Identifying artists, works, or schools of nineteenth-century 2D art - AP Art History
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All of the following painters were Impressionists except .
All of the following painters were Impressionists except .
Impressionism was a significant artistic movement developed in France during the late nineteenth century that utilized visible brushstrokes, representations of natural light, and everyday scenes. Challenging traditional ideas of art, the movement was initially derided by critics, but proved hugely influential. Its leading artists included Éduouard Manet, Claude Monet, Pierre-Auguste Renoir, and Paul Cézanne. Henri Matisse was a full generation younger than the impressionists, and was highly influenced by them, but helped develop modern art in the early twentieth century.
Impressionism was a significant artistic movement developed in France during the late nineteenth century that utilized visible brushstrokes, representations of natural light, and everyday scenes. Challenging traditional ideas of art, the movement was initially derided by critics, but proved hugely influential. Its leading artists included Éduouard Manet, Claude Monet, Pierre-Auguste Renoir, and Paul Cézanne. Henri Matisse was a full generation younger than the impressionists, and was highly influenced by them, but helped develop modern art in the early twentieth century.
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The above painting is representative of what artistic movement?
The above painting is representative of what artistic movement?
This painting, Edgar Degas' "The Dance Lesson," was painted in 1879 and is a classic representation of impressionism. With its visible and broad brush strokes and its detached point of view, this painting features the hallmarks of impressionism, a painting style developed in France in the late nineteenth century. Degas preferred to call his artistic style "realism," because he believed his method of painting captured the realistic emotion of a scene, if not an exact representation of it.
This painting, Edgar Degas' "The Dance Lesson," was painted in 1879 and is a classic representation of impressionism. With its visible and broad brush strokes and its detached point of view, this painting features the hallmarks of impressionism, a painting style developed in France in the late nineteenth century. Degas preferred to call his artistic style "realism," because he believed his method of painting captured the realistic emotion of a scene, if not an exact representation of it.
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Who of the following artists was known for his "orientalist" paintings?
Who of the following artists was known for his "orientalist" paintings?
Delacroix was a famous nineteenth-century painter known for his orientalist paintings, which illustrated Middle Eastern culture and lifestyle to a Western audience.
Delacroix was a famous nineteenth-century painter known for his orientalist paintings, which illustrated Middle Eastern culture and lifestyle to a Western audience.
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Of which nineteenth-century painter is this a self portrait?
Of which nineteenth-century painter is this a self portrait?
Even if the image is not instantly recognizable as Vincent van Gogh, the piece of art has many of his hallmarks. This 1889 self-portrait features expressive colors, deep texture in the paint, and an emotional style. Van Gogh was one of the premier post-impressionists of the late nineteenth century, who took the emotional and innovative elements of Impressionism to new artistic ground.
Even if the image is not instantly recognizable as Vincent van Gogh, the piece of art has many of his hallmarks. This 1889 self-portrait features expressive colors, deep texture in the paint, and an emotional style. Van Gogh was one of the premier post-impressionists of the late nineteenth century, who took the emotional and innovative elements of Impressionism to new artistic ground.
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The above work of art is an example of the artistic movement known as .
The above work of art is an example of the artistic movement known as .
This painting, an 1899 self-portrait by Vincent van Gogh, stands firmly in the tradition of post-impressionism. Post-impressionists took many of the elements of the Impressionists of a generation earlier, including visible brushstrokes, emotional concerns, and everyday scenes, and pushed them further. As seen in this work, the paint is extremely thick and textured, with bright, almost unrealistic colors sharpening the image.
This painting, an 1899 self-portrait by Vincent van Gogh, stands firmly in the tradition of post-impressionism. Post-impressionists took many of the elements of the Impressionists of a generation earlier, including visible brushstrokes, emotional concerns, and everyday scenes, and pushed them further. As seen in this work, the paint is extremely thick and textured, with bright, almost unrealistic colors sharpening the image.
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The Hudson River School was a group of artists known for making what kind of paintings?
The Hudson River School was a group of artists known for making what kind of paintings?
The Hudson River School was a group of painters in the early part of the nineteenth century who gathered in communities along the Hudson River in New York. These artists were heavily inspired by the romantic movement coming out of Europe and painted dramatic landscapes. Prominent members of the Hudson River School were Thomas Cole, Asher Durand, and Frederic Edwin Church.
The Hudson River School was a group of painters in the early part of the nineteenth century who gathered in communities along the Hudson River in New York. These artists were heavily inspired by the romantic movement coming out of Europe and painted dramatic landscapes. Prominent members of the Hudson River School were Thomas Cole, Asher Durand, and Frederic Edwin Church.
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The French painter who was the official painter for the rule of the Emperor Napoleon I was .
The French painter who was the official painter for the rule of the Emperor Napoleon I was .
Jacques-Louis David first made a name for himself as a historical painter in the 1780s, but his republican sympathies meant he was allied with French revolutionaries. This benefitted him most by allowing him to become the Emperor Napoleon's official court painter. Famous for his portraits of Napoleon, and particularly his large Coronation of Napoleon from 1806, David's style featured bold expressions, bright colors, and dramatic poses.
Jacques-Louis David first made a name for himself as a historical painter in the 1780s, but his republican sympathies meant he was allied with French revolutionaries. This benefitted him most by allowing him to become the Emperor Napoleon's official court painter. Famous for his portraits of Napoleon, and particularly his large Coronation of Napoleon from 1806, David's style featured bold expressions, bright colors, and dramatic poses.
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The above photography was made by which notable American artist?
The above photography was made by which notable American artist?
The work of Matthew Brady during the American Civil War pioneered many notable aspects of photography, which was still a new medium and had mostly been devoted to portraiture. Brady's willingness to document the Civil War by going to battlefields reframed the possibilities for photography, notably allowing for the development of photojournalism.
The work of Matthew Brady during the American Civil War pioneered many notable aspects of photography, which was still a new medium and had mostly been devoted to portraiture. Brady's willingness to document the Civil War by going to battlefields reframed the possibilities for photography, notably allowing for the development of photojournalism.
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Who was the painter who chronicled the wildlife, particularly birds, of nineteenth century America?
Who was the painter who chronicled the wildlife, particularly birds, of nineteenth century America?
John James Audubon was a Frenchman who came to America in 1803 to avoid the Napoleonic Wars. He made a name for himself in the early nineteenth century as a painter of wildlife and landscapes of the then vast American frontier. His The Birds of America, published in sections between 1827 and 1838, not only was a remarkable work of art by an American artist, but helped ornithology immensely in understanding avian wildlife in America.
John James Audubon was a Frenchman who came to America in 1803 to avoid the Napoleonic Wars. He made a name for himself in the early nineteenth century as a painter of wildlife and landscapes of the then vast American frontier. His The Birds of America, published in sections between 1827 and 1838, not only was a remarkable work of art by an American artist, but helped ornithology immensely in understanding avian wildlife in America.
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The artistic movement known as Impressionism began in which country?
The artistic movement known as Impressionism began in which country?
Impressionism grew popular in the nineteenth century as a reaction to France's main artistic competition, the Salon de Paris. The Salon's judges valued grand themes, realistic portrayals, and fine brushwork, whereas the Impressionists focused on everyday scenes, emotional depictions, and visible, thick brushstrokes. Some of the major impressionists include Paul Cézanne, Édouard Manet, Pierre-Auguste Renoir, and Claude Monet.
Impressionism grew popular in the nineteenth century as a reaction to France's main artistic competition, the Salon de Paris. The Salon's judges valued grand themes, realistic portrayals, and fine brushwork, whereas the Impressionists focused on everyday scenes, emotional depictions, and visible, thick brushstrokes. Some of the major impressionists include Paul Cézanne, Édouard Manet, Pierre-Auguste Renoir, and Claude Monet.
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Figure 1 Figure 2
Both works of art were painted by .
Figure 1 Figure 2
Both works of art were painted by .
Each of these paintings, in different ways, demonstrate key elements of the style of Vincent van Gogh (1853-1890). Van Gogh was a post-impressionist who used impressionism's painting techniques in his own peculiar manner. Both of these paintings show Van Gogh's thick use of paint and obvious brushwork, while the painting shown in Figure 1, The Starry Night (1889), is indicative of Van Gogh's angular landscapes, and the painting shown in Figure 2, Portrait of Père Tanguy (1887-8), is indicative of his unique approach to portraits.
Figure 1: The Starry Night by Vincent van Gogh (1889)
Figure 2: Portrait of Père Tanguy by Vincent van Gogh (1887-8)
Each of these paintings, in different ways, demonstrate key elements of the style of Vincent van Gogh (1853-1890). Van Gogh was a post-impressionist who used impressionism's painting techniques in his own peculiar manner. Both of these paintings show Van Gogh's thick use of paint and obvious brushwork, while the painting shown in Figure 1, The Starry Night (1889), is indicative of Van Gogh's angular landscapes, and the painting shown in Figure 2, Portrait of Père Tanguy (1887-8), is indicative of his unique approach to portraits.
Figure 1: The Starry Night by Vincent van Gogh (1889)
Figure 2: Portrait of Père Tanguy by Vincent van Gogh (1887-8)
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Figure 1 Figure 2
The painter of these works had a large influence on .
Figure 1 Figure 2
The painter of these works had a large influence on .
Expressionism flourished in Northern Europe, particularly Germany, in the 1890s, after Vincent van Gogh had killed himself in 1890. Nonetheless, van Gogh was an important progenitor for Expressionism, which sought a completely subjective approach to representation in art. Many Expressionists picked up on van Gogh's brushwork, as well as his vivid use of color.
Figure 1: The Starry Night by Vincent van Gogh (1889)
Figure 2: Portrait of Père Tanguy by Vincent van Gogh (1887-8)
Expressionism flourished in Northern Europe, particularly Germany, in the 1890s, after Vincent van Gogh had killed himself in 1890. Nonetheless, van Gogh was an important progenitor for Expressionism, which sought a completely subjective approach to representation in art. Many Expressionists picked up on van Gogh's brushwork, as well as his vivid use of color.
Figure 1: The Starry Night by Vincent van Gogh (1889)
Figure 2: Portrait of Père Tanguy by Vincent van Gogh (1887-8)
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Figure 1
Figure 2
These pictures are emblematic of the painting style known as
Figure 1
Figure 2
These pictures are emblematic of the painting style known as
Gustave Courbet was the figure in developing realism as a specific artistic genre, which sought clear depictions of everyday life in an uncompromising manner. Courbet's The Desperate Man makes the viewer confront the madness in the eyes of the painter himself, while The Meeting shows Courbet venturing to find his art dealer in the South of France. Both are executed with fastidious lines and clear colors that capture the image portrayed exactly.
Gustave Courbet was the figure in developing realism as a specific artistic genre, which sought clear depictions of everyday life in an uncompromising manner. Courbet's The Desperate Man makes the viewer confront the madness in the eyes of the painter himself, while The Meeting shows Courbet venturing to find his art dealer in the South of France. Both are executed with fastidious lines and clear colors that capture the image portrayed exactly.
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Figure 3
Figure 4
These two paintings are representative of the artistic style of
Figure 3
Figure 4
These two paintings are representative of the artistic style of
These paintings are paragons of Impressonism done by two of its foremost practitioners. Figure 1 is one of Claude Monet's studies of Rouen Cathedral, from 1888, while Figure 2 is one of Paul Cezanne's still lifes from 1899. Impressionism sought to depict emotional realism and perceptual limitations in its works by creating less than perfect representations of images with obvious brushstrokes, and by focusing on more mundane, everyday subjects.
These paintings are paragons of Impressonism done by two of its foremost practitioners. Figure 1 is one of Claude Monet's studies of Rouen Cathedral, from 1888, while Figure 2 is one of Paul Cezanne's still lifes from 1899. Impressionism sought to depict emotional realism and perceptual limitations in its works by creating less than perfect representations of images with obvious brushstrokes, and by focusing on more mundane, everyday subjects.
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Thomas Cole is most closely associated with the school of art known as .
Thomas Cole is most closely associated with the school of art known as .
The Hudson River School is the first wide scale artistic movement to be produced in America. Developed in the early nineteenth century, the Hudson River School was spearheaded by Thomas Cole, who was British born, but who largely grew up and was trained in America. Cole's sweeping landscapes of the Hudson River Valley both proved inspirational to the movement's other artists and gave the school its name.
The Hudson River School is the first wide scale artistic movement to be produced in America. Developed in the early nineteenth century, the Hudson River School was spearheaded by Thomas Cole, who was British born, but who largely grew up and was trained in America. Cole's sweeping landscapes of the Hudson River Valley both proved inspirational to the movement's other artists and gave the school its name.
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The late-nineteenth-century American painter whose realistic portraiture was out of step with the impressionism of the art world at the time was .
The late-nineteenth-century American painter whose realistic portraiture was out of step with the impressionism of the art world at the time was .
John Singer Sargent was the premier portrait painter in America in the late nineteenth century, largely thanks to his realistic and dramatic style of painting. This style, though, was also completely at odds with the Impressionism and then Post-Impressionism that became immensely popular in the last two decades of the nineteenth century. Sargent was unappreciated for years, with his star only rising again in the late twentieth century, decades after his death.
John Singer Sargent was the premier portrait painter in America in the late nineteenth century, largely thanks to his realistic and dramatic style of painting. This style, though, was also completely at odds with the Impressionism and then Post-Impressionism that became immensely popular in the last two decades of the nineteenth century. Sargent was unappreciated for years, with his star only rising again in the late twentieth century, decades after his death.
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Gustave Courbet's "A Burial at Ornans" was a departure from previous standards of French art for all of the following reasons EXCEPT .
Gustave Courbet's "A Burial at Ornans" was a departure from previous standards of French art for all of the following reasons EXCEPT .
In the first half of the nineteenth century, French art was dominated by an academic system that favored history scenes depicted on an epic scale on wall-sized canvases. Courbet's "A Burial at Ornans" flew in the face of these trends by presenting an ordinary burial, Courbet's uncle's funeral, in Courbet's hometown. To heighten the sense of realism, Courbet used actual townsfolk as his models and included a dog prominently in the foreground.
In the first half of the nineteenth century, French art was dominated by an academic system that favored history scenes depicted on an epic scale on wall-sized canvases. Courbet's "A Burial at Ornans" flew in the face of these trends by presenting an ordinary burial, Courbet's uncle's funeral, in Courbet's hometown. To heighten the sense of realism, Courbet used actual townsfolk as his models and included a dog prominently in the foreground.
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The court painter for Napoleon Bonaparte, who captured his coronation as Emperor on a massive scene, was .
The court painter for Napoleon Bonaparte, who captured his coronation as Emperor on a massive scene, was .
Jacques-Louis David was a French painter trained before the French Revolution. He was a close friend of Revolutionaries, making his career uncertain through the 1790s. His fortunes changed, however, when he caught the attention of Napoleon Bonaparte due to his precise portraiture and ability to handle large-scale scenes. One of his most famous works, The Coronation of Napoleon, portrays the Emperor's ascension to the title, and depicts a number of luminaries of the time.
Jacques-Louis David was a French painter trained before the French Revolution. He was a close friend of Revolutionaries, making his career uncertain through the 1790s. His fortunes changed, however, when he caught the attention of Napoleon Bonaparte due to his precise portraiture and ability to handle large-scale scenes. One of his most famous works, The Coronation of Napoleon, portrays the Emperor's ascension to the title, and depicts a number of luminaries of the time.
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Which artistic movement took its name from a Claude Monet painting of the port of Le Havre, France?
Which artistic movement took its name from a Claude Monet painting of the port of Le Havre, France?
Claude Monet was part of a group of artists, including Edouard Manet, Edgar Degas, Camille Pisarros, Paul Cézanne, that challenged the artistic conventions of the time with scenes of everyday life painted with vivid brushstrokes. At a gallery exhibition of 1874, Monet presented a scene of the harbor at Le Havre entitled Impression, Sunrise. Derisively, the critic Louis Leroy gave the entire group the name "the Impressionists" after viewing the exhibition, based on the title of Monet's painting.
Claude Monet was part of a group of artists, including Edouard Manet, Edgar Degas, Camille Pisarros, Paul Cézanne, that challenged the artistic conventions of the time with scenes of everyday life painted with vivid brushstrokes. At a gallery exhibition of 1874, Monet presented a scene of the harbor at Le Havre entitled Impression, Sunrise. Derisively, the critic Louis Leroy gave the entire group the name "the Impressionists" after viewing the exhibition, based on the title of Monet's painting.
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The nineteenth-century American painter who frequently titled paintings with the terms "Arrangement," "Symphony," and "Nocturne" was named .
The nineteenth-century American painter who frequently titled paintings with the terms "Arrangement," "Symphony," and "Nocturne" was named .
The American painter James Abbott McNeill Whistler was famous for his advocating the so-called "art for art's sake" ethos. This meant that Whistler mostly abjured political or social themes, and often compared his work to musical compositions in terms of mood and tone. Whistler's famous portrait of his mother was actually officially entitled Arrangement in Grey and Black No. 1.
The American painter James Abbott McNeill Whistler was famous for his advocating the so-called "art for art's sake" ethos. This meant that Whistler mostly abjured political or social themes, and often compared his work to musical compositions in terms of mood and tone. Whistler's famous portrait of his mother was actually officially entitled Arrangement in Grey and Black No. 1.
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