Chapter 12: ART FROM 1900 TO 1949
1. Balla’s Speeding Automobile—Study of Velocity:
a. is the fixed moment in universal dynamism
b. is an abstract representation
c. relates the dynamism of modern art to the violence of war
d. uses curved lines to communicate dynamic force
2. The Die Brücke (the Bridge) movement within German Expressionism:
a. moved art from African styles back to academicism
b. distorted form and intensified color
c. cast off antecedents from historic German art
d. looked to classic myth for spiritual inspiration
3. Picasso in Les Demoiselles d’Avignon:
a. incorporated African masks to add mysterious potency
b. designed it to be totally flat and planar
c. used African masks to reveal individual personality
d. worked to achieve harmony and unity
4. In Native American art, the Kachina serve:
a. as an event for friendly competition among groups
b. religious purposes exclusively
c. psychological functions for individuals
d. in transmitting messages to and from spirits
5. Frank Lloyd Wright’s Robie house:
a. stresses vertical design
b. has the kitchen area as the central core
c. uses the cantilever
d. boxes off each room
6. Analytic Cubism:
a. used multiple viewpoints
b. analyzed objects from a single, fixed viewpoint
c. was non-objective
d. stressed the two-dimensional plane and avoided the three-dimensional
7. Synthetic Cubism:
a. reinforced the illusion of deep space in the picture plane
b. used assemblage to clarify the realities of art and life
c. joined traditional art media with unconventional art materials
d. was a search for use of natural shapes
8. Kandinsky’s art in Der Blaue Reiter:
a. was a realization that recognizable objects are not needed
b. was based on scientific studies of color
c. became freed from the enslavement of emotion
d. communicated emotional content with recognizable subject matter
9. One of the basic characteristics of Fauvism was to:
a. render visible the invisible
b. provide visual equivalents for emotional states
c. free color from any representational meaning
d. reinforce and confirm rationalist views
10. Dada:
a. emphasized the illogically senseless
b. stressed the necessity for order and not for chance
c. reinforced the aesthetic import of traditional art materials
d. supported society’s traditional values by dramatic means
11. Basic Bauhaus attitudes:
a. stressed the individual over the universal
b. emphasized subjectivity over objectivity
c. encouraged a unity of design
d. believed that art must abandon the crafts approach
12. Dalí in Surrealism:
a. stressed the clear rationality of preplanning
b. relieved heavily on the conscious rather than the unconscious
c. distorted naturalistic objects
d. practiced automatism
13. Mies van der Rohe in his International Style Architecture:
a. believed that “less is a bore”
b. believed that “less is more”
c. developed architecture as a highly personalized statement
d. used forms drawn from other national traditions
14. The modern art movement that was joined to concepts borrowed from psychoanalysis was:
a. Dada
b. Fauvism
c. Cubism
d. Surrealism
15. The modern art movement that was distinguished by a new liberation of color, as viewed in
the paintings of Matisse, was called:
a. Expressionism
b. Cubism
c. Dada
d. Fauvism
16. The Expressionist artist, working in Munich, who turned to a complete non-objective style of
painting was:
a. Rouault
b. Kirchner
c. Nolde
d. Kandinsky
17. Which Picasso painting was a formative work for the origins of modern abstraction?
a. Guernica
b. Les Demoiselles d’Avignon
c. Mother and Child
d. Three Musicians
18. The Russian avant-garde style of the early twentieth century that sought to express a
“supreme” reality was called:
a. Cubo-Futurism
b. Futurism
c. Suprematism
d. Synthetic Cubism
19. The art movement that preached nonsense and anti-art in reaction to the carnage of World
War I was called:
a. Dada
b. Cubism
c. Surrealism
d. Expressionism
ANSWERS TO MULTIPLE CHOICE QUESTIONS
