CHAPTER 28—IMPRESSIONISM, POST-IMPRESSIONISM, SYMBOLISM:
EUROPE AND AMERICA, 1870 TO 1900
MULTIPLE CHOICE
1. In The Night Café, the artist has shown us a benign scene yet the scene has a sense of charged energy
and oppressive atmosphere. How did the artist communicate this?
a.
Through use of a bar always a bad place
b.
Through us of vivid hues whose juxtaposition augmented their intensity
c.
Through use of soft color and tilted perspective
d.
Through use of the crowds create the tension
2. Antonio Gaudi longed to create an architectural style that was both modern and appropriate for his
native country of Spain. How does Casa Milá represent his ability to conceive a building as a whole
and mold it almost as a sculptor would create a figure from clay?
a.
It is a squared structure sheathed in concrete.
b.
It is a free-form mass wrapped around a street corner.
c.
It is a vertical mass soaring above the landscape.
d.
It is a horizontal mass tied to the earth.
3. In Klimt’s The Kiss, the artist has captured the flamboyance and decadence of the period. How was this
painting a visual manifestation of the fin de siècle?
a.
It captured a decadence conveyed by he formalism of the subject matter.
b.
It captured a decadence conveyed by the linearity of the form.
c.
It captured a decadence conveyed by opulent and sensuous image.
d.
It captured a decadence conveyed by soft tonalities of the image.
4. 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.
18th century Japanese woodblock prints
b.
16th century German woodcuts
c.
15th century German engravings
d.
Mughal miniatures
5. William Morris helped to shape the Arts and Crafts movement through his support of high quality
craftsmanship and design based on natural forms. Which of the following artists was also a member of
the Arts and Crafts movement?
a.
Auguste Rodin
b.
Aubrey Beardsley
c.
Louis Comfort Tiffany
d.
Louis Sullivan
6. One aspect of Rodin’s work that ties him to Impressionism is ____.
a.
His concern for light on sculpted surfaces
b.
the pastel coloring of his sculptures
c.
his focus on exotic and imaginative themes
d.
breaking up the surface into intersecting planes
7. Which of the following ideas did Vincent van Gogh attempt to communicate in his Starry Night?
a.
Stygian darkness of night
b.
birth of a galaxy
c.
vastness of the universe
d.
myopia of humanity
8. 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
9. Monet’s Rouen Cathedral is a series that observed the same viewpoint during which of the following?
a.
different times of the day
b.
only at noon
c.
only at noon during winter
d.
from different elevations
10. Cassatt’s style of work owes much to which of the following?
a.
Giorgione
b.
Japanese prints
c.
Leonardo’s sketchbooks
d.
Michelangelo
11. Which of the following architects conceived the building as a whole and molded it almost as a clay
sculpture?
a.
Louis Sullivan
b.
Henry Richardson
c.
Antonio Gaudi
d.
Alexandre Gustave Eiffel
12. Extreme subjectivity and the need to see through reality to a deeper reality was most typical of which
of the following styles?
a.
Impressionists
b.
Symbolists
c.
Neoclassicists
d.
Realists
13. Which of the following artists is categorized as a Symbolist?
a.
Redon
b.
Cassatt
c.
Morisot
d.
Whistler
14. What is the most important feature of Sullivan’s Prudential Building that distinguishes it from earlier
structures?
a.
its use of cast iron structural supports.
b.
his use of modular construction.
c.
the reflection of the subdivision of the interior spaces in the outer structure.
d.
the elimination of revival decorative elements.
15. Berthe Morisot focused her work in the only area allowed her as a woman in upper-class French
society. Which of the following was that area?
a.
business world
b.
night life
c.
domestic scenes
d.
demimonde
16. Which of the following artists explored the properties of light, plane, and color and their
interrelationships?
a.
Gauguin
b.
Toulouse-Lautrec
c.
Cézanne
d.
van Gogh
17. Which of the following artists presented a sumptuous and sensual image in the Apparition?
a.
Moreau
b.
Manet
c.
Redon
d.
Puvis de Chavannes
18. Who was a denizen of the night world of Paris, consorting with the tawdry population of entertainers,
prostitutes and other social outcasts?
a.
Millais
b.
Toulouse-Lautrec
c.
Eakins
d.
Degas
19. Who said: “Instead of trying to reproduce exactly what I have before my eyes, I use color more
arbitrarily so as to express myself forcibly . . . I have tried to express the terrible passions of humanity
by means of red and green . . .”?
a.
Monet
b.
Cézanne
c.
Seurat
d.
van Gogh
20. Who said: “I want to make of Impressionism something solid and lasting like the art in the museums”?
a.
Monet
b.
van Gogh
c.
Cézanne
d.
Gauguin
21. Georges Seurat differed from the Impressionist painters in which of the following ways?
a.
His concern for the emotional qualities of color, which he depicted using broad, passionate
brush strokes.
b.
His disciplined and painstaking application of the color theories of men like Delacroix,
Helmholtz, and Chevreul.
c.
His return to Classical subject matter.
d.
His depiction of dream imagery using the visual techniques discovered by the
Impressionists.
SLIDE IDENTIFICATION
Select the response that identifies or corresponds best to the image on the screen.
22. (Figure 28-2)
a.
La Bassin d’Argenteuil
b.
Impression Sunrise
c.
Nocturne in Black and Gold
d.
Starry Night
23. (Figure 28-21)
a.
Cézanne
b.
Vincent van Gogh
c.
Manet
d.
Gauguin
24. (Figure 28-29)
a.
Fin-de–siècle
b.
Art Nouveau
c.
Arts and Crafts
d.
Post-Impressionism
25. (Figure 28-36B)
a.
Horta
b.
Beardsley
c.
Tiffany
d.
Gaudi
26. (Figure 28-41)
a.
Richardson
b.
Gaudi
c.
Sullivan
d.
Horta
27. (Figure 28-19)
a.
Seurat
b.
van Gogh
c.
Cézanne
d.
Gauguin
28. (Figure 28-6)
a.
Monet
b.
Pissarro
c.
Manet
d.
Degas
29. (Figure 28-34)
a.
Neo-Baroque
b.
Arts and Crafts
c.
Art Nouveau
d.
Neo-Renaissance
30. (Figure 28-5)
a.
Manet
b.
Pissarro
c.
Caillebotte
d.
Monet
31. (Figure 28-7)
a.
Cassatt
b.
Käsebier
c.
Bonheur
d.
Morisot
32. (Figure 28-32A)
a.
Rodin
b.
Carpeaux
c.
Degas
d.
Canova
33. (Figure 28-27)
a.
Lautrec
b.
Ensor
c.
Cassatt
d.
Manet
34. (Figure 28-2A)
a.
Post-Impressionism
b.
Realism
c.
Romanticism
d.
Impressionism
35. (Figure 28-1)
a.
Monet
b.
Pisarro
c.
Degas
d.
Manet
36. (Figure 28-40A)
a.
Richardson
b.
Wright
c.
Sullivan
d.
Roebling
SHORT ANSWER
1. How does Louis Sullivan reflect truly modern architecture?
2. What was the Arts and Crafts Movement?
3. How did cast iron and steel affect architecture in the late 19th century?
4. Briefly describe the fin-de-siècle culture of late 19th century Austria.
5. Briefly describe the avant-garde and its impact on the art of the late 19th century.
6. How does the Marshall Field Store respond to its environment?
7. How did Rodin impact later generations of sculptors?
8. What were Rodin’s thoughts on the surface of his sculptures?
9. Briefly describe Post-Impressionism.
10. What did Whistler mean when he used the term “arrangement” or “nocturne” in reference to his art?
11. How did social Darwinism assist in the colonization of peoples and countries deemed less advanced?
ESSAY
1. Compare and contrast the architecture of the Arts and Crafts and Art Nouveau movements? To what
degree do they reflect the overarching aims of each movement.
2. Contrast the work of Moreau and Cézanne. How does each artist respond to the innovations and
evolutions of nineteenth century visual arts? Use examples to support your essay.
3. In what way do the ideals of Symbolism continue and amplify those of Romanticism? Use examples to
support your essay.
4. Compare the works of Berthe Morisot and Gertrude Käsebier. How does their work define the artists?
What factors allowed these artists to create their thematic body of work? How do they each represent
their period and what innovations did each artist create? Use examples to support your essay.
5. Contrast the work of Renoir and Laurtrec. How do the subjects styles of the artists reflect nineteenth
century French society and the innovations of nineteenth century art? Use examples to support your
essay.
6. Describe the development of sculpture at the end of the nineteenth century. Use examples to support
your essay. To what extent did sculpture remain conventional? What painting movements did it take
into account?
OTHER
SLIDE QUESTIONS
1. What aims did the architect synthesize in this building and what role did ornament play?
2. How does the overall design connect the sculptor with the painting movement of the Symbolists?
3. How does this work reflect the theories of Sigmund Freud?
4. What is the subject of this work and what were the artist’s aims in representing it?
5. Who is the artist and how does this work represent the late 19th century?
6. Compare these two works, noting artist, country, and style for each. In what way is each typical of that
style?
7. Who painted these works? What do they have in common?
