Unit Test Iii

Front 1

At the end of the nineteenth century, architects and fashion, graphic, and product designers moved away from the floral curvilinear elements of art nouveau and toward a more _________ style of composition.

Back 1

c. geometric

Front 2

The Glasgow School refers to ________ in Scotland.

Back 2

a. four artists working in a similar style

Front 3

The German artist, architect, and designer ____________ sought typographic reform and was an early advocate of sans-serif typography. He was the first to use sans-serif type as running book text.

Back 3

b. Peter Behrens

Front 4

Philosophically, the Vienna Workshops (Wiener Werkstätte) opening in 1903 was influenced by ________.

Back 4

b. William Morris

Front 5

Peter Behrens’s architectural and graphic designs, beginning in 1904, evolved toward forms based on ________.

Back 5

d. rational geometry

Front 6

While the Deutsche Werkbund (German Association of Craftsmen) had strong ties to the English arts and crafts movement, one major difference was that the German artists ________.

Back 6

b. acknowledged the value of machines

Front 7

Peter Behrens’s Allgemeine Elektricitäts-Gesellschaft (AEG) designs represent a synthesis of neoclassicism and Sachlichkeit, which loosely translates to ________.

Back 7

a. commonsense objectivity

Front 8

The AEG graphic identity program made consistent use of three linchpin elements. Which element below does NOT belong?

Back 8

c. a clear concept

Front 9

American architect __________ became known for his repetition of rectangular zones and use of asymmetrical spatial organization in his design of furniture, wallpaper, and stained-glass windows.

Back 9

b. Frank Lloyd Wright

Front 10

In their manifesto of 1909, futurists proclaimed their enthusiasm for three of the following. Which does NOT belong?

Back 10

c. feminism

Front 11

Futurism was launched when the Italian ____________ Filippo Marinetti published his Manifesto of Futurism, calling for artists to test their ideas and forms against the new realities of a scientific and industrial society.

Back 11

d. poet

Front 12

________ published Dinamo Azari in 1927. Bound by two bolts, this precursor to the artist’s book was actually a catalogue of the designer’s graphic work.

Back 12

d. Fortunato Depero

Front 13

Marcel Duchamp’s ready-made sculptures such as Bottle Rack were humorous, but their underlying purpose was to ________.

Back 13

a. attack the tyranny of tradition

Front 14

Surrealists such as founder André Breton turned from the anger and pranks of the Dada movement to the less destructive world of ________.

Back 14

b. conscious automatism

Front 15

Guillaume Apollinaire’s unique contribution to graphic design was the 1918 publication of a book entitled ____________ , poems in which the letterforms are arranged to form a visual design, figure, or pictograph.

Back 15

c. Calligrammes

Front 16

Dada artists claim to have invented _________ , the technique of manipulating found photographic images to create jarring juxtapositions and chance associations, such as those made by Hannah Höch.

Back 16

d. photomontage

Front 17

Berlin Dadaist ____________ held vigorous revolutionary political beliefs against the growing Nazi party and oriented many artistic activities toward visual communications in order to raise public consciousness about it. He adopted an English name as a protest against German militarism and the army in which he served from 1914 to 1916.

Back 17

a. John Heartfield

Front 18

A “Die Brücke” artist, ____________ had great empathy for the suffering of women and children. Her figurative paintings and woodblock prints were forged with thick, raw strokes, often becoming bold statements about alienation, anxiety, and despair.

Back 18

d. Käthe Kollwitz

Front 19

Which term best describes the following movement? An explosive and emotionally charged poetry that defied correct syntax and grammar set this movement in motion. The movement’s leaders initiated the publication of manifestos, typographic experimentation, and publicity stunts, forcing poets and graphic designers to rethink the very nature of the typographic word and its meaning.

Back 19

d. futurism

Front 20

Which term best describes the following movement? Young French writers and poets in Paris sparked this movement in 1924. They sought the “more real than real world behind the real”—the world of intuition, dreams, and the unconscious realm explored by Freud. They believed humanity could be freed from social and moral conventions. In his 1924 manifesto, the movement’s founder imbued the world with all the magic of dreams, the spirit of rebellion, and the mysteries of the subconscious.

Back 20

b. surrealism

Front 21

Which term best describes the following movement? Reacting against a world gone mad, the participants in this movement claimed to be anti-art and had a strong negative and destructive element. They bitterly rebelled against the horrors of the world war, the decadence of European society, the shallowness of blind faith in technological progress, and the inadequacy of religion and conventional moral codes. Through a synthesis of spontaneous chance actions with planned decisions, they further rid typographic design of its traditional precepts and continued the concept of letterforms as concrete visual shapes, not just phonetic symbols.

Back 21

e. Dada

Front 22

Which term best describes the following movement? By innovating a new approach to visual composition, this movement changed the course of painting and graphic design. Its visual inventions became a catalyst for experiments that pushed art and design toward geometric abstraction and new approaches to pictorial space.

Back 22

c. cubism

Front 23

Which term best describes the following movement? This movement emerged as an organized movement in Germany before World War I and was characterized by the major tendency to depict not objective reality but subjective emotions and personal responses to subjects and events. Many of its artists rejected authority and felt deep empathy for the poor and social outcasts, who were frequent subjects of their work. They believed art was a beacon pointing toward a new social order and an improved human condition.

Back 23

a. expressionism

Front 24

____________ moved cubism away from the initial impulses of its founders and took Paul Cézanne’s famous dictum, “treat nature in terms of the cylinder and the sphere and the cone” far more seriously than any other cubist. The letterforms in his graphic work pointed the way toward geometric letterforms. His flat planes of color, urban motifs, and the hard-edged precision of his machine forms helped define the modern sensibility after World War I.

Back 24

d. Pablo Picasso

Front 25

Lucian Bernhard’s work anticipated later forms of modernist art such as constructivism because of his emphasis on ________.

Back 25

a. reduction

Front 26

During World War I, posters of the Central Powers countries (i.e., Germany and Austria-Hungary) differed from those of the Allied Powers countries (i.e., England and the United States). American posters, for example, tended to be more ________ than those from Germany.

Back 26

c. illustrative

Front 27

American-born Edward McKnight Kauffer was so powerfully influenced by work he saw while visiting ________ that he decided to move to Europe to pursue a career in art.

Back 27

c. the Armory Show in Chicago

Front 28

Lucian Bernhard inspired the reductive design approach that emerged in Germany early in the twentieth century known as _____________.

Back 28

c. Plakatstil

Front 29

Austin Cooper applied elements of ________ in his Southern Railway poster of Paris by including fragments and glimpses of landmarks.

Back 29

a. synthetic cubism

Front 30

European pictorial modernism focused on the total integration of ________.

Back 30

d. word and image

Front 31

In Switzerland, the work of Niklaus Stoecklin, Otto Baumberger, and Herbert Leupin, which was characterized by a simple, laconic, and a sometimes hyperrealistic approach, were called _____________ because they featured individual objects as the main subject.

Back 31

c. Sachplakat

Front 32

The poster reached the zenith of its importance as a communications medium during World War I (1914–18). Which of the following communications goals does NOT belong to the role of the poster during this period?

Back 32

d. Posters promoted radio programs that kept listeners informed about the conditions of the war.

Front 33

____________ applied a rich range of textures and decorative patterns to his images. Hitler’s ideas gained a visual presence through his work, which moved toward a bold imperial and militaristic style of tight, heavy forms and strong tonal contrasts.

Back 33

c. Ludwig Hohlwein

Front 34

He had an exceptional ability to integrate words and images into a total composition, achieving concise statements by combining text with powerful geometric forms, symbolic imagery, and pictographic silhouettes. Among his best-known works are the Dubonnet advertising campaign and typefaces for the Deberny and Peignot type foundry, including Bifur, a quintessential art deco display face.

Back 34

b. A. M. Cassandre

Front 35

Constructivist artists such as Vladimir Tatlin renounced art for art’s sake and turned to applied arts in order to ________.

Back 35

b. serve the new society

Front 36

El Lissitzsky’s PROUNS were pictorial expressions of ________.

Back 36

d. a synthesis of architecture and painting

Front 37

Piet Mondrian, who originally painted traditional landscapes, later pursued pure geometric abstraction. His designs were constructed using strictly __________.

Back 37

a. horizontal and vertical lines

Front 38

De Stijl artists sought to express ________ through the rules of their style.

Back 38

a. the mathematical structure of the universe

Front 39

The leaders of this movement rejected both utilitarian function and pictorial representation. They believed that the essence of the art experience was the perceptual effect of color. For them, visual form became the content, and expressive qualities developed from the intuitive organization of forms and colors.

Back 39

b. suprematism

Front 40

This movement’s leader developed a painting style that he called PROUNS (“projects for the establishment of a new art”), which introduced three-dimensional illusions that both receded behind the picture plane and projected forward from it. He developed visual ideas about balance, space, and form in his paintings, which became the basis for his graphic design and architecture.

Back 40

c. constructivism

Front 41

Working in an abstract geometric style, the leaders of this movement used a prescribed visual vocabulary that was reduced to the use of primary colors (red, yellow, and blue) with neutrals (black, gray, and white), straight horizontal and vertical lines, and flat planes limited to rectangles and squares. They advocated the absorption of pure art by applied art. Under this system, art would not be subjugated to the level of the everyday object; the everyday object (and, through it, everyday life) would be elevated to the level of art.

Back 41

a. de Stijl

Front 42

The constructivist ideal was best exemplified by ____________ , who was influenced by Kasimir Malevich and applied suprematist theory to constructivism, as evident in the 1919 poster “Beat the Whites with the Red Wedge,” in which he transformed suprematist design elements into political symbolism for communication purposes.

Back 42

b. El Lissitzky

Front 43

In Czechoslovakia, __________ became the leading supporter and practitioner of functional design. His book jackets and editorial designs evinced an organizational simplicity and typographic clarity, as in the 1929 cover design for “Getting Married,” in which a triangle creates a strong focal point, unifies the silhouetted figures, and becomes the main structural element in a delicately balanced composition.

Back 43

b. Ladislav Sutnar

Front 44

Early twentieth-century designs from Scotland, Austria, and Germany discussed in the Chapter 12 were born of an aesthetic philosophy to address rapidly changing social conditions.

Back 44

True

Front 45

The design of Frank Lloyd Wright was influenced by the harmonious proportion of Japanese design and mathematical repetition of pre-Columbian architecture and art.

Back 45

True

Front 46

The MacDonald sisters of the Glasgow School sought purely objective designs devoid of “romantic notions, religious overtones and spiritual mysticism.”

Back 46

False

Front 47

To maintain the design consistency of Ver Sacrum, Vienna Secession publishers required advertisers to commission advertisements from member artists.

Back 47

True

Front 48

The evolution toward more elemental geometric form in design at the turn of the century was diagrammed by Walter Crane in his book Line and Form.

Back 48

True

Front 49

The Vienna Workshops had been originally formed to produce designs by Koloman Moser and Josef Hoffmann.

Back 49

True

Front 50

Dutch architect J. L. M. Lauweriks developed grids that began with a square circumscribed around a circle and made numerous permutations by subdividing and duplicating this basic structure.

Back 50

True

Front 51

Painter Gustav Klimt was a leader in the Vienna Secession’s formation.

Back 51

True

Front 52

With analytical cubism, Picasso and Braque invented forms that were signs rather than representations of subject matter; the essence of an object was depicted.

Back 52

False

Front 53

Futurists launched their Italian movement by publishing the Manifesto of Futurism in the Paris newspaper Le Figaro.

Back 53

True

Front 54

Challenging grammatical and typographical constraints, the futurists discarded horizontal/vertical structure in their poetry.

Back 54

True

Front 55

Guillaume Apollinaire introduced the concept of simultaneity to the time-and-sequence-bound typography of the printed page.

Back 55

False

Front 56

With its depictions of subjective emotions, expressionism influenced graphic art by emphasizing social and political activism.

Back 56

True

Front 57

Dada writers and artists were concerned with shock, protest, and nonsense.

Back 57

True

Front 58

Die Brücke and Der Blue Reiter were two subgroups of the surrealist movement.

Back 58

False

Front 59

While the poster was an important vehicle for propaganda during World War I, it was secondary to the new medium of the radio.

Back 59

False

Front 60

Ludwig Hohlwein’s early work was influenced by the Beggarstaffs, although Hohlwein included more areas of patterns and textures.

Back 60

True

Front 61

Art Deco refers to the popular geometric style of the 1920s and 1930s. Drawing from varied sources, the style was a means of expressing the modern era of the machine while still satisfying a passion for decoration.

Back 61

True

Front 62

A. M. Cassandre’s posters, such as “L’Atlantique” and “L’Étoile du Nord,” include areas of value gradients (shading) that soften the severe geometry of the work.

Back 62

True

Front 63

Plakatstil incorporated decorative streamlining, zigzag, and geometry into its designs.

Back 63

True

Front 64

Edward McKnight Kauffer’s tourism posters for the London Underground were influenced by cubism.

Back 64

True

Front 65

Adolf Hitler felt that publication of scholarly manifestos was more effective than the use of posters in raising support for the Nazi party.

Back 65

False

Front 66

Russian lectures by futurist F. T. Marinetti influenced the Russian avant-garde art styles suprematism and constructivism.

Back 66

True

Front 67

Kasimir Malevich and Wassily Kandinsky believed that art must remain a spiritual activity apart from the utilitarian needs of society.

Back 67

True

Front 68

De Stijl artist Théo van Doesburg developed the theory of elementarism, in which he declared the diagonal line more dynamic than the horizontal and vertical construction.

Back 68

True

Front 69

Théo van Doesburg’s An Alphabet of 1919 is created entirely of horizontal and vertical lines, and is devoid of diagonal lines and curves. It appears to be a forerunner of early computer type.

Back 69

True

Front 70

The three main principles of constructivism were tectonics, texture, and construction.

Back 70

True

Front 71

Alexander Rodchenko designed Novyi lef (Left Front of the Arts) for all fields of the creative arts. His design style was rooted in strong, static, horizontal and vertical forms based on machine-rhythm relationships.

Back 71

True

Front 72

The concept of serial painting—using common elements in independent works—was introduced to graphic design by Alexander Rodchenko.

Back 72

True