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1. Paul Cézanne’s enormous influence on the future of modern
art was related to his
A. friendship with Emile Zola.
B. interest in basic geometric forms.
C. stature among the impressionists.
D. study of the elements of color.
2. The effect of glowing light in American landscapes is mainly
associated with the
A. Ashcan school.
B. American realists.
C. murals of Diego Rivera.
D. Hudson River school.
3. Which of these statements about Jean-Baptiste-Camille Corot
A. He is considered to be the first impressionist.
B. He painted in his studio from memory.
C. His work greatly influenced the impressionists.
D. His work was influenced by Monet.
4. Which of the following describes the work of Picasso’s Blue Period?
A. His portraits portrayed people in peculiar, geometric forms.
B. The pictures displayed Picasso’s playful sense of humor.
C. He painted mainly circus themes and harlequins.
D. It depicted the poor, sick, or elderly in a melancholy way.
5. Which of the following statements about art noveau and art deco is most accurate?
A. Art deco was prominently featured in architecture.
B. Art deco featured a decorative style that flourished until 1914.
C. Art nouveau was a forerunner of modern geometric styles.
D. Art nouveau features decorative styles that remain popular to this day.
6. Diego Rivera’s mural for the lobby of the RCA Building was destroyed because
A. Nelson Rockefeller was offended by nudes in the painting.
B. it included a portrait of Vladimir Lenin.
C. it contained too much Mayan symbolism.
D. Diego demanded that the mural be returned to him.
7. An important feature of dada art included rejecting artistic traditions in favor of
A. explicit violence and sex.
B. destruction and negativity.
C. cooperative, communal projects.
D. higher standards of composition and beauty.
8. An impressionist painting of a pond full of waterlilies is unmistakably the work of
A. Paul Gauguin. C. Edouard Manet.
B. Marc Chagall. D. Claude Monet.
9. _______’s unconventional approach to painting Luncheon on the Grass marked the
first step away from realism and toward impressionism.
A. Pierre Auguste Renoir C. Claude Monet
B. Edouard Manet D. Jean-Baptiste-Camille Corot
10. Van Gogh’s energetic landscapes combined emotion and symbolism in a way that
opened the door to
A. expressionism. C. impressionism.
B. neo-impressionism. D. dadaism.
11. The work of _______, who lived in the Montmartre quarter in Paris, combined the
influence of Japanese block prints with his own brand of irony and satire to produce
distinctive poster art.
A. Henri de Toulouse-Lautrec C. Amedeo Modigliani
B. Maurice Utrillo D. Diego Rivera
12. The unique style of _______, who painted Impression: Sunrise in 1872, altered the
course of Western art.
A. Jean-Baptiste-Camille Corot C. Eugene Boudin
B. Claude Monet D. Paul Cézanne
13. Which of the following painters was most closely associated with the Ashcan school?
A. William Glackens C. Thomas Eakins
B. Edward Hopper D. Winslow Homer
14. Creating the forms, tones, and contrasts of a painting by using dots of primary color
A. contrasting. C. fragmentation.
B. expressionism.D. pointillism.
15. Important features of modern and postmodern art include
A. social satire and an eclectic approach to style.
B. rejection of line and form.
C. short brushstrokes and textured surfaces.
D. detachment from social influences.
16. Among the common features of impressionist art are
A. objectivity and high energy.
B. reflected light and textured surfaces.
C. swirling brush strokes and symbolic colors.
D. clean, precise lines and blocks of color.
17. The American artist who used bold blocks of color, stark light, and lonely, somber
A. Asher Durand. C. Alfred Bierstadt.
B. Edward Hopper. D. Edward Hicks.
18. Which of the following features gave Gustav Klimt’s figure paintings a Byzantine look?
A. Flat figures and gold highlights
B. Soft lines and long brushstrokes
C. An organic rhythm
D. Geometric forms
19. The artist who applied the vocabulary of music to describe his painted
A. John Singleton Copley. C. James Whistler.
B. John Singer Sargent. D. James Tissot.
20. A painting of a ballet class at practice, reflecting both reality and the influence of the
artist’s contemporaries, is recognizable as the work of
A. Edgar Degas. C. Paul Gauguin.
B. Vincent van Gogh. D. Georges Seurat.