in Europe and America, 1900 to 1945
64. Which aspects of Sigmund Freud did Dada artists share?
65. Discuss the role of chance in Dada art.
66. Why did Kasimir Malevich champion nonobjective art?
67. How was the Armory Show received?
68. Describe Alfred Stieglitz’s approach to photography.
69. Which Dada approaches to art did the Surrealists borrow?
70. Identify and describe the two types of Surrealism that developed.
71. How did the government help support artists in the wake of the Great Depression?
72. What was the artistic focus of Regionalist artists?
SLIDE QUESTIONS
74. What new way of representing forms in space appeared in this image?
75. How does this deviate from traditional domestic interior scenes?
76. How does this differ from Impressionist renderings of street scenes?
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Chapter 14: Modernism in Europe and America, 1900 to 1945
77. How does the artist challenge the viewer’s understanding of reality?
78. Which movements did the artist combine in this painting?
79. Which movement does this reflect and why?
80. Describe the technique used to create this work? How is it a reflection of the movement to which this artist belonged?
81. What ideas does this address?
82. Which artistic movements does this bridge, and how?
83. What were the basic principles of Neoplasticism as reflected in this image?
84. Who created this model, and what was its purpose? Why is it an important precursor of things to come in the later 20th
century?
85. Who created this work, and what is its theme? How does it relate to its social and historical context?
Essay
86. Color was an important component for many artists and artistic movements. Providing examples, describe the role of
color in the modernist movements in this chapter.
87. Examine the aims of Cubism. Please consider the different phases.
88. Providing examples, explore the common ideas and stylistic qualities present in Cubism, Futurism, and Purism. How
did they differ?
89. Providing examples, examine how Modernist artists explored unconventional artistic media and techniques.
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Chapter 14: Modernism in Europe and America, 1900 to 1945
90. Many of the movements discussed in this chapter were motivated by a specific political or social agenda. Please
identify those movements and explore how the art reflected the political or social agenda that inspired them.
91. Examine the importance of abstraction for different artists or movements. Using examples, explain how abstraction
fulfilled the artistic aims of numerous artists.
92. Which artists helped establish photography as a valid artistic medium? Describe their different approaches to the
photographic medium.
93. Citing examples, describe how artists addressed issues of race or ethnicity in their art. Despite the growing interest in
abstraction, several artists’ styles were still firmly rooted in naturalism. Providing examples, identify the artists who
continued to paint naturalistically, and then describe the hallmarks of their brand of naturalism.
94. Compare the work of Jacob Lawrence and Edward Hopper. How did each artist respond to his period? What artistic
devices did each artist use to create the emotion of his work? What was the sociopolitical context each artist addressed in
his work? Use examples to support your essay.
95. Discuss the relationship of Le Corbusier’s Villa Savoye to Frank Lloyd Wright’s Kaufmann House (Fallingwater).
How did the architects marry the shape, volume, and space of each house to its environment? How do these structures
represent each architect and his philosophy?
96. Picasso said, “Painting is not made to decorate apartments. It is an instrument for offensive and defensive war against
the enemy.” Explain the relationship of art and politics between 1900 and 1945. Use examples to support your essay.
UNKNOWN IMAGES
97. 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.