art section 2

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  1. THREE New Deal agencies still in existence today
    Federal Deposit Insurance Company, Securities and Exchange Commission, and the Social Security system (UARG:43,2,1)
  2. Man at the Crossroads
    Diego Rivera mural censored for its depiction of the Bolshevik leader Vladimir Lenin (UARG:44,1,1)
  3. location of Diego Rivera’s Man at the Crossroads
    the Rockefeller center (UARG:44,1,1)
  4. TWO leading figures of New Deal art projects
    Edward Bruce and Holger Cahill (UARG:44,2,1)
  5. Public Works of Art Project
    first New Deal experimental art agency led by Edward Bruce (UARG:44,2,2)
  6. Section of Painting and Sculpture
    second New Deal experimental art agency led by Edward Bruce under the Treasury Department (UARG:45,1,0)
  7. group representing 41% of artists working on Works Progress Administration projects
    women (UARG:45,2,0)
  8. Diego Rivera
    20th century Mexican painter who greatly influenced public art in the United States (UARG:45,2,2)
  9. birthplace of Diego Rivera
    Guanajuato, Mexico (UARG:45,2,3)
  10. Mexican art academy which Diego Rivera attended from 1896 to 1905
    Academy of San Carlos (UARG:45,2,3)
  11. three European nations where Diego Rivera lived before returning to Mexico in 1921
    Spain, France, and Italy (UARG:46,1,1)
  12. José Vasconcelos
    Mexican Secretary of Public Education who commissioned Diego Rivera’s mural Creation (UARG:46,1,2)
  13. Dwight Morrow
    United States ambassador to Mexico from 1927 to 1930 who commissioned a mural cycle from Diego Rivera at the Cortés Palace (UARG:46,1,3)
  14. Frida Kahlo
    Diego Rivera’s wife and fellow painter (UARG:46,1,4)
  15. mural cycle painted by Diego Rivera from 1932 to 1933
    the Detroit Institute of Arts murals (UARG:46,2,0)
  16. controversial mural which Diego Rivera painted in New York in 1933
    Man at the Crossroads (UARG:46,2,0)
  17. number of mural panels comprising Detroit Industry
    21 (UARG:47,1,1)
  18. event depicted on the east wall of Diego Rivera’s Detroit Industry cycle
    the origins of human life (UARG:47,1,1)
  19. industry depicted on either side of the plant bulb in Detroit Industry
    agriculture (UARG:47,1,1)
  20. focus of the west wall of Detroit Industry
    intersections between technology, natural resources, and human life (UARG:47,1,1)
  21. number of horizontal fields into which the north and south walls are divided in Diego Rivera’s Detroit Industry
    three (UARG:47,1,2)
  22. On which factory was the south wall of Detroit Industry based?
    the Ford Motor plant (UARG:47,1,3)
  23. Charles E. Sorenson
    head of production at Ford’s River Rouge factory in 1933, depicted in Detroit Industry (UARG:47,2,0)
  24. William Valentiner
    director of the Detroit Institute of Arts in the 1930s (UARG:47,2,2)
  25. Edsel Ford
    president of the Ford Motor Company and the Detroit Arts Commission in the 1930s (UARG:47,2,2)
  26. number of automobiles produced in 1931
    one million (UARG:48,1,2)
  27. Dearborn
    home of Ford Motor Company and site of a 1932protest for better working conditions (UARG:48,1,2)
  28. religiously controversial scene in Detroit Industry
    vaccination of a child (UARG:48,1,4)
  29. Why did upper‐class Detroit residents object to Detroit Industry?
    It depicted them standing next to working‐class people. (UARG:48,1,4)
  30. Aaron Douglas
    African‐American Harlem Renaissance painter (UARG:48,2,1)
  31. two Harlem Renaissance poets who befriended Aaron Douglas
    Langston Hughes and Countee Cullen (UARG:48,2,1)
  32. Wineld Reiss
    German illustrator who illustrated an issue of Survey Graphic dedicated to the Harlem Renaissance (UARG:48,2,2)
  33. Egyptian form
    simplified Egyptian‐influenced figures used by Aaron Douglas (UARG:48,2,2)
  34. two significant Harlem Renaissance magazines, illustrated by Aaron Douglas
    Crisis and Opportunity (UARG:49,1,1)
  35. city where Aaron Douglas traveled to study European modernism
    Paris (UARG:49,1,2)
  36. institution where Douglas studied from 1928 to 1929
    the Barnes Foundation in Philadelphia (UARG:49,1,2)
  37. university which commissioned a mural cycle from Aaron Douglas for its library
    Fisk University in Nashville, Tennessee (UARG:49,1,2)
  38. location of Aaron Douglas mural cycle commissioned by the Public Works of Art Project in 1934
    the 135th Street Branch of the New York Public Library (UARG:49,1,2)
  39. university where Aaron Douglas taught until 1966
    Fisk University (UARG:49,1,3)
  40. city where Aaron Douglas died in 1979
    Nashville (UARG:49,1,3)
  41. current name of the 135th Street Branch of the New York Public Library
    the Schomburg Center for Research in Black Culture (UARG:49,1,4)
  42. first panel in the Schomburg Center cycle
    The Negro in an African Setting (UARG:49,1,5)
  43. two horizontal panels showing scenes of joy and African‐American unity in the Schomburg Center mural cycle
    Idyll of the Deep South and From Slavery to Reconstruction (UARG:49,2,0)
  44. final panel of the Schomburg Center mural cycle
    Song of the Towers (UARG:49,2,0)
  45. familiar New York icon which establishes the setting of Song of the Towers
    the Statue of Liberty (UARG:49,2,1)
  46. musical instrument held by the large male figure in Song of the Towers
    saxophone (UARG:50,1,0)
  47. government organization that commissioned Aspects of Negro Life
    Works Project Administration/Federal Art Project (UARG:50,1,4)
  48. George Biddle
    prolific printmaker, painter, and sculptor known for his advocacy of public art projects (UARG:50,2,1)
  49. alma mater of George Biddle
    Harvard University (UARG:50,2,1)
  50. Parisian academy where George Biddle studied after abandoning a law career
    Académie Julian (UARG:50,2,1)
  51. art academy where George Biddle enrolled after returning from Paris to the United States
    Philadelphia Academy of Fine Arts (UARG:50,2,1)
  52. conflict that cut Biddle’s art career short
    World War I (UARG:50,2,1)
  53. nation to which George Biddle traveled in 1928 and befriended Diego Rivera
    Mexico (UARG:50,2,2)
  54. location of a George Biddle mural commissioned by the Mexican government
    the Supreme Court building in Mexico City (UARG:51,1,0)
  55. classmate of Biddle who hired a team of artists to paint the Justice Department
    Franklin D. Roosevelt (UARG:51,1,1)
  56. location of George Biddle’s 5‐panel mural cycle for the Justice Department
    the first floor lobby of the Justice Department (UARG:51,1,2)
  57. group which Biddle chaired in 1943, spending time with American troops in northern Africa
    U.S. War Artists Committee (UARG:51,1,3)
  58. Where did George Biddle die in 1973?
    Croton‐on‐Hudson, New York (UARG:51,1,3)
  59. subject of the first vertical field of Tenement
    an elderly woman holding an axe and wood next to an apartment building (UARG:51,1,5)
  60. the subject of the foreground of the first horizontal field of Tenement
    an old woman and a younger man sawing wood (UARG:51,2,1)
  61. Louis D. Brandeis
    influential Supreme Court Justice during the New Deal period (UARG:52,1,2
  62. Supreme Court Justice who is quoted in Tenement
    Oliver Wendell Holmes, Jr. (UARG:52,1,2)
  63. Ben Shahn
    leftist 1930s painter, printmaker, and photographer who used his art to express his political views (UARG:52,1,3)
  64. birthplace of Ben Shahn
    Kovno, Lithuania (UARG:52,1,3)
  65. city where Ben Shahn’s family settled when they moved to the United States in 1906
    Brooklyn, New York (UARG:52,1,3)
  66. printmaking technique Ben Shahn learned through an apprenticeship
    lithography (UARG:52,1,4)
  67. two colleges at which Ben Shahn studied biology
    New York University and the City College of New York (UARG:52,2,0)
  68. two art academies that Ben Shahn attended
    the National Academy of Design and the Art Students League (UARG:52,2,0)
  69. two continents where Ben Shahn traveled with his wife from 1924 to 1928
    Europe and Africa (UARG:52,2,0)
  70. style of art Ben Shahn developed in the 1930s
    social realism (UARG:52,2,0)
  71. series of 23 gouache paintings created by Ben Shahn between 1931 and 1932
    The Passion of Sacco and Vanzetti (UARG:52,2,1)
  72. Diego Rivera painting on which Ben Shahn was invited to work
    Man at the Crossroads (UARG:52,2,2)
  73. Bernarda Bryson
    artist and social activist for whom Shahn abandoned his family (UARG:52,2,3)
  74. federal agency for which Ben Shahn produced posters and photographs from 1935 to 1938
    the Farm Security Administration (FSA) (UARG:52,2,3)
  75. Walker Evans
    photographer who guided Shahn through the South and Midwest while working for the Farm Security Administration (UARG:52,2,3)
  76. most famous mural cycle created by Ben Shahn during the New Deal
    mural cycle for the Jersey Homesteads government housing project (UARG:52,2,4)
  77. three mural cycle government commissions completed by Ben Shahn
    the Bronx Central Postal Station, the Social Security Building, and the Jersey Homesteads housing project (UARG:53,1,0)
  78. government agency for which Shahn worked during World War II
    the Office of War Information (UARG:53,1,1)
  79. subject of famous Ben Shahn portrait for Time magazine in 1965
    Martin Luther King, Jr. (UARG:53,1,1)
  80. position Ben Shahn held at Harvard from 1956
    the Charles Eliot Norton Professor (UARG:53,1,2)
  81. The Shape of Content
    collection of Ben Shahn’s Harvard lectures (UARG:53,1,2)
  82. medium of Riveter
    tempera on paperboard (UARG:53,2,1)
  83. two dominant color tones in Riveter
    browns and grays (UARG:53,2,1)
  84. collaborator on Ben Shahn’s initial sketches for Riveter
    Bernarda Bryson (UARG:54,1,1)
  85. government agency that sponsored the mural commission for which Riveter was created
    the Treasury Department Section of Painting and Sculpture (UARG:54,1,1)
  86. number of panels in the Resources of America mural cycle
    13 (UARG:54,1,1)
  87. Walt Whitman poem which inspired Ben Shahn’s Resources of America mural cycle
    “I Hear America Singing” (UARG:54,1,2)
  88. Fiorello LaGuardia
    New York City mayor from 1934 to 1945 and New Deal supporter (UARG:43,1,1)
  89. two working arrangements to which most artists were accustomed before the New Deal
    working for private patrons or selling works in private galleries (UARG:43,1,2)
  90. later name for the Section of Painting and Sculpture
    the Section of Fine Arts (UARG:45,1,0)
  91. number of murals created under federal art programs between 1933 and 1945
    3,500 (UARG:45,1,1)
  92. number of sculptures created under federal art programs between 1933 and 1945
    18,000 (UARG:45,1,1)
  93. number of paintings created under federal art programs between 1933 and 1945
    108,000 (UARG:45,1,1)
  94. number of prints created under federal art programs between 1933 and 1945
    250,000 (UARG:45,1,1)
  95. number of photographs taken under federal art programs between 1933 and 1945
    500,000 (UARG:45,1,1)
  96. art technique which Diego Rivera taught other United States artists
    fresco (UARG:45,2,1)
  97. political ideology of Diego Rivera’s parents
    liberal (UARG:45,2,3)
  98. city where the Cortés Palace is located
    Cuernavaca (UARG:46,1,3)
  99. corporation where Ambassador Dwight Morrow previously worked
    J.P. Morgan and Company (UARG:46,1,3)
  100. city where Diego Rivera traveled in 1930 with Frida Kahlo
    San Francisco (UARG:46,1,4)
  101. location of a Diego Rivera work painted shortly after the Rockefeller Center affair
    New York’s New Worker’s School (UARG:46,2,0)
  102. year of Diego Rivera’s death
    1957 (UARG:46,2,0)
  103. Diego Rivera’s largest and most complex work completed in the United States
    Detroit Industry (UARG:47,1,0)
  104. the two larger walls in Detroit Industry
    north and south (UARG:47,1,2)
  105. machine in the far right quarter of the south wall of Detroit Industry
    stamping press used to make steel fenders (UARG:47,1,3)
  106. machine depicted in the upper center portion of the south wall of Detroit Industry
    welding buck (UARG:47,2,0)
  107. car parts that female workers are testing in the upper right corner of Detroit Industry
    spark plugs and ignition systems (UARG:47,2,1)
  108. type of Renaissance artwork recalled by the use of grisaille in Detroit Industry
    altarpieces (UARG:47,2,2)
  109. two races represented by figures holding limestone and sand in Detroit Industry
    Asian and Caucasian (UARG:47,2,3)
  110. industry represented in the upper left panel in Detroit Industry
    pharmaceutical (UARG:47,2,3)
  111. industry represented in the upper right panel in Detroit Industry
    chemical (UARG:47,2,3)
  112. selected artist whom Diego Rivera taught the fresco technique
    George Biddle (UARG:48,1,0)
  113. director who took an unpaid leave from his position at the Detroit Institute of Arts in 1932
    William Valentiner (UARG:48,1,2)
  114. death toll of the March 1932 Dearborn march
    four (UARG:48,1,2)
  115. Albert C. Barnes
    white Philadelphia art collector from who supported the Harlem Renaissance and influenced Aaron Douglas (UARG:48,2,1)
  116. two intellectual figures who spurred the Harlem Renaissance
    W.E.B. DuBois and Alain Locke (UARG:48,2,1)
  117. three Harlem Renaissance writers who commissioned Aaron Douglas to illustrate their books
    Countee Cullen, Langston Hughes, and James Weldon Johnson (UARG:49,1,1)
  118. James Weldon Johnson book illustrated by Aaron Douglas to critical acclaim
    Trombones: Seven Negro Sermons in Verse (UARG:49,1,1)
  119. subject of The Negro in an African Setting
    two central figures dancing with drummers and singers, while hunters and fighters watch (UARG:49,2,0)
  120. Aaron Douglas’ view of urban industrialism, from Song of the Towers
    provided opportunities for social equity (UARG:50,1,1)
  121. island where George Biddle traveled after World War I before returning to the United States
    Tahiti (UARG:50,2,1)
  122. popular destination for American artists during the post‐World War I era
    Mexico (UARG:50,2,2)
  123. three items of clothing worn by the subject of The Riveter
    white workers’ gloves, a cap, and dark khaki worker’s clothing (UARG:53,1,3)
  124. Which three parts of the riveter’s body are given more emphasis in The Riveter?
    arms, hands, and his tool (UARG:53,1,4)
  125. How was Ben Shahn’s style influenced by his work as a photographer?
    use of tightly cropped framing and emphasis on human action (UARG:53,2,0)
  126. number of proposals submitted to the Treasury Department for the Bronx Central Postal Station commission
    189 (UARG:54,1,1)
  127. poet shown in Ben Shahn’s Bronx mural panels as a man with long white hair
    Walt Whitman (UARG:54,2,2)
  128. controversial Walt Whitman poem used by Ben Shahn in his Bronx mural
    “Thou mother with Thy Equal Brood” (UARG:54,2,2)
  129. Why was Walt Whitman’s poem “Thy mother with Thy Equal Brood” controversial?
    seen as an attack on the Christian church’s role in society (UARG:54,2,2)
  130. birthplace of George Stanley
    Acadia Parish, Louisiana (UARG:55,1,1)
  131. birth year of George Stanley
    1903 (UARG:55,1,1)
  132. city to the north of Los Angeles where George Stanley spent his youth
    Watsonville, California (UARG:55,1,1)
  133. college where George Stanley studied sculpture from 1923 to 1926
    the Otis Art Institute in Los Angeles (UARG:55,1,1)
  134. two schools where George Stanley taught
    the Otis Art Institute in Los Angeles and the School of Arts in Santa Barbara (UARG:55,1,1)
  135. high school for which George Stanley completed a sculpture commission
    Long Beach Polytechnic High School (UARG:55,1,1)
  136. George Stanley’s most notable public artwork
    the sculpture of Sir Isaac Newton at Griffith Observatory (UARG:55,1,2)
  137. the larger collaborative sculpture project of which George Stanley’s Isaac Newton is a part
    Astronomers Monument (UARG:55,1,2)
  138. two George Stanley sculpture projects funded by the Public Works of Art Project
    Astronomers Monument and Muse of Music, Dance, Drama (UARG:55,1,2)
  139. number of artists who collaborated on Astronomers Monument
    five (UARG:55,1,3)
  140. overseer of the construction of Astronomers Monument
    Archibald Garner (UARG:55,1,3)
  141. name appearing on the Astronomers Monument sculpture in place of the artists’ names
    PWAP (UARG:55,1,3)
  142. Cedric Gibbons
    the art director of MGM during George Stanley’s early career (UARG:55,1,4)
  143. well‐known bronze statuette created by George Stanley for Cedric Gibbons
    the Academy Award of Merit/Oscar (UARG:55,1,4)
  144. year when the first Oscar statuette was awarded
    1929 (UARG:55,2,0)
  145. width of Muse of Music, Dance, Drama
    200 feet (UARG:55,2,1)
  146. height of Muse of Music, Dance, Drama
    22 feet (UARG:55,2,1)
  147. material used in Muse of Music, Dance, Drama
    concrete with light gray granite facing (UARG:55,2,1)
  148. source of the granite used in Muse of Music, Dance, Drama
    a quarry near Victorville, California (UARG:55,2,1)
  149. style of sculpture embodied in Muse of Music, Dance, Drama
    Art Deco (UARG:55,2,1)
  150. height of the central figure in Muse of Music, Dance, Drama
    15 feet (UARG:55,2,2)
  151. Which muse is the central figure in Muse of Music, Dance, Drama?
    the muse of music (UARG:55,2,2)
  152. height of statues on either side of the muse of music in Muse of Music, Dance, Drama
    10 feet (UARG:55,2,2)
  153. pose of the figures in Muse of Music, Dance, Drama which recalls Greek sculpture
    contrapposto (UARG:55,2,2)
  154. two masks worn or carried by the muse of drama in Muse of Music, Dance, Drama
    comedy and tragedy (UARG:55,2,3)
  155. expression of the figure of dance in Muse of Music, Dance, Drama
    calm and serene (UARG:56,1,1)
  156. instrument played by the muse of music in Muse of Music, Dance, Drama
    harp (UARG:56,1,2)
  157. two selected artists who depicted the muses of music, dance, and drama
    Diego Rivera and George Stanley (UARG:56,1,3)
  158. location of Diego Rivera’s depiction of the muses of music, dance, and drama
    the Creation mural at the National Preparatory School in Mexico (UARG:56,1,3)
  159. year of opening of the Hollywood Bowl
    1922 (UARG:56,1,4)
  160. year of completion of Muse of Music, Dance, Drama
    1940 (UARG:56,1,4)
  161. two orchestras that perform at the Hollywood Bowl regularly
    the Hollywood Bowl Orchestra and the Los Angeles Philharmonic (UARG:56,1,5)
  162. year which saw the highest attendance ever at the Hollywood Bowl
    1936 (UARG:56,2,0)
  163. event that drew the highest attendance of all time at the Hollywood Bowl
    performance by Lily Pons, a French opera star (UARG:56,2,0)
  164. number of people in attendance at Lily Pons’ 1936 Hollywood Bowl concert
    26410 (UARG:56,2,0)
  165. two organizations that commissioned Muse of Music, Dance, Drama
    the Hollywood Bowl Association and the Los Angeles County Board of Supervisors (UARG:56,2,1)
  166. year in which Muse of Music, Dance, Drama was restored
    2006 (UARG:56,2,2)
  167. year in which Muse of Music, Dance, Drama was designed
    1938 (UARG:56,2,1)
  168. the two most popular genres of photography
    portraiture and landscape (UARG:58,1,3)
  169. During which decade did photography make its debut as an art form?
    the 1930s (UARG:58,1,3)
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art section 2
2010-09-21 07:19:29

art section 2
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