Reference no: EM131042320

QUESTION 1

1. In Boccioni's The City Rises (1910), the divisionist brushwork functions as a sign of the laborers' energetic force and the Futurist ideal of visually fusing subject and action.

True
False

QUESTION 2

1. In Boccioni's States of Mind: The Farewells (1911), the Futurist aesthetic adopts all of the following Analytical Cubist visual strategies, except:

a. flattened volumes
b. use of primary color
c. network of lines that fractures forms
d. simultaneous perspectives within one frame

QUESTION 3

1. Stylistically, Boccioni's States of Mind: The Farewells (1911) appropriates much of the Cubist visual vocabulary, but to complicate matters innovates by:

a. adopting a gray scale color scheme
b. applyingDivisionist brushwork
c. creating layers of transparencies
d. emphasizing static forms and figures

QUESTION 4

1. In Boccioni's Elasticity (1912), although the Futurist aesthetic depends on a Cubist analysis of solids and voids, by splintering the planes, thereby shattering the mass and volumes of the forms, the emphasis on movement creates a dynamic sensibility.

True
False

QUESTION 5

1. In Boccioni's Dynamism of a Soccer Player (1913), rays of light fracture the forms by "destroy[ing] the materiality of bodies" in a way that is not too dissimilar from which of the following artists?

a. Tatlin
b. Goncharova
c. Picasso
d. Delaunay

QUESTION 6

1. In Boccioni's Dynamism of a Soccer Player (1913), the artist described the schema by which to abstract the alternating swelling forms and voids as:

a. art for art's sake
b. real materials in real space
c. the systemization of the interpenetration of planes
d. an epic of everyday life

QUESTION 7

1. In Boccioni's Dynamism of a Cyclist (1913), the figure and forms are not only represented from simultaneous perspectives, but also abstracted into a(n):

a. classicizing tendency
b. symbol of ancient glory
c. algorithmic arrangement of right angles
d. network of arabesque curves and lines of force

QUESTION 8

1. In Boccioni's Dynamism of a Cyclist (1913), the Futurist aim to achieve a non-objective aesthetic is achieved through its use of color, line, and pictorial illusionism.

True
False

QUESTION 9

1. In Boccioni's Unique Forms of Continuity in Space (1913), the exaggerated dynamism of the body's aerodynamic speed is communicated visually by:

a. orienting the figure vertically
b. dividing the plinth into two sections
c. the polished bronze surface texture
d. none of the above

QUESTION 10

1. In Boccioni's Unique Forms of Continuity in Space (1913), the alternating concave and convex areas is not unlike the sculpture created by:

a. Tatlin
b. Archipenko
c. Gonzalez
d. Rodin

QUESTION 11

1. In Balla's Street Light (1911), the motif symbolized Italy's push toward modernity, which was emphasized by Impressionist inspired brushwork.

True
False

QUESTION 12

1. In Balla's Dynamism of a Dog on a Leash (1910), the artist's subject matter of a street scene with bourgeois promenaders, as well as combination of cropping effects and silhouetted, flattened volumes of the figure are all adopted from which of the following avantgarde movements?

a. Impressionism
b. Post-Impressionism
c. Symbolism
d. Cubism

QUESTION 13

1. In Balla's Dynamism of a Dog on a Leash (1910), what photographic technique is appropriated to create the blurred motion effects that represents a moving object taken for the purpose of recording and exhibiting successive phases of motion?
a. lithography
b. chromolithography
c. faktura
d. chronophotography

QUESTION 14

1. In Balla's Dynamism of a Dog on a Leash (1910), the funny, laughable, and whimsical narrative tone may indicate that the new medium of comic strips were appropriated as a visual source.

True
False

QUESTION 15

1. In Balla's Abstract Speed (1912), the choice of automobile as symbol recalls whose notorious statement in the first Futurist manifesto, only a decade after the first Italian car was manufactured, that "A roaring automobile . . . that seems to run on shrapnel, is more beautiful than the Victory of Samothrace"?

a. Baudelaire
b. Marinetti
c. Apollinaire
d. Malevich

QUESTION 16

1. In Balla's Swifts: Paths of Movement + Dynamic Sequences (1913), the artist's internal strategy is ironic because, while the subject matter indicates speed, the technique of abstraction deliberately disables the viewer from quickly identifying the forms and spatial order.

True
False

QUESTION 17

1. In Severini's Dynamic Hieroglyphic of the BalTabarin (1912), the visual strategy of supplying the audience with textual clues was adopted from which of the following artists?

a. Mondrian
b. Picasso
c. van Gogh
d. Goncharova

QUESTION 18

1. In Severini's Dynamic Hieroglyphic of the BalTabarin (1912), the influence of Cubism can be witnessed by both the representation of motion and collage elements.

True
False

QUESTION 19

1. In Severini's Armored Train (1915), the Futurist subject matter addresses:

a. Franco-Prussian War
b. First World War
c. Second World War
d. Napoleonic War

QUESTION 20

1. In Severini's Armored Train (1915), the anonymous faces and position of the soldiers' pointed rifles was appropriated from the French occupying troops in Francisco Goya's The Third of May, 1808 (1814).

True
False

QUESTION 21

1. In Mondrian's The Gray Tree (1911), the artist's evolution embraces more current modes of abstraction, including Analytical Cubism, rather than the divisionist brushwork and colorism of Post-Impressionism.

True
False

QUESTION 22

1. In Mondrian's in Still Life with Gingerpot II (1912), the spatial order retains a greater degree of traditional perspective and the coherent integrity of the components of the still life, so as not to flatten out the sense of depth or distance within the setting.

True
False

QUESTION 23

1. In Mondrian's Composition in Brown and Gray (1913), the integrity of the flat, two-dimensional surface plane of the canvas is maintained through all of the following visual strategies,except:

a. intersecting lines
b. geometric areas set adjacent to one another
c. overlapping forms
d. a composition consisting solely of vertical and horizontal lines, usually set at right angles, along with an occasional arching form

QUESTION 24

1. In Mondrian's Composition with Grid 1 (1918), a grid-pattern composition of horizontal and vertical lines could represent the:

a. art for art's sake
b. universal harmony of the world
c. lines of division created by the First World War
d. none of the above

QUESTION 25

1. In Mondrian's Composition (1920), the non-objective aesthetic of his mature style allows for all of the following, except:

a. painterly brushwork
b. elimination of pictorial illusionism
c. surface grid of horizontal and vertical lines
d. restricted color scheme that uses primaries, along with black and white

QUESTION 26

1. In Mondrian's Composition B (No. II) with Red (1935), lines no longer simply denoted the boundaries of the coloured planes, but rather:

a. became the most active element
b. traversed only half of the length and breadth of the canvas
c. enabled the coloured planes to be seen as static entities
d. created a visual cacophony

QUESTION 27

1. In Mondrian's Broadway Boogie Woogie (1943), the black grid that had long governed his canvases was replaced with arcs that intersect at points marked by green and purple, which suggested the city's depressed mood.

True
False

QUESTION 28

1. In Goncharova's Yellow and Green Forest (1912), the scene represents dynamic rays of white light that transform the motifs into three-dimensional, volumetric forms.

True
False

QUESTION 29

1. In Goncharova's Cats (1913), the Russian avantgarde artist demonstrates her ability to comprehend and execute the leading avant-garde strategies developed among her Western European colleagues, versus addressing social or economic issues confronting society.

True
False

QUESTION 30

1. In Malevich's Morning in the Village after Snowstorm (1912), the village dwellings are abstracted from basic geometric forms constructed into polygons, which recalls:

a. Munch's imagery produced in Norway
b. van Gogh and Gauguin's imagery produced in Arles
c. Monet and Renoir's imagery produced in Argenteuil
d. Picasso and Braque's imagery produced in L'Estaque

QUESTION 31

1. In Malevich's Black Square (1913), the Suprematist aesthetic, which eliminates pictorial illusionism, as well as reduces the formal elements to line, shape, and color, establishes the basis for:

a. idealized figuration
b. symbolist iconography
c. classicizing tendency
d. non-objectivity

QUESTION 32

1. In Malevich's Painterly Realism (1915), in its extreme reduction that negated spatial order and made no reference at all to reality, the artist's rhetoric claimed supremacy over the forms of nature, in order to:

a. free art from burden of the object
b. help the bourgeoisie regain control over the economy
c. enslave science to the ash heap of history
d. support the tsar's imperial designs

QUESTION 33

1. In pieces such as Malevich's Painterly Realism (1915), Suprematist imagery was intended to replace:

a. scientific inquiry
b. religious icon paintings
c. economic theory
d. leisure time

QUESTION 34

1. In Tatlin's Corner Counter Relief (1914), the assemblage of three-dimensional constructions from unconventional, industrial materials - such as metal, glass, plaster, wood, and wire - served as a visual metaphor for a new art that could:

a. appeal to the tsar
b. appeal to the proletariat
c. infuriate the industrialists
d. unnerve the bourgeoisie

QUESTION 35

1. Tatlin's "corner reliefs" were not arranged into a recognizable motif from the natural world, as had Picasso's relief constructions; instead, they were non-objective.

True
False

QUESTION 36

1. Conceptually, Tatlin's Monument to the Third International (1920) embodied the principle of "faktura", in its varied use of steel, wood, and glass materials, so as to symbolize the rising stature of the proletariat worker and reorganized society.

True
False

QUESTION 37

1. Although the Constructivist aesthetic of Rodchenko's Line and Compass Drawing (1915) verges toward the non-objective, it shares all of the following Cubist and/or Futurist visual strategies, except:

a. fracturing motifs into a set of small planes
b. intersecting lines of force and arabesque curves
c. dynamic sense of motion and movement
d. divisionist brushwork

QUESTION 38

1. In Rodchenko's Two Circles (1920), for example, rather than emphasize Tatlin's emphasis on "faktura" through a variety of materials and textures, Rodchenko's pristine, "labored" brushwork becomes a visual metaphor for the machine aesthetic and the proletariat's control over industry.

True
False

QUESTION 39

1. In Rodchenko's Spatial Construction (1920), which was suspended from the ceiling instead of placed on a traditional pedestal, all of the following effects resulted from the sculpture,except that it:

a. remained static
b. fanned out into space
c. created variable shadows
d. articulated a complex volume

QUESTION 40

1. In Popova's Painterly Architectonic (1917), the artist combined the respective innovations of Malevich (in her use of colored geometric forms and the working of paint on the surface) and Tatlin (in the overlapping elements that suggest an abstract relief construction).

True
False