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36. (Figure 27-30) a. Eakins b. Courbet c. Millet d. Daumier 37. (Figure 27-40) a. Pre-Raphaelite b. Neo-Classical c. Realist d. Romantic 38. (Figure 27-54) a. Nadar b. Muybridge c. Daguerre d. Cameron 39. (Figure 27-29) a. Courbet b. Daumier c. Tanner d. Millet 40. (Figure 27-13A) a. David b. Courbet c. Gericault d. Delacroix     .
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41. (Figure 27-46A) a. Roebling b. Upjohn c. Eiffel d. Schinkel 42. (Figure 27-20) a. Wanderer... b. Women... c. Jean-Baptiste d. Apotheosis 43. (Figure 27-2A) a. David b. Delacroix c. Ingres d. Gericault 44. (Figure 27-5A) a. Gericault b. Girodet-Trioson c. Delacroix d. Ingres     .
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16. Which of the following artists explored the properties of light, plane, and color and their interrelationships? a. Gauguin b. Toulouse-Lautrec c. Cézanne d. van Gogh 17. Which of the following artists presented a sumptuous and sensual image in the Apparition? a. Moreau b. Manet c. Redon d. Puvis de Chavannes 18. Who was a denizen of the night world.
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27. (Figure 28-19) a. Seurat b. van Gogh c. Cézanne d. Gauguin 28. (Figure 28-6) a. Monet b. Pissarro c. Manet d. Degas 29. (Figure 28-34) a. Neo-Baroque b. Arts and Crafts c. Art Nouveau d. Neo-Renaissance 30. (Figure 28-5) a. Manet b. Pissarro c. Caillebotte d. Monet 31. (Figure 28-7) a. Cassatt b. Käsebier c. Bonheur d. Morisot     .
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OTHER SLIDE QUESTIONS 1. What aims did the architect synthesize in this building and what role did ornament play? 2. How does the overall design connect the sculptor with the painting movement of the Symbolists? 3. How does this work reflect the theories of Sigmund Freud?     .
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31. (Figure 27-52) a. Haws and Southworth b. Cameron c. O'Sullivan d. Durieu 32. (Figure 27-13) a. Géricault b. Gros c. Delacroix d. Girodet 33. (Figure 27-47) a. Blenheim Palace b. Houses of Parliament c. Crystal Palace d. Brighton 34. (Figure 27-12) a. Goya b. David c. Constable d. Turner 35. (Figure 27-35) a. Manet b. Millet c. Courbet d. Homer     .
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11. The influences of Vitruvius, Palladio, and Inigo Jones are most apparent in which of the following? a. Houses of Parliament b. Monticello c. Chiswick House d. Panthéon 12. Who was the artist who portrayed contemporaries participating in the great events of the latter half of the eighteenth century? a. Gainsborough b. Stubbs c. Wright of Derby d. Reynolds 13..
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6. Which of the following artists had firsthand knowledge and experience of the American Civil War? a. Thomas Eakins b. John Singer Sargent c. Henry Tanner d. Winslow Homer 7. The French viewing public were greatly horrified by Manet's Olympia not only because of the portrayal of a naked prostitute as a work of art.
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SLIDE IDENTIFICATION Select the response that identifies or corresponds best to the image on the screen. 22. (Figure 28-2) a. La Bassin d'Argenteuil b. Impression Sunrise c. Nocturne in Black and Gold d. Starry Night 23. (Figure 28-21) a. Cézanne b. Vincent van Gogh c. Manet d. Gauguin 24. (Figure 28-29) a. Fin-de-siècle b. Art Nouveau c. Arts and Crafts d. Post-Impressionism 25. (Figure 28-36B) a. Horta b. Beardsley c..
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11. Which of the following architects conceived the building as a whole and molded it almost as a clay sculpture? a. Louis Sullivan b. Henry Richardson c. Antonio Gaudi d. Alexandre Gustave Eiffel 12. Extreme subjectivity and the need to see through reality to a deeper reality was most typical of which of the following.
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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..
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SLIDE IDENTIFICATION Select the response that identifies or corresponds best to the image on the screen. 17. (Figure 25-5) a. Flemish b. Dutch c. French d. Italian 18. (Figure 25-10) a. Hals b. Vermeer c. Leyster d. Rembrandt 19. (Figure 25-16) a. Rachel Ruysch b. Rembrandt c. Judith Leyster d. Franz Hals 20. (Figure 25-36) a. Georges de La Tour b. Poussin c. Claude Lorrain d. Le Nain 21. (Figure 25-20) a. Rembrandt b..
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22. (Figure 25-30) a. Church of the Sorbonne b. St. Paul c. Sta. Susanna d. Church of the Invalides 23. (Figure 25-25) a. Le Vau and Mansart b. Perrault c. Guarini d. Wren 24. (Figure 25-6) a. Artemisia Gentileschi b. Clara Peeters c. Judith Leyster d. Rachel Ruysch 25. (Figure 25-9) a. Rubens b. Van Dyck c. van Honthorst d. Hals 26. (Figure 25-23) a. Artemisia Gentileschi b. Clara Peeters c. Judith Leyster d..
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21. Who among the following artists liked to paint images of the Romantic transcendental landscape? a. Cole b. Friedrich c. Turner d. Bierstadt 22. Which of the following conditions is characteristic of the 19th century agrarian working class and is missing from the Haywain by Constable? a. love of the land b. civil unrest c. participation in home.
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1. The term "sublime" was considered to inspire which of the following feelings? a. heroic action b. sentimentality c. awe mixed with terror d. the natural goodness of all beings 2. Which of the following artists represented what was called the "sublime" in eighteenth-century art? a. Jacques-Louis David b. Gainsborough c. Henry Fuseli d. Élisabeth Vigée-Lebrun 3. Courbet used which.
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16. La Madeleine in Paris was intended for which of the following purposes? a. a temple of glory for Napoleon's armies b. a center of the nineteenth-century Jesuit revival c. a monument to the success of middle-class bankers d. a monument to the success of French revolutionary leaders 17. François Rude's sculpture La Marseillaise for.
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SLIDE IDENTIFICATION Select the response that identifies or corresponds best to the image on the screen. 15. (Figure 26-28) a. Monticello b. Chiswick House c. Blenheim Palace d. Brighton 16. (Figure 26-1A) a. France b. England c. Italy d. Germany 17. (Figure 26-2) a. Latrobe b. Jefferson c. Vignon d. Boffrand 18. (Figure 26-18) a. Gainsborough b. David c. Vigée-Lebrun d. Greuze 19. (Figure 26-1) a. Gros b. Greuze c. David d. Wright of Derby     .
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27. (Figure 25-15) a. Hals b. Fra Andrea Pozzo c. Rembrandt d. Caravaggio 28. (Figure 25-17) a. Jacob van Ruisdael b. Jacque Callot c. Louis Le Nain d. Aelbert Cuyp 29. (Figure 25-32A) a. Georges de La Tour b. Poussin c. Claude Lorrain d. Le Nain 30. (Figure 25-1A) a. Allegory of Sight b. Landscape with Saint John c. Garden of Love d. View of Delft 31. (Figure 25-15A) a. Hals b..
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20. (Figure 26-13) a. Hogarth b. Chardin c. Greuze d. Reynolds 21. (Figure 26-29) a. the park at Stourhead b. Blenheim c. Rotunda and Lawn d. Doric portico 22. (Figure 26-23A) a. Parnassus b. Signboard of Gersaint c. Oath of the Horatii d. Pilgrimage to Cythera 23. (Figure 26-5B) a. Blenheim b. Kaiseraal c. Wieskirche d. Pantheon 24. (Figure 26-3A) a. Fischer Von Erlach b. Walpole c. Vanbrugh d. Neumann 25. (Figure 26-15A) a. Labille-Guiard b. David c..
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32. (Figure 28-32A) a. Rodin b. Carpeaux c. Degas d. Canova 33. (Figure 28-27) a. Lautrec b. Ensor c. Cassatt d. Manet 34. (Figure 28-2A) a. Post-Impressionism b. Realism c. Romanticism d. Impressionism 35. (Figure 28-1) a. Monet b. Pisarro c. Degas d. Manet 36. (Figure 28-40A) a. Richardson b. Wright c. Sullivan d. Roebling     .
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6. How did historical fact replace the fanciful notions of Rome and its ancient society? a. the monumental work of Edward Gibbon, Decline and Fall of the Roman Empire b. the work of Johann Winckelmann, History of Ancient Art c. the paintings of David d. the discovery and excavations of Herculaneum and Pompeii 7. Neoclassicism.
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SHORT ANSWER 1. How did Friedrich achieve a balance between the inner and outer experience in his landscape paintings? 2. What features of John Constable's landscapes reveal a kinship with Romantic artists? 3. How did Henry Fuseli evoke horror and possibly the dark terrain of the human subconscious in his artwork?     .
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SLIDE IDENTIFICATION Select the response that identifies or corresponds best to the image on the screen. 26. (Figure 27-7) a. Fuseli b. Goya c. Ingres d. Hogarth 27. (Figure 27-22) a. Constable b. Turner c. Friedrich d. Cole 28. (Figure 27-24) a. Bierstadt b. Cole c. Church d. Homer 29. (Figure 27-49) a. Nadar b. Hawes and Southworth c. Daguerre d. O'Sullivan 30. (Figure 27-18) a. Rude b. Greenough c. Canova d. Houdon     .
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