| a. Its unique combination of still-life, artifice and skewed perspective | ||
| b. It helped incite moral and political unrest in his native France | ||
| c. Its lewd depiction of the female form | ||
| d. Its use of broad brushstrokes, rendering the work nearly abstract in appearance |
| a. Monet was drafted into military service to fight in the Franco-Prussian War | ||
| b. Monet moved to an estate in Giverny in the French countryside | ||
| c. The French Academy rejected two of his paintings, claiming they looked “incomplete” | ||
| d. Friend Eugene Bodin encouraged Monet to begin painting outdoors and experiment with plein air painting |
| a. Vulgar | ||
| b. Religious | ||
| c. Classical | ||
| d. Urban |
| a. The artist’s use of a portable easel while working outdoors | ||
| b. An increasingly abstract perspective due to the artist suffering from cataracts | ||
| c. A full and varied color palette that bore visual signs of Fauvism and Expressionism | ||
| d. All of the above |
| a. The absurd and comical nature of life | ||
| b. Mythological and idealized subject matter, often religious in nature | ||
| c. The artist’s personal expression of his/her unconscious | ||
| d. The naturalistic representation of objects and figures |
| a. Edgar Degas | ||
| b. Paul Cézanne | ||
| c. Claude Monet | ||
| d. Pablo Picasso |
| a. The French public’s stated preference for art that appeared unrealistic | ||
| b. Being shunned by academic art institutions, the French Salon and other government sanctioned art exhibitions | ||
| c. Art critic Louis Leroy’s scathing review of a Claude Monet solo exhibition | ||
| d. Bourgeois lifestyles that dominated Paris at the time |
| a. Manet was an outspoken proponent of new technologies and believed art should represent these latest advancements | ||
| b. Manet called for the annihilation of the French Salon | ||
| c. Manet depicted snapshots of city and rural life while maintaining traditional motifs found in Realist works of art | ||
| d. Manet had a romantic affair with his piano teacher, Suzanne Leenhoof, with whom he had a child |
| a. A painting composed using loosened brushstrokes, and does not necessarily rely on realistic depictions of objects and figures | ||
| b. Swirling, swaying and exaggerated brushwork, all used to express the artist’s emotional state | ||
| c. Lacks the appearance of the artist’s touch, and is often made using industrial “non-art” materials | ||
| d. Stresses the artist’s interest in mythological and primitive subject matter |
| a. A concentration on working outdoors, also known as plein air painting | ||
| b. A concentration on drawing from antique statuary and live models | ||
| c. A multi-disciplinary approach that favored training in all variety of artistic media | ||
| d. A focus on improvisational “action” painting |
| a. In The Thinker (1880), Rodin depicts the subject as the ideal, strong in both mind and body, but evidently lonely and without purpose | ||
| b. In The Kiss (1884), the depictions of intertwined human figures was considered at the time a lewd display of physical affection | ||
| c. His use of nudity in much of his sculpture, as with The Age of Bronze (1876) was seen as a radical departure from accepted sculptural norms | ||
| d. Both B and C |
| a. Pointillism | ||
| b. Surrealism | ||
| c. Abstract Expressionism | ||
| d. Impressionism |
| a. The nudes in this work are rendered somewhat abstractly (though not completely), emphasizing the human form’s two-dimensionality, treating the human shape as a still-life | ||
| b. The interaction of the human form and the natural landscape is almost Cubist in nature | ||
| c. It was a direct challenge of all figurative tradition in painting that preceded Post-Impressionism | ||
| d. All of the above |
| a. It was created after Gauguin had a vision of being visited by Christ | ||
| b. Gauguin’s depiction of Christ is idealized in terms of color and form, and situated within a contemporary landscape during fall foliage | ||
| c. It is a harsh commentary on organized religion, symptomatic of the artist’s contempt for Christianity | ||
| d. None of the above |
| a. The application of rich colors to the canvas in order to emphasize the natural effects of light | ||
| b. A scientific approach to subject matter, based on laws of color theory, in which tiny daubs of paint are applied to the canvas | ||
| c. The celebration of modern technology, with an emphasis on machinery and speed | ||
| d. A visual, dream-like style designed to unlock the viewer’s subconscious |
| a. Undying loyalty to his wife and children, given that bohemian lifestyles were the norm for artists at the time | ||
| b. His refusal to accept abstraction as an acceptable medium for painting | ||
| c. Use of decorative elements in his paintings, and the combination of pre-modern (i.e. Byzantine mosaics) and present day motifs | ||
| d. Affinity for painting self-portraits in a variety of contexts and settings |
| a. Emotional and psychological turmoil, brought on by depression and epilepsy | ||
| b. Romantic pursuit of his cousin | ||
| c. His fascination with optics | ||
| d. His brother Theo’s insistence that van Gogh find a new style of painting |
| a. A turn-of-the-century movement focused on modernizing architecture and the decorative arts through the use of organic and geometric motifs | ||
| b. A mid-19th century movement of decorative artists who set out to create a non-idealized style of art | ||
| c. A movement led by French architects and designers who theorized a “new art” that would supplant all preceding modern styles | ||
| d. A collective of European artists who believed painting and sculpture were superior to all craft-based art |
| a. Its emphasis on Pointillist composition | ||
| b. Its abundance of blue and yellow paint, which were uncommon color choices for the artist | ||
| c. Its radical departure from depicting naturalistic landscapes, combined with an exacting order of forms and lines on the canvas | ||
| d. Its sale price, which exceeded at the time any price paid for a modern work of art |
| a. The work incorporates visual and stylistic elements of Fauvism, Expressionism and even Surrealism | ||
| b. Munch was inspired to paint the scene after crossing a bridge in Oslo and, according to him, hearing “the enormous, infinite scream of nature” | ||
| c. This is not the only version of the painting; another was painted near the turn of the century | ||
| d. The painting’s scene came to him in a vision following his admittance to a mental hospital |
| a. Their desire to bring modern art from all over Europe to a culturally-insulated Austria | ||
| b. They were commissioned by the Austrian government to create new buildings and artworks in the city of Vienna | ||
| c. They eventually planned to defect from their home country and build a new artist collective in France | ||
| d. They had been black listed by their government and banned from creating any new public buildings or artwork |
| a. Love for and loyalty to the French Surrealists and the artistic style they celebrated | ||
| b. His devout Judaism and the inspiration that came from both his pastoral Russian homeland and travels abroad | ||
| c. Efforts to create a new religious order that focused on the divinity of painting and other art forms | ||
| d. Experimentation with modes of painting that combined visual elements of Cubism and Expressionism |
| a. A strict adherence to classical painting standards | ||
| b. A carousing lifestyle of drinking and womanizing | ||
| c. The effects of natural light over subject matter | ||
| d. Painting from still-life |
| a. Evidently with great sorrow, as suggested by Kirchner’s somber and muted color palette | ||
| b. Rendered with sharp angles and mask-like faces, and structured to resemble an architectural composition | ||
| c. As abstract forms, nearly unrecognizable as being anything representing the human figure | ||
| d. As objects of lust and desire, as evidenced by Kirchner’s depiction of their nude forms |
| a. Picasso published a Cubist manifesto the same year, insisting that the painting was launching a new movement | ||
| b. Its highly experimental use of line and geometric shape in order to define each figure’s form and contours | ||
| c. The women in the painting are comprised entirely of cubes and similar shapes | ||
| d. The influence of African and ancient Iberian art which is evident in the work |
| a. He adhered too strictly to Post-Impressionist and Fauvist styles of painting | ||
| b. Of his fascination with things like architecture and American culture | ||
| c. His rural upbringing inspired subject matter that diverged from the choices made by his contemporaries | ||
| d. He favored the use of primary colors rather than monochrome palettes |
| a. Going to war and becoming martyrs for their artistic cause | ||
| b. The use of vibrant color in order to express the power of the human spirit | ||
| c. Expressing the modern experience through depictions of speed, war and technology | ||
| d. The pace of life and work as it concerned rural settings and pastoral landscapes |
| a. Create a movement that celebrated speed, technology and the power of human achievement in the machine age | ||
| b. Achieve lasting success and fortune by revolutionizing modern art with wholly abstract imagery | ||
| c. Promote the power and supremacy of Communism as a form of government and communal artistic expression | ||
| d. Promote modern art and the possibilities of spiritual experience through symbolic associations of sound and color |
| a. His method of using paper cut-outs was viewed as a direct challenge to traditional art making techniques | ||
| b. His use and application of color patterns was deliberately disorienting to the eye | ||
| c. His creation of dreamlike landscapes, which resembled nothing grounded in reality | ||
| d. His refusal to deal with representational subject matter |
| a. He adored still-life as a medium and he strived to create a futurist approach for it | ||
| b. He loved technological advancements but generally hated war, and avoided depicting anything related to it in his work | ||
| c. He believed that the past had no bearing on how the present-day artist should view the world around him | ||
| d. His chief preoccupation was with color and color theory |
| a. Swirling, swaying and exaggeratedly executed brushstrokes that were implemented to express the artist’s emotional state | ||
| b. Small points and daubs of paint applied to the canvas that together formed a cohesive image, but when viewed up close became almost abstract | ||
| c. Seemingly disparate lines, forms and shapes that were juxtaposed to form multi-dimensional imagery | ||
| d. Acrylic paint applied to the canvas using an improvised series of drips and splatters |
| a. As an Analytical Cubist, he was interested in showing how objects look over time and in different spaces | ||
| b. As a Synthetic Cubist, he focused mostly on abstract imagery and foreign objects | ||
| c. As a Fauvist first and foremost, Braque was largely unconcerned with Cubism but only experimented with it because his friend Picasso insisted | ||
| d. He was only concerned with applying paint that expressed his emotional state |
| a. Friend and patron Gertrude Stein insisted on this, otherwise she refused to purchase any paintings | ||
| b. The pictorial space of the painting would not allow landscapes | ||
| c. The use of bright colors would have been considered too Fauvist in nature | ||
| d. To better maintain a visual clarity between the forms’ fragmented planes |
| a. A focus on deconstructing the visual perspective of different forms and objects, wherein multiple dimensions were revealed | ||
| b. Compositions intended to express the artist’s emotional state while painting | ||
| c. A focus on landscapes, the figure and still-lifes, while utilizing a series of rich and non-representational colors | ||
| d. A strict adherence to formal color theory |
| a. Be given away to the poor | ||
| b. Be promoted as a practical and socially relevant endeavor | ||
| c. Serve to destroy all forms of art that preceded it | ||
| d. Spark a political revolution |
| a. Renaissance-era frescoes | ||
| b. Machines | ||
| c. Comic book characters | ||
| d. His dreams |
| a. Create a three-dimensional space using abstract forms within a two-dimensional plane | ||
| b. Make a statement about what architecture could accomplish in the near future | ||
| c. Advance the supremacy of Russian artists working during this time | ||
| d. All of the above |
| a. Da Vinci’s Mona Lisa | ||
| b. A bicycle wheel | ||
| c. A urinal | ||
| d. A phonograph |
| a. Abandoned his family late in life and moved to Tahiti | ||
| b. Worked in a variety of media, including painting, sculpture and photography | ||
| c. Wrote the first Dada Manifesto | ||
| d. Created paintings comprised largely of squares and geometric shapes |
| a. Impressionism and Neo-Impressionism | ||
| b. Dada and Surrealism | ||
| c. Surrealism and American Regionalism | ||
| d. Expressionism and Abstract Expressionism |
| a. Abstract Expressionism | ||
| b. Color Field Painting | ||
| c. Washington Color School | ||
| d. Minimalism |
| a. Learn in a majestic rural setting, away from the bustling urban center | ||
| b. Be instructed in craft based arts only | ||
| c. Receive practical instruction while being allowed to pursue multiple artistic disciplines | ||
| d. Master techniques in producing Cubist portraits, in the tradition of Picasso and Braque |
| a. It was opposed to nationalism, authoritarianism and any form of group ideology | ||
| b. It was Communist in nature, and was founded on the principle of communal ownership and creation | ||
| c. It was comprised largely of abstract painters who strived to achieve a new artistic language | ||
| d. It was shut down at the beginning of World War I |
| a. Dada | ||
| b. Abstract Expressionism | ||
| c. Surrealism | ||
| d. Neo-Expressionism |
| a. Mythological creatures | ||
| b. Architectural structures | ||
| c. Men in bowler hats | ||
| d. Prostitutes sitting in cafés |
| a. Impressionism, Neo-Impressionism and Fauvism | ||
| b. Cubism, Surrealism and Abstract Expressionism | ||
| c. Dada only | ||
| d. Futurism, Dada and Surrealism |
| a. His sexual desires and frustrations | ||
| b. His unconscious, or what he called “critical paranoia” | ||
| c. His childhood | ||
| d. All of the above |
| a. Producing a work comprised entirely of circles and round shapes | ||
| b. Finding the point beyond which the medium could not go without ceasing to be art | ||
| c. Seeking a primitive form art that, in a sense, represented civilization’s return to zero | ||
| d. Creating a harmonious and utopian vision for the future of modern man |
| a. Surrealism | ||
| b. Geometric abstraction | ||
| c. Color Field painting | ||
| d. Abstract Expressionism |
| a. Masonry | ||
| b. Hiking | ||
| c. Architecture | ||
| d. Musical composition |
| a. Paul Cézanne | ||
| b. André Breton | ||
| c. Ernst Ludwig Kirchner | ||
| d. Vladimir Tatlin |
| a. Dada | ||
| b. De Stijl | ||
| c. Suprematism | ||
| d. Surrealism |
| a. Francis Bacon | ||
| b. Alberto Giacometti | ||
| c. Jean Tinguey | ||
| d. Maurice Merleau-Ponty |
| a. Picasso and Cubism | ||
| b. Matisse and Fauvism | ||
| c. Ernst and Surrealism | ||
| d. Boccioni and Futurism |
| a. Purchasing and showing a variety of Post-Impressionist works by artists such as Cézanne and van Gogh | ||
| b. Celebrating the work of Bauhaus art and architecture | ||
| c. Recognizing the talent of Abstract Expressionist artists before they became commercially viable | ||
| d. Compiling the largest museum exhibition of Cubist and early abstract art to-date, including works by Picasso, Arp and Delaunay |
| a. Jackson Pollock | ||
| b. Willem de Kooning | ||
| c. Clyfford Still | ||
| d. Hans Hofmann |
| a. Pointillism | ||
| b. Drip painting | ||
| c. De Stijl | ||
| d. Gestural Abstraction |
| a. One must physically stretch and retract the canvas before applying paint | ||
| b. Pictorial space on the canvas is best expressed using contrasts of color, shape and surface area | ||
| c. The artist must “push” the viewer with provocative subject matter in order to “pull” them in | ||
| d. Art students will learn nothing unless they are berated with insults |
| a. Color Field Painting | ||
| b. Washington Color School | ||
| c. Action Painting | ||
| d. Conceptualism |
| a. With the canvas placed up against the wall, Pollock tossed splatters of thick paint across the room, allowing them land at random | ||
| b. Pollock would physically step onto the canvas and apply paint with his toes and fingers | ||
| c. Pollock would blind-fold himself and drop paint onto the canvas directly from the can | ||
| d. With the canvas lying flat on the floor, Pollock would drip paint using various utensils and allow the paint to soak in |
| a. Encourage people to avoid watching too much television | ||
| b. Create universal symbols of human yearning and statements about the condition of modern man | ||
| c. Communicate through these mystical shapes the mental and physical healing power of Buddhism | ||
| d. Express to the established art world that his work represented the pinnacle of Abstract Expressionism |
| a. Dada | ||
| b. De Stijl | ||
| c. Futurism | ||
| d. Cubism |
| a. His aesthetic moved back and forth between abstraction and figural painting | ||
| b. He was based in California instead of New York City, providing a West Coast base for abstract artists | ||
| c. He experimented with installation and land art | ||
| d. A and B |
| a. Abstract art should be a mixture of pictorial realism and popular advertisements | ||
| b. The decorative qualities of an artwork were of paramount importance | ||
| c. A work of art must be completely and utterly devoid of figuration to merit any attention | ||
| d. The canvas surface was not for painting a picture, but something on which to record an event |
| a. “Painting is for the birds. True artists must focus their skills in other media, such as sculpture and photography.” | ||
| b. “The new Guggenheim Museum’s spiral…creates a small but bothersome degree [on par with] the fun house in amusement parks.” | ||
| c. “Modern art always projects itself into a twilight zone where no values are fixed.” | ||
| d. “The canvas is an arena in which to act.” |
| a. Cezanne’s Doubt | ||
| b. American-Type Painting | ||
| c. Cubism and Its Discontents | ||
| d. The American Action Painters |
| a. Hard-edge painting | ||
| b. Minimalism | ||
| c. Color Field painting | ||
| d. Dada |
| a. Barnett Newman | ||
| b. Frank Kline | ||
| c. Willem de Kooning | ||
| d. Ad Reinhardt |
| a. Minimalism | ||
| b. Neo-Expressionism | ||
| c. Pop art | ||
| d. Land art |
| a. American Regionalism | ||
| b. Abstract Expressionism | ||
| c. Baroque | ||
| d. Futurism |
| a. Dada and Pop art | ||
| b. Abstraction and Figurative art | ||
| c. Bauhaus and Art Nouveau | ||
| d. Viennese Actionism and Surrealism |
| a. Dadaists | ||
| b. Minimalists | ||
| c. Conceptualists | ||
| d. Abstract Expressionists |
| a. Donald Judd | ||
| b. Joseph Beuys | ||
| c. Dan Flavin | ||
| d. Carl Andre |
| a. His effort to increasingly erase the artist’s hand from the production process | ||
| b. Commentary on art as a product, seemingly no different than his subjects | ||
| c. Effort to convince Campbell’s Soups to pay him for marketing materials | ||
| d. Both A and B |
| a. Impressionism | ||
| b. Constructivism | ||
| c. Realism | ||
| d. Neo-Dada |
| a. Appear as unique, three-dimensional combinations of color, industrial material, and light | ||
| b. Create an optic illusion for the viewer, in which three-dimensional structures appeared flat | ||
| c. Eventually be mass produced and used as bookshelves | ||
| d. Be commissioned for outdoor installation, where the structures would be eventually deteriorate due to the elements |
| a. Hans Hofmann’s “push and pull” technique | ||
| b. Natural light | ||
| c. Shaped canvases | ||
| d. None of the above |
| a. It portrays recognizable objects | ||
| b. He was creating art that doubled as an interactive game | ||
| c. The work’s surface reveals rough brushstrokes | ||
| d. It was made using only non-art materials |
| a. He commissioned other young artists to produce paintings on his behalf | ||
| b. Similar to Pollock, he drips paint onto the canvas in an improvised fashion | ||
| c. Similar to Seurat’s Pointillism, he applied a series of dots to the canvas in near mechanical fashion | ||
| d. He replied on natural light and other elements to inform his work, recalling the 19th-century methods of plein air painters |
| a. To gradually blur the line that divided “high” and “low” art | ||
| b. To express a cool, almost ambivalent attitude towards the academic institution of modern art | ||
| c. To provide a new form of commentary on the world of commercial advertising | ||
| d. To help corporations sell certain goods and services |
| a. He was largely rejected from the social circles of Abstract Expressionists | ||
| b. His Combine works incorporated various found and non-art objects | ||
| c. He claimed to be the personal disciple of Marcel Duchamp | ||
| d. His preferred media included inverted urinals and bicycle wheels |
| a. Happenings | ||
| b. Neo-Expressionism | ||
| c. Body art | ||
| d. Feminist art |
| a. Philip Guston | ||
| b. Julian Schnabel | ||
| c. Francesco Clemente | ||
| d. Damien Hirst |
| a. Pop art | ||
| b. Happenings | ||
| c. Post-Minimalism | ||
| d. Color Field Painting |
| a. Postmodernism | ||
| b. Performance art | ||
| c. Feminist art | ||
| d. All of the above |
| a. Édouard Manet and Impressionism | ||
| b. Marcel Duchamp and Dada | ||
| c. Henri Matisse and Fauvism | ||
| d. Ernst Ludwig Kirchner and Expressionism |
| a. Land art | ||
| b. Conceptual art | ||
| c. Process art | ||
| d. Feminist art |
| a. Challenged the authority of a male-dominated art world | ||
| b. Blurred the boundaries that divide so-called “high” art and craft-based art | ||
| c. Incorporated elements of performance, installation art and text | ||
| d. All of the above |
| a. 10,000 Oaks (a public installation of planted trees in Germany) | ||
| b. Spiral Jetty (a land art installation in Utah) | ||
| c. Dinner Party (a large feminist art-inspired installation) | ||
| d. Tilted Arc (a work of weathered steel originally installed in downtown New York City) |
| a. His attempt at riffing on traditional self-portraiture | ||
| b. The artist’s Puerto Rican and Haitian lineage | ||
| c. His affinity for graffiti and street art | ||
| d. His close friendship with Andy Warhol shortly before the Pop artist’s death |
| a. The artist’s struggles with weight loss throughout his life | ||
| b. The importance of fat and wood as basic survival tools | ||
| c. The transience and impermanence of human life | ||
| d. An artist’s need for quiet reflection and mental stability while working |
| a. Highlighting the forgotten achievements of women in history | ||
| b. Emphasizing the importance of line, form and geometry in postmodern art | ||
| c. Bringing women artists together for a gala event to honor their work | ||
| d. Providing an ironic statement about food and large gatherings |
| a. Mexican culture and early 20th-century murals | ||
| b. Ornithology and bird watching | ||
| c. Catholic iconography | ||
| d. Conceptual art |
| a. Bodily mutilation. | ||
| b. Physical endurance. | ||
| c. Musical composition. | ||
| d. Silence. |
| a. Neo-Dada art | ||
| b. Minimalist art | ||
| c. Land art | ||
| d. Feminist art |
| a. Its use of land and earth | ||
| b. Its appropriation of advertisements and images of celebrities | ||
| c. Its use of fat, felt, and other non-art materials of personal importance | ||
| d. Its absence of artistic authorship |
| a. To communicate to the world that painting, above all other media, was superior | ||
| b. As a means of dealing with German national identity and art in the wake of World War II | ||
| c. To call attention to the relatively new style of graffiti art | ||
| d. He wanted to defect from his native Germany |
| a. They only occurred at Black Mountain College in North Carolina | ||
| b. It’s a performance comprised entirely of improvised music | ||
| c. Performances rely on the use of fire, water and other natural elements | ||
| d. It usually requires audience participation and elements of chance |
| a. He believed the idea itself could be a work of art | ||
| b. He believed that architecture was superior to all other artistic mediums | ||
| c. He maintained that geometric shapes were the simplest and most honest form of artistic expression | ||
| d. He created works that naturally deteriorated over time |
| a. Earth art | ||
| b. Process art | ||
| c. Pop art | ||
| d. Body art |