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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.
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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.
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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.
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Gustave Courbet is well known for developing and working in what style?
Gustave Courbet (1819-1877) was a French painter who reacted to the previous generation's bold romanticism and his contemporary critics' love of history painting by developing what he termed "realism." Courbet wished to use his painting to comment on social issues and values, which he felt were valuable topics on which a painter might focus. Courbet sought out landscapes, portraits, and still lifes that depicted the everyday in rough, honest brushstrokes.
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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.
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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.
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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 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 __________.
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 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?
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?
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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Who was the French artist who spent the last years of his life living in Polynesia and painting its inhabitants?
Paul Gauguin was an important Post-Impressionist whose early work experimented with color and symbolism, but Gauguin's work took on a new form after visiting Tahiti in the 1880s. Gauguin began capturing the culture of Polynesia and started using symbols of Polynesia and images of Polynesians themselves in his art. In the 1890s, he permanently moved to the island of Punaauia in French Polynesia, and painted more and more symbolic paintings that played with color and structure.
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The French painter who created large-scale history portraits in the Napoleonic era was __________.
Jacques-Louis David was Napoleon Bonaparte's official painter, and made both a famous portrait of an enthroned Napoleon and a large painting of Napoleon's coronation as Emperor. David came to prominence before the French Revolution, however, as a history painter depicting scenes from Ancient Rome on a grand scale. No matter his subject, David's work was well known for creating large pieces of art with extemely bold colors.
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Which of the following grouping of artists were NOT part of the same art movement?
Vincent van Gogh, Henri Matisse, and Joan Miró were all connected as artists through their use of color and experimentation with forms. Nonetheless, each artist developed his own unique style that largely stood apart from other artists. Van Gogh's postimpressionistic style built on impressionism, while Matisse and Miro's deconstruction of form and representation exploded many of impressionism's notions of art.
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The American photographer notable for his images of the American Civil War was __________.
The discipline of photography was brand new when the American Civil War began in 1861, and saw increased usage during the conflict. The pioneer in this shift was Matthew Brady, who was already a notable photographer of portraits, but who during the war began spending time on the battlefields. The slow shutter speeds of nineteenth century cameras did not allow him to take action shots, but Brady did manage to make many image's of the carnage of the war in the aftermath of battles.
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Which American artist is well-known for his paintings and sculptures of the American West?
Frederic Remington was a native New Yorker who began his career as a painter and illustrator for magazines after the Civil War. After going on assignment to illustrate a magazine article on the Apache leader Geronimo in 1886, Remington began to paint and sculpt images of the American West exclusively. Remington's style was naturalistic and empathetic to his subjects, and also had a natural ability to capture accurate movement. Remington's images of the Old West are some of the most famous images of cowboys and Native Americans.
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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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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 __________
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 __________
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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