writing
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 cgarfinkle@ucsb.edu 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.
1. William Harnett, Still-Life—Violin & Music
Q: Point to two trompe-l’oeil devices used in this painting—meaning things that are actually painted on the canvas but that are meant to appear to be part of our three-dimensional reality. [Answer with a few words.] 4 points
2. Richard Morris Hunt, Biltmore, near Asheville, NC
Q: Which revival style is represented here and why did the patrons and architect select the style they did for this structure? [Answer with three or four sentences.] 5 points
3. S. S. David, A New Variety
Q: Define trompe l’oeil and point to at least three elements in this work that represent it. [Answer with three or four sentences.] 5 points
4. McKim, Mead & White, Boston Public Library, Boston, MA
Q: What type of building inspired this one and why was it selected? Be specific. Point to two characteristics this 19th century building shares with its original source of inspiration. [Answer with one well-structured paragraph and in complete sentences.] 6 points
5. Jacob Riis, 5 cent Lodge, photograph
Q: What did Riis hope to achieve with this depiction of lower-class living conditions and was he successful? In what two ways was this image presented to the public? [Answer with three or four sentences.] 6 points
6. Lilla Cabot Perry, Lady with a Bowl of Violets
Q: Lady with a Bowl of Violets was not the title originally given to this painting by its artist but was a later description of what someone saw. What type of flowers are actually depicted on the fireplace mantelshelf in the painting and who might the figure actually be?
What does this tell us about the need for care when interpreting works based on their applied titles and the value of art historical research? This last question is not necessarily from the lecture but is seeking your reasonable assessment. [Answer with one to two well-structured paragraphs and in complete sentences.] 7 points
7. left: Mary Abastenia St. Leger Eberle, Skating Girl, bronze right: Lewis Hine, 10-Year-Old Spinner, photograph
Q: What did each artist hope to show with their depiction of a lower-class child? Describe each work in terms of its elements of composition (perspective/view, surface treatment/texture or tonal effects, details included, attitude of the figure, etc.) where appropriate. How did each artist use these compositional elements to achieve their goals? Why did the artist on the right select the medium that they did and make the image aesthetically pleasing? [Answer with two to four well-structured paragraphs and in complete sentences.] 10 points
left right
left right
8. left: William Harnett, Music and Literature right: John Peto, The Writer’s Table: A Precarious Moment
Q: Compare these two still life paintings in terms of composition, types of objects used and how they are depicted, the application of paint, and any transient (momentary) quality included. [Answer with two to four well-structured paragraphs and in complete sentences.] 10 points
left right
9. left: Burnham & Root; Atwood, Reliance Building, Chicago, IL right: Adler & Sullivan, Guaranty (Prudential) Building, Buffalo, NY
Q: What details or innovations have the architects added to the exteriors of their buildings to solve the aesthetic problems of skyscraper architecture? [Answer with two to four well-structured paragraphs and in complete sentences.] 10 points
No images will be shown for this section. Answer the following questions. 2 points each
10. Frances Benjamin Johnston was a 20th century social documentary photographer especially concerned with child labor reform. TRUE FALSE
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
12. What role did the elevator play in the feasibility of the skyscraper?
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 FALSE
14. The painting method of the was to blend veils of color while the applied small, thick patches of paint.
a. Impressionists/Tonalists b. Tonalists/Impressionists
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?