Ch 29 Study Guide Questions 2

							                                  Ch 29 Study Guide Questions #2

1.    Which elements of art did the Post-Impressionists wish to systematically examine?
2.    Explain Van Gogh’s understanding of color and how he used it in his works.
3.    How does Van Gogh use color to create an “oppressive atmosphere” in The Night Café?
4.    Explain the mood of Starry Night.
5.    How does Gaugin understand creativity?
6.    What aspects of the cultures of Brittany and Tahiti attracted Gaugin?
7.    How does Gaugin depart “from an optical realism” in The Vision after the Sermon, or Jacob
      Wrestling with the Angel?
8.    Explain (as best you can) the message of Gaugin’s Where Do We Come From? What Are We”
      Where Are We Going?.
9.    Explain Seurat’s method known as pointillism or divisionism.
10.   Define the terms saturation, value, successive contrasts, and optical mixture.
11.   What is similar about the subject of Seurat’s A Sunday on La Grande Jatte as compared with the
      Impressionists?
12.   How does Seurat address the shifting social and class relationships of the time in A Sunday on La
      Grande Jatte?
13.   In what way is Cezanne concerned with a painting’s structure in a way that the Impressionists
      were not?
14.   Explain Cezanne’s understanding of how the choice of colors effects the shape of space in a
      painting.
15.   What modernist concern does Cezanne address in his The Basket of Apples? How does he
      address it?
16.   What is meant by the term avant-garde when applied to artists?
17.   According to the Symbolists, how is an artist suppose to see through things until they reach a
      “reality far deeper than what superficial appearance gave?”
18.   What types of subjects can be found in the work of the Symbolists?
19.   Although they share similarities with the Symbolists, which aspects of the work of Van Gogh and
      Gaugin keep from being labeled as such?
20.   What aspects of de Chavannes’s The Sacred Grove are considered “anti-Realism”?
21.   How did de Chavannes reject the materialism of the art market in The Sacred Grove?
22.   How does the subject of Moreau’s Jupiter and Semele epitomize the goal of the Symbolists in
      creating mystical vision?
23.   How does Redon put “the logic of the visible at the service of the invisible” in The Cyclops?
24.   In what way was Rousseau a “primitive” painter?
25.   What connection can you find between Rousseau’s The Sleeping Gypsy and Francisco Goya’s The
      Sleep of Reason Produces Monsters?
26.   Why were Realist and Impressionist techniques in appropriate according to Munch?
27.   Who or what is crying (or screaming) in Munch’s The Cry?
28.   What elements of Carpeaux’s Ugolino and His Children can be said to be influenced by the
      Laocoon group?
29. What influence can be found from the Impressionists in the work of Rodin?
30. Compare and contrast Rodin’s Walking Man with Umberto Boccioni’s Unique Forms of
    Continuity in Space (page 979).
31. How do the figures of Rodin’s Burghers of Calais express despair, resignation, and quiet
    defiance? BONUS: name another sculptural monument known for its high degree of pathos.
32. Why did the city commissioners reject Rodin’s Burghers of Calais?
33. What were the chief concerns of Ruskin, Morris, and the members of the Arts and Crafts
    Movement in England?
34. The work of the members of the Arts and Crafts Movement represents what the German refer
    to as Gesamtskunstwerk, “a total work of art.” Explain how this applies in Mackintosh’s Ladies’
    Luncheon Room.
35. What kind of art did the Art Nouveau Movement seek to make?
36. Name the multiple influences found in Art Nouveau.
37. Like the Symbolists, what is Anti-Realist in the work of Aubrey Beardsley?
38. How is the work of Antonio Gaudi in some ways more sculptural than architectural?
39. Explain the “certain sensibility” that is captures in the fin de siècle period.
40. How does Klimt’s The Kiss capture the decadence of the fin de siècle period?
41. Explain the new understanding of inner and outer space seen in the Eiffel Tower that becomes
    the hallmark of 20th century art and architecture.
42. Which elements of Richardson’s Marshall Field wholesale store imitate previous architectural
    styles?
43. Explain Louis Sullivan’s famous dictum “form follows function.” How is that dictum applied in
    his Guaranty (Prudential) Building?
44. How did Sullivan tailor the Carson, Pirie, Scott Building “to meet the functional and symbolic
    needs” of its users?
45. How are the concerns of Art Nouveau and the Arts and Crafts Movement reflected in the work
    of Louis Comfort Tiffany?