Chapter 33 – Early 20th Century

Chapter 33 – Early 20th Century Multiple Choice Identify the letter of the choice that best completes the statement or answers the question. ____ 1. Throughout history, artists have regularly served political ends by using their art to make visual statements. Which of the following artists has created an overtly political statement with his/her work? a. Dorothea Lange b. John Sloan c. Wassily Kandinsky d. Barbara Hepworth 2. Which of the following artists created large-scale, kinetic sculptures? a. Henry Moore b. Brancusi c. Alexander Calder d. Boccioni 3. What message did Vera Mukhina convey in her work entitled The Worker and the Collective Farm Worker? a. She conveyed the horror of war b. She glorified the communal labor of the Soviet people c. She glorified urban lifestyles d. She showed motion through dynamic line 4. Which of the following artists developed the theory of neoplasticism or the new pure plastic art? a. Picasso b. Chagall c. Mondrian d. Marc 5. Which of the following works of art was melted down for ammunition by the Nazis in 1937? a. War Monument b. Bird in Space c. Unique Forms of Continuity in Space d. Column 6. Which of the following artists created a modern American art style combining Synthetic Cubism with jazz tempos and his perception of the fast-paced American culture? a. Marsden Hartley b. Charles Demuth c. Georgia O'Keeffe d. Stuart Davis 7. What style is described as compositions of shapes and forms abstracted from the conventionally conceived world? a. Fauvism b. Cubism c. De Styl d. Neoplasticism 8. The Champs de Mars or The Red Tower by Robert Delaunay depicts which of the following structures? a. Eiffel Tower b. Tower of Babel c. Coit Tower d. Tatlin Tower ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ 9. Which of the following is executed in the Synthetic Cubist style? a. The Dance b. Fate of the Animals c. Demoiselles d'Avignon d. Still-Life with Chair-Caning 10. Which of the following describes the focus of the Ashcan School? a. It focused on the horror of trench warfare in WW II. b. It focused on the hurley-burley activity of farm life. c. It focused on the bleak and seedy aspects of city life. d. It focused on the dynamism of the machine. 11. What message is portrayed in Edward Hopper's Nighthawks? a. the pervasive loneliness of modern humans b. the seediness of city life c. the energetic rhythm of city life d. the cosmopolitan atmosphere of big city life 12. Thomas Hart Benton, a Regionalist artist, focused his attention on which of the following subjects? a. Times Square, New York b. the waterfront c. the social history of Missouri d. the farming landscape of the Midwest 13. Which of the following artists did not depict themes of war? a. Picasso b. Matisse c. Max Beckmann d. Otto Dix 14. In the artist's eyes, the Fate of the Animals was almost a premonition of which historical event? a. World War II b. the Great Depression c. the Russian Revolution d. World War I 15. Which of the following works demonstrates the Futurists' interest in motion? a. The City b. Dynamism of a Dog on a Leash c. Champs de Mars or The Red Tower d. The Portuguese 16. Which of the following artists was a Berlin Dadaist? a. Hannah Höch b. Barbara Hepworth c. Georgia O'Keeffe d. Frida Kahlo 17. Which of the following artists shared Stieglitz's concern to position photography as an art form with the same fine-art status as painting and sculpture? a. Dorothea Lange b. Georgia O'Keeffe c. Edward Hopper d. Edward Weston 18. Who is the artist who created a work of art that can be described as "a wickedly funny gift"? a. Edward Weston b. Alfred Stieglitz ____ 19. ____ 20. ____ 21. ____ 22. ____ 23. ____ 24. ____ 25. ____ 26. ____ 27. c. Man Ray d. Marsden Hartley Her work is often described as autobiographical because of her unflinching self-portrait portrayals. She gives the viewer a personal glimpse into herself and suffering. Which of the following artists does this describe? a. Frida Kahlo b. Hannah Höch c. Georgia O'Keeffe d. Dorothea Lange Who is the artist who created a scathing visual commentary on the military with his Fit for Active Service? a. Picasso b. Marc c. Grosz d. Kandinsky Which of the Blaue Reiter artists found animals superior in beauty, strength, innocence, and naturalness? a. Wassily Kandinsky b. Paul Klee c. Emil Nolde d. Franz Marc Henry Moore's great series of reclining nudes is said to have been inspired by __________. a. an African ancestral figure b. a Chinese figure of Guanyin c. a pre-Columbian figure, the Chacmool d. a medieval representation of Mary Magdalene Who wrote, "All my life I have sought the essence of flight. Don't look for the mysteries. I give you pure joy. Look at the sculptures until you see them. Those nearest to God have seen them." a. Barlach b. Brancusi c. Hepworth d. Moore A nonobjective work refers to work that __________. a. has been abstracted from a natural object b. has no reference to the external appearance of the physical world c. is not considered objectionable by anyone d. has no material form but is merely conceived in the mind Of the following, who is the best example of a twentieth-century artist who believed that art should delight, inspire, and enhance our lives as human beings? a. Beckmann b. Malevich c. Matisse d. Ensor The Chrysler Building by William van Alen has elements from which of the following styles? a. Art Nouveau b. Art Deco c. Cubist d. Fin-de-scìele Symbolism and fantasy were joined to create works filled with visionary joy and despair by which of the following artists? a. Franc Marc b. Marc Chagall ____ 28. ____ 29. ____ 30. ____ 31. ____ 32. ____ 33. ____ 34. ____ 35. ____ 36. ____ 37. c. Frida Kahlo d. Emile Nolde Which phrase best expresses the sculptural style of Boccioni? a. nervous agitation b. dynamic movement c. sinuous organic curves d. sharply intersecting planes Who said: "...we rejected imitative colors, and that with pure colors we obtained stronger reactions..."? a. Pablo Picasso b. Ernst Kirchner c. Max Beckmann d. Henri Matisse Which artist, even though he was older than the Die Brücke artists, was invited to join them because he was pursuing similar ideas in his work? a. Henry Matisse b. André Derain c. Emile Nolde d. Kirchner The work of Ernst Kirchner shows __________. a. the influence of the Pre-Raphaelites b. the influence of Italian Renaissance frescoes c. subjects drawn from the industrialized urban bourgeoisie d. the influence of Analytical Cubism Who is the Surrealist? a. Salvador Dalí b. Jacob Lawrence c. Henri Matisse d. Pablo Picasso The hovering figure that served as a memorial to those who died in World War I was created by __________. a. Wilhelm Lehmbruck b. Ernst Barlach c. Ernst Kirchner d. Max Beckmann A painting that was done in reaction to World War I was __________. a. Ernst Kirchner's Street, Berlin b. Wassily Kandinsky's Improvisation 28 c. Max Beckmann's Night d. Kurt Schwitters's Merz pictures Which of the following statements about Dada is true? a. Dada originated in Copenhagen b. All Dada works were created in marble c. The Dada artists were Marcel Duchamp, Pablo Picasso, and Kurt Schwitters d. Dada had no fixed ideas Who photographed the rural poor displaced by the Great Depression in the 1930s? a. Alfred Stieglitz b. Charles Sheeler c. Edward Weston d. Dorothea Lange Empty piazzas depicting mysterious figures were often painted by which of the following artists? a. Matisse b. Ernst c. De Chirico d. Kandinsky ____ 38. "...I believe in the future resolution of the states of dream and reality, in appearance so contradictory, in a sort of absolute reality, or surreality." This definition of Surrealism was written by __________. a. Guillaume Apollinaire b. Friedrich Nietzsche c. Salvador Dalí d. André Breton ____ 39. Which one of the following statements is not true? a. Titles of Surrealist works were intended to challenge the expectations of the viewer. b. The Surrealists considered dreams to be an area in which people could reengage their deeper selves that society had repressed. c. Surrealism ignored the ideas of psychoanalysis put forth by Jung and Freud. d. One of the leading proponents of Surrealism was Salvador Dalí. ____ 40. The goal of Dalí's "paranoiac-critical" method was to __________. a. portray the art of madmen b. illustrate the sado-masochistic theories of Krafft-Ebing c. pour his emotions directly onto the canvas, with no thought of technique d. create images of inner reality and irrationality as concrete as the world of physical reality Slide Identification: Select the response that best suits the image on the screen. ____ 41. (Figure 33-61) a. Gunta Stolzi b. Walter Gropius c. Moholy-Nagy d. Breuer ____ 42. (Figure 33-8) a. Marc b. Kandinsky c. Klee d. Picasso ____ 43. (Figure 33-22) a. Arp b. Brancusi c. Duchamp d. Lehmbruck ____ 44. (Figure 33-13) a. Picasso b. Delaunay c. Dalí d. Braque ____ 45. (Figure 33-21) a. Cubism b. German Expressionism c. Futurism d. Fauve ____ 46. (Figure 33-36) a. Aaron Douglas b. Charles Demuth c. Jacob Lawrence d. Edward Hopper ____ 47. (Figure 33-41) a. etching & drypoint b. engraving c. litho d. oil on canvas ____ 48. (Figure 33-81) a. Orozco b. Picasso c. Miro d. Rivera ____ 49. (Figure 33-79) a. oil on canvas b. drawing c. mural d. pastel ____ 50. (Figure 33-77) a. Dorothea Lange b. Edward Hopper c. Jacob Lawrence d. Charles Sheeler ____ 51. (Figure 33-70) a. Boccioni b. Hepworth c. Tatlin d. Gonzalez ____ 52. (Figure 33-51) a. Klee b. Matisse c. Kandinsky d. Ernst ____ 53. (Figure 33-55) a. Arp b. Schwitters c. Mondrian d. Severini ____ 54. (Figure 33-5) a. Picasso b. Derain c. Nolde d. Kirchner ____ 55. (Figure 33-76) a. Jacob Lawrence b. Ben Shahn c. Edward Hopper ____ 56. ____ 57. ____ 58. ____ 59. ____ 60. d. Charles Sheeler (Figure 33-60) a. Walter Gropius b. Ludwig Mies van der Rohe c. Le Corbusier d. Marcel Breuer (Figure 33-75) a. Alfred Stieglitz b. Edward Weston c. Dorothea Lange d. Max Ernst (Figure 33-3) a. André Derain b. Henri Matisse c. Pablo Picasso d. Georges Rouault (Figure 33-7) a. Matisse b. Kandinsky c. Marc d. Kirchner (Figure 33-13) a. Suprematism b. Analytic Cubism c. Futurism d. Synthetic Cubism Short Answer 61. Describe the Armory Show and how it impacted the American art scene of the early 20th century. 62. What was "291"? 63. Describe Art Deco. 64. What is a "prairie house"? 65. Picasso said, "Painting is not made to decorate apartments. It is an instrument for offensive and defensive war against the enemy." How did this statement reflect the political nature of artists during this time period, and how did it mirror Picasso's personal politics? 66. How does the work of Hannah Höch reflect German society of the Weimar Republic years? 67. Alfred Barr's statement, "German artists of spirit and integrity have refused to conform. They have gone into exile or slipped into anxious obscurity... Their paintings or sculptures have been hidden or exiled." is referring to what event? How did this "flight" impact the art of the United States? 68. What subject matter did Jacob Lawrence use in his work, and how was it significant? 69. How did the subject matter Edward Hopper used in his art relate to the Depression era? 70. Briefly describe Surrealism. 71. What was the purpose of the Bauhaus? 72. Briefly contrast Analytic and Synthetic Cubism. 73. How did Charles Demuth react to Cubism? 74. Brancusi said, "What is real is not the external form but the essence of things." How does this statement reflect his work? 75. How did Georgia O'Keeffe reflect the fast pace of city life in her work? 76. How does Night by Max Beckmann become a metaphor for German society during 1918-1919? 77. What is a "mobile," who created it, and why? 78. How did Le Corbusier design a house as "a machine for living"? 79. Briefly describe Futurism. 80. How did society see the avant-garde artist? Slide Questions 81. How do these works describe the early twentieth century? 82. What do these works describe, and how do they reflect the United States? 83. What might these images describe? 84. How do these houses describe their functionality? 85. Contrast these two pieces of sculpture, noting when and where each was done. What do they have in common? 86. Compare these two country homes. Who did them, and when? How does each deal with the issues of the relationship of the building to the surroundings? How does each respond to formal design and function? 87. Who created these models, and what were their purposes? 88. Who created these works, and what were their themes? Why did the artists feel that such themes were relevant? 89. Who painted each work, and to what historical events does each refer? 90. How do these works reflect the early 20th century? Other Unknown Images 91. Attribute the images on the screen to an artist and to a stylistic grouping, dating the work to the quarter century. Give the reasons for your attributions, using complete sentences and referring to specific works that you know. 92. Attribute the images on the screen to an artist and to a stylistic grouping, dating the work to the quarter century. Give the reasons for your attributions, using complete sentences and referring to specific works that you know. 93. Attribute the images on the screen to an artist and to a stylistic grouping, dating the work to the quarter century. Give the reasons for your attributions, using complete sentences and referring to specific works that you know. 94. Attribute the images on the screen to an artist and to a stylistic grouping, dating the work to the quarter century. Give the reasons for your attributions, using complete sentences and referring to specific works that you know. 95. Attribute the images on the screen to an artist and to a stylistic grouping, dating the work to the quarter century. Give the reasons for your attributions, using complete sentences and referring to specific works that you know. Essay 96. Compare the work of Jacob Lawrence and Edward Hopper. How did each artist respond to his period? What artistic devices did each artist use to create emotion in his work? What was the sociopolitical context each artist addressed? Use examples to support your essay. 97. Evaluate the use of art as a vehicle for propaganda in the work of Höch, Grosz, Picasso and Lawrence. Use examples to support your essay. 98. Compare and contrast the Fauves with the German Expressionists. What influences can be seen in each movement? How did each influence the other? Use examples to support your essay. 99. Assess the impact the Armory Show (1913) had on the American art scene. Use examples to support your essay. 100. Evaluate Pablo Picasso's Demoiselles d'Avignon. How did this work re-shape the art of the early twentieth century? Include in your discussion the influences coming from Primitive art. Use examples to support your essay. 101. Discuss the relationship of Le Corbusier's Villa Savoye to Frank Lloyd Wright's Kaufmann House (Fallingwater). How did the architects marry the shape, volume, and space of each house to its environment? How do these structures represent each architect and his philosophy? 102. Compare the work of Hannah Höch, Duchamp, and Kurt Schwitters as it relates to Dada. How did each artist respond to the sociopolitical context of the period? 103. Evaluate the development of Cubism and the artistic movements that it spawned. Use examples to support your essay. 104. Assess the utopian notions of Suprematism and Constructivism. How were these notions manifested in Revolution Russia, now called the Soviet Union? How did the art community respond to these notions? Use examples to support your essay. 105. Compare and contrast the work of Edward Weston and Dorothea Lange. How did each artist respond to the medium of photography as a visual art form? How did their works reflect their respective environments? Chapter 33 Answer Section MULTIPLE CHOICE 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. 33. 34. 35. 36. 37. 38. 39. 40. 41. ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: A C B C A D B A D C A C B D B A D C A C D C B B C B B B D C C A B C D D C D C D A OBJ: OBJ: OBJ: OBJ: OBJ: OBJ: OBJ: OBJ: OBJ: OBJ: OBJ: OBJ: OBJ: OBJ: OBJ: OBJ: OBJ: OBJ: OBJ: OBJ: OBJ: OBJ: OBJ: OBJ: OBJ: OBJ: OBJ: OBJ: OBJ: OBJ: OBJ: OBJ: OBJ: OBJ: OBJ: OBJ: OBJ: OBJ: OBJ: OBJ: KEY: TYPE: Comprehension/Analysis TYPE: Knowledge TYPE: Comprehension/Analysis TYPE: Knowledge/Comprehension TYPE: Knowledge TYPE: Analysis/Comprehension TYPE: Analysis TYPE: Knowledge TYPE: Knowledge TYPE: Comprehension TYPE: Analysis TYPE: Comprehension TYPE: Comprehension TYPE: Analysis TYPE: Analysis TYPE: Knowledge TYPE: Comprehension TYPE: Comprehension/Knowledge TYPE: Comprehension TYPE: Knowledge TYPE: Comprehension TYPE: Knowledge TYPE: Analysis/Comprehension TYPE: Knowledge/Comprehension TYPE: Analysis/Evaluation TYPE: Knowledge TYPE: Analysis/Evaluation TYPE: Analysis TYPE: Analysis TYPE: Analysis/Evaluation TYPE: Knowledge/Comprehension TYPE: Knowledge TYPE: Knowledge TYPE: Knowledge/Comprehension TYPE: Analysis TYPE: Knowledge TYPE: Knowledge TYPE: Analysis/Evaluation TYPE: Analysis TYPE: Analysis Slide Identification 42. 43. 44. 45. 46. 47. 48. 49. 50. 51. 52. 53. 54. 55. 56. 57. 58. 59. 60. ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: ANS: D A D C B A D C C B A C C C D C A C D KEY: KEY: KEY: KEY: KEY: KEY: KEY: KEY: KEY: KEY: KEY: KEY: KEY: KEY: KEY: KEY: KEY: KEY: KEY: Slide Identification Slide Identification Slide Identification Slide Identification Slide Identification Slide Identification Slide Identification Slide Identification Slide Identification Slide Identification Slide Identification Slide Identification Slide Identification Slide Identification Slide Identification Slide Identification Slide Identification Slide Identification Slide Identification SHORT ANSWER 61. ANS: It was a 1913 exhibition that contained more than 1600 works representing both European and American artists. The show illustrated the major artistic developments in Europe and brought those ideas and art works to the United States audience. It was a serious catalyst to promote discussion and serious thought about those art movements. OBJ: TYPE: Comprehension/Analysis 62. ANS: It was a gallery started by Alfred Stieglitz. Located in New York City, it promoted the avant-garde and exhibited the latest in American and European art and photography. OBJ: TYPE: Knowledge 63. ANS: It was a remote descendant of Art Nouveau characterized by streamlined, elongated symmetry, simple flat shapes with shallow volumes. It was associated with the flippancy and elegance of the Jazz Age. OBJ: TYPE: Knowledge 64. ANS: An architectural style developed by Frank Lloyd Wright. It is characterized by long, sweeping, ground hugging lines unconfined by wall limits and reflects the character and sense of the Midwest flatlands. OBJ: TYPE: Knowledge 65. ANS: This statement was made in response to the Spanish Civil War (1930s) and the Nazi destruction of the Basque town of Guernica. Picasso and his contemporaries, among them the Mexican muralists, realized they could impact their societies and the world community by creating powerful visual works that responded to the events of the day. Picasso created a powerful statement condemning war in general and the senseless act of destroying the town of Guernica. Everyone who saw the work, Guernica, understood the nature of his condemnation. OBJ: TYPE: Analysis 66. ANS: She synthesized the concepts of Dada, seemingly absurdly illogical, and used them to create insightful commentary of the Weimar Republic. Her photomontages are carefully aligned to link Dada with the current revolutionary movements. She also provided biting criticisms of contemporary German government and society. OBJ: TYPE: Analysis 67. ANS: Barr is referring to Nazi Germany of the 1930s and subsequently World War II. The Nazis forced the flight of avant-garde artists and artists of Jewish heritage from Hitler's Germany. In the US during the 1930s, museums mounted exhibitions featuring the work of many of these artists demonstrating familiarity with the avantgarde movements and the significant artists representing those movements. There was also a political overtone to these exhibitions that many thought of as an expression of support for the artists and the idea of freedom of expression that the artists were denied. The collective presence of these artists brought new vitality to the art world of the United States and invigorated American artists as well. OBJ: TYPE: Analysis 68. ANS: He depicted the daily life of Harlem and its people. He concentrated on the culture and history of African Americans and their and his own continuing struggle against discrimination. He contrasted the migration of African Americans from the South to the North. They were looking for better jobs and lifestyles but they encountered discrimination and the coldness of "big city" life. OBJ: TYPE: Analysis 69. ANS: He depicted the generalized theme of the overwhelming loneliness and the reverberating isolation of modern life in the major metropolitan cities of the United States. He evoked the seeming indifference to one another and echoing space, which surrounds life in a large city. OBJ: TYPE: Analysis 70. ANS: An artistic movement that explored the inner world of the psyche, the realm of fantasy and the subconscious, the world of dreams. The Surrealists employed Dada improvisational techniques in order to pursue their investigations into these areas. They believed these techniques were helpful and necessary in engaging these elements of fantasy in order to unlock the unconscious forces that lie in all of us. OBJ: TYPE: Knowledge 71. ANS: To train artists, architects, and designers in the strong principles of good basic design and craftsmanship in order to accept and anticipate the needs of the twentieth century. The Bauhaus also promoted the unity between art and architecture and design. Eventually the graduates of the Bauhaus would be able to design progressive environments that satisfied 20th century needs. These graduates would have a thorough knowledge of machine-age technologies and materials, culminating in good design and production balanced by art and craftsmanship. OBJ: TYPE: Knowledge/Comprehension 72. ANS: Analytic Cubism was a dissection of the form of the subject. That dissection was presented to the viewer across the canvas surface. Analytic Cubism was analyzing form and investigating the visual vocabulary for conveying meaning. Synthetic Cubism was the movement in which paintings and drawings were constructed from objects and shapes cut from paper or other materials to represent part of a subject. Synthetic Cubism was a consequence of the Analytic Cubist style that no longer relied on a decipherable relation to the visible world. OBJ: TYPE: Knowledge/Comprehension 73. ANS: He was in Paris at that time and had firsthand exposure to the principles of Cubism. He focused on the spatial discontinuities and reduced his images to simple geometric forms. He destabilized the image corresponding to the fragmentation of Cubism. He absorbed this new style and revealed his understanding of the effects of expanding technologies. OBJ: TYPE: Analysis 74. ANS: He created designs that were rhythmic and elegant. He was able to create from the form the essence of the object by emphasizing the soft, curving surface and natural form. This essence can be seen in his Bird in Space. OBJ: TYPE: Analysis 75. ANS: She depicted images in which details were eliminated. She created compositions using flat planes, rich colors, and vital rhythms. She depicted soaring skyscrapers with small rectangular windows that reverberated the rhythm and energy of the fast pace of city life. OBJ: TYPE: Analysis/Comprehension 76. ANS: At one time Beckmann thought World War I would bring a better society from the chaos of war. He even enlisted in the German army; however, he soon became disillusioned with the destruction and horror of war. His work Night is not a direct reference to war. The brutality and violence depicted is a sharp comment on war, in general, and German society, in particular. The angularity of the figures also emphasized the savagery of this time. OBJ: TYPE: Analysis/Comprehension 77. ANS: A mobile is a sculptural form developed by Alexander Calder in which the parts are so carefully balanced that they move with the slightest current of air. He was fascinated by motion and explored that phenomenon as it related to three-dimensional form and space. OBJ: TYPE: Knowledge/Comprehension 78. ANS: The design was such that every level could be used even the space beneath the floor and the top of the house. Because the skeleton supported itself, the walls bore no structural load; hence the architect had complete freedom to plan the interior. This type of design allowed the architect to provide for all the basic human needs, physical and psychological. OBJ: TYPE: Analysis/Comprehension 79. ANS: It was an early twentieth century literary movement that soon encompassed the visual and performing arts. It also had a well-defined sociopolitical agenda that aggressively promoted revolution both in society and the arts. This movement championed war as a means of cleansing away the past. The artists were intrigued with speed and modern technology. The Futurist artist focused on motion and time in space using Cubist discoveries derived from the analysis of form. OBJ: TYPE: Knowledge 80. ANS: Early 20th century artists were aggressively challenging traditional notions of art and its relationship with society. Many people outside the "art world" began to associate the term with radical political thought and politics. The public saw the avant-garde artist as critical and censorious. OBJ: TYPE: Analysis/Comprehension 81. ANS: Gino Severini, Armored Train, 1915 (Figure 33-21 and 33-38) and George Grosz, Fit for Active Service, 1916-17(Figure 33-38). The Armored Train encapsulated the Futurists and their faith in the "cleansing effectiveness" of war, a misplaced and tragic faith. Fit for Active Service presents a truer image of the psychological devastation war can cause and its heartrending consequences. Both works reverberate with the social circumstances of their periods. OBJ: TYPE: Analysis/Evaluation KEY: Slide Questions 82. ANS: Charles Demuth, My Egypt, 1927 (Figure 33-36) and Georgia O'Keeffe, New York Night, 1929 (Figure 3337). My Egypt indicated the currency of Charles Demuth and his exposure to the new trends he saw while spending time in Paris. He translated the Cubist values into simple geometric forms. He created the sense of dynamism found in American industry by using the new "avant-garde" style. Georgia O'Keeffe conveyed the excitement, vibrancy, and overwhelming quality of New York City. It was a truly energetic city on the cutting-edge of new discoveries and fast becoming the leading city in the United States. The pinpoints of light and the skyscrapers, a New York insignia emphasize all these emotional elements. OBJ: TYPE: Analysis/Evaluation KEY: Slide Questions 83. ANS: Henri Matisse, Red Room (Harmony in Red), 1908-09 (Figure 33-2) and Grant Wood, American Gothic, 1930 (Figure 33-78). Both images described lifestyles. The artists used these lifestyles to possibly present social, political and stylistic statements regarding the affluence, integrity, strength, and purpose of the French early 20th century household and the Midwest farmer and the American national spirit. Matisse used color to create an atmosphere of warmth. He used color as a toll to effectuate an emotional response. Grant Wood suggested the American national spirit based on the people, the place, and the color of the composition. OBJ: TYPE: Comprehension/Analysis 84. ANS: KEY: Slide Questions Gerrit Rietveld, Schröder House, Utrecht (Figure 33-56) and Frank Lloyd Wright, Robie House, Chicago (Figure 33-66). The more geometricized house, the Schröder House, had an open plan and an affinity with the landscape very much like the Robie House. The vertical and horizontal elements created a sense of proportion also echoed in the Robie House. The Robie House is a "prairie house," named after the long horizon of the prairie landscape in the Midwest. The Robie House was in tune with its environment and created a harmonious line from the roof to the ground. Both houses illustrated contained space and they both allowed the occupants to move naturally through the contained space. OBJ: TYPE: Analysis/Evaluation KEY: Slide Questions 85. ANS: Boccioni, Unique Forms of Continuity in Space (Figure 33-20) and Marcel Duchamp, Fountain (Figure 3323). Both were done in the early twentieth century in Europe. They each represented a particular movement, Futurism and Dada. The figural work is concerned with depicting the figure in motion, an important component in the Futurist vocabulary. The urinal was a satirical response to the times. Both works represented the experimentation and the sense of discovery that was a hallmark of the early years of the twentieth century. OBJ: TYPE: Synthesis KEY: Slide Questions 86. ANS: Le Corbusier, Villa Savoye, 1929 (Figure 33-64) and Frank Lloyd Wright, Kaufmann House, 1936-39 (Figure 33-68). Both are positioned to dominate their surroundings rather than blend with them. The formal design and functionality of each home was important to each architect. Le Corbusier's villa expressed his idea of a house as "a machine for living," It was also much more functional. Le Corbusier inverted the balance of masses by having the heavier elements of the house on top, supported by slender columns, rather than on the bottom. Wright moved the Kaufmann House into the landscape. He used the landscape to create a frame for the house. The vertical and horizontal lines also created a harmony with the environment. But the house still dominated the environment. OBJ: TYPE: Analysis/Evaluation KEY: Slide Questions 87. ANS: Tatlin, Monument to the Third International (Figure 33-54) and Mies, Glass Skyscraper, 1922 (Figure 33-62). The Monument was to be a building housing various types of public facilities. Each segment of the monument was to revolve at a different speed. The glass model of the skyscraper was a concept for a building. In fact, the model prefigured the later skyscrapers. The glass allowed Mies greater freedom in experimenting with the possibilities height. The model became very influential. OBJ: TYPE: Knowledge/Comprehension KEY: Slide Questions 88. ANS: Jacob Lawrence, #49 from the Migration Series (Figure 33-77) and Thomas Hart Benton, Pioneer Days and Early Settlers, state Capitol, Jefferson City, MO, 1936 (Figure 33-79). Jacob Lawrence was documenting the bigotry and segregation he himself encountered when he and his family migrated to the North. His work also became a story, teaching an important lesson. Lawrence firmly believed that his work could teach. Benton was commissioned to illustrate the history, real and mythic, for the state of Missouri. He chose to paint the real history, showing the good with the bad, in the same way Lawrence depicted the problems. OBJ: TYPE: Knowledge/Comprehension 89. ANS: KEY: Slide Questions Picasso, Guernica, 1937 (Figure 33-73), and Orozco, Hispano-America (Figure 33-80). Picasso was referring to the Spanish Civil War and German destruction of the Basque town of Guernica. Orozco was referring to the Mexican Revolution in the early twentieth century. Both artists make the common person their hero and simplify the forms and colors to emphasize the emotional content. OBJ: TYPE: Knowledge/Comprehension KEY: Slide Questions 90. ANS: Picasso, Demoiselles d'Avignon, 1907 (Figure 33-9) and Brancusi, Bird in Space, 1928 (Figure 33-69) Demoiselles d'Avignon can be described as the signature piece for the early 20th century. Picasso presented in this one work a complete departure from time and space. He had, in fact, presented the figure moving in space. He allowed the viewer to see the figures in all their positions and in space simultaneously. Bird in Space represented the non-objective creation. The sculptor had suggested flight by the graceful, elegant shape and the sheen of the material. Both works are exemplars of this period. Both focused on the experimentation and deeply personal intellectualization of the artistic endeavor. OBJ: TYPE: Analysis/Evaluation OTHER 91. ANS: Use slides that are not in the text. Suggested Image: a Picasso Analytic Cubist painting KEY: Unknown Images 92. ANS: Use slides that are not in the text. Suggested Image: another Mondrian nonobjective work KEY: Unknown Images 93. ANS: Use slides that are not in the text. Suggested Image: another Henry Moore sculpture KEY: Unknown Images 94. ANS: Use slides that are not in the text. Suggested Image: another work of Frank Lloyd Wright KEY: Unknown Images 95. ANS: Use slides that are not in the text. Suggested Image: another work of Franz Marc KEY: Unknown Images ESSAY 96. ANS: pages 1023-1025. KEY: Slide Questions OBJ: TYPE: Analysis 97. ANS: pages 980-983, 992-994, 1012, 1020-1022, and 1024-1025. OBJ: TYPE: Analysis 98. ANS: pages 964-969. OBJ: TYPE: Analysis 99. ANS: pages 964-992. OBJ: TYPE: Analysis 100. ANS: 964, 970-989. OBJ: TYPE: Analysis 101. ANS: pages 1006-1013, 1015-1017. OBJ: TYPE: Analysis 102. ANS: pages 980-984. OBJ: TYPE: Analysis 103. ANS: pages 970-992. OBJ: TYPE: Analysis 104. ANS: pages 1003-1006. OBJ: TYPE: Analysis 105. ANS: pages 986-988, 1023-1024. OBJ: TYPE: Analysis