Chapter 10: EIGHTEENTH-CENTURY ART
1. Boffrand’s design for the Princess’s Salon:
a. is an example of Neoclassicism
b. is completely unlike the Baroque style
c. is based on models from classical antiquity
d. utilizes free-form undulating curves
2. Adam’s fireplace niche in the Osterley House:
a. is more Rococo than Neoclassic
b. has a Neoclassic style fireplace in a Rococo setting
c. has ornamentation based on antique prototypes
d. is based on asymmetry
3. The eighteenth century:
a. was a century of political calm and tranquility
b. saw a regression in scientific development
c. witnessed the decline of art academies
d. was a century of artistic contrasts
4. Rococo and Neoclassicism:
a. shared the same ideals but used different styles
b. were antithetical to each other
c. both stress clarity and articulation
d. both use disciplined and controlled designs
5. The British Royal Academy:
a. stressed learning the grand style of art
b. championed the Rococo style
c. cut all ties to Renaissance traditions
d. eschewed imitating nature
6. In the late eighteenth century, the British Royal Academy:
a. was viewed as an unrestricted environment
b. became quite conservative and dogmatic
c. became more and more liberating
d. viewed “history painting” as less than noble
7. To truly understand “the grand style”:
a. aspiring artists felt compelled to see Italy’s antiquities
b. the study of “history painting” was required
c. artists were to emulate nature and her forms
d. artists had to specialize in portraiture
8. Watteau in Pilgrimage to the Island of Cythera:
a. stresses the permanent nature of love
b. has heroically scaled couples
c. combines reality and fantasy
d. utilizes bold colors and brushstrokes
9. Fragonard in Happy Accident on the Swing:
a. masterfully strives to avoid flowing idyllic movement
b. stresses the remoteness of love from everyday reality
c. is characteristically free of symbol or puns
d. illustrates the frivolity of Rococo painting themes
10. Hogarth’s series of paintings Marriage à la Mode:
a. is frivolous in its social criticism
b. is a satirical view of contemporary life
c. affirms nouveau riche values
d. is intended to conceal the difficulties of marriages
11. The Rococo style in architecture:
a. offers new lightness of color and movement
b. has a heavy robust scale of ornament
c. is in consonance with Baroque forms and colors
d. is understated and characterized by restraint
12. Copley’s Portrait of Paul Revere:
a. is quite complex and ambiguous in composition
b. suggests rather than depicts exact visual detail
c. dignifies labor and the exacting craft traditions
d. depicts him on his horse warning of the British attack
13. Rosalba Carriera’s painting of France’s young Louis XIV:
a. shows the artist’s consummate oil painting techniques
b. shows the artist’s mastery of pastels
c. is an excellent example of Neoclassical portraiture
d. utilizes oils in a pastel palette effect
14. Jefferson’s design for the Virginia State Capitol:
a. was a virtuoso blend of the Rococo and Neoclassical styles
b. blended Baroque undulations with Neoclassicism
c. was influenced by the High Renaissance style
d. embodied the ideals of a young nation
15. David’s Death of Socrates:
a. offers a guide for moral behavior
b. demonstrates a revolutionary use of soft atmospheric effects
c. shows his startling independence from the French Academy
d. distances itself from nationalistic chauvinism
ANSWERS TO MULTIPLE CHOICE QUESTIONS
Chapter 10
1. Boffrand’s design for the Princess’s Salon:
