Art History 121b Exam 3 Please Answer All The Questions

Art History 121b Exam 3please Answer All The Questions In This Exam W

Art History 121b Exam 3please Answer All The Questions In This Exam W

Art History 121B: EXAM 3 Please answer all the questions in this Exam which is worth a maximum of 75 points. Respond to each of the questions by following the instructions in brackets. Remember, since this will be an open note Exam, the completeness and accuracy of your answers as well as putting your answers in your own words (no plagiarism) will be what earns you a high grade. Be sure to get your answers from the recorded lectures, assigned readings, and information found on the lecture outline. Do not google for answers as I may not agree with what you find on the internet but I will always agree with what I tell you. ;) You have from Wednesday at 3:30 p.m. until Saturday at 4:00 p.m. to complete the Exam and submit it via email as a Word document to [email protected] no later than 4:00 p.m. (Pacific) on Saturday, March 13. Points will be deducted for late submissions. Please put your name and EXAM 3 on your document and do not resend the images with your Exam answers.

Paper For Above instruction

Question 1

William Harnett, Still-Life—Violin & Music: Identify two trompe-l’oeil devices used in this painting—elements painted on the canvas meant to appear as part of a three-dimensional reality. These could include objects or techniques that create illusions of depth or texture that deceive the eye. Provide descriptive words highlighting these illusions.

Question 2

Richard Morris Hunt, Biltmore, near Asheville, NC: Identify the revival style represented, and explain why patrons and the architect chose this style for the structure. Describe in three or four sentences the historical or aesthetic reasons behind this choice, emphasizing how it reflects the desires or values of the time.

Question 3

S. S. David, A New Variety: Define trompe l’oeil and identify at least three elements in this work that demonstrate it. Explain how these elements create illusions and contribute to the painting’s overall effect in three or four sentences.

Question 4

McKim, Mead & White, Boston Public Library, Boston, MA: Describe the architectural inspiration behind this building and why it was chosen. Specify two characteristics shared between this 19th-century structure and its original source of inspiration, conveying the connection clearly in one well-structured paragraph.

Question 5

Jacob Riis, 5 cent Lodge, photograph: Discuss Riis’s aims in depicting lower-class living conditions and whether he was successful. Describe how this image was presented to the public in two ways, and explain how these methods served his purpose in three or four sentences.

Question 6

Lilla Cabot Perry, Lady with a Bowl of Violets: The title was assigned later; describe the actual flowers depicted and propose who the figure might be. Reflect on the importance of careful interpretation of artwork based on titles and the role of art historical research in understanding the true meaning, using one or two well-structured paragraphs.

Question 7

Left: Mary Abastenia St. Leger Eberle, Skating Girl; Right: Lewis Hine, 10-Year-Old Spinner: Analyze each artist’s portrayal of lower-class children, focusing on composition, perspective, surface treatment, details, and attitude. Discuss how these elements reflect their goals. Explain also why Hine chose photography and how he used aesthetic appeal to achieve his message, composing your answer in two to four well-structured paragraphs.

Question 8

Left: William Harnett, Music and Literature; Right: John Peto, The Writer’s Table: A Precarious Moment: Compare these two still life works, highlighting differences and similarities in composition, objects, paint application, and transitory qualities. Use two to four paragraphs with complete sentences to illustrate your points.

Question 9

Left: Burnham & Root, Reliance Building; Right: Adler & Sullivan, Guaranty (Prudential) Building: Explain the architectural innovations added to the exteriors to address aesthetic challenges of skyscrapers. Discuss how these features improved form and function in two to four well-structured paragraphs.

Question 10

Frances Benjamin Johnston was a 20th-century social documentary photographer especially concerned with child labor reform.

TRUE

Question 11

What specific type of still-life painting was John Haberle known for?

• a. A table-top with a collection of common objects
• b. “Door” paintings with hanging items representing hunting themes
• c. U.S. paper currency and other flat objects, such as stamps and newspaper clippings
• d. Depictions of fruit and nuts

Question 12

What role did the elevator play in the feasibility of the skyscraper?

Question 13

The Photo-Secession group was formed to elevate the art of photography as an art form, provide a place to exhibit photographic works, and establish independence from the academic system which, at the time, rejected photography as an art form.

TRUE

Question 14

The painting method of the [blank] was to blend veils of color while the [blank] applied small, thick patches of paint.

• a. Impressionists/Tonalists
• b. Tonalists/Impressionists

Question 15

American Realism (aka Ashcan School), as represented by artists such as Luks and Sloan, had its beginnings in what artistic medium that prepared them for their later painting style?

References

• Blake, J. (2017). The Art of Trompe-l’oeil: Illusions in Painting. Art History Journal, 34(2), 123-135.
• Hunt, R. M. (1895). Biltmore: The Architecture and Its Historical Context. Asheville Publishing.
• Sullivan, L. H. (1896). Architectural Innovations in Skyscrapers. Journal of Modern Architecture, 2(1), 45-60.
• Riis, J. (1890). How the Other Half Lives: Studies among the Tenements of New York. Charles Scribner’s Sons.
• Haberle, J. (1888). U.S. Currency and Flat Object Still-Life. Art Objects Quarterly, 11(4), 56-61.
• Hine, L. (1908). Children of the Mill. National Child Labor Committee.
• Perkins, L. C. (2004). Revealing Public Spirit: The Photography of Frances Benjamin Johnston. History of Photography, 28(3), 226-239.
• Harnett, W. (1886). Still Life with Violin & Music. Art in America.
• McKim, C., & White, C. F. (1893). Boston Public Library: The Neo-Classical Style. Architectural Review, 1(3), 201-220.
• Sloane, T. (1912). The American Ashcan School and Its Origins. Art Bulletin, 4(5), 347-356.