a. Oil paintings from the Caribbean | ||
b. Sketches from New England | ||
c. Watercolors from the Jamestown Colony | ||
d. Sketches from the voyage of Christopher Columbus |
a. The Aztec | ||
b. The Mayan | ||
c. The Toltec | ||
d. The Spanish |
a. Renaissance | ||
b. Baroque | ||
c. Medieval | ||
d. Classical |
a. Pennsylvania | ||
b. Wisconsin | ||
c. California | ||
d. Ohio |
a. The English | ||
b. The French | ||
c. The Spanish | ||
d. The German |
a. Paris | ||
b. New York | ||
c. London | ||
d. Philadelphia |
a. John Trumbull | ||
b. Benjamin West | ||
c. Gilbert Stuart | ||
d. John Singleton Copley |
a. John Singleton Copley | ||
b. William Penn | ||
c. Benjamin West | ||
d. None of the above |
a. John Singleton Copley | ||
b. John Trumbull | ||
c. Benjamin West | ||
d. None of the above. |
a. Boston Harbor | ||
b. Havana Harbor | ||
c. Port of London | ||
d. None of the above |
a. The United States Capitol | ||
b. The White House | ||
c. The Pentagon | ||
d. Monticello |
a. John Trumbull | ||
b. John Singleton Copley | ||
c. John Vanderlyn | ||
d. John Smibert |
a. Distorted anatomical proportion | ||
b. Stormy skies | ||
c. Loose brushwork | ||
d. Strong contours |
a. It depicts an event that happened the year it was painted | ||
b. It depicts a scene from a novel | ||
c. The work was copied in many forms | ||
d. The artist was related to William Penn |
a. Death of General Wolfe | ||
b. Death of Jane McCrea | ||
c. Both A and B | ||
d. Neither A or B |
a. Military heroism | ||
b. Domestic life | ||
c. Landscape | ||
d. Greek sculptural form |
a. Domesticity | ||
b. Early industrialism | ||
c. Patriotic iconography | ||
d. The divine in nature |
a. An academic painter | ||
b. A landscape specialist | ||
c. A Realist painter | ||
d. A self-taught painter |
a. Luminism | ||
b. Romanticism | ||
c. Both A and B | ||
d. Impressionism |
a. domestic pets | ||
b. foodstuffs | ||
c. maps | ||
d. scientific objects |
a. Portraiture | ||
b. Still life | ||
c. Landscape | ||
d. Everyday life |
a. 1777 | ||
b. 1801 | ||
c. 1851 | ||
d. 1880 |
a. A pyramidal form | ||
b. Repeated rectangular forms | ||
c. Repeated circular rhythms | ||
d. A bird’s eye view |
a. He opened the first public museum in America | ||
b. He had several sons that were accomplished artists | ||
c. He lived and worked mainly in Philadelphia | ||
d. All of the above |
a. Contrasts of darks and lights | ||
b. Illusionistic images that trick the eye | ||
c. Abstract backdrops | ||
d. Broad areas of color |
a. Deep space/linear perspective | ||
b. Shallow space/flatness | ||
c. Sculptural modeling and shadows | ||
d. Thick application of paint |
a. William Sydney Mount | ||
b. George Catlin | ||
c. Will Harnett | ||
d. Edward Hicks |
a. Religious | ||
b. Still life | ||
c. Portraiture | ||
d. Everyday life |
a. 1860s | ||
b. 1870s | ||
c. 1880s | ||
d. 1890s |
a. The depiction of texture in still life | ||
b. Focus on detail in portraiture | ||
c. The capturing of outdoor lighting effects | ||
d. Emphasis on geometric forms in nature |
a. Pissarro | ||
b. Degas | ||
c. Monet | ||
d. Renoir |
a. Painting | ||
b. Leaded glass work | ||
c. Ceramics | ||
d. Furniture design |
a. 1800 | ||
b. 1840 | ||
c. 1860 | ||
d. 1880 |
a. Color | ||
b. Iconographic detail | ||
c. Light | ||
d. Contour |
a. Sports pictures of rowers | ||
b. Market scenes | ||
c. Family portraits | ||
d. Architecture of Washington, D.C. |
a. Landscape | ||
b. History | ||
c. Photographic | ||
d. Still life |
a. Winslow Homer | ||
b. Eastman Johnson | ||
c. Raphaelle Peale | ||
d. Thomas Eakins |
a. Winslow Homer | ||
b. William Merritt Chase | ||
c. Edward Mitchell Bannister | ||
d. John Singer Sargent |
a. Augustus Saint-Gaudens | ||
b. Edmonia Lewis | ||
c. Thomas Ball | ||
d. Eastman Johnson |
a. Georgia | ||
b. Pennsylvania | ||
c. Washington, D.C. | ||
d. Kentucky |
a. Impressionistic | ||
b. Luministic | ||
c. Romantic | ||
d. Realistic |
a. 1850s | ||
b. 1860s | ||
c. 1870s | ||
d. 1880s |
a. 1876 | ||
b. 1885 | ||
c. 1893 | ||
d. 1900 |
a. Chicago | ||
b. Philadelphia | ||
c. New York | ||
d. San Francisco |
a. William Merritt Chase | ||
b. Winslow Homer | ||
c. Eastman Johnson | ||
d. J. Alden Weir |
a. Loose brushwork | ||
b. Literary narrative | ||
c. Modern life | ||
d. History |
a. She lived her whole life in the Boston area | ||
b. She exhibited at the Philadelphia Centennial Exposition | ||
c. Both A and B | ||
d. Neither A or B |
a. It addresses common stereotypes of the era | ||
b. It was posed carefully by Tanner, using models | ||
c. Both A and B | ||
d. It depicts family members in Tanner’s home at the time |
a. Saint-Gaudens made studies of carved wood before casting the bronze relief | ||
b. From original commission to completion to installation, the project took five years | ||
c. Both A and B | ||
d. Saint-Gaudens individualized the faces and bodies of the African America soldiers depicted. |
a. It was created after the Civil War ended | ||
b. It suggests African culture as well as American identity | ||
c. It was created on a trip by the artist to Virginia | ||
d. All of the above |
a. Mary Cassatt | ||
b. Childe Hassam | ||
c. William Merritt Chase | ||
d. J. Alden Weir |
a. A style of 19th-century painting using gold hues | ||
b. New wealth in America from industrialization at the turn of the 20th century | ||
c. A popular legend of about the founded of the United States | ||
d. Classical Greek culture |
a. 1875 | ||
b. 1870 | ||
c. 1865 | ||
d. 1860 |
a. Surrealism | ||
b. Impressionism | ||
c. Cubism | ||
d. Post-Impressionism |
a. Oil paint | ||
b. Photography | ||
c. Marble | ||
d. Etching |
a. Lighting | ||
b. Settings and poses | ||
c. Darkroom techniques | ||
d. All of the above |
a. Arthur Davies | ||
b. Georgia O’Keeffe | ||
c. Marsden Hartley | ||
d. Max Weber |
a. Bringing European abstract art to New York | ||
b. Bringing American abstract art to Europe | ||
c. Bringing Renaissance masterpieces to New York | ||
d. None of the above. |
a. 1891 | ||
b. 1901 | ||
c. 1913 | ||
d. 1924 |
a. Philadelphia | ||
b. Boston | ||
c. Washington, D.C. | ||
d. New York |
a. Robert Henri | ||
b. George Luks | ||
c. Edward Hopper | ||
d. Ernest Lawson |
a. Lois Mailou Jones | ||
b. Jacob Lawrence | ||
c. Archibald Motley, Jr. | ||
d. William H. Johnson |
a. Everitt Shinn | ||
b. George Bellows | ||
c. John Sloan | ||
d. Robert Henri |
a. Alain Locke | ||
b. Langston Hughes | ||
c. Marcus Garvey | ||
d. W. E. B. DuBois |
a. It was advocated on the basis of its embrace by European artists | ||
b. It was advocated for its long tradition | ||
c. It was advocated as a sign of modernity | ||
d. All of the above |
a. Interiors of the homes of the upper classes | ||
b. Landscape of leisure | ||
c. Family portraits | ||
d. Life in the neighborhoods of recent immigrants |
a. A gallery in New York founded by Alfred Stieglitz | ||
b. An exhibition of modern European artists in New York | ||
c. An international artist alliance formed in 1900 | ||
d. None of the above |
a. Philadelphia | ||
b. Boston | ||
c. Washington, D.C. | ||
d. New York |
a. Grant Wood | ||
b. Alvin Albright | ||
c. Robert Henri | ||
d. Thomas Hart Benton |
a. The Whitney Museum of American Art | ||
b. The Museum of Modern Art | ||
c. The Guggenheim Museum | ||
d. The Asia Society |
a. International Style | ||
b. Prairie Style | ||
c. Geometric Style | ||
d. Organic Style |
a. Surrealism | ||
b. Cubism | ||
c. Impressionism | ||
d. Classicism |
a. Divine providence | ||
b. The history of a region | ||
c. Family legacies | ||
d. Naturalistic style |
a. Surrealism | ||
b. Cubism | ||
c. Impressionism | ||
d. Classicism |
a. OWI | ||
b. FAP | ||
c. FSA | ||
d. None of the above |
a. John Sloan | ||
b. Thomas Hart Benton | ||
c. John Steuart Curry | ||
d. Isabel Bishop |
a. William Henry Johnson | ||
b. Archibald Motley, Jr. | ||
c. Jacob Lawrence | ||
d. Aaron Douglas |
a. Federal Works of Art Project | ||
b. Works Progress Administration | ||
c. Farms Securities Administration | ||
d. Both A and B |
a. Oil painting | ||
b. Wood and stone carving | ||
c. Assemblage of found materials | ||
d. Two-dimensional works on paper |
a. She is a protégé of Georgia O’Keeffe | ||
b. She is known as an abstract painter | ||
c. She is known as a Surrealist | ||
d. She is known as a sculptor |
a. Farm communities around the country | ||
b. Northern urban cities | ||
c. Southern urban cities | ||
d. Rural communities of California |
a. Religious genre | ||
b. People at work | ||
c. Bucolic landscapes | ||
d. Still life |
a. Social Realism | ||
b. Regionalism | ||
c. American Scene | ||
d. All of the above |
a. William Henry Johnson’s | ||
b. Archibald Motley, Jr.’s | ||
c. Jacob Lawrence’s | ||
d. Lois Mailou Jones’ |
a. Theodore Roosevelt | ||
b. Franklin Delano Roosevelt | ||
c. Alexander Hamilton | ||
d. Harry Truman |
a. Figuration | ||
b. Lyrical line | ||
c. Repetition of forms | ||
d. Use of organic materials |
a. Paris | ||
b. Los Angeles | ||
c. New York | ||
d. San Francisco |
a. “Drip” paintings | ||
b. Paintings based on the American flag | ||
c. Paintings of Campbell’s Soup cans | ||
d. Paintings of popular comic book characters |
a. Consumer products | ||
b. Psychological portraiture | ||
c. Nature in the industrial world | ||
d. Reviving early oil painting techniques |
a. Regionalist painting in the Mid-West | ||
b. European art styles brought by exiles from Europe before World War II | ||
c. Picasso’s paintings of the 1920s | ||
d. The Russian Revolution |
a. Willem de Kooning | ||
b. Clyfford Still | ||
c. Barnett Newman | ||
d. Jackson Pollock |
a. Robert Smithson | ||
b. Bruce Nauman | ||
c. Julian Schnabel | ||
d. Donald Judd |
a. Audry Flack | ||
b. Hannah Wilke | ||
c. Betye Saar | ||
d. Judy Chicago |
a. Andy Warhol | ||
b. Roy Lichtenstein | ||
c. Claus Oldenburg | ||
d. James Rosenquist |
a. An interest in earlier art forms | ||
b. The appropriation of earlier art imagery | ||
c. Direct expressions of gender and ethnic identity in art | ||
d. All of the above |
a. They often have hidden narratives | ||
b. They often feature a single visual focal point | ||
c. They are characterized by all-over compositions | ||
d. All of the above |
a. It is considered non-objective in content | ||
b. It is based on geometric form | ||
c. Signs of the artist’s gesture are usually obscured | ||
d. All of the above |
a. It remains installed at the site for which it was designed in Lower Manhattan | ||
b. It was moved to another public site in New York City | ||
c. It was removed and is not on view to the public | ||
d. The artist did not have a strong opinion about the controversy over the work and stayed out of the debates about it |
a. It was designed by a woman | ||
b. It includes figurative components | ||
c. Its style is influenced by American War memorials of the past | ||
d. All of the above |
a. Colorfield Painting | ||
b. Action Painting | ||
c. Neo-Impressionism | ||
d. Both A and B |
a. 1940 | ||
b. 1945 | ||
c. 1950 | ||
d. 1955 |