| 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 |