Gardners Art Through the Ages A

Global History Vol 2 15th Edition

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CHAPTER 27—ROMANTICISM, REALISM, PHOTOGRAPHY: EUROPE AND
AMERICA, 1800 TO 1870

MULTIPLE CHOICE

1. Described as awe mixed with terror, the notion of the sublime influenced ____.
a Realism
.
b Positivism
.
c Romanticism
.
d Neoclassicism
.
ANS: C PTS: 1

2. ____ was one of the first Romantic artists to depict the dark terrain of the subconscious.
a Jacques-Louis David
.
b Thomas Gainsborough
.
c Henry Fuseli
.
d Élisabeth-Louise Vigée-Lebrun
.
ANS: C PTS: 1

3. Courbet’s use of ____ in the The Stone Breakers further conveyed the dismal nature of manual labor?
a a palette of dirty browns and grays
.
b soft pastels for the stones
.
c swirling, diagonal lines
.
d bright color to highlight the labor
.
ANS: A PTS: 1

4. Although possessing the Realist passion for accuracy, Rosa Bonheur did not depict ____.
a social and political themes
.
b animals
.
c nature
.
d everyday scenes
.
ANS: A PTS: 1
5. The American artist Thomas Eakins may have modeled the The Gross Clinic on ____.
a Homer’s Veteran in a New Field
.
b Blake’s Ancient of Days
.
c Rembrandt’s Anatomy Lesson of Dr. Nicolaes Tulp
.
d Rosetti’s Beata Beatrix
.
ANS: C PTS: 1

6. Winslow Homer’s Veteran in a New Field is a commentary on the aftermath of the ____.
a Barbizon School
.
b peasants’ revolt
.
c French Revolution
.
d civil war
.
ANS: D PTS: 1

7. The French viewing public were greatly horrified by Manet’s Olympia because of her ____.
a inappropriate dress
.
b exotic trappings
.
c defiant look
.
d unattractiveness
.
ANS: C PTS: 1

8. Napoleon’s favorite sculptor was _____.

a Canova
.
b David
.
c Rude
.
d Lewis
.
ANS: A PTS: 1

9. Muybridge used a ____ to project his sequence of images onto a screen.

a calotype
.
b daguerrotype
 .
c camera obscura
.
Zoopr
d praxiscope
.
ANS: D PTS: 1

10. Sargent’s technique of applying paint in thin layers was influenced by ____.
a Mrs. Richard Brinsley Sheridan
.
b Anatomy Lesson of Dr. Nicolaes Tulp
.
c Las Meninas
.
d Conversion of Saint Paul
.
ANS: C PTS: 1

11. The Thankful Poor by Tanner reflects the typical Realist subject matter of ____.
a religious scenes
.
b ordinary people
.
c aristocratic people
.
d historical events
.
ANS: B PTS: 1

12. In Rossetti’s Beata Beatrix, the artist incorporated a ____ to commemorate his wife’s death.
a book
.
b white dove
.
c poppy
.
d wedding ring
.
ANS: C PTS: 1

13. In light of the 1848 revolution, Salon jurors considered Courbet’s depiction of the rural poor in The
Stone Breakers as ____.
a endearing
.
b sublime
.
c socialistic
.
d condescending
 .
ANS: C PTS: 1

14. The leading figure of the Realist movement was ____.

a Courbet
.
b Eakins
.
c Bouguereau
.
d Bonheur
.
ANS: A PTS: 1

15. Géricault’s Raft of the Medusa immortalized ____.

a a Romantic dream image
.
b the aftermath of a French shipwreck
.
c the Greek war for independence
.
d the Gothic emphasis on terror and the sublime
.
ANS: B PTS: 1

16. Napoleon converted La Madeleine in Paris from a church into a ____.

a temple of glory for his armies
.
b center of the 19th-century Jesuit revival
.
c monument to the success of middle-class bankers
.
d monument to the success of French revolutionary leaders
.
ANS: A PTS: 1

17. Although François Rude’s sculptures La Marseillaise for the Arc de Triomphe are neoclassical in
style, the dramatic motion made it typical of ____.
a Realism
.
b Gothic art
.
c the Barbizon School
.
d Romanticism
.
ANS: D PTS: 1

18. The ____ were the defenders of academism who insisted that line was superior to color.
 a Rubenistes
.
b Romantics
.
c Poussinistes
.
d Pre-Raphaelite Brotherhood
.
ANS: C PTS: 1

19. Which of the following artists was the most prominent member of the Hudson River School of
landscape painting?
a Friedrich
.
b Constable
.
c Turner
.
d Cole
.
ANS: D PTS: 1

20. Timothy O’Sullivan’s photography aimed to impress on people ____.

a the high cost of war
.
b the importance of wealth
.
c the importance of science
.
d Realist concerns
.
ANS: A PTS: 1

21. Who among the following artists liked to paint images of the Romantic transcendental landscape?
a Cole
.
b Friedrich
.
c Turner
.
d Bierstadt
.
ANS: B PTS: 1

22. Constable’s Haywain avoids the ____, which was a characteristic of the agrarian working class.
a love of the land
.
b civil unrest
.
 c participation in home markets
.
d bondage to wealthy landowners
.
ANS: B PTS: 1

23. Thomas Eakins believed that ____ and scientific knowledge were prerequisites for his art.
a observation
.
b poetry
.
c fortune
.
d support
.
ANS: A PTS: 1

24. Who studied with Eakins before moving to Paris?

a Whistler
.
b Cassatt
.
c Tanner
.
d Muybridge
.
ANS: C PTS: 1

25. Julia Margaret Cameron used a short focal length lens that allowed only a small area of sharp focus.
What kind of effect would a lens like this produce?
a Small, intimate images
.
b Precise character studies
.
c Ethereal, dreamlike images
.
d Intense, psychological images
.
ANS: C PTS: 1

SLIDE IDENTIFICATION
Select the response that identifies or corresponds best to the image on the screen.

26. (Figure 27-8)

a Fuseli
.
b Goya
.
c Ingres
 .
d Hogarth
.
ANS: C PTS: 1 KEY: Slide Identification

27. (Figure 27-22)

a Constable
.
b Turner
.
c Friedrich
.
d Cole
.
ANS: B PTS: 1 KEY: Slide Identification

28. (Figure 27-24)

a Bierstadt
.
b Cole
.
c Church
.
d Homer
.
ANS: B PTS: 1 KEY: Slide Identification

29. (Figure 27-49)

a Nadar
.
b Hawes and Southworth
.
c Daguerre
.
d O’Sullivan
.
ANS: B PTS: 1 KEY: Slide Identification

30. (Figure 27-18)

a Rude
.
b Greenough
.
c Canova
.
d Houdon
.
ANS: A PTS: 1 KEY: Slide Identification
31. (Figure 27-51)
a Hawes and Southworth
.
b Cameron
.
c O’Sullivan
.
d Daumier
.
ANS: B PTS: 1 KEY: Slide Identification

32. (Figure 27-1)

a Géricault
.
b Gros
.
c Delacroix
.
d Girodet
.
ANS: A PTS: 1 KEY: Slide Identification

33. (Figure 27-47)

a Blenheim Palace
.
b Houses of Parliament
.
c Crystal Palace
.
d Brighton
.
ANS: C PTS: 1 KEY: Slide Identification

34. (Figure 27-12)

a Goya
.
b David
.
c Constable
.
d Turner
.
ANS: A PTS: 1 KEY: Slide Identification

35. (Figure 27-35)

a Manet
.
b Millet
.
 c Courbet
.
d Homer
.
ANS: D PTS: 1 KEY: Slide Identification

36. (Figure 27-30)

a Eakins
.
b Courbet
.
c Millet
.
d Daumier
.
ANS: D PTS: 1 KEY: Slide Identification

37. (Figure 27-40)

a Pre-Raphaelite
.
b Neo-Classical
.
c Realist
.
d Romantic
.
ANS: A PTS: 1 KEY: Slide Identification

38. (Figure 27-53)

a Nadar
.
b Muybridge
.
c Daguerre
.
d Cameron
.
ANS: B PTS: 1 KEY: Slide Identification

39. (Figure 27-29)

a Courbet
.
b Daumier
.
c Tanner
.
d Millet
.
ANS: B PTS: 1 KEY: Slide Identification
40. (Figure 27-13A)
a David
.
b Courbet
.
c Géricault
.
d Delacroix
.
ANS: C PTS: 1 KEY: Slide Identification

41. (Figure 27-46A)

a Roebling
.
b Upjohn
.
c Eiffel
.
d Schinkel
.
ANS: A PTS: 1 KEY: Slide Identification

42. (Figure 27-20)

a Wanderer above a Sea of Mist
.
b Women of Algiers in Their Apartment
.
c Jean-Baptiste
.
d Apotheosis of Homer
.
ANS: A PTS: 1 KEY: Slide Identification

43. (Figure 27-3B)

a David
.
b Delacroix
.
c Ingres
.
d Géricault
.
ANS: C PTS: 1 KEY: Slide Identification

44. (Figure 27-6A)

a Géricault
.
b Girodet-Trioson
 .
c Delacroix
.
d Ingres
.
ANS: B PTS: 1 KEY: Slide Identification

SHORT ANSWER

1. How did Friedrich achieve a balance between the inner and outer experience in his landscape
paintings?

ANS:
Friedrich’s painting Abbey in the Oak Forest has a reverential mood. The painting is a kind of
meditation on human mortality and includes many symbols of death. The artist rendered the objects in
the painting with great detail, focusing on the outer experience. He believed that an artist should paint
what he sees as well as what is within him.

PTS: 1

2. What features of John Constable’s landscapes reveal a kinship with Romantic artists?

ANS:
The people who populate his landscapes blend in; they are one with nature. They are relaxed not as
observers but as participants in the landscape’s being. Constable’s work is nostalgic and natural.

PTS: 1

3. How did Henry Fuseli evoke horror and possibly the dark terrain of the human subconscious in his
artwork?

ANS:
He sought to combine the myth of Mara with the visual image. He depicted the creature that came to
torment and suffocate those who slept. He used disturbing juxtapositions with Baroque dynamism and
naturalistic detail to create a convincing image.

PTS: 1

4. How did Thomas Cole respond to America’s direction as a civilization?

ANS:
In his painting called The Oxbow, he divides the canvas into two sections: dark and stormy, and
civilized. The scale of the landscape dwarfs the tiny artist seen in the bottom center. The artist seems
to be asking for input for the direction the country should follow. Cole has incorporated the moods
affecting the country at this time: reflection and romantically appealing.

PTS: 1

5. Why was photography well suited to its age?

ANS:
It was celebrated as embodying a revelation of the visible world. Both Louis Daguerre and Henry Fox
 Talbot demonstrated the practicality of the medium for recording the century’s discoveries. The shift
of patronage from the elite to the increasingly powerful middle class made the medium perfectly suited
as a medium that could record comprehensible images at a lower cost.

PTS: 1

6. How did Timothy O’Sullivan’s A Harvest of Death, Gettysburg, Pennsylvania, July 1863 respond as a
new medium, and how did it impact the nation?

ANS:
It brought the immediacy of the soldier’s death to the people. It focused on the horror of the moment
with its direct and objective recording of the awful harvest in that Gettysburg field. The endless
horizon filled with dead bodies created a lament for the dead and for the nation. This new medium
became a powerful tool to document and to communicate almost instantly events that took place
within a short span of time.

PTS: 1

7. What was the drawback to “wet-plate” processing?

ANS:
The plate had to be prepared and processed on the spot, and working outdoors required a complete set-
up. It was very time consuming and labor intensive.

PTS: 1

8. What is the interpretation of Goya’s Saturn Devouring One His Children?

ANS:
Goya became increasingly pessimistic and disillusioned, and with declining health he began a series of
works called the Black Paintings. This particular work is from that series. Whether correct or not,
some have interpreted this as the artist’s despair over the passage of time. It does, however, present a
darkly emotional image in keeping with the vocabulary of Romanticism.

PTS: 1

9. Was David’s Coronation of Napoleon fact or fiction?

ANS:
To a large extent David adhered to historical fact. He duly recorded the interior of Notre-Dame. He
also portrayed those in attendance. Preliminary studies reveal that David made changes at the
emperor’s insistence. He made the pope raise his hand in blessing rather than appear as an inactive
witness. Napoleon’s mother appears even though she had refused to attend.
PTS: 1

10. How does Blake’s Ancient of Days blend Romantic and other influences?

ANS:
Blake has created a figure based on Michelangelo and the classical past. He has merged those motifs
into a figure that represents, for him, the mathematical and the eternal. The concept of God as the
Great Mathematician was seen in the Middle Ages, a highly influential period for Romantic artists.
The presentation of God as eternal conforms to Blake’s personal spiritual devotions as well as
contemporary religion. The image becomes a perfect exemplar for Romanticism.
 PTS: 1

11. Describe Joseph Paxton’s innovations in architecture.

ANS:
Paxton built structures that were considered “undraped” construction. These buildings do not conceal
their cast-iron structural skeleton. He used an experimental glass-and-metal roof construction. He is
considered the champion of prefabricated architecture. This uses structural elements manufactured in
advance and ready for assembly.

PTS: 1

12. What was the Pre-Raphaelite Brotherhood?

ANS:
They were a group of artists who wanted to create a fresh and sincere art that was free from the
artificiality of the successors of Raphael and the academies.

PTS: 1

13. Which artist did Leland Stanford, governor of California, consult with in order to win a bet about
motion, and what was the bet?

ANS:
He consulted with Muybridge. The bet was to determine whether all four hooves ever left the ground
when a horse achieved a full gallop. (Yes!)

PTS: 1

14. Describe the tenets of the Realist movement.

ANS:
Realism emerged in France. Artists argued that only what people could see was real. Their increasing
emphasis on science was consistent with the tenets of empiricism and positivism. They focused their
attention on their own time period and disapproved of historical and fictional subjects.

PTS: 1

15. Describe the nature of Daumier’s subject matter?

ANS:
He provided a biting, scathing commentary on the foibles and misbehaviors of the government and
those powerful members of French society. He used the lithograph to create powerful, factual
documents that recorded events as truisms and captured the brutality and excess of the government and
society.

PTS: 1

ESSAY

1. How does the work of Goya relate to artistic movements of the 18th and 19th centuries? Use examples
to support your essay.
 ANS:
Pages 803–804

PTS: 1

2. Contrast Constable’s The Hay Wain with Bierstadt’s Among the Sierra Nevada Mountains, California.
What are the sociopolitical overtones of each work, and how do they represent their respective
countries and environments?

ANS:
Pages 810–813 and 814

PTS: 1

3. Describe the impact of photography on the 19th-century landscape. How did it affect painting? What
were the political implications of the medium? Use examples to support your essay.

ANS:
Pages 832–838

PTS: 1

4. Compare and contrast landscape painting in Europe and the United States in the early 19th century.
What are the sociopolitical differences in landscape painting? Discuss at least three countries in your
essay and use examples to support your argument.

ANS:
Pages 809–815

PTS: 1

5. Explain the ways in which the interest in the sentimental, the heroic, and the sublime was expressed in
art. Use examples to support your response.

ANS:
See chapter text.

PTS: 1

6. Describe the various types of revival styles found in 18th- and 19th-century architecture. Use examples
to support your response.

ANS:
Pages 828–833

PTS: 1

7. Contrast the works of Millet and Courbet. How did they visually respond to the social climate of their
period? Use examples to support your essay.

ANS:
Pages 815–818

PTS: 1
 8. Why were some of the subjects the French Realist artists considered subversive?

ANS:
Pages 815–822

PTS: 1

9. Compare Manet’s Olympia and Millais’s Ophelia. How does each work represent the artist and his
period?

ANS:
Pages 822 and 827–828

PTS: 1

10. Compare and contrast the works of Eakins and Manet. How does each artist relate to his respective
environment? How does each artist reflect the art of the 19th century? Use examples to support your
essay.

ANS:
Pages 820–822 and 824–825

PTS: 1

OTHER

SLIDE QUESTIONS

1. What event did the artist depict and how did he ensure the accuracy of the representation?

ANS:
Théodore Géricault, Raft of the Medusa (Figure 27-1). The subject is an unnecessary shipwreck that
occurred off the coast of Africa. The ship, commanded by an incompetent political appointee, hit a
reef. Of the original 150 survivors, only 15 survived after being at sea for 12 days. He depicted the
final survivors’ sighting of a ship. To make the painting believable, he visited hospitals and morgues to
examine corpses. He also interviewed survivors and made a model of the raft.

PTS: 1 KEY: Slide Questions

2. What is the significance of Courbet’s style for the Realist movement?

ANS:
Gustave Courbet, Burial at Ornans (Figure 27-27). The Realist movement also encouraged a
reconsideration of artistic aims and departed from conventional illusionism. Realist artists called
attention to pictorial construction. Courbet applied his paint with a palette knife, producing a rough
surface. His seemingly casual arrangement of figures also drew criticism and defied academic
standards.

PTS: 1 KEY: Slide Questions

3. What influenced the design of the facade, and what message did the architecture communicate?
 ANS:
Schinkel, Altes Museum (Figure 27-42). The facade of the museum consists of 18 Ionic columns on a
high podium. It more closely resembles ancient Greek stoas rather than temples. It communicated that
nobility, tradition, and elite culture were available to the public. Europeans associated the style with
the democratic values of ancient Greece and Rome.

PTS: 1 KEY: Slide Questions

4. Why is this work described as a mixture of styles, and how did that affect the perception of Ingres’s
art?

ANS:
Ingres, Grande Odalisque (Figure 27-8). Although this shows Ingres’s admiration for Raphael and
other Renaissance artists, the subject matter is more typically Romantic. An odalisque is a woman in a
Turkish harem. When the painting was first exhibited, it prompted criticism. The public was confused
by the mixture of Renaissance sources and style with an exotic, Romantic subject.

PTS: 1 KEY: Slide Questions

5. How do each of these works display characteristics of the Romantic movement?

ANS:
Gros, Napoleon Visiting the Plague-Stricken in Jaffa (Figure 27-5) and Girodet-Trioson Burial of
Atala (Figure 27-6). Gros’s attention to the exoticism of the Near East and the emphasis on pain,
suffering, death, and emotion are all aspects of Romanticism. Girodet’s work addresses the emotional
aspect of the tragedy of suicide.

PTS: 1 KEY: Slide Questions

6. How does this painting epitomize Romanticism?

ANS:
Delacroix, Death of Sardanapalus (Figure 27-15). It is a grand pictorial drama. It is a spectacle of pain
and suffering blended with the exotic and the erotic. Delacroix has used tortured poses and intense
hues to create a dramatic lurid fantasy.

PTS: 1 KEY: Slide Questions

7. What question does the artist raise in this painting?

ANS:
Cole, The Oxbow (View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm)
(Figure 27-23). The moral question is posed: what is America’s direction as a civilization? This
question is being posed by the tiny figure of the artist seen in the bottom center of the painting. Cole
has presented the paradigm of uncivilized or wilderness area as seen in the wilderness landscape and
the civilized as seen in the farm land.

PTS: 1 KEY: Slide Questions

8. How does this work reflect Realist tenets?

ANS:
Rosa Bonheur, The Horse Fair (Figure 27-31). The artist has opted for the Realist passion for
accuracy, and yet she did not select a social or political drama to depict. She combined her knowledge
 of equine anatomy and motion with her love of the animal. Bonheur created a work that presents these
animals in all their power and brute strength.

PTS: 1 KEY: Slide Questions

9. Who created this work, and what did it lead to?

ANS:
Eadweard Muybridge, Horse Galloping (Figure 27-53). Eadweard Muybridge created this
photographic series. It was one of the forerunners of the moving picture.

PTS: 1 KEY: Slide Questions

10. Why did this work have a negative reaction from French society during the 19th century?

ANS:
Millet, The Gleaners (Figure 27-28). The artist imbued a certain noble monumentality to the poorest of
the poor. French society looked with suspicion on works that invested a solemn grandeur to the
peasant as Millet did with this work. The middle-class landowner resisted granting the “gleaning”
rights to the peasant. They also resented the dignity that Millet gave to this work.

PTS: 1 KEY: Slide Questions