Chapter 19: The Twentieth Century: The Early Years

Chapter 19: The Twentieth Century: The Early Years Test Bank

Multiple Choice Questions 1. The Blue Rider A. Fauves B. Expressionism* C. Cubism D. Futurism

2. "Wild Beasts" A. Fauves* B. Expressionism C. Cubism D. Futurism 3. Boccioni A. Fauves B. Expressionism C. Cubism D. Futurism*

4. Picasso and Braque in 1910 A. Fauves B. Expressionism C. Cubism* D. Futurism

5. The Bridge Group A. Fauves B. Expressionism* C. Cubism D. Futurism

6. Strong influence of African, Oceanic, and Iberian art A. Fauves B. Expressionism C. Cubism* D. Futurism

7. Balla A. Fauves B. Expressionism C. Cubism D. Futurism*

8. The Portuguese A. Fauves B. Expressionism C. Cubism* D. Futurism

9. "Violence, energy, and boldness" free from the "tyranny of harmony and good taste" A. Fauves B. Expressionism C. Cubism D. Futurism*

10. Matisse in 1907 A. Fauves* B. Expressionism C. Cubism D. Futurism

11. Naum Gabo A. Constructivism* B. Dada C. Surrealism

12. Miró A. Constructivism B. Dada C. Surrealism*

13. Duchamp A. Constructivism B. Dada* C. Surrealism

1 14. The Persistence of Memory A. Constructivism B. Dada C. Surrealism*

15. The ready-made A. Constructivism B. Dada* C. Surrealism

16. Intense interest in the reality of the dream state A. Constructivism B. Dada C. Surrealism*

17. A defiled color print of Leonardo da Vinci's Mona Lisa A. Constructivism B. Dada* C. Surrealism

18. Founded in Dresden A. Die Brücke* B. Der Blaue Reiter C. Neue Sachlichkeit

19. A urinal as a work of art. A. Constructivism B. Dada* C. Surrealism

20. Max Beckmann A. Die Brücke B. Der Blaue Reiter C. Neue Sachlichkeit*

Completion/Fill-in-the-Blank Questions 21. The word Fauve as applied to art derived from a critic's reaction to what he saw in the 1905 Salon ______. {{d'Automne}}

22. The Fauves chose their color and brushwork on the basis of their ______qualities. {{emotive}}

23. What set the Fauves apart from their nineteenth-century predecessors was their use of harsh, nondescriptive ______, bold liner patterning, and a distorted form of perspective. {{color}}

24. In his post-Fauvist works, Matisse used color in a variety of ways–structurally, ______, sensually, and expressively. {{decoratively}}

25. In Matisse's Red Room, the jumbling of patterns propels the background to the picture plane, asserting the ______of the canvas. {{flatness}}

2 26. ______is the distortion of nature in order to achieve a desired emotional effect or representation of inner feelings. {{Expressionism}}

27. Whereas Die Brücke artists always used nature as a point of departure, Der Blaue Reiter art sought to free itself from the shackles of ______reality. {{observable}}

28. The author of "Concerning the Spiritual in Art" was ______. {{Kandinsky}}

29. Cubism can trace its heritage to Neoclassicism and the analytical and intellectual work of ______. {{Cézanne}}

30. Picasso was born in ______. {{Spain}}

31. Picasso spent most of his life in ______. {{France}}

32. Georgia O'Keeffe captured the essence of her subjects by ______their forms. {{simplifying}}

33. The period of Picasso's career that most often depicts melancholy subjects of poor and downtrodden individuals is called the ______Period. {{Blue}}

34. Analytic Cubism's most significant contribution was a new treatment of pictorial space that hinged upon the rendering of objects from ______and radically different views. {{multiple}}

35. To Cubists, the most basic reality involved consolidating ______vignettes instead of reproducing fixed images with photographic accuracy. {{optical}} 36. When Braque and Picasso began pasting bits of printed matter or other things in their Cubist paintings, they called the process papier collé, what we now call ______. {{collage}}

3 37. Some Synthetic Cubist works, such as Picasso's Bottle of Suze, are constructed entirely of ______objects. {{found}}

38. The American photographer Alfred ______was one of the earliest supporters of abstract art in the United States. {{Stieglitz}}

39. One of Picasso's most powerful works of protest is a painting he did in 1937 to broadcast to the world the brutality of the German bombing of the Basque town of ______. {{Guernica}}

40. Several years after the advent Cubism, a new movement sprang up it Italy under the leadership of poet Filippo Marinetti. The movement was called ______. {{Futurism}}

Discussion Questions 41. How does Cubism assert a fundamentally new relationship of time and space?

42. "My choice of colors does not rest on any scientific theory; it is based on observation, on feeling, on the very nature of each experience." Identify the artist who said this and explain the meaning of the quotation.

43. Is it necessary to know the title of Brancusi's Bird in Space to fully appreciate the work? Why or why not?

44. Compare and contrast the birds in Klee's Twittering Machine and Brancusi's Bird in Space. Which is more evocative of the idea of "bird?" 45. Compare and contrast Picasso's Les Demoiselles d'Avignon and Masaccio's Holy Trinity (from the Renaissance chapter). How was each an avant-garde work in its own time?

46. Compare and contrast the use of color by Gauguin and by the Fauve artists.

47. Discuss the role of feeling and thinking in Matisse's Green Stripe and Picasso's Seated Woman (Femme Assise). Does one tend more toward feeling? Toward thinking? Explain your answer.

48. Defend the assertion that the title of Nolde's Dance Around the Golden Calf detracts from the power of the work.

4 49. Some twentieth-century artists have asserted (and found wide-spread agreement) that the subject of a painting can be the painting itself, that is the elements and their composition. Cannot the same be said of a work with recognizable subject matter? Find a work from an earlier century and discuss it in terms only of its elements and composition.

50. Compare and contrast Dada and the Realist painters that you studied in the last chapter. Pay particular attention to the reception each received from the art world.