art section 5
Card Set Information
art section 5
art section 5
973. three means by which American artists became aware of European art movements
visiting Europe, migrant European artists, and exhibitions in New York City (UARG:84,2,2)
an American art movement that focused on rejecting European influences in the early 1900s (UARG:85,1,1)
975. another name for the Regionalist movement
American Scene painting (UARG:85,1,1)
976. three Regionalist painters
Grant Wood, Thomas Hart Berton, and John Steuart Curry (UARG:85,1,1)
977. region with which the Regionalist movement was associated
the Midwest (UARG:85,1,1)
978. lifestyle with which the Regionalist movement was associated
rural life (UARG:85,1,1)
979. With what description did Time magazine praise the Regionalist movement in 1934?
“truly American” (UARG:85,1,2)
980. Regionalist artist featured on the cover of Time magazine in 1934
Thomas Hart Benton (UARG:85,1,2)
981. demographic that dominated the Regionalist movement
white men (UARG:85,1,2)
982. social perspective most common in Regionalist art
white male perspective (UARG:85,1,2)
983. two aspects of Georgia O’Keefe’s work that qualify as “abstract”
expressive use of color and focus on detail (UARG:85,2,0)
984. American Gothic
a famous Grant Wood painting (UARG:85,2,1)
985. Grant Wood’s town of birth
Amamosa, Iowa (UARG:85,2,2)
986. What impression did Grant Wood try to evoke in photographs of himself?
that of the rural worker (UARG:85,2,2)
987. two opposing ways to interpret American Gothic
reverential image of the American heartland or satirical and perhaps critical commentary on rural life (UARG:85,2,1)
988. How did Grant Wood give the impression of being a rural worker in photographs?
posing in overalls (UARG:85,2,2)
989. town to which Grant Wood moved after his father’s death
Cedar Rapids, Iowa (UARG:85,2,2)
990. After what event did Grant Wood begin taking formal art lessons?
his father’s death (UARG:85,2,2)
991. school at which Grant Wood enrolled after high school
Minneapolis School of Design and Handicraft (UARG:85,2,3)
992. three subjects Grant Wood studied at the Minneapolis School of Design and Handicraft
metalworking, jewelry making, and woodworking (UARG:85,2,3)
993. aesthetic that influenced Grant Wood during his studies at the Minneapolis School of Design and Handicraft
Arts and Crafts (UARG:85,2,3)
994. city to which Grant Wood moved in 1913
995. school at which Grant Wood studied in Chicago
School of the Art Institute of Chicago (UARG:85,2,4)
996. job Grant Wood took while studying in Chicago
997. two styles of art Grant Wood studied in Europe
Impressionism and Post‐Impressionism (UARG:85,2,4)
998. European tendency that Grant Wood rejected
999. art movement with which Grant Wood gained some familiarity in Europe
1000. two aspects of American art that Regionalists believed should reflect the American experience
subject matter and style (UARG:86,1,0)
1001. northern Renaissance artist who influenced Grant Wood
Jan Van Eyck (UARG:86,1,0)
1002. Stone City Art Colony
Depression‐era organization that gave artists residencies (UARG:86,1,1)
1003. With what organization did Grant Wood work in the summers of 1932 and 1933?
Stone City Art Colony (UARG:86,1,1)
1004. region in which Stone City Art Colony was located
rural Iowa (UARG:86,1,1)
1005. subject that Grant Wood taught at Stone City Art Colony
1006. state that Grant Wood oversaw for the Public Works of Art Project in 1935
1007. Where did Grant Wood first meet the artists he employed for the Public Works of Art Project?
working at Stone City Art Colony (UARG:86,1,1)
1008. university at which Grant Wood taught painting
University of Iowa (UARG:86,1,2)
1009. number of years that Grant Wood was on the University of Iowa faculty
1010. age at which Grant Wood passed away
1011. What trend in artistic styles caused Grant Wood’s work to be dismissed in the 1940s?
move toward abstraction (UARG:86,2,0)
1012. What THREE shortcomings did art critics attribute to Grant Wood’s work in the 1940s?
naïve, folksy, and overly simplistic (UARG:86,2,0)
1013. Why did Midwesterners continue to support Grant Wood’s work in the 1940s?
upheld traditional values endangered in modern times (UARG:86,2,1)
1014. two subjects in the foreground of American Gothic
man and woman (UARG:86,2,2)
1015. two subjects in the background of American Gothic
farmhouse and barn (UARG:86,2,2)
1016. What architectural feature stands out in the farmhouse in American Gothic?
a Gothic‐style window (UARG:86,2,2)
1017. How are the figures in American Gothic posed?
stiffly, as if for a photograph (UARG:86,2,3)
1018. How much of the figures’ bodies are visible in American Gothic?
the waist up (UARG:86,2,3)
1019. How would a 1930s audience have viewed the clothing of the figures in American Gothic?
old‐fashioned and conservative (UARG:86,2,3)
1020. three garments worn by the woman in American Gothic
dress, cameo pin, and apron (UARG:86,2,3)
1021. three garments worn by the man in American Gothic
work shirt, overalls, and jacket (UARG:86,2,3)
1022. farming implement held by the man in American Gothic
1023. What sort of expression do the figures in American Gothic have?
serious or emotionless (UARG:86,2,4)
1024. How does the gaze of the man differ from that of the woman in American Gothic?
is looking directly at the viewer (UARG:86,2,4)
1025. What attitude does the direct gaze of the man in American Gothic indicate?
strong patriarchy (UARG:87,1,0)
1026. What attitude does the position of the pitchfork in American Gothic indicate?
the man protecting the woman (UARG:87,1,0)
1027. items on the porch of the farmhouse in American Gothic
potted plants (UARG:87,1,1)
1028. What two aspects of the farmhouse window in American Gothic indicate a Gothic style?
the pointed arch and tripartite division (UARG:87,1,1)
1029. object hanging in the farmhouse window in American Gothic
a brown and white patterned cloth (UARG:87,1,1)
1030. object partly visible on the farmhouse roof in American Gothic
a lightening rod (UARG:87,1,1)
1031. What kind of building do the lightening rod and window in American Gothic evoke?
a church (UARG:87,1,1)
1032. What feature of the farmhouse is evoked by the thin faces of the figures in American Gothic?
the window (UARG:87,1,2)
1033. What feature of the woman’s outfit does her face echo in American Gothic?
the cameo pin (UARG:87,1,2)
1034. What TWO features of the man’s outfit does the pitchfork echo in American Gothic?
the stitching on his overalls and the stripes on his shirt (UARG:87,1,2)
1035. What feature of the farmhouse does the pitchfork echo in American Gothic?
the divisions of the window (UARG:87,1,2)
1036. What TWO purposes does repetition serve in American Gothic?
unifying the features of the painting and showing that the image was carefully constructed (UARG:87,1,2)
1037. What false impression about Grant Wood does the careful detail in American Gothic create?
that he was a self‐taught or naïve painter (UARG:87,1,3)
1038. What artistic tradition is reflected by the careful detail in American Gothic?
northern Renaissance art (UARG:87,1,3)
1039. person on whom the woman in American Gothic was based
Grant Wood’s younger sister, Nan (UARG:87,2,1)
1040. person on whom the man in American Gothic was based
Grant Wood’s dentist, Byron McKeeby (UARG:87,2,1)
1041. location of the house that formed the basis for American Gothic
Eldon, Iowa (UARG:87,2,1)
1042. architectural style of the farmhouse in American Gothic
Gothic revival (UARG:87,2,1)
1043. Which organization held the competition in which Grant Wood entered American Gothic?
the Art Institute of Chicago (UARG:87,2,2)
1044. prize that American Gothic won in the Art Institute of Chicago’s competition
bronze medal (UARG:87,2,2)
1045. amount of money Grant Wood won for American Gothic in the Art Institute of Chicago’s competition
1046. organization that purchased American Gothic
the Art Institute of Chicago (UARG:87,2,2)
1047. amount of money for which the Art Institute of Chicago purchased American Gothic
1048. Daughters of the American Revolution
a satirical Grant Wood painting (UARG:87,2,2)
1049. H. W. Jansen
an influential art historian who rejected Grant Wood’s work (UARG:87,2,3)
1050. With what artistic tradition did H. W. Jansen equate Grant Wood’s work?
the Nazis’ heroic nationalism (UARG:87,2,3)
1051. Georgia O’Keefe
a famous 20th century painter (UARG:88,1,1)
1052. decade in which Georgia O’Keefe rose to prominence
the 1920s (UARG:88,1,1)
1053. Georgia O’Keefe’s city of birth
Sun City, Wisconsin (UARG:88,1,2)
1054. school at which Georgia O’Keefe began taking art classes in 1905
the School of the Art Institute of Chicago (UARG:88,1,2)
1055. school at which Georgia O’Keefe enrolled in 1907
the Art Students League (UARG:88,1,2)
1056. city to which Georgia O’Keefe moved from New York City in 1908
1057. job Georgia O’Keefe took in Chicago in 1908
commercial artist (UARG:88,1,2)
1058. state to which Georgia O’Keefe moved from Chicago
1059. job Georgia O’Keefe initially took in Texas
art teacher (UARG:88,1,2)
1060. university at which Georgia O’Keefe’s interest in art was rekindled
University of Virginia (UARG:88,1,3)
1061. Arthur Wesley Dow
an artist who mentored Georgia O’Keefe (UARG:88,1,3)
1062. Arthur Stieglitz
an influential art dealer and photographer who promoted and later married
Georgia O’Keefe (UARG:88,1,3)
1063. Anna Pollitzer
a friend of Georgia O’Keefe’s who first showed her work to Arthur Stieglitz
1064. 291 (gallery)
a famous Arthur Stieglitz art gallery (UARG:88,1,3)
1065. two subjects Georgia O’Keefe painted in the 1920s
plants and New York architecture (UARG:88,1,5)
1066. Georgia O’Keefe’s preferred medium
oil paint (UARG:88,1,5)
1067. region of the United States to which Georgia O’Keefe traveled in 1929
the Southwest (UARG:88,2,1)
1068. What kind of landscape inspired Georgia O’Keefe in the Southwest?
the desert (UARG:88,2,1)
1069. three cities Georgia O’Keefe visited in her first trip to the Southwest United States
Albuquerque, Santa Fe, and Taos (UARG:88,2,1)
1070. After what event did Georgia O’Keefe relocate permanently to New Mexico?
Arthur Stieglitz’s death (UARG:88,2,1)
1071. Which part of the year did Georgia O’Keefe spend in New Mexico from 1929 to 1949?
1072. How did Georgia O’Keefe’s New Mexico paintings differ from her New York paintings?
more abstract (UARG:88,2,1)
1073. What feature did Georgia O’Keefe’s New Mexico and New York paintings have in common?
landscape and architecture as subjects (UARG:88,2,1)
1074. What TWO themes did Georgia O’Keefe’s abstract style focus on?
undulating forms and evocative colors (UARG:88,2,1)
1075. What organization held a 1943 retrospective of Georgia O’Keefe’s work?
the Art Institute of Chicago (UARG:88,2,2)
1076. What museum held a 1946 retrospective of Georgia O’Keefe’s work?
the Museum of Modern Art (UARG:88,2,2)
1077. significance of Georgia O’Keefe’s 1946 Museum of Modern Art retrospective
the museum’s first retrospective dedicated to a female artist (UARG:89,1,0)
1078. What physical limitation did Georgia O’Keefe begin to suffer in the 1970s?
poor eyesight (UARG:89,1,1)
1079. Juan Hamilton
a potter who worked with Georgia O’Keefe late in her career (UARG:89,1,1)
1080. What medium did Georgia O’Keefe begin to work with in the 1970s?
1081. Cow’s Skull with Calico Roses
a famous painting by Georgia O’Keefe (UARG:89,1,2)
1082. Why does the appearance of the skull in Cow’s Skull with Calico Roses stand out?
larger than life (UARG:89,1,2)
1083. What process does the appearance of the skull in Cow’s Skull with Calico Roses imply it has undergone?
bleaching in the sun (UARG:89,1,2)
1084. What style characterizes the background of Cow’s Skull with Calico Roses?
1085. number of roses in Cow’s Skull with Calico Roses
1086. Near what TWO parts of the skull are the roses situated in Cow’s Skull with Calico Roses?
the snout and the right horn (UARG:89,1,2)
1087. What painting style characterizes Cow’s Skull with Calico Roses?
1088. What aspect of Cow’s Skull with Calico Roses provides a sense of volume?
subtle gradations of light and dark (UARG:89,1,3)
1089. object dominating the center of Cow’s Skull with Calico Roses
the skull (UARG:89,1,3)
1090. How are objects clearly delineated in Cow’s Skull with Calico Roses?
firm outlines (UARG:89,1,3)
1091. What feature of Cow’s Skull with Calico Roses interrupts the painting’s symmetry?
the thick, dark line that bifurcates the composition (UARG:89,1,3)
1092. role of the thick, dark line behind the skull in Cow’s Skull with Calico Roses
creates negative space (UARG:89,1,3)
1093. What characteristic distinguishes Georgia O’Keefe’s work?
her use of color (UARG:89,1,4)
1094. four vibrant colors Georgia O’Keefe frequently used
red, green, blue, and yellow (UARG:89,1,4)
1095. What colors are contrasted in Cow’s Skull with Calico Roses?
white, black, and grey (UARG:89,1,4)
1096. What effect makes the skull stand out in Cow’s Skull with Calico Roses?
the contrast of the skull’s white with the background’s grays (UARG:89,1,4)
1097. European term for the inclusion of a skull in a painting
momento mori (UARG:89,1,5)
1098. What purpose did momento mori play in European painting?
a reminder of man’s mortality (UARG:89,1,5)
1099. How does Georgia O’Keefe play on the tradition of momento mori?
portraying cow skulls rather than human skulls (UARG:89,1,5)
1100. What process is portrayed in Georgia O’Keefe’s painting of cow skulls?
the natural passage of life (UARG:89,1,5)
1101. Why is Georgia O’Keefe NOT considered a Regionalist painter?
focuses on the Southwest instead of the Midwest (UARG:89,2,1)
1102. Thomas Hart Benton
a famous 20th century painter (UARG:89,2,2)
1103. How did Thomas Hart Benton’s experience as a Regionalist differ from that of Grant Wood?
lived long enough to see Regionalism fall out of favor (UARG:89,2,2)
1104. Thomas Hart Benton’s town of birth
Neosho, Missouri (UARG:89,2,3)
1105. What kind of school did Thomas Hart Benton attend in his youth?
military school (UARG:89,2,3)
1106. Why was Thomas Hart Benton sent to military school?
His father expected him to have a military or political career. (UARG:89,2,3)
1107. Thomas Hart Benton’s uncle’s position
1108. school in which Thomas Hart Benton enrolled in 1907
the School of the Art Institute of Chicago (UARG:89,2,4)
1109. In what city did Thomas Hart Benton live from 1908 to 1912?
1110. In what city did Thomas Hart Benton settle upon his return to the United States in 1912?
New York City (UARG:89,2,4)
1111. Rita Piacensa
Thomas Hart Benton’s wife (UARG:89,2,4)
1112. original nature of the relationship between Thomas Hart Benton and Rita Piacensa
teacher and student (UARG:89,2,4)
1113. Why did Thomas Hart Benton return to Missouri in 1924?
to care for his dying father (UARG:89,2,5)
1114. project that Thomas Hart Benton was chosen to execute in 1932
painting a series of murals about Indiana (UARG:90,1,0)
1115. event at which Thomas Hart Benton’s Indiana murals were first displayed
the Chicago World’s Fair (UARG:90,1,0)
1116. Why were Thomas Hart Benton’s Indiana murals controversial?
depicted unpleasant moments in Indiana’s history (UARG:90,1,0)
1117. two unpleasant historical events depicted in Thomas Hart Benton’s Indiana murals
the Ku Klux Klan and the forced removal of Native Americans (UARG:90,1,0)
1118. two unpleasant contemporary conditions depicted in Thomas Hart Benton’s Indiana murals
labor riots and unemployment lines (UARG:90,1,0)
1119. Thomas Hart Benton’s signature style in presenting his artwork
brutal honesty (UARG:90,1,0)
1120. How does Grant Wood’s depiction of the Midwest differ from that of Thomas Hart Benton?
more idealistic and pastoral (UARG:90,1,0)
1121. The Social History of the State of Missouri
a famous Thomas Hart Benton mural cycle (UARG:90,2,0)
1122. building for which Thomas Hart Benton painted The Social History of the State of Missouri
the Missouri State Capitol building (UARG:90,2,0)
1123. Jackson Pollock
a famous Abstract Expressionist painter who studied under Thomas Hart Benton (UARG:90,2,1)
1124. school at which Thomas Hart Benton taught from 1926 to 1935
the Art Students’ League (UARG:90,2,1)
1125. school at which Thomas Hart Benton taught from 1935 to 1941
the Kansas City Art Institute (UARG:90,2,1)
1126. Why was Thomas Hart Benton fired from the Kansas City Art Institute in 1941?
offensive statements he had made publicly (UARG:90,2,1)
1127. Thomas Craven
an art critic who supported Thomas Hart Benton (UARG:90,2,2)
1128. Why did Thomas Hart Benton’s association with Thomas Craven become problematic in the 1940s?
Thomas Craven was openly anti‐Semitic. (UARG:90,2,2)
1129. The Departure of the Joads
a famous Thomas Hart Benton lithograph (UARG:90,2,3)
1130. novel that The Departure of the Joads illustrates
The Grapes of Wrath (UARG:90,2,3)
1131. Between which TWO states are the Joads traveling in the scene depicted in The Departure of the Joads?
Oklahoma and California (UARG:90,2,3)
1132. What kind of moon is depicted in The Departure of the Joads?
1133. condition of the farmland in The Departure of the Joads
1134. building in The Departure of the Joads
a small, ramshackle house (UARG:90,2,4)
1135. Why is the portrayal of the figures in The Departure of the Joads unusual stylistically?
no faces are visible (UARG:90,2,4)
1136. vehicle in The Departure of the Joads
a truck (UARG:90,2,4)
1137. effect of obscuring the figures’ faces in The Departure of the Joads
leaving the image open to interpretation (UARG:90,2,4)
1138. activity of the men in The Departure of the Joads
loading the family’s possessions onto the truck (UARG:90,2,5)
1139. Where is the woman located in The Departure of the Joads?
sitting on the running board of the truck (UARG:90,2,5)
1140. Which character is most likely the woman in The Departure of the Joads?
Rose of Sharon (UARG:90,2,5)
1141. two characters represented by the children in The Departure of the Joads
Winfield and Ruthie (UARG:91,1,0)
1142. What characteristic is implied by the passive poses of the woman and children in The Departure of the Joads?
lack of agency (UARG:91,1,0)
1143. What attitude is implied by the figures conversing in the middle of The Departure of the Joads?
the anxiety associated with change (UARG:91,1,0)
1144. Which character is most likely the figure sitting by the house in The Departure of the Joads?
Muley Graves (UARG:91,1,0)
1145. company that commissioned Thomas Hart Benton to make promotional images for the film The Grapes of Wrath
Twentieth Century‐Fox (UARG:91,1,1)
1146. number of illustrations Thomas Hart Benton made of The Grapes of Wrath for Twentieth Century‐Fox
1147. company that commissioned Thomas Hart Benton to illustrate a special edition of The Grapes of Wrath
the Limited Edition Club (UARG:91,1,1)
1148. number of illustrations Thomas Hart Benton made of The Grapes of Wrath for the Limited Edition Club
1149. three attitudes towards moving west represented in The Departure of the Joads
confidently moving forward, hesitating, and steadfastly remaining at home (UARG:91,1,2)
1150. Jacob Lawrence
a famous 20th century painter (UARG:91,2,1)
1151. And the Migrants Kept Coming
a famous Jacob Lawrence painting (UARG:91,2,1)
1152. How did Jacob Lawrence’s perspective differ from that of the Regionalist painters?
was African‐American (UARG:91,2,1)
1153. What event does the series that includes And the Migrants Kept Coming portray?
the African‐American migration out of the South between the World Wars (UARG:91,2,1)
1154. two means through which the series that includes And the Migrants Kept Coming was shown to the general public
publication in a popular magazine and an exhibition tour (UARG:91,2,1)
1155. Jacob Lawrence’s city of birth
Atlantic City, New Jersey (UARG:91,2,2)
1156. What event led to Jacob Lawrence living in foster care in his childhood?
his parents’ separation (UARG:91,2,2)
1157. Where did Jacob Lawrence began taking formal art classes?
1158. museum at which Jacob Lawrence spent his free time in his youth
the Metropolitan Museum of Art (UARG:91,2,2)
1159. New Negro Movement
a group of African‐American artists, musicians, and writers who worked in Harlem during the 1920s and 1930s (UARG:91,2,3)
1160. Alain Locke
an African‐American philosopher who coined the term “New Negro Movement” with his book (UARG:91,2,3)
1161. “The Negro Speaks of Rivers”
a famous Langston Hughes poem (UARG:91,2,3)
1162. Charles Alston
a muralist who mentored Jacob Lawrence (UARG:91,2,4)
1163. Augusta Savage
a sculptor who mentored Jacob Lawrence (UARG:92,1,0)
1164. two places where Jacob Lawrence studied with Charles Alston
the Utopia Children’s House and the Harlem Art Workshop (UARG:92,1,0)
1165. At which branch of the New York Public Library did Jacob Lawrence study in the 1930s?
the 135th Street Branch (UARG:92,1,0)
1166. name eventually given to the 135th Street Branch of the New York Public Library
Schomburg Center for Research in Black Culture (UARG:92,1,0)
1167. school at which Jacob Lawrence continued his studies in 1936
the American Artists School (UARG:92,1,0)
1168. building in which Jacob Lawrence had his first solo show in 1938
the Harlem YMCA (UARG:92,1,0)
1169. government agency that hired Jacob Lawrence following his first solo show
the Works Progress Administration/ Federal Arts Project (UARG:92,1,0)
1170. two historical figures Jacob Lawrence created series of paintings on in 1938
Frederick Douglass and Harriet Tubman (UARG:92,2,0)
1171. college that hired Jacob Lawrence in 1946
Black Mountain College (UARG:92,2,1)
1172. university that hired Jacob Lawrence in 1970
University of Washington (UARG:92,2,1)
1173. Gwendolyn Knight
Jacob Lawrence’s wife (UARG:92,2,1)
1174. four social incentives for African‐Americans to leave the South between the World Wars
discrimination, limited education, poor health care, and inadequate housing
1175. environmental incentive for African‐Americans to leave the South between the World Wars
boll weevil infestations (UARG:92,2,2)
1176. three improvements African‐Americans sought by leaving the South between the World Wars
better jobs, education, and living conditions (UARG:92,2,3)
1177. the Great Migration
the northwards migration of 1.5 million African‐Americans between the World Wars (UARG:92,2,3)
1178. four cities to which African Americans migrated between the World Wars
New York, Detroit, Chicago, and Saint Louis (UARG:92,2,3)
1179. number of panels in Jacob Lawrence’s Great Migration series
1180. size of panels in Jacob Lawrence’s Great Migration series
12” x 18” (UARG:93,1,1)
1181. What feature accompanies the panels in Jacob Lawrence’s Great Migration series?
brief text that narrates the panels (UARG:93,1,1)
1182. orientation of the panel And the Migrants Kept Coming
1183. subject of And the Migrants Kept Coming
a group of African‐American men, women, and children (UARG:93,1,2)
1184. What feature separates the figures of And the Migrants Kept Coming from the viewer?
railroad tracks (UARG:93,1,2)
1185. What situation does the appearance of the figures in And the Migrants Kept Coming indicate?
1186. What TWO aspects of the figures in And the Migrants Kept Coming are unusual?
have no facial features and outlines blend together (UARG:93,1,2)
objects occupy the foreground in And the Migrants Kept Coming?
trunks and suitcases (UARG:93,1,2)
1188. effect of the facelessness and blending together of figures in And the Migrants Kept Coming
none of the figures seem like individuals (UARG:93,1,2)
1189. two materials used in And the Migrants Kept Coming
tempera paint and composition board (UARG:93,1,3)
1190. How did Jacob Lawrence select his color palette for his Great Migration series?
used inexpensive paint powders (UARG:93,1,3)
1191. two features Jacob Lawrence used to unify the panels of his Great Migration series
color palette and repeated motifs (UARG:93,1,4)
1192. Where in the series does And the Migrants Kept Coming fit?
at the end (UARG:93,1,4)
1193. two methods Jacob Lawrence used to create variety in his compositions
alternating close and distant viewpoints and vertical and horizontal compositions (UARG:93,1,4)
1194. What aspect of the Great Migration do the early panels of Jacob Lawrence’s Great Migration series illustrate?
the various causes for the migration (UARG:93,2,1)
1195. What aspect of the Great Migration do the later panels of Jacob Lawrence’s Great Migration series illustrate?
positive and negative aspects of life in the North (UARG:93,2,1)
1196. museum that owns the even numbered panels of Jacob Lawrence’s Great Migration series
the Museum of Modern Art (UARG:93,2,3)
1197. museum that owns the odd numbered panels of Jacob Lawrence’s Great Migration series
the Philips Collection (UARG:93,2,3)
1198. magazine that published some panels from Jacob Lawrence’s Great Migration series in 1941
Fortune magazine (UARG:93,2,4)
1199. museum at which the entire Great Migration series was exhibited before going on a nationwide tour
the Museum of Modern Art (UARG:93,2,4)
1200. Edward Hopper
a famous 20th century painter (UARG:94,1,1)
1201. How did Edward Hopper’s subjects differ from those of the Regionalists?
painted urban scenes (UARG:94,1,1)
1202. Edward Hopper’s town of birth
Nyack, New York (UARG:94,1,2)
1203. school at which Edward Hopper was formally educated in art
New York Institute of Art and Design (UARG:94,1,2)
1204. three artists who taught Edward Hopper
William Merritt Chase, Robert Henri, and John Sloan (UARG:94,1,2)
1205. Edward Hopper’s 1905 job
advertising illustrator (UARG:94,1,3)
1206. number of trips Edward Hopper made to Europe between 1906 and 1910
1207. aspect of Europe on which Edward Hopper focused during his trips
the Paris art scene (UARG:94,1,3)
1208. two main themes of Edward Hopper’s art
architecture and figures in shared spaces (UARG:94,1,3)
1209. emotion evoked by much of Edward Hopper’s art
the isolation of urban living (UARG:94,1,3)
1210. Josephine Nivison
Edward Hopper’s wife and manager (UARG:94,1,4)
1211. museum through which Edward Hopper first received critical acclaim in 1923
the Brooklyn Museum (UARG:94,1,4)
1212. number of pieces Edward Hopper contributed to the 1923 Brooklyn Museum exhibition
1213. museum that held a 1933 retrospective of Edward Hopper’s work
the Museum of Modern Art (UARG:94,1,4)
1214. How did the 1923 Brooklyn Museum exhibition change Edward Hopper’s lifestyle?
able to support himself through paintings (UARG:94,1,4)
1215. neighborhood in which Edward Hopper lived with his wife
Greenwich Village (UARG:94,2,0)
1216. two elements of Edward Hopper’s painting that evoke film stills
strong lighting and frozen poses (UARG:94,2,1)
1217. two of Edward Hopper’s dominant personality traits
silent and solitary (UARG:94,2,1)
1218. How did Thomas Hart Benton’s personality differ from that of Edward Hopper?
a famous Edward Hopper painting (UARG:94,2,2)
1220. location of the diner that formed the basis for Nighthawks
Greenwich Village, New York City (UARG:94,2,2)
1221. What feature of New York City contrasts with the composition of Edward Hopper’s Nighthawks?
1222. material of the walls of the diner in Nighthawks
1223. What part of the diner is not shown in Nighthawks?
the door (UARG:95,1,1)
1224. color of the employee’s clothes in Nighthawks
1225. color of the woman’s dress in Nighthawks
1226. color of the woman’s hair in Nighthawks
1227. drink the customers are consuming in Nighthawks
1228. two articles of clothing worn by the male customers in Nighthawks
hat and suit (UARG:95,1,2)
1229. content of the text in Nighthawks
advertising for Phillies cigars (UARG:95,1,3)
1230. two items conspicuously absent from the counter in Nighthawks
food and menus (UARG:95,1,3)
1231. objects placed against the back wall of the diner in Nighthawks
coffee tureens (UARG:95,1,3)
1232. color of the diner’s walls in Nighthawks
1233. shape of the diner’s counter in Nighthawks
1234. To where does the door in the diner in Nighthawks seem to lead?
the kitchen (UARG:95,1,3)
1235. edifice across from the diner in Nighthawks
a storefront (UARG:95,1,4)
1236. edifice above the storefront in Nighthawks
an apartment (UARG:95,1,4)
1237. What feature of the apartment above the storefront in Nighthawks indicates the presence of inhabitants?
open blinds (UARG:95,2,4)
1238. phrase used by Barbara Haskell to describe Edward Hopper’s work
“narrative of inaction” (UARG:95,1,5)
1239. What question do the frozen moments depicted in Edward Hopper’s work invite?
what the circumstances of the subjects are (UARG:95,1,5)
1240. How is the appearance of the diner in Nighthawks distinctive?
its openness (UARG:95,1,1)
1241. Which two figures in Nighthawks have an implied relationship?
the man and woman sitting together at the counter (UARG:95,1,5)
1242. How does Edward Hopper trace the edges of the buildings in Nighthawks?
hard lines (UARG:95,1,1)
1243. How is a relationship implied between the man and woman sitting together at the counter in Nighthawks?
hands are almost touching (UARG:95,1,2)
1244. What kind of light illuminates the sidewalk in Nighthawks?
1245. What feature is echoed by the curve of the counter in Nighthawks?
the curve of the building (UARG:95,1,1)
1246. In what position is the solitary man at the counter sitting in Nighthawks?
with his back to the viewer (UARG:95,1,2)
1247. What theme common to Edward Hopper’s work is represented in Nighthawks?
the human experience of the city (UARG:95,1,0)
1248. color of the employee’s hair in Nighthawks
1249. European art movement rejected by Edward Hopper