Art Fundamentals history try to achieve? What goal does a ......Mesolithic rock shelter paintings Art Fundamentals from Paleolithic cave paintings? The depiction of the human figure

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What goal does a study of arthistory try to achieve?

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To understand art and its meaning in itshistorical context

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What FOUR factors are consideredin the study of a work of art?

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Formal qualities, function, artist and patrongoals, and audience

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To what THREE disciplines is arthistory closely related?

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Anthropology, history, and sociology

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With which TWO fields does arthistory sometimes overlap?

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Aesthetics and art criticism

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Aesthetics

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The philosophical inquiry into the natureand expression of beauty

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Art criticism

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The explanation of current art events tothe public via the press

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What type of media do modern arthistorians consider "art"?

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Visual material with meaning or aestheticappeal

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On what kind of art did past arthistorians primarily focus?

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Fine art

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What FIVE media types qualify asfine art?

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Paintings, prints, drawings, sculpture, andarchitecture

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What types of artworks, dismissedby earlier art historians, are nowincluded in our definition of "art"?

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Crafts

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What THREE types of artworks areconsidered crafts?

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Textiles, pottery, and body art

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What FOUR objects are sometimesincluded in art history that may notbe considered art by their audience?

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Mass-produced posters and advertisements,telephones, forks, and furniture

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Three crafts considered art bymodern art historians

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Textiles, pottery, and body art

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Concepts

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What TWO modes are used inhistorical analysis of art?

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Formal analysis and contextual analysis

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Concepts

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Formal analysis

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Analysis of the visual qualities of anartwork

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What basic assumption informsformal analysis of art?

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The artist makes decisions on the visualaspects of an artwork that can revealmeaning of the piece.

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What TWO skills are necessary forformal analysis?

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Observation and description

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Contextual analysis

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Looking outside of the artwork itself todetermine its meaning

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Concepts

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What FOUR historical facets doescontextual analysis examine?

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Cultural, social, religious, and economiccontext of an artwork

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What FIVE aspects of context mayart historians examine?

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Patronage, viewer access, physical location,cost, and subject matter

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What assumption does art historymake as it examines changes in

style over time?

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One generation of artists impacts the next

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How do art historians often begintheir analysis of a work of art?

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Close examination of the work

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Why is direct examination of a workbetter than examination of a

reproduction?

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Allows examination of all of the art'squalities

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What THREE qualities of an artworkare lost when examining a

reproduction?

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Size, texture, and some color quality

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Why might an art historian chooseto examine a reproduction instead

of the original work?

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Lost or damaged original

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Concepts

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What artistic sources may arthistorians examine to understand

the context of an artwork?

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Associated studies such as sketches andother works by the same artist orcontemporaries

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Concepts

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What THREE written sources mayart historians use in contextual

examination?

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Letters between the artist and patron,other documents regarding the artwork'scommission, and art criticism

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Concepts

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What THREE factors may arthistorians consider when determining

the context of a work?

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Costs of materials, the function of thework, and literature, music, theater, andhistory of the time period

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Concepts

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What TWO methods may arthistorians use to immerse

themselves in an artistic context?

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Interviews with artists and consumers ofart and participant observation

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When did art history begin as anacademic discipline?

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The mid 18th century

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Dates

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Pliny the Elder (23-79 C.E.)

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Roman historian who sought to analyzehistorical and contemporary art

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Art

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Book by Pliny the Elder analyzing historicaland contemporary art

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People

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Giorgio Vasari (1511-74)

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Italian author and artist who wrote

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Johann Joachim Winckelmann

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Enlightenment scholar who shifted thefocus of art history to study of stylisticdevelopment over time

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People

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Aspect of art analysis receivingincreasing emphasis in the 19th and

20 th centuries

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The relationship between formal qualitiesof a work and its context

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Concepts

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Group that recently proposed arevised view of art history

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Feminist art historians

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What trend have feminist historiansnoticed in traditional art history?

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A focus on white men

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How has art history as a disciplinechanged in response to revisionist

views?

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Increasingly international, multicultural, andinclusive

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What major trend is observable inthe changing focus of art history

over time?

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Artistic genius and individualism hasdiminished while "visual culture" hasincreased.

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Concepts

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How have we gleaned most of ourinformation about the earliest

humans?

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Artifacts from earlier cultures

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Materials of most surviving ancientartworks

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Stone, metal, or fired clay

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Processes

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How do environmental factorsinfluence the preservation of

artifacts?

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Dry climates preserve, humid areas causedeterioration

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Processes

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Why has art history tended to focuson Western art?

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Best-preserved and most easily-accessibleartworks.

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Concepts

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Where is the Chauvet Cave?

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Southeastern France

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When were the Chauvet Cavepaintings made?

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30,000 B.C.E.

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When were the Chauvet Cavepaintings discovered?

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1994

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What TWO materials were used inthe Chauvet Cave paintings?

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Red ochre and black charcoal

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What FIVE animals are depicted inthe Chauvet Cave paintings?

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Horses, rhinoceros, lions, buffalos, andmammoths

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In what age were the Chauvet Cavepaintings created?

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The Old Stone Age

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In what TWO countries have cavepaintings been discovered?

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France and Spain

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Location of the most famous latercave paintings

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Lascaux and Altamira

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When were the later cave paintingscreated?

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C. 13,000-11,000 B.C.E.

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What opinion did scholars originallyhold towards the cave paintings?

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Considered scribbling by primitive cavemen.

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What belief do scholars now holdabout the cave paintings?

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Created by skilled artists and served ritualfunctions.

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(or )

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The most famous Old Stone Age fertilitysculpture

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What THREE exaggerated physicalcharacteristics do the Old StoneAge fertility sculptures possess?

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Bellies, breasts, and pubic areas

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What THREE physical characteristicsdo the Old Stone Age fertility

sculptures lack?

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Facial features, feet, well-defined arms

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Environmental factor separating theOld from the Middle Stone Age

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Warmer climate

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How did the warmer climate of theMiddle Stone Age influence

Mesolithic art?

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Cave dwellers built rock shelters wherethey painted.

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When were the Mesolithic rockshelter paintings created?

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From around 7000 B.C.E. to about 4000B.C.E.

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What element separates theMesolithic rock shelter paintingsfrom Paleolithic cave paintings?

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The depiction of the human figure

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Which TWO art forms are mostoften linked with the Neolithic

period?

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Rings or rows of stones in WesternEurope

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When were the earliest Neolithicstone formations created?

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4000 B.C.E.

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Megaliths

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The stones used in creating Neolithicstone formations

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Term

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Megalithic

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Civilizations that created Neolithic stoneformations

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Term

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How large are megaliths?

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Up to 17 feet tall and 50 tons in weight

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The most well-known megalithic

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Stonehenge

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Location of Stonehenge

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On Salisbury Plain in Wiltshire, England

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When was Stonehenge built?

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Between 2000 and 1000 B.C.E

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What TWO materials are used inStonehenge?

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Sarsen and "bluestones"

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Sarsen

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A form of sandstone

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Term

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Bluestones

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Stones indigenous to the region aroundStonehenge

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What arrangement of stones isfound in the outer ring of

Stonehenge?

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Huge sarsen pieces arranged inpost-and-lintel construction

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What material makes up the secondoutermost ring of Stonehenge?

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Bluestones

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What arrangement of stones isfound in the innermost ring of

Stonehenge?

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A horseshoe-shaped row of fivelintel-topped sarsen stones

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Where are the largest stones inStonehenge found?

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In the innermost ring

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Where is the "heel-stone" relative toStonehenge?

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To the east of Stonehenge

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What location does the "heel-stone"mark in relation to Stonehenge?

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The place where the sun rises on themidsummer solstice, as seen from thecenter of Stonehenge

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Where is Mesopotamia?

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The valley between the Tigris andEuphrates Rivers

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What geographic characteristicweakened the Mesopotamian

civilizations?

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A lack of natural barriers to ward offinvaders

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For what TWO reasons do so fewexamples of Mesopotamian art

exist?

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Perishable materials and conflicts

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Places

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Which civilization lived inMesopotamia from 4000 to 2340

B.C.E.?

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The Sumerians

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The central aspect of Sumerian life

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Religion

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Groups

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Ziggurats

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Temple-like structures that developed outof Mesopotamian platforms

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Took over Sumer around 2340B.C.E.

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Sargon of Akkad

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Dates

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How did the Akkadians deal withSumerian culture?

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Assimilation

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Akkadian equivalent of Sumerianloyalty to the state

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Loyalty to the king

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Groups

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Who overthrew the Akkadiansaround 2150 B.C.E.?

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The Guti

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Groups

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How did the Akkadian loyalty to theking affect Akkadian art?

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Akkadians erected sculptures of their rulers.

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Took control of Sumer about 60years after the Guti invasion

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Sumerians

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Was named king when theSumerians retook control of Sumer

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King Ur

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People

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The greatest known works of theSumerian reestablishment period

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Ziggurats built at city centers

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What THREE purposes did zigguratsserve?

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Temples and administrative and economiccenters

UARG:9,2,1

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City-state that conqueredMesopotamia in 1792 B.C.E.

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Babylonia

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King of Babylonia during itsconquest of Mesopotamia?

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Hammurabi

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People

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Hammurabi's enduring legalachievement

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Codification of Babylonian law into theCode of Hammurabi.

UARG:9,2,2

People

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What TWO artworks fromHammurabi's rule are best-known

today?

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A stone stele engraved with Hammurabi'scode and a relief sculpture of Hammurabi

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Location of the stone stelecontaining Hammurabi's code

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The Louvre Museum

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Works

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Civilization that dominated northernMesopotamia from 900 to 600

B.C.E.

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The Assyrians

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Most notable medium of Assyrianartwork

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Relief carvings

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Processes

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Civilization which controlledMesopotamia between 612 and 538

B.C.E.

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Babylonia

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Places

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Two important architecturalconstructs built during the

Neo-Babylonian period

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The hanging gardens and the Ishtar Gate

UARG:10,1,1

Works

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Architectural style that influenced thedesign of the palace at Persepolis

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Egyptian

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Styles

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Four major works produced duringthe Ancient Egyptian period

Art

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Sphinx, pyramids of Giza, Pharaoh statues,and head of Queen Nefertiti

UARG:10,2,2

Works

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Hierarchical scale

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Determining figures' relative size in anartwork according to their social status

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Styles

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Egyptian artifact exemplifying theuse of hierarchical scale

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The Palette of King Narmer

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Works

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Function of the Palette of KingNarmer

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Mixing cosmetics

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Works

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Main image on the Palette of KingNarmer

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Narmer holding the hair of a fallen enemyand preparing to deliver a death blow

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Fractional representation

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A method of presenting figures so that thebody is shown as clearly as possible

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Styles

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Burial practices observed byEgyptians

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Mummification and entombment withfurnishings, servants, and jewelry

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Groups

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Egyptian king whose famouslywell-hidden tomb was uncovered in

1922

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Tutankhamen

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People

E

Kingdom that covered much ofAfrica during the reign of Ancient

Egypt

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Nubia

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Places

E

Cycladic

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Aegean culture that flourished from 3200to 2000 B.C.E. in the Cyclades

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Groups

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Minoan

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Aegean culture which supplanted theCycladic culture on Crete, peaking around1000 B.C.E.

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Groups

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Knossos

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central city in Minoan culture, believed tobe the home of the Minotaur

UARG:11,2,4

Places

E

Minotaur

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Half-man, half-bull creature believed tohave lived in a maze in Knossos

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People

E

Two major forms of Minoan painting

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Frescoes on palace walls and potterydesigns

UARG:11,2,4

Styles

M

Mycenaean

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Aegean culture whose rise coincided withthe fall of the Minoans

UARG:12,1,2

Groups

E

Mycenae

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Central city of the Mycenaean culture

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Places

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Material used in the best-knownMycenaean artworks

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Gold

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Styles

E

Archaic Period

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Period in art history lasting from 660 to475 B.C.E.

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Dates

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Two regions whose sculpturesinfluenced Archaic Greek sculptures

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Egypt and Mesopotamia

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Places

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Two column styles used in ArchaicGreek temple construction

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Doric and Ionic

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Styles

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Corinthian style of pottery decoration

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Depicting figures against a floral,ornamented background

UARG:12,2,1

Styles

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Common column style used in EarlyClassical Period temples

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Doric

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Styles

M

Contrapposto, or counter positioning

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Greek pose invented to show the body toits best advantage

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Styles

M

Middle Classical Period

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Art historical period following the EarlyClassical Period

UARG:13,1,2

Dates

E

Late Classical Period

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Period in which architecture declined afterAthens' defeat in the Peloponnesian War

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Dates

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Corinthian column design

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Column design which became popular inthe Late Classical Period

UARG:13,1,3

Styles

M

Hellenistic Period

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Art historical period which saw increasedinfluence of Eastern civilizations on Greekworks

UARG:13,1,3

Dates

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Two notable sculptures from theHellenistic Period representing ideals

of beauty

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The and the

UARG:13,2,1

Works

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Italian civilization whose artrepresents a transition from Greek

to Roman artistic styles

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Etruscan

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Groups

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Art medium for which Etruscancivilization is largely known

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Tomb decoration

UARG:13,2,2

Styles

M

Two Roman innovations in the fieldsof architecture and engineering

Art

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Concrete and the curved arch

UARG:14,1,1

Groups

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Two surviving buildings thatexemplify Roman engineering genius

Art

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The Colosseum and the Pantheon

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Works

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Type of sculpture adorning Romantriumphal arches and tombs

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Relief sculpture

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Styles

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Italian city which contains Byzantinemosaic walls

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Ravenna

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Places

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Constantinople building consideredone of the greatest architectural

achievements in history

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The Hagia Sophia

UARG:14,1,3

Works

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Central institution in medievalEuropean society

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The Church

UARG:14,2,2

Groups

E

Two materials used as paper duringthe medieval period

Art

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Vellum and parchment

UARG:14,2,2

Styles

M

Two notable medieval illuminatedmanuscripts

Art

Fun

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The and the

UARG:14,2,2

Works

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Medieval culture noted for metalwork

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Nomadic Germanic peoples

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Groups

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Medieval culture noted for woodwork

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Vikings

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Groups

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Hybrid artistic style created in theViking invasions of England and

Ireland

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Hiberno-Saxon

UARG:15,1,0

Styles

H

Romanesque churches

Art

Fun

dam

enta

ls

Churches based around Roman arches,built in the early part of the late Medievalperiod

UARG:15,1,2

Styles

M

Barrel vault

Art

Fun

dam

enta

ls

Tunnel of arches used in Romanesquechurches

UARG:15,1,2

Styles

M

Vault

Art

Fun

dam

enta

ls

Arch-shaped structure used as a ceiling orroof support

UARG:15,1,2

Styles

M

Architectural style commonly used inchurches that developed in the early

12th century

Art

Fun

dam

enta

ls

Gothic style

UARG:15,1,3

Styles

M

Ribbed vault

Art

Fun

dam

enta

ls

Framework of stone ribs under theintersection of vaulted ceiling sections

UARG:15,1,3

Styles

M

Flying buttresses

Art

Fun

dam

enta

ls

Additional bracing material and archesplaced on the exterior of buildings

UARG:15,1,3

Styles

M

Giotto di Bondone

Art

Fun

dam

enta

ls

Early Renaissance Florentine artist bestknown for his frescoes

UARG:15,1,4

People

H

Difference in use of perspectivebetween Gothic and Renaissance

paintings

Art

Fun

dam

enta

ls

Simple perspective rather than flat

UARG:15,2,1

Styles

M

Primary patrons of art during theRenaissance

Art

Fun

dam

enta

ls

Wealthy families

UARG:15,2,2

Groups

M

Social class including painters andsculptors that was looked down

upon until the Renaissance

Art

Fun

dam

enta

ls

Artisans

UARG:16,1,2

Groups

E

Lorenzo Ghiberti

Art

Fun

dam

enta

ls

Sculptor who won a Florentine competitionin 1400 to design doors for a newbaptistery

UARG:16,1,3

People

H

Filippo Brunelleschi

Art

Fun

dam

enta

ls

Florentine sculptor and architect whohelped develop linear perspective

UARG:16,1,4

People

H

Development in perspectivepioneered by Filippo Brunelleschi

Art

Fun

dam

enta

ls

Linear (single vanishing point) perspective

UARG:16,1,4

Styles

M

Massaccio

Art

Fun

dam

enta

ls

Renaissance painter known for using linearand aerial perspective

UARG:16,1,4

People

H

Donatello

Art

Fun

dam

enta

ls

Renaissance artist widely considered thefounder of modern sculpture

UARG:16,1,5

People

M

Art

Fun

dam

enta

ls

Painting by Botticelli that established anenduring image of female beauty

UARG:16,2,1

Works

H

Term used to identify Renaissanceartists following Botticelli and

Donatello

Art

Fun

dam

enta

ls

High Renaissance artists

UARG:16,2,2

Groups

E

Two High Renaissance artistsremembered as "renaissance men"

Art

Fun

dam

enta

ls

Michelangelo and Leonardo da Vinci

UARG:16,2,2

People

E

Two of Leonardo da Vinci's mostwell-known works

Art

Fun

dam

enta

ls

and the

UARG:16,2,2

Works

M

Sfumato

Art

Fun

dam

enta

ls

Leonardo Da Vinci's technique of usingmellowed color and blurred outline inpainting

UARG:17,1,1

Styles

E

Statue by Michelangelo di Buonarottithat established his reputation as a

sculptor

Art

Fun

dam

enta

ls

UARG:17,1,2

Works

M

Three Michelangelo sculpturescreated for the tomb of Pope Julius

II

Art

Fun

dam

enta

ls

and

UARG:17,1,3

Works

H

Papal commission that Michelangeloworked on from 1508 to 1512

Art

Fun

dam

enta

ls

The ceiling of the Sistine Chapel

UARG:17,1,3

Works

M

Raphael Sanzio

Art

Fun

dam

enta

ls

High Renaissance painter influenced byMichelangelo who painted the

UARG:17,1,4

People

E

Raphael painting of the Virgin Maryinfluencing many subsequent

religious paintings

Art

Fun

dam

enta

ls

UARG:17,2,1

Works

M

Three Italian cities whose artisticscene expanded greatly during the

Renaissance

Art

Fun

dam

enta

ls

Rome, Florence, and Venice

UARG:17,2,2

Places

M

Giorgione

Art

Fun

dam

enta

ls

Venetian painter who pioneered landscapepaintings with

UARG:17,2,2

People

M

Tintoretto

Art

Fun

dam

enta

ls

Venetian painter linked with Mannerismand chiaroscuro

UARG:17,2,4

People

M

Titian Vecelli

Art

Fun

dam

enta

ls

Prolific Venetian painter who began thecustom of using settings as backdrops forportraits

UARG:17,2,3

People

M

Mannerism

Art

Fun

dam

enta

ls

Artistic style characterized by distortion ofperspective or scale, acidic colors, andtwisted poses

UARG:17,2,4

Styles

H

Chiaroscuro

Art

Fun

dam

enta

ls

Dramatic contrasts of light and dark

UARG:17,2,4

Styles

E

16th century religious movementthat impacted contemporary art

Art

Fun

dam

enta

ls

The Reformation

UARG:17,2,5

Dates

E

Dominikos Theotokopoulos (ElGreco)

Art

Fun

dam

enta

ls

Mannerist artist influenced by Tintorettoand the Counter Reformation

UARG:18,1,1

People

M

Two German artists considered thegreatest north European

Renaissance artists

Art

Fun

dam

enta

ls

Matthias Grünewald and Albrecht Dürer

UARG:19,1,3

People

M

Matthias Grünewald

Art

Fun

dam

enta

ls

German painter known for religious scenesand his depiction of the crucifixion

UARG:19,1,3

People

M

Albrecht Dürer

Art

Fun

dam

enta

ls

Most famous artist of ReformationGermany, influenced by late Gothic andItalian Renaissance works

UARG:19,1,4

People

M

Hans Holbein the Younger

Art

Fun

dam

enta

ls

German portraitist known for his work inEngland as a court painter for King HenryVIII

UARG:19,1,5

People

M

Baroque era (art history)

Art

Fun

dam

enta

ls

Period in art history lasting from the late16th century through the mid 18th century

UARG:19,1,6

Dates

E

Two regions where the CatholicChurch sought to maintain its

dominance during the Baroque era

Art

Fun

dam

enta

ls

Spain and Italy

UARG:19,2,1

Groups

M

Jesuits

Art

Fun

dam

enta

ls

Organization founded to convertnon-Europeans to Catholicism

UARG:19,2,1

Groups

E

Four most powerful European rulersin the 17th and 18th centuries

Art

Fun

dam

enta

ls

Empress Maria Theresa, Peter the Great,Catherine the Great, and Louis XIV

UARG:19,2,2

People

H

Jean-Jacques Rousseau

Art

Fun

dam

enta

ls

Enlightenment philosopher who protestedthe low standards of living of thepeasantry

UARG:19,2,2

People

M

Baroque (style)

Art

Fun

dam

enta

ls

Rich color and ornamentation in artworksfrom the Baroque period

UARG:19,2,3

Styles

M

Caravaggio

Art

Fun

dam

enta

ls

Italian Baroque painter renowned for useof chiaroscuro and naturalism

UARG:20,1,2

People

M

Artemisia Gentileschi

Art

Fun

dam

enta

ls

Painter notable for her adaptation ofCaravaggio's techniques

UARG:20,1,3

People

H

Gianlorenzo Bernini

Art

Fun

dam

enta

ls

17th century Baroque sculptor, architect,painter, and draftsman known for the

UARG:20,1,4

People

M

Peter Paul Rubens

Art

Fun

dam

enta

ls

Early 15th -century Flanders painter knownfor his influential energetic and colorfulworks

UARG:20,1,5

People

M

Rembrandt van Rijn

Art

Fun

dam

enta

ls

17th -century Dutch painter, printmaker, anddraftsman known for

UARG:20,1,5

People

M

Palace of Versailles

Art

Fun

dam

enta

ls

French palace built under Louis XIVexemplifying Baroque design andmonarchial power

UARG:20,2,2

Places

M

The Paris

Art

Fun

dam

enta

ls

Influential annual art exhibition run by theFrench Academy until the 19th century

UARG:20,2,3

Term

s

M

Diego Velázquez

Art

Fun

dam

enta

ls

17th century court painter of King Philip IVof Spain who influenced theImpressionistmovement

UARG:20,2,4

People

M

Jean-Antoine Watteau

Art

Fun

dam

enta

ls

17th century French painter who led theemerging Rococo movement and developedthe

UARG:21,1,1

People

M

Art

Fun

dam

enta

ls

Genre of painting developed byJean-Antoine Watteau depictingelegantly-dressed nobles in the countryside

UARG:21,1,1

Styles

M

François Boucher

Art

Fun

dam

enta

ls

18th century French painter influenced byJean-Antoine Watteau, favorite painter ofMadame Pompadour

UARG:21,1,1

People

M

Jean-Honoré Fragonard

Art

Fun

dam

enta

ls

French painter influenced by FrançoisBoucher and promoted by MadamePompadour

UARG:21,1,1

People

M

Monarch for whom MadamePompadour was a mistress

Art

Fun

dam

enta

ls

Louis XV

UARG:21,1,1

People

H

Neoclassicism

Art

Fun

dam

enta

ls

Style influenced by Enlightenmentphilosophy and classical works thatemerged shortly before the FrenchRevolution

UARG:21,1,2

Styles

M

Jacques Louis David

Art

Fun

dam

enta

ls

Neoclassical French painter who paintedthe and was involvedin the French Revolution

UARG:21,1,2

People

M

Jean Dominique Ingres

Art

Fun

dam

enta

ls

Pupil of Jacques Louis David whoexemplified Neoclassical style

UARG:21,1,2

People

M

Eug?ne Delacroix

Art

Fun

dam

enta

ls

Painter and leader of the Romanticmovement

UARG:21,2,2

People

M

Romanticism (art history)

Art

Fun

dam

enta

ls

Style returning to the Baroque emphasison emotional qualities

UARG:21,2,2

Styles

M

Three important Romantic artists

Art

Fun

dam

enta

ls

Eug?ne Delacroix, William Blake andThéodore Gericault

UARG:21,2,2

People

H

Realism

Art

Fun

dam

enta

ls

Style of painting emphasizing the use ofall features of a subject

UARG:21,2,3

Styles

M

Gustave Courbet

Art

Fun

dam

enta

ls

Leader of Realist movement who painted

UARG:21,2,3

People

M

Impressionism

Art

Fun

dam

enta

ls

Style of painting that grew out ofdissatisfaction with strict rules

UARG:21,2,4

Styles

M

Édouard Manet

Art

Fun

dam

enta

ls

Predecessor of the Impressionists,juxtaposing bright, contrasting colors in hiswork

UARG:21,2,4

People

M

Claude Monet

Art

Fun

dam

enta

ls

Impressionist painter who inspired themovement's name with his painting

UARG:22,1,2

People

M

Four notable Impressionist painters

Art

Fun

dam

enta

ls

Edouard Manet, Claude Monet, CamillePissaro and Alfred Sisley

UARG:22,1,2

People

H

Paul Cézanne

Art

Fun

dam

enta

ls

Influential Post-Impressionist painter whoredefined art in terms of form andinfluenced Cubism

UARG:22,2,1

People

M

Post-Impressionism

Art

Fun

dam

enta

ls

Style partly influenced by Impressionismthat emphasized vivid colors

UARG:22,2,2

Styles

M

Georges Seurat

Art

Fun

dam

enta

ls

Post-Impressionist painter who emphasizedthe scientific rules of color and developedoptical mixing techniques

UARG:22,2,2

People

M

Vincent Van Gogh

Art

Fun

dam

enta

ls

Artist who used color to portray emotions,painted

UARG:23,1,2

People

M

Paul Gauguin

Art

Fun

dam

enta

ls

Painter who emphasized intense color inhis works

UARG:23,1,3

People

M

Two inventions that allowedImpressionists to paint outdoors

Art

Fun

dam

enta

ls

Chemical-based paints and the paint tube

UARG:23,2,2

Processes

M

Invention that questioned the needto capture reality in painting

Art

Fun

dam

enta

ls

Camera

UARG:23,2,2

Processes

M

Edgar Degas

Art

Fun

dam

enta

ls

Impressionist painter influenced byJapanese art

UARG:23,2,2

People

M

Pre-Raphaelites

Art

Fun

dam

enta

ls

Artists who returned to simple,pre-Renaissance styles

UARG:23,2,3

Groups

M

Art Nouveau

Art

Fun

dam

enta

ls

Style of décor, architecture and designpopular in the late 19th and early 20 th

centuries

UARG:23,2,3

Styles

M

Henri Matisse

Art

Fun

dam

enta

ls

Leader of movement that usedhighly intense, arbitrary colors

UARG:23,2,4

People

M

Cubism

Art

Fun

dam

enta

ls

Style of art influenced by African art thatused form in new ways

UARG:24,1,1

Styles

M

Two artists who developed theCubist style

Art

Fun

dam

enta

ls

Pablo Picasso and Georges Braque

UARG:23,2,5

People

M

Art

Fun

dam

enta

ls

Group of German artists who combinedFauvist color with emotional intensity

UARG:24,1,2

Groups

H

Two well-known German artistsincluded in

Art

Fun

dam

enta

ls

Ernst Ludwig Kirchner and Emile Nolde

UARG:24,1,2

People

H

Expressionism

Art

Fun

dam

enta

ls

Artistic style that attempted to expressabstract consciousness

UARG:24,1,1

Styles

M

Art

Fun

dam

enta

ls

German Expressionist group led by VasilyKandinsky that painted completely abstractworks

UARG:24,1,2

Groups

H

Two pioneering artists who usedtotal abstraction

Art

Fun

dam

enta

ls

Kazimir Malevich and Piet Mondrian

UARG:24,2,1

People

H

Global development that helped shiftthe focus of the art world from Paris

to New York

Art

Fun

dam

enta

ls

World War I

UARG:24,2,2

Events

E

The first major showing of modernart in the United States

Art

Fun

dam

enta

ls

The Armory Show

UARG:24,2,2

Events

M

Art

Fun

dam

enta

ls

Marcel Duchamp painting shown at theArmory Show

UARG:24,2,2

Works

M

Art

Fun

dam

enta

ls

Picasso painting shown at the ArmoryShow

UARG:24,2,2

Works

M

Art

Fun

dam

enta

ls

Constantin Brancusi painting shown at theArmory Show

UARG:24,2,2

Works

M

Center of African-American creativityduring the 1920s

Art

Fun

dam

enta

ls

Harlem

UARG:24,2,3

Places

E

Harlem Renaissance

Art

Fun

dam

enta

ls

Flowering of the arts in 1920s Harlem

UARG:24,2,3

Events

E

Dada

Art

Fun

dam

enta

ls

Artistic movement protesting acceptedsocial mores

UARG:24,2,4

Styles

M

Marcel Duchamp

Art

Fun

dam

enta

ls

Dadaist artist who invented "ready-made"art

UARG:24,2,5

People

M

Surrealists

Art

Fun

dam

enta

ls

Group of artists influenced by Freudwhose work portrayed the workings of themind

UARG:25,1,1

Groups

M

Three notable Surrealists

Art

Fun

dam

enta

ls

Salvador Dalí, René Magritte, and JoanMiró

UARG:25,1,2

People

H

Bauhaus

Art

Fun

dam

enta

ls

Weimar-era German school of design thatestablished the standards for modernarchitecture and design

UARG:25,1,3

Places

M

Global development that haltedorganized art movements

Art

Fun

dam

enta

ls

World War II

UARG:25,1,4

Events

E

Two prominent art critics in 1950sNew York

Art

Fun

dam

enta

ls

Harold Rosenberg and Clement Greenberg

UARG:25,2,2

People

H

Four prominent AbstractExpressionists

Art

Fun

dam

enta

ls

Willem de Kooning, Lee Krasner, FranzKline, and Jackson Pollock

UARG:25,2,2

People

H

Wo types of Abstract Expressionistworks

Art

Fun

dam

enta

ls

Action-paintings and color field paintings

UARG:25,2,3

Styles

M

Two well-known AbstractExpressionist color field artists

Art

Fun

dam

enta

ls

Mark Rothko and Josef Albers

UARG:25,2,3

People

H

Jasper Johns

Art

Fun

dam

enta

ls

Artist who created works featuring commonitems such as flags, numbers, maps, andletters

UARG:25,2,4

People

M

Robert Rauschenberg

Art

Fun

dam

enta

ls

Artist who created "combines", sculpturescreated from cast-off items

UARG:25,2,4

People

M

Pop Art

Art

Fun

dam

enta

ls

Style that violated artistic subject-matterconventions

UARG:25,2,5

Styles

E

Andy Warhol

Art

Fun

dam

enta

ls

Pop art icon whose work mocked the artworld

UARG:25,2,5

People

M

Roy Lichenstein

Art

Fun

dam

enta

ls

Pop artist who used comic-book styleillustration

UARG:26,1,1

People

M

Robert Indiana

Art

Fun

dam

enta

ls

Pop artist who used industrial stencils inhis art

UARG:26,1,1

People

M

Minimalism

Art

Fun

dam

enta

ls

Artistic style that reduced art to bareessentials

UARG:26,1,2

Styles

E

Two innovations that enabledMinimalist "hard-edge painting"

Art

Fun

dam

enta

ls

Acrylic paint and the airbrush

UARG:26,1,2

Processes

M

Frank Stella

Art

Fun

dam

enta

ls

Minimalist painter known for large,non-objective works

UARG:26,1,2

People

M

Two sculptors who created largeabstract minimalist works

Art

Fun

dam

enta

ls

David Smith and Dan Flavin

UARG:26,1,2

People

H

Photorealism

Art

Fun

dam

enta

ls

Artistic style where subjects are depicted insharp focus

UARG:26,1,3

Styles

E

Two photorealist artists who revivedGustave Courbet's Realism

Art

Fun

dam

enta

ls

Chuck Close and Duane Hanson

UARG:26,1,3

People

H

Christo and Jeanne-Claude

Art

Fun

dam

enta

ls

Two artists who "packaged" landscapeswith fabric and plastic

UARG:26,1,4

People

M

Four artists associated withEarthworks

Art

Fun

dam

enta

ls

Christo, Jeanne-Claude, Michael Heizer andRobert Smithson

UARG:26,2,1

People

H

Performance Art

Art

Fun

dam

enta

ls

Style combining theater and art whereartists themselves become the work

UARG:26,2,2

Styles

E

Postmodernist

Art

Fun

dam

enta

ls

20 th -century artistic style reintroducingtraditional elements or exaggeratingModernist ones

UARG:26,2,3

Styles

E

The most famous work of AncientChinese art

Art

Fun

dam

enta

ls

The Great Wall

UARG:27,2,2

Works

E

Chinese emperor whose tombcontains a life-sized clay army

Art

Fun

dam

enta

ls

Qin

UARG:28,1,2

People

E

Tang dynasty

Art

Fun

dam

enta

ls

Period of Chinese history often referred toas a "golden age"

UARG:28,1,3

Dates

E

Number of languages and dialectsspoken in India

Art

Fun

dam

enta

ls

Over 1600

UARG:28,1,3

Concepts

M

Two religions with strong influenceson Indian art

Art

Fun

dam

enta

ls

Buddhism and Hinduism

UARG:28,1,4

Groups

E

Religion with strong influence onJapanese art

Art

Fun

dam

enta

ls

Buddhism

UARG:28,2,2

Groups

E

African nation containing some ofthe oldest examples of cave painting

Art

Fun

dam

enta

ls

Namibia

UARG:28,2,3

Places

M

Nok

Art

Fun

dam

enta

ls

Civilization that arose in Nigeria around500 B.C.E. and influenced the Yoruba

UARG:28,2,3

Groups

M

Benin Kingdom

Art

Fun

dam

enta

ls

Nigerian civilization that produced castbronze portrait heads and other ceremonialobjects

UARG:29,1,1

Places

M

Ceremonial African and Oceania artpieces intended for use in

performances

Art

Fun

dam

enta

ls

Masks

UARG:29,2,2

Works

M

Oceania

Art

Fun

dam

enta

ls

Islands comprising Polynesia, Melanesia,and Micronesia

UARG:29,2,3

Places

M

Important expression of socialstature in Polynesia

Art

Fun

dam

enta

ls

Tattoos

UARG:29,2,3

Processes

E

Asmat

Art

Fun

dam

enta

ls

Cultural group in Melanesia who producedcarved wooden shields

UARG:29,2,4

Groups

M

Location where Islam emerged

Art

Fun

dam

enta

ls

The Arabian Peninsula

UARG:30,1,3

Places

E

The Quran

Art

Fun

dam

enta

ls

The holy book of Islam

UARG:30,1,3

Works

E

Dome of the Rock

Art

Fun

dam

enta

ls

Jerusalem mosque that is one of theoldest example of Islamic architecture

UARG:30,2,1

Works

M

Five civilizations that flourished inthe pre-colonial Americas

Art

Fun

dam

enta

ls

Olmec, Toltec, Maya, Inca, and Aztec

UARG:31,1,1

Groups

H

Six basic formal qualities of art

Art

Fun

dam

enta

ls

Line, shape, form, space, color, andtexture

UARG:31,1,3

Concepts

M

Line

Art

Fun

dam

enta

ls

The path of a point moving through space

UARG:31,1,4

Concepts

E

Implied line

Art

Fun

dam

enta

ls

A series of interrupted dots or lines thatthe eye connects

UARG:31,1,4

Concepts

E

Vertical lines

Art

Fun

dam

enta

ls

Lines that cause the eye to move upward

UARG:31,2,1

Concepts

E

Horizontal lines

Art

Fun

dam

enta

ls

Lines that suggest a peaceful feeling

UARG:31,2,1

Concepts

E

Two types of lines that suggest asense of activity

Art

Fun

dam

enta

ls

Curved and jagged lines

UARG:31,2,1

Concepts

E

Shape

Art

Fun

dam

enta

ls

The two-dimensional area of an object

UARG:31,2,2

Concepts

E

Form

Art

Fun

dam

enta

ls

The three-dimensional representation of anobject

UARG:31,2,2

Concepts

E

Geometric forms

Art

Fun

dam

enta

ls

Forms that can be defined mathematicallyand convey order and stability

UARG:31,2,3

Concepts

E

Organic forms

Art

Fun

dam

enta

ls

Irregular forms that convey movement andrhythm

UARG:31,2,3

Concepts

E

Space (in art)

Art

Fun

dam

enta

ls

Element of art related to the organizationof objects and the areas around them

UARG:31,2,4

Concepts

E

Positive space

Art

Fun

dam

enta

ls

Space occupied by objects in an artwork

UARG:31,2,4

Concepts

E

Negative space

Art

Fun

dam

enta

ls

Space surrounding objects in an artwork

UARG:31,2,4

Concepts

E

Freestanding sculpture

Art

Fun

dam

enta

ls

Sculpture that can be viewed from anyangle

UARG:31,2,4

Processes

E

Relief sculpture

Art

Fun

dam

enta

ls

Sculpture that projects from a surface

UARG:31,2,4

Processes

E

Contours

Art

Fun

dam

enta

ls

Visible borders of an object

UARG:31,2,5

Concepts

E

Four techniques used to create asense of perspective

Art

Fun

dam

enta

ls

Shading and highlighting, placement behindor in front of other objects, size, and levelof detail

UARG:31,2,5

Concepts

M

Aerial/atmospheric perspective

Art

Fun

dam

enta

ls

Technique taking into account effects ofairborne particles on appearance of distantobjects

UARG:32,1,1

Concepts

E

Linear perspective

Art

Fun

dam

enta

ls

Technique founded on the visualphenomenon of vanishing points

UARG:32,2,1

Concepts

E

Hue

Art

Fun

dam

enta

ls

Name of a color

UARG:33,1,1

Concepts

E

Three primary colors

Art

Fun

dam

enta

ls

Red, blue, and yellow

UARG:33,1,1

Concepts

E

Secondary colors

Art

Fun

dam

enta

ls

Colors made by combining two primarycolors

UARG:33,1,1

Concepts

E

Tertiary colors

Art

Fun

dam

enta

ls

Colors made by combining a secondarycolor with an adjacent primary color

UARG:33,1,1

Concepts

E

Color wheel

Art

Fun

dam

enta

ls

Visual organization of all hues

UARG:33,1,1

Concepts

E

Value

Art

Fun

dam

enta

ls

The lightness or darkness of a color orneutral

UARG:33,1,2

Concepts

E

Neutrals

Art

Fun

dam

enta

ls

Black, white, and grays

UARG:33,1,2

Concepts

E

Intensity

Art

Fun

dam

enta

ls

The brightness or purity of a color

UARG:33,1,3

Concepts

E

Warm colors

Art

Fun

dam

enta

ls

Red, orange, and yellow

UARG:33,1,5

Concepts

E

Cool colors

Art

Fun

dam

enta

ls

Green, blue, and violet

UARG:33,2,0

Concepts

E

Local color

Art

Fun

dam

enta

ls

The "true" color of an object

UARG:33,2,1

Concepts

E

Optical color

Art

Fun

dam

enta

ls

The effect that special lighting has on thecolor of objects

UARG:33,2,1

Concepts

E

Texture

Art

Fun

dam

enta

ls

How things feel or how we think theywould feel

UARG:33,2,2

Concepts

E

Composition

Art

Fun

dam

enta

ls

Organization of the elements of art

UARG:33,2,4

Concepts

E

Rhythm

Art

Fun

dam

enta

ls

Movement or pattern in a work of art

UARG:34,1,1

Concepts

E

The two aspects of repetition

Art

Fun

dam

enta

ls

Motif and pattern

UARG:34,1,2

Concepts

E

Motif

Art

Fun

dam

enta

ls

A single element of a pattern

UARG:34,1,2

Concepts

E

Balance

Art

Fun

dam

enta

ls

Equal distribution of visual weight in anartwork

UARG:34,1,3

Concepts

E

Approximate symmetry

Art

Fun

dam

enta

ls

Slight variation of shapes or objects aroundthe central axis

UARG:34,1,3

Concepts

E

Asymmetrical balance

Art

Fun

dam

enta

ls

Visual balance of disparate objects

UARG:34,1,4

Concepts

E

Focal point

Art

Fun

dam

enta

ls

Point where the eye tends to rest

UARG:34,2,1

Concepts

E

Proportion

Art

Fun

dam

enta

ls

Relationships between objects' sizes in anartwork

UARG:34,2,3

Concepts

E

Five drawing tools

Art

Fun

dam

enta

ls

Pencil, pen, charcoal, crayon, and felt-tipmarkers

UARG:35,1,2

Processes

M

Shading

Art

Fun

dam

enta

ls

Drawing technique used to change colorvalues

UARG:35,2,1

Processes

E

Hatching

Art

Fun

dam

enta

ls

Shading with closely set parallel lines

UARG:35,2,1

Processes

E

Crosshatching

Art

Fun

dam

enta

ls

Shading with crisscrossed lines

UARG:35,2,1

Processes

E

Stippling

Art

Fun

dam

enta

ls

Shading with varying densities of smallcolored dots

UARG:35,2,1

Processes

E

Four styles of printmaking

Art

Fun

dam

enta

ls

Relief, intaglio, lithograph, and screenprinting

UARG:35,2,4

Processes

M

Matrix

Art

Fun

dam

enta

ls

Printing plate on which the image iscreated

UARG:35,2,4

Processes

E

Relief printmaking

Art

Fun

dam

enta

ls

Process where pieces of matrix are cutaway so the image projects from thesurface

UARG:35,2,5

Processes

E

Brayer

Art

Fun

dam

enta

ls

Tool used to apply ink to a plate

UARG:35,2,5

Processes

M

Two tools used to transfer ink froma plate to a page

Art

Fun

dam

enta

ls

Printing press and burnisher

UARG:36,1,0

Processes

M

Intaglio printmaking

Art

Fun

dam

enta

ls

Process of inscribing lines into the matrix

UARG:36,1,1

Processes

E

Engraving

Art

Fun

dam

enta

ls

Intaglio process using carving tools todirectly inscribe lines into a matrix

UARG:36,1,1

Processes

E

Etching

Art

Fun

dam

enta

ls

Intaglio process using acid to etch groovesinto exposed matrix

UARG:36,1,1

Processes

E

Lithography

Art

Fun

dam

enta

ls

Process where ink is applied to a waximage drawn on the matrix

UARG:36,1,2

Processes

E

Screen prints

Art

Fun

dam

enta

ls

Process where an image is transferred toa fabric frame and acts as a stencil

UARG:36,1,3

Processes

E

Three materials comprising paint

Art

Fun

dam

enta

ls

Pigments, binders, and solvents

UARG:36,2,0

Processes

M

Fresco

Art

Fun

dam

enta

ls

Technique where water-based paints areapplied to wet plaster

UARG:36,2,2

Processes

E

Tempera

Art

Fun

dam

enta

ls

Water-based paint with egg binder thatdries quickly and has a narrow tonal range

UARG:36,2,3

Processes

E

Glazes

Art

Fun

dam

enta

ls

Thin transparent layers of oil paints appliedover another color

UARG:36,2,4

Processes

E

Encaustic

Art

Fun

dam

enta

ls

Wax-based paint fused to surfaces with hotirons

UARG:37,1,1

Processes

E

Gouache

Art

Fun

dam

enta

ls

Water-based paint similar to tempera

UARG:37,1,2

Processes

E

Watercolor

Art

Fun

dam

enta

ls

Water-based paint tinted by adding waterinstead of white paint

UARG:37,1,3

Processes

E

Acrylic paint

Art

Fun

dam

enta

ls

Synthetic paint developed after World WarII

UARG:37,1,4

Processes

E

Four basic methods of sculpture

Art

Fun

dam

enta

ls

Carving, modeling, casting, andconstruction

UARG:37,2,1

Processes

M

Carving

Art

Fun

dam

enta

ls

Removing original material to create asculpture

UARG:37,2,2

Processes

E

Modeling

Art

Fun

dam

enta

ls

Adding materials to a surface to create asculpture

UARG:37,2,3

Processes

E

Casting

Art

Fun

dam

enta

ls

Creating a plaster mold used to replicatethe original sculpture

UARG:38,1,1

Processes

E

Alexander Calder

Art

Fun

dam

enta

ls

Sculptor who created mobiles whose partsare moved by wind

UARG:38,1,3

People

M

Environmental art/ Earthworks

Art

Fun

dam

enta

ls

Large sculpture that redefines the spacewhere it is created

UARG:38,1,4

Processes

E

Mixed media

Art

Fun

dam

enta

ls

Artworks that use several art media

UARG:38,1,5

Processes

E

Five craft products that have cometo be recognized as art forms

Art

Fun

dam

enta

ls

Pottery, jewelry, fibers, glass, and woodenobjects

UARG:38,2,4

Processes

M

Pottery

Art

Fun

dam

enta

ls

Craft medium using natural materials suchas clay

UARG:38,2,5

Processes

E

Slip

Art

Fun

dam

enta

ls

Liquid clay used to join edges of claypieces

UARG:39,1,0

Processes

E

Kiln

Art

Fun

dam

enta

ls

Oven used to remove all moisture from aclay piece

UARG:39,1,2

Processes

E

Two fiber art forms

Art

Fun

dam

enta

ls

Weaving and quilting

UARG:39,2,1

Processes

M

Architecture

Art

Fun

dam

enta

ls

The design and construction of buildings

UARG:40,1,2

Processes

E

Post-and-lintel construction

Art

Fun

dam

enta

ls

Technique where a beam is placedhorizontally across another two beams

UARG:40,1,3

Processes

E

Four key inventions in architecture

Art

Fun

dam

enta

ls

Post-and-lintel, the arch, the vault, and thedome

UARG:40,1,4

Processes

M

The Great Depression

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Global economic crisis triggered by the1929 United States stock market crash

UARG:42,1,1

Events

E

Six factors determining howindividuals were affected by the

Great Depression

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Social and financial status, education, race,gender, age, and location

UARG:42,1,2

Events

M

The economic sector experiencingthe most severe unemployment

during the Great Depression

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Industrial sector

UARG:42,1,2

Events

E

Region of the United States struckwith drought during the Great

Depression

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

The Midwest

UARG:42,2,1

Events

E

Largest patron of visual arts,theater, and literature during the

Great Depression

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

The government

UARG:42,2,2

Groups

E

Author of

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

John Steinbeck

UARG:42,2,2

People

E

Institution which society trusted toresolve the problems of the Great

Depression

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

The government

UARG:43,1,1

Groups

E

New Deal policies

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Depression-era United States governmentpolicies intended to help the economywhich supported the arts and literature

UARG:43,1,2

Events

M

Franklin D. Roosevelt

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

32 nd president of the United States from1933 to 1945 who enacted New Dealpolicies

UARG:43,1,3

People

E

Herbert Hoover

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

31st president of the United States,predecessor of Franklin D. Roosevelt

UARG:43,1,3

People

E

The First New Deal

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

New Deal policies enacted in 1933 underFranklin D. Roosevelt

UARG:43,1,4

Events

M

The Second New Deal

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

New Deal policies enacted in 1935 andlater

UARG:43,2,0

Events

M

Three New Deal agencies still inexistence today

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Federal Deposit Insurance Company,Securities and Exchange Commission, andthe Social Security system

UARG:43,2,1

Groups

H

Political system that many peopleclaimed Franklin D. Roosevelt's

policies would lead to

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Communism

UARG:43,2,2

Concepts

E

The Red Scare

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Fear of communism in the United Statespost-Russian Revolution

UARG:43,2,2

Concepts

E

Event that began the Red Scare inthe United States

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Bolshevik revolution

UARG:43,2,2

Events

M

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Diego Rivera mural censored for itsdepiction of the Bolshevik leader VladimirLenin

UARG:44,1,1

Works

M

The Rockefeller center

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Location of Diego Rivera's

UARG:44,1,1

Places

M

Two reasons for government artpatronage during the Great

Depression

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Job creation and morale improvement

UARG:44,1,2

Events

M

Nation whose mural movementinspired American government art

patronage

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Mexico

UARG:44,1,3

Places

E

Two leading figures of New Dealart projects

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Edward Bruce and Holger Cahill

UARG:44,2,1

People

M

Alphabet agencies

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

New Deal agencies referred to by theiracronyms

UARG:44,2,2

Groups

E

Public Works of Art Project

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

The first New Deal experimental artagency led by Edward Bruce

UARG:44,2,2

Groups

M

Section of Painting and Sculpture

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

The second New Deal experimental artagency led by Edward Bruce under theTreasury Department

UARG:45,1,0

Groups

M

Three main locations ofDepression-era federal mural

projects

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

The Justice Department Building, postoffices, and schools

UARG:45,1,1

Places

H

Six types of Depression-eragovernment-supported architectural

projects

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Apartment buildings, schools, hospitals,airports, bridges, and dams

UARG:45,1,1

Works

H

Two Depression-era naturalisticartists who received government

patronage

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Grant Wood and Ben Shahn

UARG:45,1,2

People

M

Two Depression-eranon-representational artists whoreceived government patronage

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Stuart Davis and Arshile Gorky

UARG:45,4,2

People

M

Demographic group representing41% of artists working on WorksProgress Administration projects

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Women

UARG:45,2,0

Groups

E

Two types of art primarily used inpublic art projects

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Everyday experiences and landscapes

UARG:45,2,1

Styles

E

Diego Rivera

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

20 th century Mexican painter who greatlyinfluenced public art in the United States

UARG:45,2,2

People

E

Guanajuato, Mexico

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Birthplace of Diego Rivera

UARG:45,2,3

Places

M

Mexican art academy which DiegoRivera attended from 1896 to 1905

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Academy of San Carlos

UARG:45,2,3

Places

M

Three European nations whereDiego Rivera lived before returning

to Mexico in 1921

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Spain, France, and Italy

UARG:46,1,1

Places

H

José Vasconcelos

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Mexican Secretary of Public Education whocommissioned Diego Rivera's mural

UARG:46,1,2

People

M

Dwight Morrow

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

United States ambassador to Mexico from1927 to 1930 who commissioned a muralcycle from Diego Rivera at the CortésPalace

UARG:46,1,3

People

M

Political party to which Diego Riverabelonged

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Communist party

UARG:46,1,3

Groups

E

Frida Kahlo

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Diego Rivera's wife and fellow painter

UARG:46,1,4

People

E

Mural cycle painted by Diego Riverafrom 1932 to 1933

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

The Detroit Institute of Arts murals

UARG:46,2,0

Works

M

Controversial mural which DiegoRivera painted in New York in 1933

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

UARG:46,2,0

Works

E

Number of mural panels comprising

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

21

UARG:47,1,1

Works

H

Event depicted on the east wall ofDiego Rivera's cycle

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

The origins of human life

UARG:47,1,1

Works

M

Industry depicted on either side ofthe plant bulb in

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Agriculture

UARG:47,1,1

Works

M

Focus of the west wall of

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Intersections between technology, naturalresources, and human life

UARG:47,1,1

Works

M

Number of horizontal fields intowhich the north and south walls are

divided in Diego Rivera's

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Three

UARG:47,1,2

Works

E

Allegorical representation of differentraces in

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Large nude women with different skincolors

UARG:47,1,2

Works

H

Which wall of is aselected artwork?

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

The south wall

UARG:47,1,3

Works

E

On which factory was the south wallof based?

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

The Ford Motor plant

UARG:47,1,3

Works

M

Charles E. Sorenson

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Head of production at Ford's River Rougefactory in 1933, depicted in

UARG:47,2,0

People

H

Grisaille

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Painting technique that uses only black,white, and grays

UARG:47,2,1

Processes

E

Henry Ford

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Founder of Ford Motors, depicted in

UARG:47,2,1

People

E

William Valentiner

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Director of the Detroit Institute of Arts inthe 1930s

UARG:47,2,2

People

H

Edsel Ford

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

President of the Ford Motor Company andthe Detroit Arts Commission in the 1930s

UARG:47,2,2

People

H

What painting technique did DiegoRivera use in ?

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Fresco

UARG:48,1,1

Processes

E

Number of automobiles produced in1931

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

One million

UARG:48,1,2

Events

M

Dearborn

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Home of Ford Motor Company and site ofa 1932protest for better working conditions

UARG:48,1,2

Places

M

Religiously controversial scene in

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Vaccination of a child

UARG:48,1,4

Works

H

Why did upper-class Detroitresidents object to ?

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

It depicted them standing next toworking-class people.

UARG:48,1,4

Works

H

Aaron Douglas

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

African-American Harlem Renaissancepainter

UARG:48,2,1

People

E

Two Harlem Renaissance poets whobefriended Aaron Douglas

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Langston Hughes and Countee Cullen

UARG:48,2,1

People

M

Birthplace of Aaron Douglas

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Topeka, Kansas

UARG:48,2,2

Places

E

Wineld Reiss

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

German illustrator who illustrated an issueof dedicated to the HarlemRenaissance

UARG:48,2,2

People

H

Egyptian form

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Simplified Egyptian-influenced figures usedby Aaron Douglas

UARG:48,2,2

Processes

M

Two significant Harlem Renaissancemagazines, illustrated by Aaron

Douglas

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

and

UARG:49,1,1

Works

H

City where Aaron Douglas traveledto study European modernism

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Paris

UARG:49,1,2

Places

M

Institution where Douglas studiedfrom 1928 to 1929

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

The Barnes Foundation in Philadelphia

UARG:49,1,2

Places

M

University which commissioned amural cycle from Aaron Douglas for

its library

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Fisk University in Nashville, Tennessee

UARG:49,1,2

Places

M

Location of Aaron Douglas muralcycle commissioned by the Public

Works of Art Project in 1934

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

The 135th Street Branch of the New YorkPublic Library

UARG:49,1,2

Places

H

University where Aaron Douglastaught until 1966

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Fisk University

UARG:49,1,3

Places

E

City where Aaron Douglas died in1979

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Nashville

UARG:49,1,3

Places

E

Current name of the 135 th StreetBranch of the New York Public

Library

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

The Schomburg Center for Research inBlack Culture

UARG:49,1,4

Places

M

First panel in the Schomburg Centercycle

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

UARG:49,1,5

Works

M

Two horizontal panels showingscenes of joy and African-American

unity in the Schomburg Centermural cycle

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

and

UARG:49,2,0

Works

M

Final panel of the SchomburgCenter mural cycle

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

UARG:49,2,0

Works

E

Familiar New York icon whichestablishes the setting of

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

The Statue of Liberty

UARG:49,2,1

Works

E

Musical instrument held by the largemale figure in

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Saxophone

UARG:50,1,0

Works

M

Focus that distinguishes the finalpanel of the Schomburg Center

mural cycle from the others

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Industrialism and urban setting

UARG:50,1,1

Works

E

Colors used in the SchomburgCenter mural cycle

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Shades of gray, black, white, and rustyearth tones

UARG:50,1,2

Works

E

Government organization thatcommissioned

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Works Project Administration/Federal ArtProject

UARG:50,1,4

Works

M

Segregation

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Social system where people were keptseparate based on race

UARG:50,2,0

Events

E

Great Migration

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Mass movement of African Americans fromsouthern to northern states during theearly 20 th century

UARG:50,2,0

Events

M

George Biddle

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Prolific printmaker, painter, and sculptorknown for his advocacy of public artprojects

UARG:50,2,1

People

E

Alma mater of George Biddle

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Harvard University

UARG:50,2,1

Places

E

Parisian academy where GeorgeBiddle studied after abandoning a

law career

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Académie Julian

UARG:50,2,1

Places

M

Art academy where George Biddleenrolled after returning from Paris to

the United States

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Philadelphia Academy of Fine Arts

UARG:50,2,1

Places

M

Global conflict that cut GeorgeBiddle's art career short

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

World War I

UARG:50,2,1

Events

E

Nation to which George Biddletraveled in 1928 and befriended

Diego Rivera

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Mexico

UARG:50,2,2

Places

E

Location of a George Biddle muralcommissioned by the Mexican

government

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

The Supreme Court building in Mexico City

UARG:51,1,0

Places

M

Classmate of George Biddle whohired a team of artists to paint the

Justice Department

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Franklin D. Roosevelt

UARG:51,1,1

People

E

Location of George Biddle's 5-panelmural cycle for the Justice

Department

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

The first floor lobby of the JusticeDepartment

UARG:51,1,2

Works

H

Group which George Biddle chairedin 1943, spending time with

American troops in northern Africa

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

U.S. War Artists Committee

UARG:51,1,3

Groups

M

Where did George Biddle die in1973?

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Croton-on-Hudson, New York

UARG:51,1,3

Places

M

Subject matter of George Biddle'sJustice Department mural cycle

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Working-class Americans

UARG:51,1,4

Works

E

Subject of the first vertical field of

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

An elderly woman holding an axe andwood next to an apartment building

UARG:51,1,5

Works

M

The subject of the foreground of thefirst horizontal field of

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

An old woman and a younger man sawingwood

UARG:51,2,1

Works

M

The subject of the second horizontalfield of

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

A crowded house

UARG:51,2,1

Works

M

The overall feeling of

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Individual isolation

UARG:52,1,1

Works

E

Louis D. Brandeis

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Influential Supreme Court Justice duringthe New Deal period

UARG:52,1,2

People

H

Supreme Court Justice who isquoted in

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Oliver Wendell Holmes, Jr.

UARG:52,1,2

People

H

Ben Shahn

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Leftist 1930s painter, printmaker, andphotographer who used his art to expresshis political views

UARG:52,1,3

People

E

Birthplace of Ben Shahn

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Kovno, Lithuania

UARG:52,1,3

Places

M

City where Ben Shahn's familysettled when they moved to the

United States in 1906

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Brooklyn, New York

UARG:52,1,3

Places

M

Printmaking technique Ben Shahnlearned through an apprenticeship

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Lithography

UARG:52,1,4

Processes

E

Two colleges at which Ben Shahnstudied biology

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

New York University and the City Collegeof New York

UARG:52,2,0

Places

M

Two art academies that Ben Shahnattended

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

The National Academy of Design and theArt Students League

UARG:52,2,0

Places

M

Two continents where Ben Shahntraveled with his wife from 1924 to

1928

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Europe and Africa

UARG:52,2,0

Places

M

Style of art Ben Shahn developed inthe 1930s

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Social realism

UARG:52,2,0

Styles

M

Series of 23 gouache paintingscreated by Ben Shahn between

1931 and 1932

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

UARG:52,2,1

Works

H

Diego Rivera painting on which BenShahn was invited to work

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

UARG:52,2,2

Works

E

Bernarda Bryson

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Artist and social activist for whom BenShahn abandoned his family

UARG:52,2,3

People

M

Federal agency for which BenShahn produced posters and

photographs from 1935 to 1938

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

The Farm Security Administration (FSA)

UARG:52,2,3

Groups

M

Walker Evans

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Photographer who guided Ben Shahnthrough the South and Midwest whileworking for the Farm SecurityAdministration

UARG:52,2,3

People

H

Most famous mural cycle created byBen Shahn during the New Deal

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Mural cycle for the Jersey Homesteadsgovernment housing project

UARG:52,2,4

Works

H

Three mural cycle governmentcommissions completed by Ben

Shahn

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

The Bronx Central Postal Station, theSocial Security Building, and the JerseyHomesteads housing project

UARG:53,1,0

Works

H

Government agency for which Shahnworked during World War II

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

The Office of War Information

UARG:53,1,1

Groups

M

Subject of famous Ben Shahnportrait for magazine in 1965

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Martin Luther King, Jr.

UARG:53,1,1

People

E

Position Ben Shahn held at Harvardfrom 1956

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

The Charles Eliot Norton Professor

UARG:53,1,2

People

H

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Collection of Ben Shahn's Harvard lectures

UARG:53,1,2

People

M

Medium of

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Tempera on paperboard

UARG:53,2,1

Works

M

The two dominant color tones in

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Browns and grays

UARG:53,2,1

Works

E

Collaborator on Ben Shahn's initialsketches for

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Bernarda Bryson

UARG:54,1,1

People

E

Government agency that sponsoredthe mural commission for which

was created

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

The Treasury Department Section ofPainting and Sculpture

UARG:54,1,1

Groups

M

Number of panels in themural cycle

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

13

UARG:54,1,1

Works

H

Walt Whitman poem which inspiredBen Shahn's

mural cycle

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

"I Hear America Singing"

UARG:54,1,2

Works

M

Areas where homelessness becamea widespread problem during the

Great Depression

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Urban areas

UARG:42,1,2

Places

M

United States city which had thrivedpre-Great Depression through

industrialization

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Detroit

UARG:42,1,2

Places

M

Primary region of the United Stateswhere African-Americans faced

discrimination

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

The South

UARG:42,2,1

Places

E

Primary artistic subject matter duringthe Great Depression

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Real-life experiences

UARG:42,2,2

Events

E

Fiorello LaGuardia

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

New York City mayor from 1934 to 1945and New Deal supporter

UARG:43,1,1

People

H

Two working arrangements to whichmost artists were accustomed before

the New Deal

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Working for private patrons or sellingworks in private galleries

UARG:43,1,2

Events

H

Later name for the Section ofPainting and Sculpture

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

The Section of Fine Arts

UARG:45,1,0

Groups

E

Number of murals created underfederal art programs between 1933

and 1945

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

3,500

UARG:45,1,1

Events

H

Number of sculptures created underfederal art programs between 1933

and 1945

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

18,000

UARG:45,1,1

Events

H

Number of paintings created underfederal art programs between 1933

and 1945

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

108,000

UARG:45,1,1

Events

H

Number of prints created underfederal art programs between 1933

and 1945

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

250,000

UARG:45,1,1

Events

H

Number of photographs taken underfederal art programs between 1933

and 1945

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

500,000

UARG:45,1,1

Events

H

Art technique which Diego Riverataught other United States artists

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Fresco

UARG:45,2,1

Styles

E

Political ideology of Diego Rivera'sparents

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Liberal

UARG:45,2,3

People

E

City where the Cortés Palace islocated

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Cuernavaca

UARG:46,1,3

Places

H

Corporation where AmbassadorDwight Morrow previously worked

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

J.P. Morgan and Company

UARG:46,1,3

Groups

H

City where Diego Rivera traveled in1930 with Frida Kahlo

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

San Francisco

UARG:46,1,4

Places

M

Location of a Diego Rivera workpainted shortly after the Rockefeller

Center affair

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

New York's New Worker's School

UARG:46,2,0

Places

H

Year of Diego Rivera's death

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

1957

UARG:46,2,0

Dates

M

Diego Rivera's largest and mostcomplex work completed in the

United States

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

UARG:47,1,0

Works

E

The two larger walls in

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

North and south

UARG:47,1,2

Works

M

Process depicted in the south wallof

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

The production of an automobile's exterior

UARG:47,1,3

Works

E

Machine in the far right quarter ofthe south wall of

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Stamping press used to make steelfenders

UARG:47,1,3

Works

M

Machine depicted in the uppercenter portion of the south wall of

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Welding buck

UARG:47,2,0

Works

M

Car parts that female workers aretesting in the upper right corner of

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Spark plugs and ignition systems

UARG:47,2,1

Works

H

Type of Renaissance artworkrecalled by the use of grisaille in

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Altarpieces

UARG:47,2,2

Works

M

Two races represented by figuresholding limestone and sand in

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Asian and Caucasian

UARG:47,2,3

Works

H

Industry represented in the upperleft panel in

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Pharmaceutical

UARG:47,2,3

Works

M

Industry represented in the upperright panel in

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Chemical

UARG:47,2,3

Works

M

Artist featured in the curriculumwhom Diego Rivera taught the

fresco technique

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

George Biddle

UARG:48,1,0

People

E

Director who took an unpaid leavefrom his position at the Detroit

Institute of Arts in 1932

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

William Valentiner

UARG:48,1,2

People

M

Death toll of the March 1932Dearborn march

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

4

UARG:48,1,2

Events

H

Albert C. Barnes

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

White Philadelphia art collector whosupported the Harlem Renaissance andinfluenced Aaron Douglas

UARG:48,2,1

People

M

Two intellectual figures who spurredthe Harlem Renaissance

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

W.E.B. DuBois and Alain Locke

UARG:48,2,1

People

M

Three Harlem Renaissance writerswho commissioned Aaron Douglas

to illustrate their books

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Countee Cullen, Langston Hughes, andJames Weldon Johnson

UARG:49,1,1

People

H

James Weldon Johnson bookillustrated by Aaron Douglas to

critical acclaim

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

UARG:49,1,1

People

H

Subject of

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Two central figures dancing with drummersand singers, while hunters and fighterswatch

UARG:49,2,0

Works

M

Subject of

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

A male figure gazing at the New Yorkskyline with another man fightingoppression

UARG:50,1,0

Works

E

Aaron Douglas' view of urbanindustrialism, from

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Provided opportunities for social equity

UARG:50,1,1

Works

M

Effect of generalized, unidentifiablefigures in

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Distances the viewers from the scenesrepresented in the paintings

UARG:50,1,3

Works

M

How are African culturesrepresented in

?

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

As primitive and exotic

UARG:50,1,3

Works

M

Island where George Biddle traveledafter World War I before returning

to the United States

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Tahiti

UARG:50,2,1

Places

E

Popular destination for Americanartists during the post-World War I

era

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Mexico

UARG:50,2,2

Places

E

Three items of clothing worn by thesubject of

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

White workers' gloves, a cap, and darkkhaki worker's clothing

UARG:53,1,3

Works

M

Effect of setting in anambiguous location

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Able to represent industrial work in abroader sense

UARG:53,1,4

Works

M

Which three parts of the riveter'sbody are given more emphasis in

?

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Arms, hands, and his tool

UARG:53,1,4

Works

M

How is focus directed at theriveter's hands in ?

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

The bright white gloves, in contrast withthe worker's clothing

UARG:53,1,4

Works

M

How was Ben Shahn's styleinfluenced by his work as a

photographer?

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Use of tightly cropped framing andemphasis on human action

UARG:53,2,0

Styles

M

Number of proposals submitted tothe Treasury Department for the

Bronx Central Postal Stationcommission

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

189

UARG:54,1,1

Works

H

What aspect of Whitman's poetryinspired Ben Shahn?

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Whitman's way of defining America by itspeople and their work

UARG:54,2,1

Works

M

Goal of Ben Shahn's works aboutAmerican workers

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Celebrate and monumentalize workers

UARG:54,2,1

Works

E

Poet shown in Ben Shahn's Bronxmural panels as a man with long

white hair

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Walt Whitman

UARG:54,2,2

People

E

Controversial Walt Whitman poemused by Ben Shahn in his Bronx

mural

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

"Thou mother with Thy Equal Brood"

UARG:54,2,2

Works

H

Why was Walt Whitman's poem"Thou mother with Thy Equal Brood"

controversial?

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Seen as an attack on the Christianchurch's role in society

UARG:54,2,2

Works

M

Birthplace of George Stanley

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Acadia Parish, Louisiana

UARG:55,1,1

Places

M

Year of birth of George Stanley

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

1903

UARG:55,1,1

Dates

M

City to the north of Los Angeleswhere George Stanley spent his

youth

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Watsonville, California

UARG:55,1,1

Places

H

College where George Stanleystudied sculpture from 1923 to 1926

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

The Otis Art Institute in Los Angeles

UARG:55,1,1

Places

H

Two schools where George Stanleytaught

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

The Otis Art Institute in Los Angeles andthe School of Arts in Santa Barbara

UARG:55,1,1

Places

H

High school for which GeorgeStanley completed a sculpture

commission

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Long Beach Polytechnic High School

UARG:55,1,1

Places

H

George Stanley's most notablepublic artwork

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

The sculpture of Sir Isaac Newton atGriffith Observatory

UARG:55,1,2

Works

M

The larger collaborative sculptureproject of which George Stanley's

Isaac Newton is a part

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

UARG:55,1,2

Works

E

Two George Stanley sculptureprojects funded by the Public Works

of Art Project

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

and

UARG:55,1,2

Works

M

Number of artists who collaboratedon

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

5

UARG:55,1,3

Works

H

Overseer of the construction of

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Archibald Garner

UARG:55,1,3

People

H

Name appearing on thesculpture in

place of the artists' names

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

PWAP

UARG:55,1,3

Works

M

Why is George Stanley's name noteasily recognizable today?

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

New Deal art programs tended to embraceanonymity.

UARG:55,1,4

Works

E

Cedric Gibbons

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

The art director of MGM during GeorgeStanley's early career

UARG:55,1,4

People

H

Well-known bronze statuette createdby George Stanley for Cedric

Gibbons

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

The Academy Award of Merit/Oscar

UARG:55,1,4

Works

E

Year when the first Oscar statuettewas awarded

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

1929

UARG:55,2,0

Works

H

Width of

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

200 feet

UARG:55,2,1

Works

H

Height of

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

22 feet

UARG:55,2,1

Works

H

Material used in

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Concrete with light gray granite facing

UARG:55,2,1

Works

M

Source of the granite used in

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

A quarry near Victorville, California

UARG:55,2,1

Works

H

Style of sculpture embodied in

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Art Deco

UARG:55,2,1

Works

M

Height of the central figure in

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

15 feet

UARG:55,2,2

Works

H

Which muse is the central figure in?

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

The muse of music

UARG:55,2,2

Works

M

Height of statues on either side ofthe muse of music in

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

10 feet

UARG:55,2,2

Works

H

Item in the niches on either side ofthe muse of music in

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Representations of dance and drama

UARG:55,2,2

Works

M

Pose of the figures inwhich recalls

Greek sculpture

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Contrapposto

UARG:55,2,2

Works

E

Two masks worn or carried by themuse of drama in

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Comedy and tragedy

UARG:55,2,3

Works

E

Expression of the figure of dance in

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Calm and serene

UARG:56,1,1

Works

E

Clothing worn by the figures in

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Stylized drapery with deep ridges

UARG:55,2,2

Works

E

Instrument played by the muse ofmusic in

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Harp

UARG:56,1,2

Works

E

Two artists featured in thecurriculum who depicted the muses

of music, dance, and drama

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Diego Rivera and George Stanley

UARG:56,1,3

People

E

Location of Diego Rivera's depictionof the muses of music, dance, and

drama

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

The mural at the NationalPreparatory School in Mexico

UARG:56,1,3

Works

M

Year of opening of the HollywoodBowl

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

1922

UARG:56,1,4

Dates

H

Year of completion of

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

1940

UARG:56,1,4

Dates

H

Two orchestras that perform at theHollywood Bowl regularly

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

The Hollywood Bowl Orchestra and theLos Angeles Philharmonic

UARG:56,1,5

Groups

M

Year with the highest attendanceever at the Hollywood Bowl

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

1936

UARG:56,2,0

Dates

H

Event that drew the highestattendance of all time at the

Hollywood Bowl

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

Performance by Lily Pons, a French operastar

UARG:56,2,0

Events

H

Number of people in attendance atLily Pons' 1936 Hollywood Bowl

concert

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

26410

UARG:56,2,0

Events

H

Two organizations thatcommissioned

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

The Hollywood Bowl Association and theLos Angeles County Board of Supervisors

UARG:56,2,1

Groups

M

Year in whichwas restored

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

2006

UARG:56,2,2

Works

H

Year in whichwas designed

Art

and

the

New

Dea

l(P

aint

ing

and

Scu

lptu

re)

1938

UARG:56,2,1

Dates

H

General perception of photography

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

As truthful representations of reality

UARG:58,1,1

Styles

E

The 1930s general public'sperception of photography

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

As a documentary tool

UARG:58,1,1

Styles

E

How did 1930s photographersperceive photography?

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

As a form of art

UARG:58,1,1

Styles

E

The two most popular genres ofphotography

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Portraiture and landscape

UARG:58,1,3

Styles

E

Factor sacrificed by smaller camerasfor greater portability and faster

photography

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Image quality

UARG:58,1,2

Processes

E

Decade of photography's debut asan art form

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

The 1930s

UARG:58,1,3

Dates

E

Reason for continued use oflarge-format cameras in the 1930s

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Higher quality images

UARG:58,1,2

Processes

E

Two popular genres of artisticphotography in the 1930s

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Landscape and portraiture

UARG:58,1,3

Styles

E

Context in which the public viewedphotography in the 1930s

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Journalism

UARG:58,2,0

Styles

E

Samuel Morse

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Inventor who brought the daguerreotype tothe United States

UARG:58,2,1

People

M

Two reasons the American publicpreferred daguerreotypes to painted

portraits

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Cheaper and more accurate in portraying alikeness

UARG:58,2,1

Styles

E

Purpose of photography during theCivil War

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Documentary

UARG:58,2,2

Styles

E

Mathew Brady

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

A photographer who organizeddocumentary efforts during the Civil War

UARG:58,2,2

People

M

Two popular subjects of Civil Warphotography

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Life of soldiers in the camps and theaftermath of battles

UARG:58,2,3

Styles

M

Two kinds of media used to portraythe action of the Civil War

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Lithographs and photographs

UARG:58,2,3

Styles

M

Why did the public preferphotographs of the Civil War to

prints?

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Photographs seemed more realistic andtrustworthy

UARG:58,2,3

Styles

E

Technological limitation thatprevented Civil War photographers

from capturing live action

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Long exposure times

UARG:58,2,3

Processes

E

Two groups who sent photographersto the western territories

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

The United States government and privatepatrons

UARG:59,1,1

Groups

M

Timothy O'Sullivan

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

A survey photographer of the late 1800s

UARG:59,1,1

Styles

H

Three formats in which surveyphotographs were sold

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Stereographs, individual prints, and foliobooks

UARG:59,1,1

Processes

H

City in which Timothy O'Sullivan'sphotographs were printed and sold

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Washington, D. C.

UARG:59,1,1

Places

H

Two practical reasons for sendingsurvey photographers to the western

territories

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Documenting the region and findinglocations for railroads and settlements

UARG:59,1,1

Styles

M

Jacob Riis

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

An 1800s to early 1900s photographerwhose work pushed for social reform

UARG:59,2,1

People

E

Lewis Hine

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

A late 1800s to early 1900s photographerwhose work pushed for social reform

UARG:59,2,1

People

E

Two subjects Jacob Riisphotographed

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Tenement housing and life on the streets

UARG:59,2,1

Styles

M

Jacob Riis' goal as a photographer

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

To expose the middle class to thestruggles of the poor

UARG:59,2,1

Styles

M

Labor situation to which Lewis Hineobjected most

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Child labor

UARG:59,2,1

People

M

Lewis Hine's major social concern

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Labor conditions

UARG:59,2,1

People

E

Which building's construction didLewis Hine famously photograph?

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

The Empire State Building

UARG:59,2,1

Places

E

Roy Stryker

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Director of the Farm SecurityAdministration photography projects

UARG:60,1,2

People

E

Roy Stryker's state of birth

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Colorado

UARG:60,1,2

Places

H

To which city did Roy Stryker moveafter World War I?

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

New York City

UARG:60,1,2

Places

M

Rexford Tugwell

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

An agricultural economist who mentoredRoy Stryker

UARG:60,1,2

People

M

University at which Roy Strykerstudied

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Columbia

UARG:60,1,2

Places

M

Roy Stryker's major at Columbia

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Economics

UARG:60,1,2

People

E

A depression-era book for whichRoy Stryker collected images

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

"American Economic Life"

UARG:60,1,2

Works

M

Roy Stryker's method of educatinghis students about the labor

movement

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Sending them into the city to involvethemselves directly

UARG:60,1,3

People

M

Two core concepts that informedRoy Stryker's work with photography

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Visual conceptualization of problems anddirect engagement with social issues

UARG:60,1,3

Styles

H

Government agency run by RexfordTugwell from 1935 to 1936

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

The Resettlement Administration

UARG:60,1,4

Groups

M

The original goal of theResettlement Administration

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Relocating poor residents of overburdenedrural and urban areas

UARG:60,1,4

Groups

E

Government administration spawnedfrom the Resettlement Administration

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

The Farm Security Administration

UARG:60,1,4

Groups

E

Farm Security Administration

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

A New Deal organization that addressedrural problems

UARG:60,1,4

Groups

E

How did the goals of theResettlement Administration changewhen it became the Farm Security

Administration?

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Focused more on problems faced by ruralworkers

UARG:60,1,4

Groups

M

Reason farmers unable to afford tokeep their land during the Great

Depression

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Lower prices for agricultural products

UARG:60,1,5

Groups

E

Two factors that led to the DustBowl

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Drought and poor farming practices

UARG:60,1,5

Events

E

Three ways in which the FarmSecurity Administration helpedfarmers to increase agricultural

productivity

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Helping tenant farmers and sharecroppersbuy land, education on land use, andupgrading equipment

UARG:60,2,0

Groups

H

Section of the Farm SecurityAdministration headed by Roy

Stryker from 1935 to 1943

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

The Historical Section

UARG:60,2,1

Groups

E

Roy Stryker's role as head of theHistorical Section of the Farm

Security Administration

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Overseeing the photographic documentationof the agency's work

UARG:60,2,1

People

M

Two goals of Roy Stryker regardingthe Farm Security Administration

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Increasing awareness of the Farm SecurityAdministration's work and garnering supportfor it

UARG:60,2,1

People

E

Difference in tone of the FarmSecurity Administration's photographs

compared to other organizations?

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Highlighted the difficulties faced byimpoverished workers

UARG:60,2,1

Styles

E

The Farm Security Administration'smethod of constructing a compelling

narrative

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Photographs

UARG:60,2,1

Styles

E

Shooting scripts

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Guidelines stating what kind of subjectsand poses a photographer should look for

UARG:61,1,1

Styles

E

Three ways in which Roy Strykergave his photographers guidance

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Educating them on social issues, providingthem with shooting scripts, and reviewingtheir negatives

UARG:61,1,1

Styles

M

Dorothea Lange

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

A famous photographer who worked underRoy Stryker for the Farm SecurityAdministration

UARG:61,1,2

People

M

Region photographed by DorotheaLange for the Farm Security

Administration

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

California

UARG:61,1,2

Places

M

Gordon Parks

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

A famous photographer who worked underRoy Stryker for the Farm SecurityAdministration

UARG:61,1,2

People

H

Walker Evans

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

A famous photographer who worked underRoy Stryker for the Farm SecurityAdministration

UARG:61,1,2

People

H

Jack Delano

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

A famous photographer who worked underRoy Stryker for the Farm SecurityAdministration

UARG:61,1,2

People

H

Reason Roy Stryker was able topublish his photographs in major

publications

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Connections in the media

UARG:61,1,3

People

M

Walker Evans

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

A famous 1930s photographer

UARG:61,1,4

People

E

Walker Evans' city of birth

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Saint Louis, Missouri

UARG:61,1,4

Places

M

Three cities in which Walker Evansspent his childhood

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Saint Louis, Chicago, and Toledo

UARG:61,1,4

Places

H

What type of camera did WalkerEvans use as a child?

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

A Kodak Brownie

UARG:61,1,4

Processes

H

Where did Walker Evans travel in1926?

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Europe

UARG:61,1,4

Places

M

Government agency that employedWalker Evans in the 1930s

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Farm Security Administration

UARG:61,1,4

Groups

E

Walker Evans' preferred camerawhile working for the Farm Security

Administration

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

8 x 10

UARG:61,2,0

Processes

M

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Carleton Beals book for which WalkerEvans supplied photographs

UARG:61,2,1

Works

E

Reason why large-format camerasproduce sharper photographs

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Print from a larger negative

UARG:61,2,0

Processes

E

How did Walker Evans photographpeople on New York City streets

and subways?

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

With a 35mm camera hidden in his coat

UARG:61,2,0

Processes

E

Hired Walker Evans to work for theFarm Security Administration

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Roy Stryker

UARG:61,2,2

People

E

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

A book about white sharecroppers inAlabama, published in 1941

UARG:61,2,3

Works

E

James Agee

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

A magazine writer whocollaborated with Walker Evans

UARG:61,2,3

People

M

Two creators of

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

James Agee and Walker Evans

UARG:61,2,3

People

M

Region of the United States thatWalker Evans photographed for the

Farm Security Administration

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

The South

UARG:61,2,2

Places

E

Original publisher of

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

magazine

UARG:61,2,3

Works

E

Event that overshadowed therelease of

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

The United States' entry into World War II

UARG:61,2,3

Events

M

Museum where Walker Evans heldhis first solo exhibition

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Museum of Modern Art

UARG:62,1,1

Events

M

Significance of Walker Evans' 1938Museum of Modern Art exhibition

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

First exhibition devoted to a singlephotographer

UARG:62,1,,1

Events

M

Grant that Walker Evans wasawarded in 1940

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Guggenheim Fellowship

UARG:62,1,1

People

M

Publication that hired Walker Evansin 1945

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

magazine

UARG:62,1,2

People

E

Position that Walker Evans held atmagazine

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Staff writer

UARG:62,1,2

People

M

University where Walker Evanstaught from 1965 until his death

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Yale

UARG:62,1,2

Places

E

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

A famous Walker Evans photograph

UARG:62,1,3

Works

E

Unusual feature of

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

No figures in the photograph

UARG:62,2,0

Works

M

City in which Walker Evans died

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

New Haven, Connecticut

UARG:62,1,2

Places

M

Feature ofthat implies a

human presence

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

The chairs are prepared for customers

UARG:62,2,0

Works

E

Type of camera used for

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Large-format

UARG:62,2,1

Processes

E

Item covering the walls on the leftside of

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Newspaper

UARG:62,2,0

Works

E

Direction the chairs face in

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Toward the viewer

UARG:62,2,1

Works

E

Location of the mirrors located in

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

At the sides

UARG:62,2,1

Works

M

Gender typically associated withbarbershops

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Male

UARG:62,2,2

People

E

Social condition highlighted in

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Racial segregation

UARG:62,2,2

Works

M

Term Walker Evans used todescribe the purpose of his

photography

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Lyric documentary

UARG:63,1,3

Styles

M

Goal of Walker Evans' photography

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Conveying the breadth of humanexperience

UARG:63,1,3

Styles

E

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

A famous Dorothea Lange photograph

UARG:63,2,1

Works

E

Disease that Dorothea Langesuffered as a child

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Polio

UARG:63,2,1

People

M

Dorothea Lange's original intendedprofession in New York City

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Teaching

UARG:63,2,1

People

H

To what city did Dorothea Langemove in 1913?

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

New York City

UARG:63,2,2

Places

E

Two famous photographers whomentored Dorothea Lange

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Clarence White and Arnold Genthe

UARG:63,2,2

People

H

Location of Dorothea Lange'sportrait studio, started in 1919

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

San Francisco

UARG:63,2,2

Places

M

Paul Taylor

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

An economist who married andcollaborated with Dorothea Lange

UARG:63,2,3

People

M

Two groups photographed byDorothea Lange in California

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Sharecroppers and migrant workers

UARG:63,2,3

People

E

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

A book on sharecroppers and migrantworkers by Paul Taylor and DorotheaLange

UARG:63,2,3

Works

M

Cause that Dorothea Lange'sphotography promoted

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Supporting labor camps

UARG:63,2,4

People

E

Collaborated with Dorothea Lange todocument Japanese internment

camps

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Ansel Adams

UARG:64,1,1

People

M

Difference in Dorothea Lange'sattitude toward her work compared

to that of Walker Evans

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Considered her photos political tools

UARG:63,2,4

Styles

M

United States government's usein 1998

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Postage stamp

UARG:64,1,2

Works

M

Subject of

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

A mother and her 3 children

UARG:64,1,3

Works

E

Only face clearly visible in

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

The mother

UARG:64,1,3

Works

E

Appearance of the figures in

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Dirty or unkempt

UARG:64,2,0

Works

E

Number of photographs in the seriesthat included

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

6

UARG:64,2,2

Works

M

Florence Owens Thompson

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

The central figure of

UARG:64,2,4

People

M

Florence Owens Thompson's stateof birth

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Oklahoma

UARG:64,2,4

Places

M

Why did Florence Owen Thompsonmigrate to California?

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Finding work

UARG:64,2,4

People

E

What occupation did DorotheaLange mistakenly attribute toFlorence Owen Thompson?

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Peapicker

UARG:65,1,0

People

M

What TWO possessions didDorothea Lange claim Florence

Owen Thompson had sold for food?

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Tent and car tires

UARG:65,1,1

People

M

Berenice Abbott

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

A famous photographer who becameprominent in the 1930s

UARG:65,2,1

People

E

Berenice Abbott's city of birth

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Springfield, Ohio

UARG:65,2,1

Places

M

To what city did Berenice Abbottmove in 1918?

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

New York City

UARG:65,2,1

Places

E

With what artistic community didBerenice Abbott involve herself upon

arriving in New York City?

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Greenwich Village

UARG:65,2,1

Places

E

To what city did Berenice Abbottmove in 1921?

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Paris

UARG:65,2,1

Places

E

Berenice Abbott's first job inphotography

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Darkroom assistant

UARG:65,1,2

People

M

Photographer who first employedBerenice Abbott

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Man Ray

UARG:65,1,2

People

M

Man Ray

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

A famous 20 th century portraitphotographer and painter

UARG:65,1,2

People

E

Why did Man Ray intentionally hirea darkroom assistant with no

experience?

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

So she would print his photographsexactly as he wanted

UARG:65,1,2

People

E

Three celebrities whose portraitsappeared in Berenice Abbott's first

exhibition

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Coco Chanel, James Joyce, and JeanCocteau

UARG:65,1,3

People

H

City in which Berenice Abbott's firstexhibition took place

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Paris

UARG:65,1,3

Places

E

Eugene Atget

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

A famous 20 th century photographer whoinfluenced Berenice Abbott and WalkerEvans

UARG:65,1,3

People

E

Primary subject of Eugene Atget'sphotography

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

The city of Paris

UARG:66,1,0

People

E

Why did Berenice Abbott return tothe United States from Paris?

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

To promote Eugene Atget's photographs ofParis

UARG:66,1,1

People

M

What TWO aspects of New YorkCity surprised Berenice Abbott when

she returned in 1929?

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

The increase in population and the boomin skyscraper construction

UARG:66,1,1

Places

M

Three iconic New York Citystructures built during Berenice

Abbott's time photographing the city

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

George Washington Bridge, ChryslerBuilding, and Rockefeller Center

UARG:66,2,0

Places

H

Museum that exhibited 41 ofBerenice Abbott's photographs in

1934

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

The Museum of the City of New York

UARG:66,2,1

Events

H

School at which Berenice Abbotttaught from 1935

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

The New School for Social Research

UARG:66,2,1

Places

H

To what government agency didBerenice Abbott propose a

documentary survey of New YorkCity?

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

The Works Progress Administration/FederalArts Project

UARG:66,2,1

Groups

M

Berenice Abbott's documentarysurvey of New York City

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

"Changing New York"

UARG:66,2,1

Works

E

Position that Berenice Abbott held inthe Federal Arts Project

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Superintendent of the Photographic Division

UARG:66,2,1

People

M

Why did Berenice Abbott feel it wasimportant to document New York

City?

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Rapidly changing conditions

UARG:66,2,1

People

E

Why was Berenice Abbott tauntedwhen she worked on the street?

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Seen as taking employment from a man

UARG:66,2,3

People

E

Reason for Berenice Abbott'sdeparture from the Federal Arts

Project in 1939

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

The World's Fair

UARG:66,2,4

Events

M

To what state did Berenice Abbottmove after the 1939 World Fair?

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Maine

UARG:67,1,1

Places

M

Two aspects of Maine documentedby Berenice Abbott

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Architecture and landscape

UARG:67,1,1

Styles

E

Textbook type to which BereniceAbbot contributed photographic

illustrations

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Physics

UARG:67,1,1

Works

M

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

A famous Berenice Abbott photograph ofNew York City buildings

UARG:67,1,2

Works

E

Element of Berenice Abbott's workexemplified by

Street with ChryslerBuilding and Daily News Building,

Manhattan

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Juxtaposing old and new buildings

UARG:67,1,2

Styles

E

Building in the foreground of

Street with Chrysler Building andDaily News Building, Manhattan

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

No. 331 East 39 th Street

UARG:67,1,2

Works

E

Why are the windows of No. 331 in

Street with Chrysler Building andDaily News Building, Manhattan

striking?

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

They are boarded up

UARG:67,1,2

Places

M

Building material of No. 331 in

Street with Chrysler Building andDaily News Building, Manhattan

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Brick

UARG:67,1,2

Places

E

Two uses of building No. 331 in

Street with Chrysler Building andDaily News Building, Manhattan

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Shops and residences

UARG:67,1,2

Places

M

Where inStreet with Chrysler Building

and Daily News Building, Manhattanis No. 331 positioned?

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

The right half

UARG:67,1,2

Works

E

On what street was the New YorkDaily News building located in the

1930s?

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

East 42 nd Street

UARG:67,1,3

Places

M

Distinction held by the ChryslerBuilding when it was constructed

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Tallest building in New York

UARG:67,1,3

Places

M

Distinguishing feature of the ChryslerBuilding in the New York skyline

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

The crown ornamentation

UARG:67,1,3

Places

E

Replaced the Chrysler Building asthe tallest in New York

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

The Empire State Building

UARG:67,1,3

Places

E

Ansel Adams

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

A famous 20 th century photographer

UARG:67,2,2

People

E

Type of photograph for which AnselAdams is most famous

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Black-and-white landscapes

UARG:67,2,2

Styles

E

Ansel Adams' favorite park tophotograph?

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Yosemite

UARG:67,2,2

Places

E

Ansel Adams' job in the 1930s

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Commercial photographer

UARG:67,2,2

People

M

Two political issues Ansel Adamsaddressed

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Land development and environmentalprotection

UARG:67,2,2

People

M

Ansel Adam's city of birth

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

San Francisco

UARG:67,2,3

Places

M

What occupation did Ansel Adamsconsider pursuing in his youth?

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Concert pianist

UARG:67,2,3

People

M

Type of camera Ansel Adams usedduring his 1916 visit to Yosemite?

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

A Kodak Brownie

UARG:68,1,0

Processes

E

Organization Ansel Adams joined atage 17

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

The Sierra Club

UARG:68,1,0

Groups

E

Sierra Club

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

An organization founded in the 19th

century that sought to preserve nature andmake it accessible

UARG:68,1,0

Groups

E

Ansel Adams' first job in the SierraClub

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Tour guide

UARG:68,1,0

People

M

Ansel Adams' highest position in theSierra Club

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Director

UARG:68,1,0

People

M

Virginia Best

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Ansel Adams' wife

UARG:68,1,1

People

M

Establishment operated by the Bestfamily

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

A photographic studio

UARG:68,1,1

People

M

Group f/64

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

A group of photographers promotingstraight photography to which Ansel Adamsbelonged

UARG:68,2,2

Groups

M

Four photographic techniques AnselAdams preferred

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Large-format camera, large depth of field,sharp focus, and careful balance ofcontrast

UARG:68,2,1

Processes

H

How did Ansel Adams achieve hisbalance of contrast?

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Darkroom techniques

UARG:68,2,1

Processes

M

Zone system

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Ansel Adams' system of balancing lightand dark in a photograph

UARG:68,2,1

Processes

M

Origin of Group f/64's name?

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

The smallest aperture opening of a lens

UARG:68,2,2

Groups

H

Style of photography promotedGroup f/64?

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Straight photography without manipulation

UARG:68,2,2

Styles

M

Two effects of an f/64 apertureopening

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Large depth of field and range of focus

UARG:68,2,2

Processes

H

Two artistic effects rejected byGroup f/64

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Soft focus and textured papers emulatingpainting

UARG:68,2,2

Processes

M

Ansel Adams' main concern duringthe 1930s

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

The preservation of natural spaces

UARG:68,2,3

People

E

To which part of the United Statesgovernment did Ansel Adams submit

portfolios of his work?

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Congress

UARG:68,2,3

Groups

E

Ansel Adams' goal in submitting hisphotos to Congress

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Promote the development of new parks

UARG:68,2,3

People

E

Two corporations that employedAnsel Adams as a photographer

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Kodak and Standard Oil

UARG:68,2,3

Groups

M

United States governmentdepartment that hired Ansel Adams

in 1941

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Department of the Interior

UARG:68,2,4

Groups

E

Ansel Adam's task under theDepartment of the Interior

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Photographing landscapes across thecountry

UARG:68,2,4

Groups

E

Two subjects Ansel Adamsphotographed for the Department of

the Interior

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

National parks and Native Americanreservations

UARG:68,2,4

Places

E

Ansel Adams' grant in the 1940s

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Guggenheim Fellowship

UARG:68,2,4

People

M

Ansel Adams project funded by theGuggenheim Fellowship fund?

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Photographing national parks

UARG:69,1,0

Works

E

Why did Ansel Adams removetraces of human presence from his

photographs?

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

To give an impression of idyllic, untouchednature

UARG:69,1,0

Styles

E

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

A famous Andel Adams photograph

UARG:69,1,1

Works

E

Amount for whichwas

auctioned off

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

$600,000

UARG:69,1,1

Works

M

By what road is Hernandez, NewMexico located?

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

US Highway 84

UARG:69,1,1

Places

M

What piece of equipment was AnselAdams missing when taking

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Light meter

UARG:69,1,1

Processes

M

Three human structures in

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Group of houses, adobe church, andcemetery

UARG:69,1,1

Places

E

Two contrasting elements in theupper part of

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Light clouds and dark sky

UARG:69,1,2

Works

E

Why did Ansel Adams retain rightsto

instead of the Department ofthe Interior?

Doc

umen

tary

Pho

togr

aphy

ofth

e19

30s

Did not bill the Department of the Interiorfor his work that day

UARG:69,2,1

Works

M

Structure that transformed Americancities in the 1930s

Arc

hite

ctur

eof

the

1930

s

Skyscrapers

UARG:71,1,1

Places

E

Goal that spurred the constructionof skyscrapers in New York City

during the 1930s

Arc

hite

ctur

eof

the

1930

s

Constructing the world's tallest building

UARG:71,1,1

Places

E

Two technological advances thatallowed the construction of

skyscrapers

Arc

hite

ctur

eof

the

1930

s

The safety elevator and steel construction

UARG:71,1,1

Processes

M

William Le Baron Jenney

Arc

hite

ctur

eof

the

1930

s

A 19th century architect often credited withthe first skyscraper

UARG:71,1,3

People

H

The Home Insurance Building

Arc

hite

ctur

eof

the

1930

s

A Chicago building often considered thefirst skyscraper

UARG:71,2,0

Works

M

Advantage of skyscrapers forpatrons

Arc

hite

ctur

eof

the

1930

s

Make the most of limited acreage

UARG:71,1,2

People

N

The Wainwright Building

Arc

hite

ctur

eof

the

1930

s

An early skyscraper located in St. Louis

UARG:71,2,0

Works

M

Louis Sullivan

Arc

hite

ctur

eof

the

1930

s

A 19th century architect who pioneeredskyscrapers

UARG:71,2,0

People

H

Two goals of early skyscraperarchitects

Arc

hite

ctur

eof

the

1930

s

The illusion of lightness and the clarity offunction through form

UARG:71,2,0

Styles

M

"traditional" skyscrapers

Arc

hite

ctur

eof

the

1930

s

Skyscrapers built following World War Iwith new types of profiles and historicalreferences

UARG:71,2,1

Styles

E

What government ordinance led tothe change in skyscraper profiles

after World War I?

Arc

hite

ctur

eof

the

1930

s

Setbacks at the top to allow light and airto reach street level

UARG:71,2,2

Processes

M

What feature did skyscraperarchitects incorporate after World

War I to allow light and air to reachstreet level?

Arc

hite

ctur

eof

the

1930

s

Decorative crown structures

UARG:71,2,2

Processes

E

The Chicago Tribute Tower

Arc

hite

ctur

eof

the

1930

s

A 1920s skyscraper in the traditional style

UARG:71,2,3

Works

E

What part of a traditional skyscraperreflects older architectural styles?

Arc

hite

ctur

eof

the

1930

s

The detailing

UARG:71,2,3

Styles

M

Howells and Hood

Arc

hite

ctur

eof

the

1930

s

The architectural firm that built the ChicagoTribune Tower

UARG:71,2,3

Groups

H

Older architectural style reflected inthe Chicago Tribune Tower

Arc

hite

ctur

eof

the

1930

s

Gothic

UARG:71,2,3

Styles

M

Modern skyscrapers

Arc

hite

ctur

eof

the

1930

s

Skyscrapers built in the 1930s thatdeliberately rejected historical references

UARG:72,1,1

Styles

E

Focus of the modern style ofskyscraper architecture

Arc

hite

ctur

eof

the

1930

s

Unifying form and function

UARG:72,1,1

Styles

E

Art Nouveau

Arc

hite

ctur

eof

the

1930

s

A decorative style that uses plants,flowers, and other organic forms

UARG:72,1,2

Styles

E

Art Deco

Arc

hite

ctur

eof

the

1930

s

A decorative style that emphasizedhard-edged, abstracted forms

UARG:72,1,2

Styles

E

Event at which Art Deco firstemerged

Arc

hite

ctur

eof

the

1930

s

UARG:72,2,0

Events

H

Style moderne

Arc

hite

ctur

eof

the

1930

s

The European term for Art Deco

UARG:72,2,0

Styles

M

Decorative style of the ChryslerBuilding

Arc

hite

ctur

eof

the

1930

s

Art Deco

UARG:72,2,1

Styles

E

Four structures in which Art Decowas most popular

Arc

hite

ctur

eof

the

1930

s

Hotels, diners, movie houses, andskyscrapers

UARG:72,2,1

Styles

M

Gregory Johnson

Arc

hite

ctur

eof

the

1930

s

Architect who designed the Empire StateBuilding

UARG:73,1,1

People

M

Shreve, Lamb, and Harmon

Arc

hite

ctur

eof

the

1930

s

Architectural firm that designed the EmpireState Building

UARG:73,1,1

People

H

Address of the Empire StateBuilding

Arc

hite

ctur

eof

the

1930

s

350 5 th Avenue

UARG:73,1,1

Places

M

Homer Gage Balcom

Arc

hite

ctur

eof

the

1930

s

A structural engineer who helped designthe Empire State Building

UARG:73,1,1

People

H

The Reynolds Building

Arc

hite

ctur

eof

the

1930

s

A skyscraper by the same firm thatdesigned the Empire State Building

UARG:73,1,1

Works

M

Building that previously occupied thelocation of the Empire State Building

Arc

hite

ctur

eof

the

1930

s

The Waldorf-Astoria Hotel

UARG:73,2,0

Works

M

Number of floors in the EmpireState Building

Arc

hite

ctur

eof

the

1930

s

102

UARG:73,2,0

Works

H

Height of the Empire State Buildingexcluding the pinnacle

Arc

hite

ctur

eof

the

1930

s

1,239 feet

UARG:73,2,0

Works

H

Four materials used in the exteriorof the Empire State Building

Arc

hite

ctur

eof

the

1930

s

Indiana limestone, granite, aluminum, andchrome-nickel steel

UARG:73,2,0

Processes

H

Aspect of the Empire StateBuilding's construction that allowed

for many windows

Arc

hite

ctur

eof

the

1930

s

Steel frame

UARG:73,2,1

Processes

E

Aspect of the Empire State Buildingthat creates the impression of even

greater height

Arc

hite

ctur

eof

the

1930

s

Setbacks relatively close to ground level

UARG:74,1,1

Processes

M

Length of the Empire StateBuilding's construction

Arc

hite

ctur

eof

the

1930

s

1 year and 45 days

UARG:74,1,2

Works

H

Number of people who worked onthe construction of the Empire State

Building

Arc

hite

ctur

eof

the

1930

s

3,400

UARG:74,1,2

Works

M

John Jacob Faskob

Arc

hite

ctur

eof

the

1930

s

The man who financed the Empire StateBuilding

UARG:74,1,3

People

M

Total cost of constructing the EmpireState Building

Arc

hite

ctur

eof

the

1930

s

$25,000,000

UARG:74,1,3

Works

M

Why was the Empire State Buildingnot profitable upon completion?

Arc

hite

ctur

eof

the

1930

s

The Great Depression made finding rentersdifficult

UARG:74,1,3

Works

E

Most popular feature of the EmpireState Building at its opening

Arc

hite

ctur

eof

the

1930

s

The observation deck

UARG:74,1,3

Works

E

Official unveiler of the Empire StateBuilding

Arc

hite

ctur

eof

the

1930

s

President Herbert Hoover

UARG:74,1,4

People

E

How did Herbert Hoover unveil theEmpire State Building?

Arc

hite

ctur

eof

the

1930

s

Pressing a button in the White House thatturned on its lights

UARG:74,1,4

Events

M

Feature added to the Empire StateBuilding in the 1960s

Arc

hite

ctur

eof

the

1930

s

Floodlights

UARG:74,1,4

Works

M

How did private building constructionhelp the economy in the 1930s?

Arc

hite

ctur

eof

the

1930

s

Provided temporary employment

UARG:74,2,2

People

E

Civilian Conservation Corps

Arc

hite

ctur

eof

the

1930

s

A Depression-era government agencyresponsible for construction projects inpublic parks

UARG:74,2,2

Groups

E

Tennessee Valley Authority

Arc

hite

ctur

eof

the

1930

s

A government agency responsible forcreating jobs and new energy sources inthe South

UARG:74,2,3

Groups

E

Two types of construction projectsundertaken by the Tennessee Valley

Authority

Arc

hite

ctur

eof

the

1930

s

Building bridges and dams

UARG:74,2,3

Works

E

Goal of the Tennessee ValleyAuthority in building bridges and

dams

Arc

hite

ctur

eof

the

1930

s

Controlling and harnessing the power ofwaterways

UARG:74,2,3

Groups

E

Why did the Tennessee ValleyAuthority's construction projects

extend beyond just building bridgesand dams?

Arc

hite

ctur

eof

the

1930

s

New towns had to be built to house theworkers

UARG:74,2,3

Works

E

How did the completed projects ofthe Tennessee Valley Authority

stimulate the economy?

Arc

hite

ctur

eof

the

1930

s

Access to electricity allowed furtherindustrial development

UARG:74,2,3

People

E

Types of structures constructed andimproved by the Works Progress

Administration

Arc

hite

ctur

eof

the

1930

s

Structures for public use

UARG:74,2,3

Works

E

Tallest New York City skyscraper

Arc

hite

ctur

eof

the

1930

s

Empire State Building

UARG:73,1,1

Works

E

On what river is the Hoover Damlocated?

Arc

hite

ctur

eof

the

1930

s

Colorado River

UARG:75,2,1

Places

E

Between which TWO states is theHoover Dam located?

Arc

hite

ctur

eof

the

1930

s

Arizona and Nevada

UARG:75,2,1

Places

E

Hoover Dam

Arc

hite

ctur

eof

the

1930

s

A massive dam built during the GreatDepression

UARG:75,2,1

Works

E

Distinction held by Hoover Damwhen it was completed

Arc

hite

ctur

eof

the

1930

s

Largest dam in the world

UARG:75,2,1

Works

E

Height of Hoover Dam

Arc

hite

ctur

eof

the

1930

s

726.4 feet

UARG:75,2,1

Works

H

Height of the ornamentation on topof Hoover Dam

Arc

hite

ctur

eof

the

1930

s

40 feet

UARG:75,2,1

Works

H

Structure used for Hoover Dam

Arc

hite

ctur

eof

the

1930

s

Arch-gravity structure

UARG:75,2,2

Works

M

Material used in Hoover Dam

Arc

hite

ctur

eof

the

1930

s

Concrete

UARG:75,2,2

Works

E

Construction process used forHoover Dam

Arc

hite

ctur

eof

the

1930

s

Concrete blocks placed in vertical towers

UARG:75,2,2

Processes

M

Time taken to construct HooverDam

Arc

hite

ctur

eof

the

1930

s

Almost 2 years

UARG:75,2,2

Processes

M

Amount of concrete used toconstruct Hoover Dam?

Arc

hite

ctur

eof

the

1930

s

4 million cubic yards

UARG:75,2,2

Processes

M

How was the concrete used toconstruct Hoover Dam cooled?

Arc

hite

ctur

eof

the

1930

s

Iced water circulating through pipes

UARG:75,2,2

Processes

M

Style of ornamentation characterizingHoover Dam?

Arc

hite

ctur

eof

the

1930

s

Art Deco

UARG:75,2,3

Styles

E

General shape of Hoover Dam

Arc

hite

ctur

eof

the

1930

s

A curve

UARG:75,2,3

Styles

E

Gordon Kaufmann

Arc

hite

ctur

eof

the

1930

s

Architect who designed Hoover Dam

UARG:75,2,4

People

E

Region in which Gordon Kaufmannworked

Arc

hite

ctur

eof

the

1930

s

Southern California

UARG:75,2,4

Places

M

Nationality of Gordon Kaufmann

Arc

hite

ctur

eof

the

1930

s

English

UARG:75,2,4

People

M

Government agency that drew upthe basic plans for Hoover Dam?

Arc

hite

ctur

eof

the

1930

s

The Bureau of Reclamation

UARG:75,2,4

Groups

M

Aspect of Hoover Dam planned bythe Bureau of Reclamation

Arc

hite

ctur

eof

the

1930

s

Engineering

UARG:75,2,4

Processes

E

Aesthetic purpose of Hoover Dam'swater intake towers

Arc

hite

ctur

eof

the

1930

s

Giving a sense of verticality

UARG:75,2,5

Works

M

Appearance evoked by the simple,clean lines of Hoover Dam

Arc

hite

ctur

eof

the

1930

s

Modern

UARG:75,2,5

Works

E

Under which president was theHoover Dam completed?

Arc

hite

ctur

eof

the

1930

s

Franklin Delano Roosevelt

UARG:75,2,6

People

E

Government official who began theplanning for the construction of

Hoover Dam

Arc

hite

ctur

eof

the

1930

s

Herbert Hoover

UARG:75,2,6

People

E

Post held by Herbert Hoover whenthe planning for Hoover Dam began

Arc

hite

ctur

eof

the

1930

s

Secretary of Commerce

UARG:76,1,0

People

M

Under which president was theplanning for Hoover Dam begun?

Arc

hite

ctur

eof

the

1930

s

Warren Harding

UARG:76,1,0

People

M

Engineering problem faced by thebuilders of Hoover Dam

Arc

hite

ctur

eof

the

1930

s

Getting the concrete to cool and setproperly

UARG:75,2,2

Processes

M

The seven Basin states

Arc

hite

ctur

eof

the

1930

s

Arizona, Colorado, Nevada, New Mexico,California, Utah, and Wyoming

UARG:76,1,0

Places

H

Original name of the Hoover Dam

Arc

hite

ctur

eof

the

1930

s

Boulder Canyon Project

UARG:76,1,0

Works

E

President who approved the BoulderCanyon Project

Arc

hite

ctur

eof

the

1930

s

Calvin Coolidge

UARG:76,1,0

People

M

Originally planned location of HooverDam

Arc

hite

ctur

eof

the

1930

s

Boulder Canyon

UARG:76,1,0

Places

E

Revised location of Hoover Dam

Arc

hite

ctur

eof

the

1930

s

Black Canyon

UARG:76,1,0

Places

E

How far is Black Canyon fromBoulder Canyon?

Arc

hite

ctur

eof

the

1930

s

8 miles

UARG:76,1,0

Places

E

Company contracted to build HooverDam

Arc

hite

ctur

eof

the

1930

s

Six Companies, Inc.

UARG:76,1,1

Groups

E

Ancillary project to the Hoover Dam,also contracted to Six Companies,

Inc.

Arc

hite

ctur

eof

the

1930

s

Building a town to house the workers

UARG:76,2,0

Works

E

Homes of the Hoover Dam workerswhile Boulder City was under

construction

Arc

hite

ctur

eof

the

1930

s

In camps

UARG:76,2,0

People

E

Why did construction begin on theHoover Dam before Boulder City

was finished?

Arc

hite

ctur

eof

the

1930

s

The need for jobs during the GreatDepression

UARG:76,2,0

Works

E

In what TWO ways did the need forworkers' housing create more jobs?

Arc

hite

ctur

eof

the

1930

s

Housing construction and production ofextra building materials

UARG:76,2,0

People

E

What incidental benefit did theexistence of worker towns provide?

Arc

hite

ctur

eof

the

1930

s

Fewer homeless people around buildingsites

UARG:76,2,0

People

M

Initial purpose of Hoover Dam

Arc

hite

ctur

eof

the

1930

s

A way to share water resources betweenthe Basin states

UARG:76,1,0

Groups

M

Three names given to the HooverDam

Arc

hite

ctur

eof

the

1930

s

The Boulder Canyon Project, Boulder Dam,and Hoover Dam

UARG:77,1,1

Works

M

Why did the RooseveltAdministration refuse to accept the

name "Hoover Dam"?

Arc

hite

ctur

eof

the

1930

s

Reluctant to acknowledge Herbert Hoover'scontribution

UARG:71,1,1

People

M

When was the name "Hoover Dam"officially accepted?

Arc

hite

ctur

eof

the

1930

s

After Franklin Roosevelt's death

UARG:71,1,1

Works

M

Industrial phenomenon that led tohigher rates of homelessness during

the Great Depression

Arc

hite

ctur

eof

the

1930

s

A sharp decline in housing construction

UARG:77,1,2

People

E

How did homeless people in urbancenters find shelter?

Arc

hite

ctur

eof

the

1930

s

Living together in shantytowns

UARG:77,1,3

People

E

Hoovervilles

Arc

hite

ctur

eof

the

1930

s

A colloquial name for the shantytowns ofthe Great Depression

UARG:77,1,3

Places

E

Why were Depression-erashantytowns known as

"Hoovervilles"?

Arc

hite

ctur

eof

the

1930

s

Many considered Herbert Hoover thecause of the stock market crash

UARG:77,1,3

Places

M

Two major dangers associated withHoovervilles

Arc

hite

ctur

eof

the

1930

s

Poor sanitation and unsound structures

UARG:77,1,4

Places

E

Two reasons the government couldnot shut down Hoovervilles

Arc

hite

ctur

eof

the

1930

s

Dense population and lack of alternatives

UARG:77,2,0

Places

E

Two reasons soup kitchens andshelters could not adequately

provide for the homeless during theGreat Depression

Arc

hite

ctur

eof

the

1930

s

Lack of funding and space

UARG:77,2,0

People

E

Federal Housing Administration

Arc

hite

ctur

eof

the

1930

s

A Depression-era government agencydedicated to encouraging new construction

UARG:77,2,1

Groups

E

Government agency thatincorporated the Federal Housing

Administration in the 1960s

Arc

hite

ctur

eof

the

1930

s

Housing and Urban Development

UARG:77,2,1

Groups

E

How does Housing and UrbanDevelopment help homebuyers?

Arc

hite

ctur

eof

the

1930

s

Providing low-interest loans

UARG:77,2,1

Groups

M

Division of Subsistence Homesteads

Arc

hite

ctur

eof

the

1930

s

A Depression-era government agencyresponsible for creating model communitiesoutside metropolitan centers

UARG:77,2,2

Groups

E

Greenbelt, Maryland

Arc

hite

ctur

eof

the

1930

s

A planned community initiated in 1935 andsettled in 1937

UARG:77,2,2

Places

M

Three benefits model communitiesprovided during the Great

Depression

Arc

hite

ctur

eof

the

1930

s

Shelter, jobs, and farms

UARG:77,2,2

Places

E

Purpose of the farms of modelcommunities during the Great

Depression

Arc

hite

ctur

eof

the

1930

s

Supplying fruits and vegetables to nearbycities

UARG:77,2,2

Places

E

Federal Emergency ReliefAdministration

Arc

hite

ctur

eof

the

1930

s

A Depression-era government agency thatincluded the Division of SubsistenceHomesteads

UARG:77,2,2

Groups

M

Location of the first federally fundedpublic housing project

Arc

hite

ctur

eof

the

1930

s

Chicago

UARG:78,1,1

Places

M

United States government agencythat supported the first federally

funded public housing project

Arc

hite

ctur

eof

the

1930

s

The Works Progress Administration

UARG:78,1,1

Groups

M

The Jane Addams Homes

Arc

hite

ctur

eof

the

1930

s

The first federally funded public housingproject in the United States

UARG:78,1,1

Works

E

Purpose of the Jane AddamsHomes

Arc

hite

ctur

eof

the

1930

s

Providing homes and social services tostruggling residents

UARG:78,1,1

Works

E

What goal do public housingprojects in densely populated areas

have to fulfill?

Arc

hite

ctur

eof

the

1930

s

Providing basic shelter to a maximumnumber of people within a limited space

UARG:78,1,1

Works

E

Style of construction used by publichousing projects in densely

populated areas

Arc

hite

ctur

eof

the

1930

s

Basic, solid construction with few frills

UARG:78,1,1

Works

E

"Fallingwater"

Arc

hite

ctur

eof

the

1930

s

A famous home designed by Frank LloydWright

UARG:78,1,2

Works

E

Frank Lloyd Wright

Arc

hite

ctur

eof

the

1930

s

An innovative 20 th century architect

UARG:78,1,3

People

E

How was "Fallingwater" unusual fora Depression-era home?

Arc

hite

ctur

eof

the

1930

s

Was a vacation home

UARG:78,1,3

Works

M

Social phenomenon illustrated byDepression-era vacation homes like

"Fallingwater"

Arc

hite

ctur

eof

the

1930

s

The disparity between economic classes inthe 1930s

UARG:78,1,3

Works

E

Number of buildings designed byFrank Lloyd Wright

Arc

hite

ctur

eof

the

1930

s

About 400

UARG:78,1,3

Works

M

Two aspects of design Frank LloydWright worked with

Arc

hite

ctur

eof

the

1930

s

Architecture and interior design

UARG:78,1,3

Styles

M

How did Frank Lloyd Wrightcombine his interest in interiordesign with his architecture?

Arc

hite

ctur

eof

the

1930

s

Customized furnishings for his buildings

UARG:78,1,3

Styles

M

Prairie School

Arc

hite

ctur

eof

the

1930

s

An architectural movement associated withFrank Lloyd Wright's early career

UARG:78,1,3

Groups

M

What term best describes FrankLloyd Wright's later work?

Arc

hite

ctur

eof

the

1930

s

Organic

UARG:78,1,3

Styles

E

Foreign architectural influence onFrank Lloyd Wright's later work

Arc

hite

ctur

eof

the

1930

s

Traditional Japanese architecture

UARG:78,1,3

Styles

E

Two reasons Frank Lloyd Wright'slater work is considered "organic"

Arc

hite

ctur

eof

the

1930

s

Efforts to harmonize his buildings withnature and frequently opening up spacesin his buildings

UARG:78,1,3

Styles

M

Frank Lloyd Wright's state of birth

Arc

hite

ctur

eof

the

1930

s

Wisconsin

UARG:78,1,4

Places

E

University that Frank Lloyd Wrightattended

Arc

hite

ctur

eof

the

1930

s

University of Wisconsin

UARG:78,2,1

Places

M

Famous architect who employedFrank Lloyd Wright during the 1880s

Arc

hite

ctur

eof

the

1930

s

Louis Sullivan

UARG:78,2,1

People

M

Why did Frank Lloyd Wright leaveLouis Sullivan's architectural firm?

Arc

hite

ctur

eof

the

1930

s

Sullivan discovered that Wright was takingcommissions on the side.

UARG:78,2,1

People

M

City in which Frank Lloyd Wrightbegan his career

Arc

hite

ctur

eof

the

1930

s

Chicago

UARG:78,2,1

Places

E

Catherine Tobin

Arc

hite

ctur

eof

the

1930

s

Frank Lloyd Wright's first wife

UARG:78,2,1

People

M

Town Frank Lloyd Wright moved toafter leaving Louis Sullivan's

architectural firm

Arc

hite

ctur

eof

the

1930

s

Oak Park

UARG:78,2,1

Places

M

City in which the Prairie School wasbased

Arc

hite

ctur

eof

the

1930

s

Chicago

UARG:78,2,2

Places

E

External architectural feature thatcharacterized the Prairie School

Arc

hite

ctur

eof

the

1930

s

Low, sweeping profiles

UARG:78,2,2

Styles

E

Which region's landscape did thePrairie School attempt to evoke

through its architecture?

Arc

hite

ctur

eof

the

1930

s

The Midwest

UARG:78,2,2

Styles

E

Internal architectural feature thatcharacterized the Prairie School

Arc

hite

ctur

eof

the

1930

s

Open interior plans

UARG:78,2,2

Styles

E

Materials preferred by the PrairieSchool

Arc

hite

ctur

eof

the

1930

s

Local, natural materials

UARG:78,2,2

Styles

E

Two criteria the Prairie Schoolconsidered in selecting materials

Arc

hite

ctur

eof

the

1930

s

Practical function and aesthetic appeal

UARG:78,2,2

Processes

M

The Robie House

Arc

hite

ctur

eof

the

1930

s

A Frank Lloyd Wright building in thePrairie School style

UARG:78,2,2

Works

M

Neighborhood in which the RobieHouse is located

Arc

hite

ctur

eof

the

1930

s

Hyde Park

UARG:78,2,2

Places

M

Mamah Cheney

Arc

hite

ctur

eof

the

1930

s

A woman with whom Frank Lloyd Wrighthad an affair

UARG:78,2,3

People

E

Number of children Frank LloydWright had

Arc

hite

ctur

eof

the

1930

s

6

UARG:78,2,3

People

M

Region to which Frank Lloyd Wrightand Mamah Cheney travelled in

1909

Arc

hite

ctur

eof

the

1930

s

Europe

UARG:78,2,3

Places

E

The

Arc

hite

ctur

eof

the

1930

s

A collection of designs Frank Lloyd Wrightpublished in Europe

UARG:78,2,3

Works

M

How did Frank Lloyd Wright's affairwith Mamah Cheney affect his

Chicago business?

Arc

hite

ctur

eof

the

1930

s

No longer willing to hire him

UARG:78,2,3

People

E

Town in which Frank Lloyd Wrightsettled with Mamah Cheney

Arc

hite

ctur

eof

the

1930

s

Spring Green, Wisconsin

UARG:78,2,4

Places

M

Taliesin

Arc

hite

ctur

eof

the

1930

s

Frank Lloyd Wright's home in SpringGreen, Wisconsin

UARG:79,1,0

Places

M

Tragic event that befell Frank LloydWright at Taliesin in 1914?

Arc

hite

ctur

eof

the

1930

s

A servant murdered Mamah Cheney andher children with an ax.

UARG:79,1,0

Events

M

Miriam Noel

Arc

hite

ctur

eof

the

1930

s

Frank Lloyd Wright's second wife

UARG:79,1,0

People

H

Olga Ivanovna Lazovich

Arc

hite

ctur

eof

the

1930

s

Frank Lloyd Wright's third wife

UARG:79,1,0

People

H

Location of Fallingwater

Arc

hite

ctur

eof

the

1930

s

Bear Run, Pennsylvania

UARG:79,1,1

Places

M

Magazine that featured Fallingwateras a cover in 1938?

Arc

hite

ctur

eof

the

1930

s

magazine

UARG:79,1,1

Works

E

Family that owned Fallingwater

Arc

hite

ctur

eof

the

1930

s

The Kaufmann family

UARG:79,1,2

People

E

Member of the Kaufmann familywho first contacted Frank Lloyd

Wright

Arc

hite

ctur

eof

the

1930

s

Their son, Edgar Kaufmann, Jr.

UARG:79,1,2

People

M

How did Edgar Kaufmann, Jr. meetFrank Lloyd Wright?

Arc

hite

ctur

eof

the

1930

s

Studied with Wright in Wisconsin

UARG:79,1,2

People

M

City in which the Kaufmann familylived

Arc

hite

ctur

eof

the

1930

s

Pittsburgh

UARG:79,1,3

Places

M

How is the waterfall perceptibleinside Fallingwater?

Arc

hite

ctur

eof

the

1930

s

Is audible

UARG:79,2,0

Works

E

Why did Frank Lloyd Wright makethe waterfall audible inside

Fallingwater?

Arc

hite

ctur

eof

the

1930

s

Allowing the residents to live with thewaterfall in addition to seeing it

UARG:79,2,0

Works

M

Who advised Frank Lloyd Wright notto built Fallingwater over a

waterfall?

Arc

hite

ctur

eof

the

1930

s

Structural engineers

UARG:79,2,0

Processes

M

Source of the stone used inFallingwater

Arc

hite

ctur

eof

the

1930

s

Local quarries

UARG:79,2,1

Processes

E

Structure evoked by the low ceilingsof Fallingwater

Arc

hite

ctur

eof

the

1930

s

A cave

UARG:79,2,1

Works

M

Most famous view of Fallingwater

Arc

hite

ctur

eof

the

1930

s

From across the falls looking up

UARG:80,1,2

Works

M

Contrast evoked by the concretecantilevers and stone mullions of

Fallingwater

Arc

hite

ctur

eof

the

1930

s

Earth and trees

UARG:80,1,2

Works

M

Limitation that Frank Lloyd Wrightrecognized in his work as he

designed Fallingwater

Arc

hite

ctur

eof

the

1930

s

Only available to the elite

UARG:80,1,4

Styles

E

Broadacre City

Arc

hite

ctur

eof

the

1930

s

A model city designed by Frank LloydWright

UARG:80,1,4

Works

M

Usonian houses

Arc

hite

ctur

eof

the

1930

s

Small, inexpensive single-family homesdesigned by Frank Lloyd Wright

UARG:80,1,4

Works

M

For which social class were Usonianhouses intended?

Arc

hite

ctur

eof

the

1930

s

Middle class

UARG:80,1,4

People

E

Purpose of designing Usonianhouses

Arc

hite

ctur

eof

the

1930

s

Making economical homes

UARG:80,1,4

Works

E

Unity Temple

Arc

hite

ctur

eof

the

1930

s

A famous Frank Lloyd Wright church

UARG:80,2,0

Works

M

Johnson Wax Research Tower

Arc

hite

ctur

eof

the

1930

s

A famous Frank Lloyd Wright building

UARG:80,2,0

Works

M

The Solomon R. GuggenheimMuseum

Arc

hite

ctur

eof

the

1930

s

A famous Frank Lloyd Wright museum

UARG:80,2,0

Works

M

Age at which Frank Lloyd Wrightpassed away

Arc

hite

ctur

eof

the

1930

s

91

UARG:80,2,0

People

H

Sears Modern Homes

Arc

hite

ctur

eof

the

1930

s

Economical kit homes sold through theSears, Roebuck and Company catalogue

UARG:80,2,1

Works

E

How were Sears Modern Homesshipped to buyers?

Arc

hite

ctur

eof

the

1930

s

Train

UARG:80,2,1

Processes

E

Party responsible for transportingthe kit for a Sears Modern Home

from the train station

Arc

hite

ctur

eof

the

1930

s

The buyer

UARG:80,2,1

Processes

E

How did a buyer construct a SearsModern Home?

Arc

hite

ctur

eof

the

1930

s

Followed steps in the instructional bookletincluded

UARG:80,2,1

Processes

E

Why were Sears Modern Homesaccessible to the general public?

Arc

hite

ctur

eof

the

1930

s

Constructing them required little technicalexpertise

UARG:80,2,2

Processes

M

Type of framing used in SearsModern Homes

Arc

hite

ctur

eof

the

1930

s

Balloon framing

UARG:80,2,2

Processes

H

For what TWO reasons did SearsModern Homes use balloon

framing?

Arc

hite

ctur

eof

the

1930

s

Easy to construct and leaves little roomfor error

UARG:80,2,2

Processes

M

Roofing material used in SearsModern Homes

Arc

hite

ctur

eof

the

1930

s

Asphalt shingles

UARG:80,2,2

Processes

H

The Winona

Arc

hite

ctur

eof

the

1930

s

A bungalow-style Sears Modern Home

UARG:80,2,3

Works

M

Line of Sears Modern Homesincluding the Winona

Arc

hite

ctur

eof

the

1930

s

Honor-Bilt line

UARG:80,2,3

Works

E

Number of stories in the Winona

Arc

hite

ctur

eof

the

1930

s

1

UARG:81,1,0

Works

E

Number of bathrooms in the Winona

Arc

hite

ctur

eof

the

1930

s

1

UARG:81,1,0

Works

E

Two possible numbers of bedroomsin the Winona

Arc

hite

ctur

eof

the

1930

s

2 or 3

UARG:81,1,0

Works

E

Two possible numbers of stories ina bungalow

Arc

hite

ctur

eof

the

1930

s

1 or 1.5

UARG:82,1,0

Styles

E

Two external features of a bungalow

Arc

hite

ctur

eof

the

1930

s

Low pitched roof and large, covered frontporch

UARG:82,1,0

Styles

M

Interior feature used in bungalowsto maximize space

Arc

hite

ctur

eof

the

1930

s

Built-in furnishings

UARG:82,1,1

Styles

M

Three rooms typically integrated in abungalow

Arc

hite

ctur

eof

the

1930

s

Kitchen, living room, and dining area

UARG:82,1,1

Styles

M

Functions of the two sides of theWinona

Arc

hite

ctur

eof

the

1930

s

One half is devoted to communal livingand the other to private life

UARG:82,1,2

Works

M

A key selling point for the Honor-Biltline of Sears Modern Homes

Arc

hite

ctur

eof

the

1930

s

The use of high-quality "clear" woods

UARG:82,1,3

Works

M

Rooms in the Sears Modern HomesHonor-Bilt line that used woods like

oak and maple

Arc

hite

ctur

eof

the

1930

s

Rooms where guests would be received

UARG:82,1,3

Works

M

Rooms in the Sears Modern HomesHonor-Bilt line that used pine

Arc

hite

ctur

eof

the

1930

s

Bedrooms

UARG:82,1,3

Works

M

Three lines of Sears Modern Homes

Arc

hite

ctur

eof

the

1930

s

Honor-Bilt, Standard Built, and SimplexSectional

UARG:82,1,4

Works

E

Highest quality Sears ModernHomes line

Arc

hite

ctur

eof

the

1930

s

Honor-Bilt

UARG:82,1,4

Works

E

Lowest quality Sears Modern Homesline

Arc

hite

ctur

eof

the

1930

s

Simplex Sectional

UARG:82,2,0

Works

E

Purpose of many Simplex Sectionalhomes used

Arc

hite

ctur

eof

the

1930

s

Vacation homes

UARG:82,2,0

Works

M

Price range for Honor-Bilt homes

Arc

hite

ctur

eof

the

1930

s

$500-$4,000

UARG:82,2,0

Works

M

Number of kit homes sold by mailorder by Sears, Roebuck and

Company

Arc

hite

ctur

eof

the

1930

s

70,000-75,000

UARG:82,2,1

Works

H

Three means by which Americanartists became aware of European

art movements

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Visiting Europe, migrant European artists,and exhibitions in New York City

UARG:84,2,2

Styles

M

Regionalism

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

An American art movement that focusedon rejecting European influences in theearly 1900s

UARG:85,1,1

Styles

E

Another name for the Regionalistmovement

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

American Scene painting

UARG:85,1,1

Styles

M

Three Regionalist painters

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Grant Wood, Thomas Hart Berton, andJohn Steuart Curry

UARG:85,1,1

People

M

Region with which the Regionalistmovement was associated

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

The Midwest

UARG:85,1,1

Styles

E

Lifestyle with which the Regionalistmovement was associated

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Rural life

UARG:85,1,1

Styles

E

magazine's description of theRegionalist movement in 1934

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

"truly American"

UARG:85,1,2

Styles

E

Regionalist artist featured on thecover of magazine in 1934

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Thomas Hart Benton

UARG:85,1,2

People

M

Demographic that dominated theRegionalist movement

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

White men

UARG:85,1,2

Styles

E

Social perspective most common inRegionalist art

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

White male perspective

UARG:85,1,2

Styles

E

Two aspects of Georgia O'Keefe'swork that qualify as "abstract"

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Expressive use of color and focus ondetail

UARG:85,2,0

Styles

M

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

A famous Grant Wood painting

UARG:85,2,1

Works

E

Grant Wood's town of birth

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Amamosa, Iowa

UARG:85,2,2

Places

H

What impression did Grant Woodtry to evoke in photographs of

himself?

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

That of the rural worker

UARG:85,2,2

People

E

Two opposing ways to interpret

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Reverential image of the Americanheartland or satirical and perhaps criticalcommentary on rural life

UARG:85,2,1

Works

M

How did Grant Wood give theimpression of being a rural worker

in photographs?

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Posing in overalls

UARG:85,2,2

People

M

Town to which Grant Wood movedafter his father's death

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Cedar Rapids, Iowa

UARG:85,2,2

Places

M

After what event did Grant Woodbegin taking formal art lessons?

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

His father's death

UARG:85,2,2

People

M

School at which Grant Woodenrolled after high school

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Minneapolis School of Design andHandicraft

UARG:85,2,3

Places

M

Three subjects Grant Wood studiedat the Minneapolis School of Design

and Handicraft

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Metalworking, jewelry making, andwoodworking

UARG:85,2,3

Styles

H

Aesthetic that influenced GrantWood during his studies at the

Minneapolis School of Design andHandicraftA

mer

ican

Reg

iona

lism

/Am

eric

anE

xper

ienc

es

Arts and Crafts

UARG:85,2,3

Styles

E

City to which Grant Wood moved in1913

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Chicago

UARG:85,2,4

Places

E

School at which Grant Wood studiedin Chicago

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

School of the Art Institute of Chicago

UARG:85,2,4

Places

M

Job Grant Wood took while studyingin Chicago

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Teaching

UARG:85,2,4

People

E

Two styles of art Grant Woodstudied in Europe

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Impressionism and Post-Impressionism

UARG:85,2,4

Styles

M

European tendency that Grant Woodrejected

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Abstraction

UARG:85,2,4

Styles

E

Art movement with which GrantWood gained some familiarity in

Europe

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Modernism

UARG:85,2,4

Styles

E

Two aspects of American art thatRegionalists believed should reflect

the American experience

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Subject matter and style

UARG:86,1,0

Styles

E

Northern Renaissance artist whoinfluenced Grant Wood

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Jan Van Eyck

UARG:86,1,0

People

M

Stone City Art Colony

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Depression-era organization that gaveartists residencies

UARG:86,1,1

Groups

M

Organization that employed GrantWood work in the summers of 1932

and 1933

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Stone City Art Colony

UARG:86,1,1

Groups

M

Region in which Stone City ArtColony was located

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Rural Iowa

UARG:86,1,1

Places

M

Subject that Grant Wood taught atStone City Art Colony

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Painting

UARG:86,1,1

People

E

State that Grant Wood oversaw forthe Public Works of Art Project in

1935

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Iowa

UARG:86,1,1

Places

E

Where did Grant Wood first meetthe artists he employed for the

Public Works of Art Project?

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Working at Stone City Art Colony

UARG:86,1,1

Groups

M

University at which Grant Woodtaught painting

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

University of Iowa

UARG:86,1,2

Groups

E

Number of years that Grant Woodwas on the University of Iowa

faculty

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

8

UARG:86,1,2

People

M

Age at which Grant Wood passedaway

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

50

UARG:86,2,0

People

M

What trend in artistic styles causedGrant Wood's work to be dismissed

in the 1940s?

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Move toward abstraction

UARG:86,2,0

Styles

E

THREE shortcomings that art criticsattributed to Grant Wood's work in

the 1940s

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Naïve, folksy, and overly simplistic

UARG:86,2,0

Styles

M

Why did Midwesterners continue tosupport Grant Wood's work in the

1940s?

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Upheld traditional values endangered inmodern times

UARG:86,2,1

Styles

E

Two subjects in the foreground of

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Man and woman

UARG:86,2,2

Works

E

Two subjects in the background of

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Farmhouse and barn

UARG:86,2,2

Works

E

Prominent architectural feature inthe farmhouse in

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

A Gothic-style window

UARG:86,2,2

Works

E

How are the figures inposed?

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Stiffly, as if for a photograph

UARG:86,2,3

Works

E

How much of the figures' bodiesare visible in

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

The waist up

UARG:86,2,3

Works

E

How would a 1930s audience haveviewed the clothing of the figures in

?

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Old-fashioned and conservative

UARG:86,2,3

Works

E

Three garments worn by the womanin

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Dress, cameo pin, and apron

UARG:86,2,3

Works

M

Three garments worn by the man in

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Work shirt, overalls, and jacket

UARG:86,2,3

Works

M

Farming implement held by the manin

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Pitchfork

UARG:86,2,3

Works

E

Expressions of the figures inhave

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Serious or emotionless

UARG:86,2,4

Works

E

Difference between the gazes of theman and the woman in

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Is looking directly at the viewer

UARG:86,2,4

Works

M

Attitude indicated by the direct gazeof the man in

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Strong patriarchy

UARG:87,1,0

Works

M

Attitude indicated by the position ofthe pitchfork in

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

The man protecting the woman

UARG:87,1,0

Works

M

Items on the porch of thefarmhouse in

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Potted plants

UARG:87,1,1

Works

M

Two aspects of the farmhousewindow in that

indicate a Gothic style?

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

The pointed arch and tripartite division

UARG:87,1,1

Works

E

Object hanging in the farmhousewindow in

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

A brown and white patterned cloth

UARG:87,1,1

Works

M

Object partly visible on thefarmhouse roof in

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

A lightening rod

UARG:87,1,1

Works

M

Kind of building that the lighteningrod and window in

evoke

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

A church

UARG:87,1,1

Works

E

Feature of the farmhouse evoked bythe thin faces of the figures in

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

The window

UARG:87,1,2

Works

M

Feature of the woman's outfitechoed by her face in

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

The cameo pin

UARG:87,1,2

Works

M

TWO features of the man's outfitechoed by the pitchfork in

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

The stitching on his overalls and thestripes on his shirt

UARG:87,1,2

Works

H

Feature of the farmhouse echoed bythe pitchfork in

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

The divisions of the window

UARG:87,1,2

Works

M

What TWO purposes does repetitionserve in ?

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Unifying the features of the painting andshowing that the image was carefullyconstructed

UARG:87,1,2

Works

M

False impression about Grant Woodcreated by the careful detail in

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

That he was a self-taught or naïve painter

UARG:87,1,3

Styles

H

Artistic tradition reflected by thecareful detail in

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Northern Renaissance art

UARG:87,1,3

Styles

M

Person on whom the woman inwas based

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Grant Wood's younger sister, Nan

UARG:87,2,1

People

H

Person on whom the man inwas based

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Grant Wood's dentist, Byron McKeeby

UARG:87,2,1

People

H

Location of the house that formedthe basis for

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Eldon, Iowa

UARG:87,2,1

Places

H

Architectural style of the farmhousein

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Gothic revival

UARG:87,2,1

Styles

E

Sponsoring organization of thecompetition in which Grant Wood

entered

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

The Art Institute of Chicago

UARG:87,2,2

Events

E

Prize that won inthe Art Institute of Chicago's

competition

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Bronze medal

UARG:87,2,2

Events

M

Amount of money Grant Wood wonfor in the Art

Institute of Chicago's competition

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

$300

UARG:87,2,2

Events

M

Organization that purchased

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

The Art Institute of Chicago

UARG:87,2,2

Events

E

Amount of money for which the ArtInstitute of Chicago purchased

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

$300

UARG:87,2,2

Events

M

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

A satirical Grant Wood painting

UARG:87,2,2

Works

M

H. W. Jansen

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

An influential art historian who rejectedGrant Wood's work

UARG:87,2,3

People

M

Artistic tradition with which H. W.Jansen equated Grant Wood's work

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

The Nazis' heroic nationalism

UARG:87,2,3

Styles

M

Georgia O'Keefe

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

A famous 20 th century painter

UARG:88,1,1

People

E

Decade in which Georgia O'Keeferose to prominence

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

The 1920s

UARG:88,1,1

People

M

Georgia O'Keefe's city of birth

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Sun City, Wisconsin

UARG:88,1,2

Places

H

School at which Georgia O'Keefebegan taking art classes in 1905

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

The School of the Art Institute of Chicago

UARG:88,1,2

Places

M

School at which Georgia O'Keefeenrolled in 1907

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

The Art Students League

UARG:88,1,2

Places

H

City to which Georgia O'Keefemoved from New York City in 1908

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Chicago

UARG:88,1,2

Places

M

Job Georgia O'Keefe took inChicago in 1908

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Commercial artist

UARG:88,1,2

People

M

State to which Georgia O'Keefemoved from Chicago

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Texas

UARG:88,1,2

Places

M

Job Georgia O'Keefe initially took inTexas

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Art teacher

UARG:88,1,2

People

M

University at which GeorgiaO'Keefe's interest in art was

rekindled

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

University of Virginia

UARG:88,1,3

Places

M

Arthur Wesley Dow

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

An artist who mentored Georgia O'Keefe

UARG:88,1,3

People

H

Arthur Stieglitz

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

An influential art dealer and photographerwho promoted and later married GeorgiaO'Keefe

UARG:88,1,3

People

E

Anna Pollitzer

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

A friend of Georgia O'Keefe's who firstshowed her work to Arthur Stieglitz

UARG:88,1,3

People

H

291 (gallery)

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

A famous Arthur Stieglitz art gallery

UARG:88,1,3

Places

H

Two subjects Georgia O'Keefepainted in the 1920s

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Plants and New York architecture

UARG:88,1,5

Styles

E

Georgia O'Keefe's preferred medium

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Oil paint

UARG:88,1,5

Styles

E

Region of the United States towhich Georgia O'Keefe traveled in

1929

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

The Southwest

UARG:88,2,1

Places

E

What kind of landscape inspiredGeorgia O'Keefe in the Southwest?

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

The desert

UARG:88,2,1

Places

E

Three cities Georgia O'Keefe visitedin her first trip to the Southwest

United States

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Albuquerque, Santa Fe, and Taos

UARG:88,2,1

Places

H

After what event did GeorgiaO'Keefe relocate permanently to

New Mexico?

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Arthur Stieglitz's death

UARG:88,2,1

Events

M

Which part of the year did GeorgiaO'Keefe spend in New Mexico from

1929 to 1949?

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Summer

UARG:88,2,1

Events

E

Difference between GeorgiaO'Keefe's New Mexico paintings and

her New York paintings

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

More abstract

UARG:88,2,1

Styles

E

Common features of GeorgiaO'Keefe's New Mexico and New

York paintings

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Landscape and architecture as subjects

UARG:88,2,1

Styles

E

TWO themes of Georgia O'Keefe'sabstract style

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Undulating forms and evocative colors

UARG:88,2,1

Styles

M

Organization that held a 1943retrospective of Georgia O'Keefe's

work

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

The Art Institute of Chicago

UARG:88,2,2

Events

M

Museum that held a 1946retrospective of Georgia O'Keefe's

work

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

The Museum of Modern Art

UARG:88,2,2

Events

M

Significance of Georgia O'Keefe's1946 Museum of Modern Art

retrospective

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

The museum's first retrospective dedicatedto a female artist

UARG:89,1,0

Events

M

What physical limitation did GeorgiaO'Keefe begin to suffer in the

1970s?

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Poor eyesight

UARG:89,1,1

People

M

Juan Hamilton

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

A potter who worked with Georgia O'Keefelate in her career

UARG:89,1,1

People

H

Medium with which Georgia O'Keefebegan to work with in the 1970s

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Clay

UARG:89,1,1

Processes

H

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

A famous painting by Georgia O'Keefe

UARG:89,1,2

Works

E

Why does the appearance of theskull in

stand out

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Larger than life

UARG:89,1,2

Works

M

What process does the appearanceof the skull in

imply it hasundergone?A

mer

ican

Reg

iona

lism

/Am

eric

anE

xper

ienc

es

Bleaching in the sun

UARG:89,1,2

Works

M

Style that characterizes thebackground of

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Abstract

UARG:89,1,2

Works

E

Number of roses in

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

2

UARG:89,1,2

Works

E

Near what TWO parts of the skullare the roses situated in

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

The snout and the right horn

UARG:89,1,2

Works

M

What painting style characterizes?

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Linear

UARG:89,1,3

Works

M

What aspect ofprovides a sense of

volume?

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Subtle gradations of light and dark

UARG:89,1,3

Works

M

Object dominating the center of

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

The skull

UARG:89,1,3

Works

E

How are objects clearly delineatedin

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Firm outlines

UARG:89,1,3

Works

E

What feature ofinterrupts the

painting's symmetry?

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

The thick, dark line that bifurcates thecomposition

UARG:89,1,3

Works

M

Role of the thick, dark line behindthe skull in

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Creates negative space

UARG:89,1,3

Works

M

Distinguishing characteristic ofGeorgia O'Keefe's work

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Her use of color

UARG:89,1,4

Styles

E

Four vibrant colors Georgia O'Keefefrequently used

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Red, green, blue, and yellow

UARG:89,1,4

Styles

E

What THREE colors are contrastedin ?

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

White, black, and grey

UARG:89,1,4

Works

E

What effect makes the skull standout in

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

The contrast of the skull's white with thebackground's grays

UARG:89,1,4

Works

E

European term for the inclusion of askull in a painting

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

UARG:89,1,5

Styles

M

Purpose of inEuropean painting

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

A reminder of man's mortality

UARG:89,1,5

Styles

E

How does Georgia O'Keefe play onthe tradition of ?

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Portraying cow skulls rather than humanskulls

UARG:89,1,5

Styles

E

Process portrayed in GeorgiaO'Keefe's painting of cow skulls

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

The natural passage of life

UARG:89,1,5

Styles

E

Why is Georgia O'Keefe NOTconsidered a Regionalist painter?

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Focuses on the Southwest instead of theMidwest

UARG:89,2,1

Styles

E

Thomas Hart Benton

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

A famous 20 th century painter

UARG:89,2,2

People

E

How did Thomas Hart Benton'sexperience as a Regionalist differ

from that of Grant Wood?

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Lived long enough to see Regionalism fallout of favor

UARG:89,2,2

Styles

M

Thomas Hart Benton's town of birth

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Neosho, Missouri

UARG:89,2,3

Places

H

What kind of school did ThomasHart Benton attend in his youth?

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Military school

UARG:89,2,3

People

M

Why was Thomas Hart Benton sentto military school?

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

His father expected him to have a militaryor political career.

UARG:89,2,3

People

M

Thomas Hart Benton's uncle'sposition

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Senator

UARG:89,2,3

People

M

School in which Thomas HartBenton enrolled in 1907

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

The School of the Art Institute of Chicago

UARG:89,2,4

Places

M

In what city did Thomas HartBenton live from 1908 to 1912?

Am

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Exp

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Paris

UARG:89,2,4

Places

E

In what city did Thomas HartBenton settle upon his return to the

United States in 1912?

Am

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m/A

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Exp

erie

nces

New York City

UARG:89,2,4

Places

E

Rita Piacensa

Am

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Exp

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nces

Thomas Hart Benton's wife

UARG:89,2,4

People

M

Original nature of the relationshipbetween Thomas Hart Benton and

Rita Piacensa

Am

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m/A

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Exp

erie

nces

Teacher and student

UARG:89,2,4

People

H

Why did Thomas Hart Benton returnto Missouri in 1924?

Am

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m/A

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Exp

erie

nces

To care for his dying father

UARG:89,2,5

People

M

Project that Thomas Hart Bentonwas chosen to execute in 1932

Am

eric

anR

egio

nalis

m/A

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Exp

erie

nces

Painting a series of murals about Indiana

UARG:90,1,0

Works

E

Event at which Thomas HartBenton's Indiana murals were first

displayed

Am

eric

anR

egio

nalis

m/A

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Exp

erie

nces

The Chicago World's Fair

UARG:90,1,0

Events

M

Why were Thomas Hart Benton'sIndiana murals controversial?

Am

eric

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egio

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m/A

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Exp

erie

nces

Depicted unpleasant moments in Indiana'shistory

UARG:90,1,0

Works

M

Two unpleasant historical eventsdepicted in Thomas Hart Benton's

Indiana murals

Am

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Exp

erie

nces

The Ku Klux Klan and the forced removalof Native Americans

UARG:90,1,0

Works

M

Two unpleasant contemporaryconditions depicted in Thomas Hart

Benton's Indiana murals

Am

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Exp

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nces

Labor riots and unemployment lines

UARG:90,1,0

Works

M

Thomas Hart Benton's signaturestyle in presenting his artwork

Am

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m/A

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Exp

erie

nces

Brutal honesty

UARG:90,1,0

Styles

M

How does Grant Wood's depictionof the Midwest differ from that of

Thomas Hart Benton?

Am

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Exp

erie

nces

More idealistic and pastoral

UARG:90,1,0

Styles

E

Am

eric

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nalis

m/A

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Exp

erie

nces

A famous Thomas Hart Benton muralcycle

UARG:90,2,0

Works

M

Building for which Thomas HartBenton painted

Am

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egio

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m/A

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Exp

erie

nces

The Missouri State Capitol building

UARG:90,2,0

Places

H

Jackson Pollock

Am

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Exp

erie

nces

A famous Abstract Expressionist painterwho studied under Thomas Hart Benton

UARG:90,2,1

People

M

School at which Thomas HartBenton taught from 1926 to 1935

Am

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m/A

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Exp

erie

nces

The Art Students' League

UARG:90,2,1

Places

M

School at which Thomas HartBenton taught from 1935 to 1941

Am

eric

anR

egio

nalis

m/A

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ican

Exp

erie

nces

The Kansas City Art Institute

UARG:90,2,1

Places

M

Why was Thomas Hart Benton firedfrom the Kansas City Art Institute in

1941?

Am

eric

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m/A

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Exp

erie

nces

Offensive statements he had made publicly

UARG:90,2,1

People

M

Thomas Craven

Am

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Exp

erie

nces

An art critic who supported Thomas HartBenton

UARG:90,2,2

People

M

Why did Thomas Hart Benton'sassociation with Thomas Craven

become problematic in the 1940s?

Am

eric

anR

egio

nalis

m/A

mer

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Exp

erie

nces

Thomas Craven was openly anti-Semitic.

UARG:90,2,2

People

H

Am

eric

anR

egio

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m/A

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ican

Exp

erie

nces

A famous Thomas Hart Benton lithograph

UARG:90,2,3

Works

E

Novel thatillustrates

Am

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m/A

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Exp

erie

nces

UARG:90,2,3

Works

E

Between which TWO states are theJoads traveling in the scene

depicted in?A

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Reg

iona

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/Am

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Oklahoma and California

UARG:90,2,3

Works

E

Phase of the moon in

Am

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Exp

erie

nces

Crescent

UARG:90,2,3

Works

E

Condition of the farmland in

Am

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Exp

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nces

Barren

UARG:90,2,4

Works

M

Building in

Am

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egio

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Exp

erie

nces

A small, ramshackle house

UARG:90,2,4

Works

E

Why is the portrayal of the figuresin

unusual stylistically?

Am

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Exp

erie

nces

No faces are visible

UARG:90,2,4

Works

M

Vehicle in

Am

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Exp

erie

nces

A truck

UARG:90,2,4

Works

E

Effect of obscuring the figures' facesin

Am

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m/A

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Exp

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nces

Leaving the image open to interpretation

UARG:90,2,4

Works

M

Activity of the men in

Am

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Exp

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nces

Loading the family's possessions onto thetruck

UARG:90,2,5

Works

E

Location the woman in

Am

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nalis

m/A

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Exp

erie

nces

Sitting on the running board of the truck

UARG:90,2,5

Works

E

Which character is most likely thewoman in

Am

eric

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egio

nalis

m/A

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ican

Exp

erie

nces

Rose of Sharon

UARG:90,2,5

Works

M

Two characters represented by thechildren in

Am

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m/A

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Exp

erie

nces

Winfield and Ruthie

UARG:91,1,0

Works

M

Characteristic implied by the passiveposes of the woman and children in

Am

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m/A

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Exp

erie

nces

Lack of agency

UARG:91,1,0

Works

M

Attitude implied by the figuresconversing in the middle of

Am

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m/A

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Exp

erie

nces

The anxiety associated with change

UARG:91,1,0

Works

M

Which character is most likely thefigure sitting by the house in

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Muley Graves

UARG:91,1,0

Works

H

Company that commissionedThomas Hart Benton to make

promotional images for the film

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Twentieth Century-Fox

UARG:91,1,1

Groups

M

Number of illustrations Thomas HartBenton made of

for Twentieth Century-Fox

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

6

UARG:91,1,1

Works

M

Company that commissionedThomas Hart Benton to illustrate aspecial edition of

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

The Limited Edition Club

UARG:91,1,1

Groups

M

Number of illustrations Thomas HartBenton made of

for the Limited Edition Club

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

61

UARG:91,1,1

Works

M

Three attitudes towards moving westrepresented in

Am

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Exp

erie

nces

Confidently moving forward, hesitating, andsteadfastly remaining at home

UARG:91,1,2

Works

E

Jacob Lawrence

Am

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egio

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Exp

erie

nces

A famous 20 th century painter

UARG:91,2,1

People

E

Am

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egio

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Exp

erie

nces

A famous Jacob Lawrence painting

UARG:91,2,1

Works

E

How did Jacob Lawrence'sperspective differ from that of the

Regionalist painters?

Am

eric

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egio

nalis

m/A

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ican

Exp

erie

nces

Was African-American

UARG:91,2,1

Styles

E

Event portrayed by the series thatincludes

Am

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egio

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m/A

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Exp

erie

nces

The African-American migration out of theSouth between the World Wars

UARG:91,2,1

Works

E

Two means through which theseries that includes

was shownto the general publicA

mer

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Reg

iona

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/Am

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xper

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Publication in a popular magazine and anexhibition tour

UARG:91,2,1

Works

M

Jacob Lawrence's city of birth

Am

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Exp

erie

nces

Atlantic City, New Jersey

UARG:91,2,2

Places

M

What event led to Jacob Lawrenceliving in foster care in his

childhood?

Am

eric

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egio

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m/A

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Exp

erie

nces

His parents' separation

UARG:91,2,2

Events

M

Where did Jacob Lawrence begantaking formal art classes?

Am

eric

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m/A

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Exp

erie

nces

Harlem

UARG:91,2,2

Places

E

Museum at which Jacob Lawrencespent his free time in his youth

Am

eric

anR

egio

nalis

m/A

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Exp

erie

nces

The Metropolitan Museum of Art

UARG:91,2,2

Places

M

New Negro Movement

Am

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m/A

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Exp

erie

nces

A group of African-American artists,musicians, and writers who worked inHarlem during the 1920s and 1930s

UARG:91,2,3

Groups

E

Alain Locke

Am

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Exp

erie

nces

An African-American philosopher whocoined the term "New Negro Movement"with his book

UARG:91,2,3

People

M

"The Negro Speaks of Rivers"

Am

eric

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egio

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m/A

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Exp

erie

nces

A famous Langston Hughes poem

UARG:91,2,3

Works

E

Charles Alston

Am

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Exp

erie

nces

A muralist who mentored Jacob Lawrence

UARG:91,2,4

People

M

Augusta Savage

Am

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egio

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m/A

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Exp

erie

nces

A sculptor who mentored Jacob Lawrence

UARG:92,1,0

People

H

Two places where Jacob Lawrencestudied with Charles Alston

Am

eric

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m/A

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Exp

erie

nces

The Utopia Children's House and theHarlem Art Workshop

UARG:92,1,0

Places

H

Branch of the New York PublicLibrary at which Jacob Lawrence

studied in the 1930s

Am

eric

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m/A

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Exp

erie

nces

The 135th Street Branch

UARG:92,1,0

Places

M

Name eventually given to the 135 th

Street Branch of the New YorkPublic Library

Am

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Exp

erie

nces

Schomburg Center for Research in BlackCulture

UARG:92,1,0

Places

M

School at which Jacob Lawrencecontinued his studies in 1936

Am

eric

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m/A

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Exp

erie

nces

The American Artists School

UARG:92,1,0

Places

M

Building in which Jacob Lawrencehad his first solo show in 1938

Am

eric

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egio

nalis

m/A

mer

ican

Exp

erie

nces

The Harlem YMCA

UARG:92,1,0

Places

M

Government agency that hired JacobLawrence following his first solo

show

Am

eric

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egio

nalis

m/A

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ican

Exp

erie

nces

The Works Progress Administration/ FederalArts Project

UARG:92,1,0

Groups

E

Two historical figures JacobLawrence created a series of

paintings on in 1938

Am

eric

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egio

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m/A

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ican

Exp

erie

nces

Frederick Douglass and Harriet Tubman

UARG:92,2,0

People

M

College that hired Jacob Lawrencein 1946

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Black Mountain College

UARG:92,2,1

Places

M

University that hired Jacob Lawrencein 1970

Am

eric

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egio

nalis

m/A

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ican

Exp

erie

nces

University of Washington

UARG:92,2,1

Places

M

Gwendolyn Knight

Am

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egio

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m/A

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Exp

erie

nces

Jacob Lawrence's wife

UARG:92,2,1

People

M

Four social incentives forAfrican-Americans to leave theSouth between the World Wars

Am

eric

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egio

nalis

m/A

mer

ican

Exp

erie

nces

Discrimination, limited education, poorhealth care, and inadequate housing

UARG:92,2,2

Events

E

Environmental incentive forAfrican-Americans to leave theSouth between the World Wars

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Boll weevil infestations

UARG:92,2,2

Events

E

Three improvementsAfrican-Americans sought by leavingthe South between the World Wars

Am

eric

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egio

nalis

m/A

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Exp

erie

nces

Better jobs, education, and living conditions

UARG:92,2,3

Events

E

The Great Migration

Am

eric

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egio

nalis

m/A

mer

ican

Exp

erie

nces

The northwards migration of 1.5 millionAfrican-Americans between the World Wars

UARG:92,2,3

Events

E

Four cities to which AfricanAmericans migrated between the

World Wars

Am

eric

anR

egio

nalis

m/A

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ican

Exp

erie

nces

New York, Detroit, Chicago, and SaintLouis

UARG:92,2,3

Places

M

Number of panels in JacobLawrence's series

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

60

UARG:93,1,1

Works

M

Size of panels in Jacob Lawrence'sseries

Am

eric

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egio

nalis

m/A

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Exp

erie

nces

12" x 18"

UARG:93,1,1

Works

M

Feature that accompanies the panelsin Jacob Lawrence's

series

Am

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m/A

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Exp

erie

nces

Brief text that narrates the panels

UARG:93,1,1

Works

E

Orientation of the panel

Am

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egio

nalis

m/A

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ican

Exp

erie

nces

Horizontal

UARG:93,1,2

Works

E

Subject of

Am

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m/A

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Exp

erie

nces

A group of African-American men, women,and children

UARG:93,1,2

Works

E

What feature separates the figuresof

from the viewer?

Am

eric

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egio

nalis

m/A

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Exp

erie

nces

Railroad tracks

UARG:93,1,2

Works

E

What situation does the appearanceof the figures in

indicate?

Am

eric

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egio

nalis

m/A

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Exp

erie

nces

Travelling

UARG:93,1,2

Works

E

What TWO aspects of the figures inare

unusual?

Am

eric

anR

egio

nalis

m/A

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ican

Exp

erie

nces

Have no facial features and outlines blendtogether

UARG:93,1,2

Works

E

What objects occupy the foregroundin ?

Am

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nalis

m/A

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Exp

erie

nces

Trunks and suitcases

UARG:93,1,2

Works

E

Effect of the facelessness andblending together of figures in

Am

eric

anR

egio

nalis

m/A

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ican

Exp

erie

nces

None of the figures seem like individuals

UARG:93,1,2

Works

E

Two materials used in

Am

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nalis

m/A

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Exp

erie

nces

Tempera paint and composition board

UARG:93,1,3

Works

E

How did Jacob Lawrence select hiscolor palette for his

series?

Am

eric

anR

egio

nalis

m/A

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Exp

erie

nces

Used inexpensive paint powders

UARG:93,1,3

Works

M

Two features Jacob Lawrence usedto unify the panels of his

series

Am

eric

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egio

nalis

m/A

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Exp

erie

nces

Color palette and repeated motifs

UARG:93,1,4

Styles

M

Where in the series doesfit?

Am

eric

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nalis

m/A

mer

ican

Exp

erie

nces

At the end

UARG:93,1,4

Works

M

Two methods Jacob Lawrence usedto create variety in his compositions

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Alternating close and distant viewpointsand vertical and horizontal compositions

UARG:93,1,4

Styles

M

Aspect of the Great Migrationillustrated by the early panels of

Jacob Lawrence'sseriesA

mer

ican

Reg

iona

lism

/Am

eric

anE

xper

ienc

es

The various causes for the migration

UARG:93,2,1

Works

M

Aspect of the Great Migrationillustrated by the later panels of

Jacob Lawrence'sseriesA

mer

ican

Reg

iona

lism

/Am

eric

anE

xper

ienc

es

Positive and negative aspects of life in theNorth

UARG:93,2,1

Works

M

Museum that owns the evennumbered panels of Jacob

Lawrence's series

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

The Museum of Modern Art

UARG:93,2,3

Places

M

Museum that owns the oddnumbered panels of Jacob

Lawrence's series

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

The Philips Collection

UARG:93,2,3

Places

H

Magazine that published somepanels from Jacob Lawrence's

series in 1941

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

magazine

UARG:93,2,4

Events

M

Museum at which the entireseries was exhibited

before going on a nationwide tour

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

The Museum of Modern Art

UARG:93,2,4

Events

E

Edward Hopper

Am

eric

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egio

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m/A

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Exp

erie

nces

A famous 20 th century painter

UARG:94,1,1

People

E

How did Edward Hopper's subjectsdiffer from those of the Regionalists?

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Painted urban scenes

UARG:94,1,1

Styles

E

Edward Hopper's town of birth

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Nyack, New York

UARG:94,1,2

Places

M

School at which Edward Hopperwas formally educated in art

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

New York Institute of Art and Design

UARG:94,1,2

Places

M

Three artists who taught EdwardHopper

Am

eric

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egio

nalis

m/A

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Exp

erie

nces

William Merritt Chase, Robert Henri, andJohn Sloan

UARG:94,1,2

People

H

Edward Hopper's 1905 job

Am

eric

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egio

nalis

m/A

mer

ican

Exp

erie

nces

Advertising illustrator

UARG:94,1,3

People

M

Number of trips Edward Hoppermade to Europe between 1906 and

1910

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

3

UARG:94,1,3

Events

M

Aspect of Europe on which EdwardHopper focused during his trips

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

The Paris art scene

UARG:94,1,3

Places

E

Two main themes of EdwardHopper's art

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Architecture and figures in shared spaces

UARG:94,1,3

Styles

M

Emotion evoked by much of EdwardHopper's art

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

The isolation of urban living

UARG:94,1,3

Styles

E

Josephine Nivison

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Edward Hopper's wife and manager

UARG:94,1,4

People

M

Museum through which EdwardHopper first received critical acclaim

in 1923

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

The Brooklyn Museum

UARG:94,1,4

Places

M

Number of pieces Edward Hoppercontributed to the 1923 Brooklyn

Museum exhibition

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

6

UARG:94,1,4

Events

M

Museum that held a 1933retrospective of Edward Hopper's

work

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

The Museum of Modern Art

UARG:94,1,4

Places

M

How did the 1923 Brooklyn Museumexhibition change Edward Hopper's

lifestyle?

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Able to support himself through paintings

UARG:94,1,4

People

M

Neighborhood in which EdwardHopper lived with his wife

Am

eric

anR

egio

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Exp

erie

nces

Greenwich Village

UARG:94,2,0

Places

E

Two elements of Edward Hopper'spainting that evoke film stills

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Strong lighting and frozen poses

UARG:94,2,1

Styles

E

Two of Edward Hopper's dominantpersonality traits

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Silent and solitary

UARG:94,2,1

People

E

How did Thomas Hart Benton'spersonality differ from that of

Edward Hopper?

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Outspoken

UARG:94,2,1

People

E

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

A famous Edward Hopper painting

UARG:94,2,2

Works

E

Location of the diner that formedthe basis for

Am

eric

anR

egio

nalis

m/A

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ican

Exp

erie

nces

Greenwich Village, New York City

UARG:94,2,2

Works

E

What feature of New York Citycontrasts with the composition of

Edward Hopper's

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Skyscrapers

UARG:95,1,0

Works

M

Material of the walls of the diner in

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Glass

UARG:95,1,1

Works

E

What part of the diner is not shownin

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

The door

UARG:95,1,1

Works

E

Color of the employee's clothes in

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

White

UARG:95,1,2

Works

E

Color of the woman's dress in

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Red

UARG:95,1,2

Works

E

Color of the woman's hair in

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Red

UARG:95,1,2

Works

E

Drink the customers are consumingin

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Coffee

UARG:95,1,2

Works

M

Two articles of clothing worn by themale customers in

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Hat and suit

UARG:95,1,2

Works

E

Content of the text in

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Advertising for Phillies cigars

UARG:95,1,3

Works

M

Two items conspicuously absentfrom the counter in

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Food and menus

UARG:95,1,3

Works

M

Objects placed against the back wallof the diner in

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Coffee tureens

UARG:95,1,3

Works

M

Color of the diner's walls in

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Yellow

UARG:95,1,3

Works

E

Shape of the diner's counter in

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Triangular

UARG:95,1,3

Works

E

To where does the door in thediner in seem to lead?

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

The kitchen

UARG:95,1,3

Works

E

Edifice across from the diner in

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

A storefront

UARG:95,1,4

Works

E

Edifice above the storefront in

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

An apartment

UARG:95,1,4

Works

E

What feature of the apartmentabove the storefront in

indicates the presence ofinhabitants?A

mer

ican

Reg

iona

lism

/Am

eric

anE

xper

ienc

es

Open blinds

UARG:95,2,4

Works

M

Phrase used by Barbara Haskell todescribe Edward Hopper's work

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

"narrative of inaction"

UARG:95,1,5

Styles

H

What question do the frozenmoments depicted in Edward

Hopper's work invite?

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

What the circumstances of the subjectsare

UARG:95,1,5

Styles

M

Distinctive aspect of the appearanceof the diner in

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Its openness

UARG:95,1,1

Works

M

Which two figures inhave an implied relationship?

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

The man and woman sitting together atthe counter

UARG:95,1,5

Works

E

How does Edward Hopper trace theedges of the buildings in

?

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Hard lines

UARG:95,1,1

Works

M

How is a relationship impliedbetween the man and woman sitting

together at the counter in?A

mer

ican

Reg

iona

lism

/Am

eric

anE

xper

ienc

es

Hands are almost touching

UARG:95,1,2

Works

M

Type of light illuminating thesidewalk in

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Fluorescent

UARG:95,1,0

Works

M

Feature echoed by the curve of thecounter in

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

The curve of the building

UARG:95,1,1

Works

M

Position of the solitary man at thecounter in

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

With his back to the viewer

UARG:95,1,2

Works

E

What theme common to EdwardHopper's work is represented in

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

The human experience of the city

UARG:95,1,0

Works

M

Color of the employee's hair in

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Blond

UARG:95,1,2

Works

M

European art movement rejected byEdward Hopper

Am

eric

anR

egio

nalis

m/A

mer

ican

Exp

erie

nces

Modernism

UARG:94,1,3

Styles

E

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