MATCHING. Match the name or term on the left with the identification or definition on the right. Some may be used twice.
Ch. review 20, & 21 (old 25 & 26) 1. ___ Cassatt 2. ___ Degas 3. ___ Delacroix (c20) 4. ___ Eakins 5. ___ Gauguin 6. ___ Homer (c20) 7. ___ Ingres (c20) 8. ___ Monet 9. ___ Moreau 10. ___ van Gogh	Ch. 21 (old 26) a. Neoclassicism or Romantic Neoclassicism (c20) b. Romanticism (c20) c. Realism (c20 & 21) d. Impressionism e. Post-Impressionism f. Symbolist
Ch. 20 & 21 (old 25 & 26/b) 11. ___ Canova (c20) 12. ___ Goya (c20) 13. ___ Manet 14. ___ Rodin 15. ___ Sullivan	Ch. 21 (old 26/b) a. architecture b. painting and/or printmaking c. sculpture
Ch. 22 (old 27) 16. ___ Pablo Picasso/p822 17. ___ Henri Matisse/788-826 18. ___ Stuart Davis/p810 19. ___ Marcel Duchamp/p805 20. ___ Wassily Kandisky/p791-829 21. ___ Georges Braque/p795 22. ___ Piet Mondrian/p831 23. ___ Jacques Lipchitz/p800 24. ___ Aaron Douglas/p810 25. ___ Alfred Stieglitz/p808 26. ___ Umberto Boccioni/803	Ch. 22 (old 27) a. Cubism b. Fauvism c. Dada d. Der Blaue Reiter (the Blue Rider) e. De Stijl or Neo-Plasticism f. Photo-Secession Group g. Futurism
Ch. 23 (old 28) 27. ___ Judy Chicago (23) 28. ___ Richard Hamilton/p873 29. ___ Robert Venturi/p892 30. ___ Jackson Pollock/p860 31. ___ Andy Warhol/p877	Ch. 23 (old 28) a. a founder of Abstract Expressionism b. British Pop artist c. Postmodem architect d. experimental video artist e. American Pop artist who used subjects from mass media f. Political feminist artist
Section and Cumulative
32. ___ Hieronymus Bosch 33. ___ Donatello 34. ___ Giotto 35. ___ Leonardo da Vinci 36. ___ Michelangelo 37. ___ Raphael 38. ___ Jan van Eyck 39. ___ Lorenzetti 40. ___ Casa Mila, Barcelona 41. ___ Guernica 42. ___ mobiles 43. ___ The Dinner Party 44. ___ Bar at the Folies-Bergere 45. ___ The Steerage 46. ___ Guggenheim Museum, N.Y.	a. Gattamelata b. Sistine Chapel c. Last Supper d. Arena Chapel e. Stanza della Segnatura, Vatican f. Garden of Earthly Delights g. Ghent Altarpiece h. Good Government fresco i. Alexander Calder j. Pablo Picasso k. Judy Chicago l. Antonio Gaudi m. Edouard Manet n. Alfred Stieglitz o. Frank Lloyd Wright

MULTIPLE-CHOICE QUESTIONS. Select the response that best answers the question or completes
47. ___ Which of the following best describes the late paintings of Turner? (p719)	a. careful, realistic, detailed landscapes, b. atmospheric landscapes with shimmering light and luminous colors, c. realistic still lifes
48. ___ Which of the following artists was most concerned with painting realistic scenes of poor and oppressed peoples?	a. Ingres, b. Kollwitz, c. Courbet (p734)
49. ___ Extreme subjectivity and the need to see through reality to a deeper reality were most typical of	a. Symbolists, or b. Realists (p766)
50. ___ Which of the following artists is considered to be a Symbolist?	a. Redon, b. Cassatt, c. Marc (p768)
51. ___ The landscape painter whose goal was to create a landscape of "fact" and who stated that he wanted to show that "our profession as painters is scientific as well as poetic" was	a. Cole, b. Constable, c. Friedrich (p718)
52. ___ Who said: "Instead of trying to reproduce exactly what I have before my eyes, I use color more arbitrarily so as to express myself forcibly.... I have tried to express the terrible passions of humanity by means of red and green.... ?	a. van Gogh, b. Cezanne, c. Seurat (p758)
53. ___ Artists working the Art Nouveau style preferred (p754,774-76)	a. superreal depiction of flowers and plants, b. bold, expressive color laid on in thick blobs, c. flat patterns and organic forms like twining plants
54. ___ A nonobjective work refers to a work that (p?)	a. has no reference to the external appearance of the physical world, b. has no material form but is merely conceived in the mind
55. ___ The best example of a twentieth-century artist who believed that art should delight, inspire, and enhance our lives as human beings would be	a. Beckmann, b. Ensor, c. Matisse (p788)
56. ___ Who said: "What I dream of is an art of balance, or purity and serenity devoid of troubling or depressing subject matter"?	a. Ernst Krichner , b. Henri Matisse, c. PabloPicasso (p788)
57. ___ Who photographed the rural poor who were displaced by the Great Depression in the 1930s.	a. Dorothea Lange, b. Charles Sheeler, c. Jean-Eugene Atget (p847)
58. ___ Which Surrealist sculptor concentrated on representing the natural organic forces that shape the physical world, calling his works "concretions"?	a. Miro, b. Arp, c. Dali (p805)
59. ___ Henry Moore's great series of reclining nudes is said to have been inspired by (p844)	a. a pre-Columbian figure, the Chacmool, b. an African ancestral figure
60. ___ When did the center of the Western art world shift from Europe to the United States?	a. with the Armory Show of 1913, b. during World War I, c. during World War II
61. ___ In the postwar (WW II) New York School of Abstract Expressionism one of the main contents is: (p859)	a. life on the streets, b. the act of painting itself
62. ___ Artists working in the Post-Painterly Abstractionist style (p862)	a. believed that their works should contain no reference to the world outside their own compositions, b. were deeply influenced by the work of African and pre-Columbian cultures
63. ___ A reaction to Abstract Expressionism, a figurative movement that art historians say emerged in the United States and Britain in the late 1960s and 1970s. The subject matter, usually everyday scenes, is portrayed in an extremely detailed, exacting style. It is also called superrealism, especially when referring to sculpture (p879-881)	a. Photorealism, b. Minimalism, c. Assemblage
64. ___ Pop Art, and art that utilized the techniques of advertising, industrial design, and Hollywood movies were at their heights during the	a. 1940s, b. 1960s, c. 1980s
65. ___ Who is the controversial artist whose work is designed by him or one of his idea people, executed by painting assistants, titled by poets, approved by committees and then signed by him	a. Andy Warhol, b. Roy Lichtenstein, c. Mark Kostabi
66. ___ Artist who "yielded multiple series of photographs in which she deftly investigates issues about the construction of self-image, particularly for women." (The Broad Arts Foundation)	a. Pfaff, b. Judy Chicago, c. Cindy Sherman
RECENT TOPICS REVIEW
67. ___ The major patrons of French Rococo painting and sculpture were (p609-682)	a. the aristocracy, b. the bourgeoisie, c. the wiccans
68. ___ The "sublime" was considered to inspire feelings of (p716)	a. sentimentality, b. heroic action, c. awe mixed with terror
69. ___ The Age of Enlightenment is generally considered to (p678)	a. date from the mid-sixteenth century, b. encompass the entire eighteenth century
70. ___ The style most closely associated with democratic ideals, imperial ambitions, and virtue was	a. Neoclassicism, b. Rococo, c. Baroque (p695)
71. ___ The artist whose work best spoke for the French Revolution was	a. Jacques-Louis David, b. Francois Boucher, c. Honore Fragonard (p692-701)
72. ___ Jefferson based his design for Monticello on	a. Inigo Jones, b. Antonio Gaudi, c. Palladio (p699)
73. ___ Among the artists who represented what was called the "sublime" in eighteenth-century art was	a. Jacques-Louis David, b. Henry Fuseli (p706)
SECTION MULTIPLE-CHOICE
74. ___ Which of the following artists could best be described as a forerunner of twentieth-century Expressionism?	a. Bronzino, b. Raphael, c. Grunewald (p817)
75. ___ Which of the following artists was most influenced by the work of the fifteenth-century Italian Piero della Francesca?	a. van Gogh, b. Seurat, c. Gauguin (p764)
76. ___ The paintings of Turner seem to anticipate	a. Impressionism, b. De Stijl (p740-60)
77. ___ What is meant by the 20th c. "International style" of architecture?	a. clean, unadorned skyscrapers, b. solid, Classical palaces with clear ornamentation (p440,488,552,838)
78. ___ Which artist is known as much for his realistic scenes as for his Impressionist style?	a. Kirchner, b. Eakins, c. Manet (p751)
79. ___ Which artist was most concerned with the exploitation of color to convey emotion?	a. Renoir, b. van Gogh, c. Braque (p758)
80. ___ Which photographer was considered the greatest of the early portrait photographers?	a. Nadar, b. Muybridge, c. Stieglitz (p729)

SHORT ANSWER QUESTIONS

81. __________________ , __________________ , ___________________ Name three technical innovations that profoundly affected nineteenth-century artists. /ch 20

82. ____________________ What important processes were announced by Louis Daguerre and Henry Fox Talbot in 1839? /ch 20

83. ____________________ Which artistic style created vibrant effects of light through the juxtaposition of bits of pure color? /p740-758

84. _________________________ , _____________________________ _________________________ , _________________________ Name four artists who are known as Post-Impressionists. /ch 21

85. ____________________ , ____________________________ _________________________ Name three American photographers who worked in the first half of the twentieth century /p809

86. _________________________ , _________________________ _________________________ Name three Abstract Expressionist artists.

87. _____________________________ Which artist designed a series of giant monuments based on simple, everyday objects?

Cumulative Short Answers I have listed the first few letters of selected, important periods. Put the answer identification letter on the blank lines in the 3 questions in chronological order. There is a reason a couple of answer key letters are repeated.
88.	___	___	___	___	___	___	Answer Key A. Man., B. Rom., E. Real., E. Op, H. Ren., K. Roc., S. Pho-real., H. Sur., I. Cub., N. Bar., S. Dad., S. Imp., T. Got., T. Post., U. Neocl., W. Exp.
89.	___	___	___	___
90.	___	___	___	___	___	___

Images From Previous Sections (T1&T2)
91. ____	Giotto ('jot-tO), Madonna Enthroned, c1310. Tempera on wood panel, 10'8"x6'8", Uffizi, Florence, Italy
92. ____	Mantegna (man-'tAn-yu), Andrea, Christo Morto (Dead Christ), c 1501. Tempera on canvas. Pinacoteca di Brera, Milan
93. ____	Botticelli (bot'i-chel'E), Sandro, The Birth of Venus. c. 1480. Tempra on canvas, 5'8 7/8" x 9' 1 7/8". Galleria degli Uffizi, Florence
94. ____	van Eyck (van Ike), Jan (yon), The Ghent Altarpiece, 1432. Saint Bavo Cathedral, Ghent, Belgium
95. ____	Bosch ('bäsh), Hieronymus (hE-u-´rO-nE-mus), Hell, right panel, Garden of Earthly Delights, c1510. Oil on wood. Museo del Prado, Madrid
96. ____	Donatello (dO-nä-'tel-lO), David, 1408-1432. Bronze, Ht. 5'2". Museo Nazionale del Bargello, Florence
97. ____	van Eyck, Jan, The Arnolfini Marriage, 1434. Oil on Wood, 33 x 22 1/2. Natl. Gal. London. Rathus p. 28 & 325, & Janson
98. ____	Delacroix (da-la-krwa), Liberty Leading the People (La Liberté Guidant le Peuple), 1830. Musée du Louvre, Paris /c20
99. ____	Gericault (zhA-rE-kO), The Raft of the Medusa, 1819. Oil on canvas, Musée du Louvre, Paris. /c20
100. ____	Da Vinci, Leonardo, Virgin of the Rocks (or Madonna of...), 1483-85. O/c, 78x48 1/2. Louvre
101. ____	Delacroix (da-la-krwa), The Death of Sardanapalus (särd-(an)-'ap-(a-)las), 1827-28. Giraudon, Paris /c20
102. ____	Ingres (an´gr´), Jean-Auguste-Dominique. Grande Odalisque. 1814. O/c, approx. 2' 11" x 5' 4". Louvre. /c20
103. ____	Palladio (pä-'läd-yO), Andrea, Villa Rotonda, 1567-9. Near Vicenza, Italy
104. ____	Canova (kä-´nO-vä), Antonio, Pauline Borghese (bOr-'gA-sA) as Venus, 1805-1808. Marble, lifesize. Borghese Gallery, Rome
105. ____	Michelangelo, The Creation of Adam, Sistine Chapel in the Vatican, Rome, 1508-12. Fresco
106. ____	Bernini (bAr-´nE-nE), David, 1623. Marble, 5' 7". Galleria Borghese, Rome. Rathus, Janson, & Gardners. Baroque
107. ____	Raphael (rah-fay-el), The School of Athens. 1510-11. Fresco. Vatican Palace, Rome
108. ____	Leonardo (Lay-on-ard-o) da Vinci (Vin-chee), The Last Supper, 1495-98, Fresco, 13' 10" x 29' 7 1'2". Reflectory, Milan
109. ____	Rembrandt ('rem-bränt), The Syndics of the Clothmaker's Guild (The Staalmeesters), 1662 (130 Kb). Oil on canvas, 191.5 x 279 cm. Rijksmuseum, Amsterdam
110. ____	Titian (Tih-shun), Venus of Urbino (ur-´bE-,nO), 1538, Oil on canvas, 47 x 65" Uffizi Gallery
111. ____	Velazquez (vA-´las-kAs), Diego (dya´go), Las Meninas (The Maids of Honor), 1656. Oil on Canvas. 10'5 x 9' 3/4". Museo del Prado, Madrid
Question no.s 112-114 reserved for future use
Ch. 20 review, & 21 (old 26)
115. ____	Manet (ma-´nA), Edouard, Luncheon on the Grass (Le Dejenuer sur l'herbe). 1863. Oil on canvas, 7' x8'10". Louvre. In Rathus and Janson
116. ____	Manet, Edouard, Bar at the Folies-Bergere, 1881-82, oil on canvas, 37"x51", Courtauld Gal., London
117. ____	van Goch, Vincent. The Night Café, 1888. Oil on canvas, 27 1/2 x 35". Yale University Art Gallery
118. ____	Millet, Jean-Francois, The Gleaners, 1857. Oil on canvas, approx. 33" x 44". Louvre, Paris
119. ____	Daumier (dOm-yA), Honore (o-no-´rA), The Third-Class Carriage, 1862. Oil on canvas. Metropolitan Museum of Art, New York
120. ____	Cassatt (ka-'sat), Mary, La Toilette (The Bath), c. 1892. Oil on canvas, 39" x 26". Art Inst. of Chicago
121. ____	Renoir (ren-war), Le Mouline (mü-la) de (dA) la Galette, 1876, Oil on canvas, 51 1/2 x 69". Louvre
122. ____	Seurat, Georges, Sunday Afternoon 0n the Island of La Grande Jatte. 1884-1886. Oil on canvas. 6'9 1/4 x 10' Art Institute of Chicago
123. ____	Gaudi, Antonio, Casa Mila Apartment House, Barcelona, 1905-07
124. ____	Hunt, Richard Morris, The Breakers, Newport Rhode Island, 1892
125. ____	Cezanne (sA-´zan), Still Life with Peppermint Bottle. 1890-94. National Gallery of Art, Wash. D.C.
Ch. 22 (old 27)
126. ____	Archipenko, Aleksandr, Woman Combing Her Hair, 1915. Bronze, approx. 13 3/4 high. Mus. Mod. Art, NY
127. ____	Maillol, The Mediterranean, c. 1902-5. Bronze, approx. 41" high. Mus. of Mod. Art, NY
128. ____	Derain (då-ra´), Andre, London Bridge, 1906. Oil on canvas, approx. 26" x 39". Mus. of Mod. Art, NY.
129. ____	Picasso, Pablo, Les Demoiselles d'Avignon (lå dame-Ozel da-vig-yo). 1907. Oil on canvas, 8'x7'8". Mus, Modern Art, NY
130. ____	Matisse, Henri, Harmony in Red (The Red Room), 1908. Oil on canvas. The Hermitage at St. Petersburg
131. ____	Braque (brock), Georges (jorj), The Portuguese, 1911. Oil on canvas, 46 1/8" x 32". Kunstmuseum, Basel, Switzerland
132. ____	Chagall (shå-gäl´), Marc, I and the Village, 1911. O/c, 6' 3 5/8" x 4' 11 5/8". Mus. of Modern Art, N.Y. (c22.ch)
133. ____	Douglas, Aaron, Noah's Ark, c. 1927. Oil on masonite, 48" x 36". African-American Coll. of Art, Vichten Gal. of Art, Fisk University, Nashville, Tennessee
134. ____	Boccioni (bOt-´chO-nE), Umberto (üm-´ber-tO), Unique Forms of Continuity in Space. 1913. Bronze, 43 7/8 x 34 7/8. Futurist Art Movement. Mus. Mod. Art, NY.
135. ____	DuChamp (dyU-´shä), Marcel, Nude Descending a Staircase #2. 1912. Oil on canvas, 58x35" Philadelphia Mus. Art. Rathus p. 60
136. ____	Picasso, Pablo, Guernica. 1937. Oil on canvas, 11'6" x 25'8". Mus. Mod Art, NY. Cubist
137. ____	Dali, Salvador, The Persistence of Memory (1931). Oil on Canvas. 9 1/2 x 13" Mus. Mod. Art, NY. Surrealism
138. ____	Lange, Dorthea, Migrant Mother, Nipomo Valley, 1936. Photo-Gelatin silver print. Lange Collection, Oakland Museum
*a few following images are out of order for fit
139. ____	Pollock, Jackson, Number 1, 1950 (Lavender Mist). Oil, enamel, and aluminum paint on canvas, 7' 3" x 9' 10". National Gallery of Art, Washington, D.C. Gardner Chapter 23
140. ____	Mondrian, Piet (pEt), Composition in Red, Blue and Yellow, 1930. O/c, 2' 4 5/8 x 1' 9 1/4". Private Collection
141. ____	Hopper, Edward, Night Hawks, 1942. Oil on canvas, 30x60". Art Inst. Chicago. Image from print.
142. ____	Kahlo, Frida, The Two Fridas, 1939. O/c, 5' 7" x 5' 7". Museo de Arte Moderno, Mexico City
Ch. 23 (old 28)
143. ____	Giacometti (jäk-u-´met-tE), Alberto, Man Pointing, 1947. Bronze no. 5 of 6, 5' 10". Des Moines Art Center, Des Moines, Iowa
144. ____	Le Corbusier (lå kor bü zyA´), Notre-Dame-du Haut (chapel), 1950-55. Ronchamp, France
145. ____	Hamilton, Richard, Just What Is It That Makes Today's Homes So Different, So Appealing?. 1956. Collage. Collection Edwin Janss, Jr., California
146. ____	Kooning, Willem de, Woman I, 1950-52. Oil on canvas, approx. 6'4" x 4' 10". Mus. of Mod. Art, NY
147. ____	Wright, Frank Lloyd, Guggenheim Museum, New York, 1946-59
148. ____	Johns, Jasper, Painted Bronze. 1960, oil on bronze, 5 1/2 x 8 x 4 3/4" (14 x 20.3 x 12 cm). Museum Ludwig, Cologne, © 1996 Jasper Johns
149. ____	Warhol, Andy, Four Marilyns. 1962. Synthetic Polymer Paint and silk-screen ink on canvas, 30x23 1/4". © Andy Warhol Foundation for the Visual Arts, Inc. Rathus, p. 10.
150. ____	Judd, Donald, Untitled, 1969. Brass and colored plexiglass, ten units, 6 1/8" x 2' x2' 3" each. Hirshhorn Museum, Smithsonian Institution, Wash. D.C.
151. ____	Kelly, Ellsworth, Red Blue Green, 1963. Oil on canvas, approx. 7' x 11' 4". Mus. of Contemporary Art, San Diego
152. ____	Smithson, Robert, Spiral Jetty, 1970. Black rocks, salt crystal, earth, red water, algae, 1,500 long, 15' wide. Great Salt Lake, Utah
153. ____	Simpson, Lorna, Counting (detail), 1991, Photogravure with silkscreen, 73 3/4 x 38," Albright Knox Gallery, The Gerald B. Elliott Fund, 1992 (Am., Born 1960) See Gardner 11e p. 852
154. ____	Close, Chuck, Big Self-Portrait, 1967-68. Acrylic/c, 8' 11" x 6' 11" x 2". Walker Art Center, Minneapolis
155. ____	Pearlstein, Philip, Female Rocker on Platform Rocker, 1977-8. Oil on canvas, approx. 6' x 8'. Brooklyn Mus.
156. ____	Smith, Kiki, Untitled ("Skin"), 1990. Beeswax and microcrystalline wax figures on metal stands, over 6'. Whitney Museum of American Art, New York
157. _67_	Keller, Elizabeth K, Discerning of Spirits,1992, stoneware, South Carolina State Art Collection, State Museum, Columbia. (Not in our text)
158. ____	Rauschenberg ('rau-shun-burg), Robert, [Grand] Canyon, 1959. Pigments, attached objects, photography, 6' 9 3/4" x 5' 10" x 2'. Sonnabend Coll.
159. ____	Rothenberg, Susan, Tattoo, 1979. Acrylic, flashe on canvas, 5' 7" x 8' 7". Walker Art Center, Minneapolis
160. ____	Barney, Matthew, Cremaster cycle, detail (Guggenheim Lessons online), 2003, multimedia including traditional art materials and electronics, 2003 installation at the Solomon R. Guggenheim Museum, New York
161. ____	Gehry, Frank, Guggenheim Museo Bilbao, Bilbao, Spain, 1997
162. ____	Chicago, Judy, The Dinner Party, 1979. Multimedia, incl. ceramics and stitchery, 48' x 48'. Brooklin Mus. of Art, N.Y.
*Dates may vary slightly from author to author Images were chosen based on the importance of the artist, the art present in our, and other well-known textbooks, and art that would distinctively reproduce. Electrostatic reproduction, although not perfect, allows students more time for selection than timed slides.