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 |