CHAPTER 27—ROMANTICISM, REALISM, PHOTOGRAPHY: EUROPE AND
AMERICA, 1800 TO 1870
MULTIPLE CHOICE
1. The term “sublime” was considered to inspire which of the following feelings?
a.
heroic action
b.
sentimentality
c.
awe mixed with terror
d.
the natural goodness of all beings
2. Which of the following artists represented what was called the “sublime” in eighteenth-century art?
a.
Jacques-Louis David
b.
Gainsborough
c.
Henry Fuseli
d.
Élisabeth Vigée-Lebrun
3. Courbet used which of the following techniques in the The Stonebreakers to convey the drudgery of
manual labor?
a.
use of a palette of dirty browns and grays
b.
use of soft pastels for the stones
c.
use of swirling, diagonal line
d.
use of bright color to highlight the labor
4. In Rosa Bonheur’s most famous work, The Horse Fair, the dramatic lighting, loose brushwork, and
rolling sky reveal her admiration for which of the following artists?
a.
Géricault
b.
Manet
c.
Courbet
d.
Millet
5. In his painting, ____, Thomas Eakins portrayed things as he saw them and not as the public might
want them portrayed.
a.
Three Women in a Village Church
b.
The Thankful Poor
c.
The Gross Clinic
d.
Beata Beatrix
6. Which of the following artists had firsthand knowledge and experience of the American Civil War?
a.
Thomas Eakins
b.
John Singer Sargent
c.
Henry Tanner
d.
Winslow Homer
7. The French viewing public were greatly horrified by Manet’s Olympia not only because of the
portrayal of a naked prostitute as a work of art but also due to which of the following?
a.
her look of coyness
b.
her look of pleasure
c.
her look of cool indifference and shamelessness
d.
her look of embarrassment
8. How did Bouguereau depict fictional themes or mythological subjects in his paintings?
a.
Through the use of polished illusionism
b.
Through the use of radical representation
c.
Through the use of rough techniques
d.
Through the use of non-traditional representation
9. Muybridge used his device, the zoopraxiscope to project a series of images. Based on the motion
studies he performed, Muybridge proved that the brain holds whatever the eye sees for a fraction of a
second after the eye stops seeing it. The illusion of motion was created. Which of the following was
also created as a result of the illusion of motion?
a.
the illusion of fractured change
b.
the reality of continuous change
c.
the illusion of broken change
d.
the illusion of continuous change
10. Sargent, an expatriate American artist living and working in London, developed a style of applying
paint in thin layers in order to create a quick and lively illusion. He learned this technique after
studying which of the following works?
a.
Mrs. Richard Brinsley Sheridan
b.
Anatomy Lesson of Dr. Tulp
c.
Las Meninas
d.
Conversion of St. Paul
11. The mood in The Thankful Poor by Tanner is one of quiet devotion, not far removed from the Realism
of which of the following artists?
a.
Courbet
b.
Millet
c.
Manet
d.
Sargent
12. In Rossetti’s Beata Beatrix, the model for this image was the artist’s wife, Elizabeth Siddal. She died
shortly before Rossetti began the panting. He incorporated two symbols commemorating her death.
Which of the following is one of those symbols?
a.
black dove
b.
white dove
c.
red dove
d.
blue dove
13. Courbet preferred to paint which of the following themes?
a.
mythology in the Pompeian style
b.
the “beautiful” as defined by the Academy
c.
realistic scenes as he saw them
d.
scenes of suffering, pathos, and ecstasy
14. Which of the following artists was most concerned with painting realistic scenes of poor and oppressed
peoples?
a.
Courbet
b.
Eakins
c.
Bouguereau
d.
Bonheur
15. Géricault’s Raft of the Medusa represents which of the following?
a.
a Romantic dream image
b.
the aftermath of a nineteenth-century French shipwreck and was considered an attack on
government ineptitude
c.
a piece of historical Romanticism related to the Greek war for independence
d.
the Gothic emphasis on terror and the sublime
16. La Madeleine in Paris was intended for which of the following purposes?
a.
a temple of glory for Napoleon’s armies
b.
a center of the nineteenth-century Jesuit revival
c.
a monument to the success of middle-class bankers
d.
a monument to the success of French revolutionary leaders
17. François Rude’s sculpture La Marseillaise for the Arc de Triomphe represents which of the following
moments in French history?
a.
Louis XV’s entry on the battlefield
b.
a mythical battle
c.
the people of France protecting their borders against foreign enemies of the revolution
d.
the birth of individual freedoms in the country
18. The great “Romantic dialogue” about color and form was carried on in the famous contest between
which of the following artists?
a.
Delacroix and Courbet
b.
Girodet-Troison and Gros
c.
Delacroix and Ingres
d.
Ingres and Géricault
19. Which of the following artists painted in the United States?
a.
Friedrich
b.
Constable
c.
Turner
d.
Cole
20. Timothy O’Sullivan documented which of the following wars?
a.
American Civil War
b.
War of Spanish Succession
c.
Crimean War
d.
Boer War
21. Who among the following artists liked to paint images of the Romantic transcendental landscape?
a.
Cole
b.
Friedrich
c.
Turner
d.
Bierstadt
22. Which of the following conditions is characteristic of the 19th century agrarian working class and is
missing from the Haywain by Constable?
a.
love of the land
b.
civil unrest
c.
participation in home markets
d.
bondage to wealthy landowners
23. What did Thomas Eakins believe was a prerequisite for his art?
a.
knowledge
b.
poetry
c.
fortune
d.
support
24. Who studied with Eakins before moving to Paris?
a.
Whistler
b.
Cassatt
c.
Tanner
d.
Muybridge
25. Julia Margaret Cameron used a short focal length lens that allowed only a small area of sharp focus.
What kind of effect would a lens like this produce?
a.
small, intimate images
b.
precise character studies
c.
ethereal, dreamlike images
d.
intense, psychological images
SLIDE IDENTIFICATION
Select the response that identifies or corresponds best to the image on the screen.
26. (Figure 27-7)
a.
Fuseli
b.
Goya
c.
Ingres
d.
Hogarth
27. (Figure 27-22)
a.
Constable
b.
Turner
c.
Friedrich
d.
Cole
28. (Figure 27-24)
a.
Bierstadt
b.
Cole
c.
Church
d.
Homer
29. (Figure 27-49)
a.
Nadar
b.
Hawes and Southworth
c.
Daguerre
d.
O’Sullivan
30. (Figure 27-18)
a.
Rude
b.
Greenough
c.
Canova
d.
Houdon
31. (Figure 27-52)
a.
Haws and Southworth
b.
Cameron
c.
O’Sullivan
d.
Durieu
32. (Figure 27-13)
a.
Géricault
b.
Gros
c.
Delacroix
d.
Girodet
33. (Figure 27-47)
a.
Blenheim Palace
b.
Houses of Parliament
c.
Crystal Palace
d.
Brighton
34. (Figure 27-12)
a.
Goya
b.
David
c.
Constable
d.
Turner
35. (Figure 27-35)
a.
Manet
b.
Millet
c.
Courbet
d.
Homer
36. (Figure 27-30)
a.
Eakins
b.
Courbet
c.
Millet
d.
Daumier
37. (Figure 27-40)
a.
Pre-Raphaelite
b.
Neo-Classical
c.
Realist
d.
Romantic
38. (Figure 27-54)
a.
Nadar
b.
Muybridge
c.
Daguerre
d.
Cameron
39. (Figure 27-29)
a.
Courbet
b.
Daumier
c.
Tanner
d.
Millet
40. (Figure 27-13A)
a.
David
b.
Courbet
c.
Gericault
d.
Delacroix
41. (Figure 27-46A)
a.
Roebling
b.
Upjohn
c.
Eiffel
d.
Schinkel
42. (Figure 27-20)
a.
Wanderer…
b.
Women…
c.
Jean-Baptiste
d.
Apotheosis
43. (Figure 27-2A)
a.
David
b.
Delacroix
c.
Ingres
d.
Gericault
44. (Figure 27-5A)
a.
Gericault
b.
Girodet-Trioson
c.
Delacroix
d.
Ingres
SHORT ANSWER
1. How did Friedrich achieve a balance between the inner and outer experience in his landscape
paintings?
2. What features of John Constable’s landscapes reveal a kinship with Romantic artists?
3. How did Henry Fuseli evoke horror and possibly the dark terrain of the human subconscious in his
artwork?
4. How did Thomas Cole respond to America’s direction as a civilization?
5. How was photography perceived in the early 19th century?
6. How did Timothy O‘Sullivan’s A Harvest of Death, Gettysburg, Pennsylvania, July 1863 respond as a
new medium and how did it impact the nation?
7. What was the drawback to “wet-plate” processing?
8. What is the interpretation of Goya’s Saturn Devouring his Children?
9. How does the Coronation of Napoleon represent the Neoclassical style?
10. How does Blake’s Ancient of Days embody the Romantic spirit?
11. How does the work of Bouguereau favor state patronage in the late nineteenth century?
12. What was the Pre-Raphaelite Brotherhood?
13. Which artist did Leland Stanford, governor of California, consult with in order to win a bet about
motion and what was the bet?
14. Briefly describe Realism in the United States.
15. How did Daumier impact French society in the 19th century?
ESSAY
1. How does the work of Goya relate to artistic movements of the eighteenth and nineteenth centuries?
Use examples to support your essay.
2. Contrast Constable’s The Haywain with Bierstadt’s Among the Sierra Nevada Mountains, California.
What are the sociopolitical overtones of each work and how do they represent their respective
countries and environments?
3. Describe the impact of photography on the nineteenth century landscape. How did it affect painting?
What were the political implications of the medium? Use examples to support your essay.
4. Contrast landscape painting in Europe and the United States in the early 19th century. What are the
sociopolitical differences in landscape painting? Discuss at least three countries in your essay and use
examples to support your argument.
5. Explain the ways in which the interest in the sentimental, the heroic, and the sublime was expressed in
art. Use examples to support your response.
6. Describe the various types of revival styles found in eighteenth-century and nineteenth-century
architecture. Use examples to support your response.
7. Contrast the work of Millet and Courbet. How did they visually respond to the social climate of their
period? Use examples to support your essay.
8. Why were some of the subjects of Realist artists considered subversive?
9. Compare Manet’s Olympia and Millais’s Ophelia. How does each work represent the artist and his
period?
10. Compare and contrast the works of Eakins and Manet. How does each artist relate to his respective
environment? How does each artist reflect the art of the nineteenth century? Use examples to support
your essay.
OTHER
SLIDE QUESTIONS
1. What event did the artist depict and how did he ensure the accuracy of the representation?
2. What is the significance of Courbet’s style for the Realist movement?
3. What influenced the design of the façade and what message did the architecture communicate?
4. Why is this work described as a mixture of styles and how did that affect the perception of Ingres’ art?
5. How do each of these works display characteristics of the Romantic movement?
6. How does this painting epitomize Romanticism?
7. What question does the artist raise in this painting?
8. How does this work reflect Realist tenets?
9. Who created this work, and what did it lead to?
10. Why did this work have a negative reaction from French society during the 19th century?
