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Modernism Memory Test

Question

Paul Cézanne, French, 1839–1906. Three Pears, ca. 1888–90. Watercolor, gouache, and graphite on cream laid paper, 24.2 x 31 cm. The Henry and Rose Pearlman Foundation, on long-term loan to the Princeton University Art Museum (L.1988.62.32)

Which two artists drew lots to see who would buy this work from the 1895 Cézanne exhibition at Ambroise Vollard’s gallery in Paris?

Your answerChoice

Claude Monet and Camille Pissarro

Selected

Pierre-Auguste Renoir and Edgar Degas

Chaïm Soutine and Amedeo Modigliani

Question

Amedeo Modigliani, Italian, 1884–1920. Head, ca. 1910–11. Limestone, h. without base 41.8 x 12.5 x 17.0 cm. The Henry and Rose Pearlman Foundation, on long-term loan to the Princeton University Art Museum (L.1988.62.71)

Amedeo Modigliani, Italian, 1884–1920. Jean Cocteau, 1916. Oil on canvas, 100.4 x 81.3 cm. The Henry and Rose Pearlman Foundation, on long-term loan to the Princeton University Art Museum (L.1988.62.18)

Modigliani’s sculpture shows the strong influence of African art. He also translated those ideas to his paintings. Look at Jean Cocteau’s face. Which elements could be compared to the West African art that inspired sculptures like Head?

Your answerChoice
Selected

the severe elongation, narrow nose, and small mouth

the pose of the figure, with his hands in his lap

the color scheme of reds, browns, and grays

Question

Henri de Toulouse-Lautrec, French, 1864–1901. The Sacred Grove, 1884. Oil on canvas, 172 x 380 cm. The Henry and Rose Pearlman Foundation, on long-term loan to the Princeton University Art Museum (L.1988.62.13)

Toulouse Lautrec and his friends at the Académie Cormon created this parody after seeing which artist’s The Sacred Grove, Beloved of the Arts and the Muses at the annual Salon in Paris?

Your answerChoice
Selected

Pierre Puvis de Chavannes

Claude Monet

Honoré Daumier

Question

Chaïm Soutine, Russian, active in France, 1893–1943. Steeple of Saint-Pierre at Céret, ca. 1920. Oil on canvas, 81.3 x 78.7 cm. The Henry and Rose Pearlman Collection / © 2014 Artists Rights Society (ARS), New York / ADAGP, Paris / photo Bruce M. White

The village of Céret provided the catalyst for the development of Chaïm Soutine’s signature painting style. The attributes of his style include:

Your answerChoice
Selected

illegibility and instability

a clear distinction between foreground and background

a sense of stasis and calm

Question

Vincent van Gogh, Dutch, 1853–1890. Tarascon Stagecoach, 1888. Oil on canvas, 71.4 x 92.5 cm. The Henry and Rose Pearlman Collection / photo Bruce M. White

In a letter to his brother, Theo, Vincent van Gogh compared the style of this painting to the work of two artists he greatly admired. They were:

Your answerChoice
Selected

Adolphe Monticelli and Claude Monet

Camille Corot and Paul Gauguin

Eugène Delacroix and Henri de Toulouse-Lautrec

Question

Paul Cézanne, French, 1839–1906. Trees and Cistern in the Park of Château Noir, 1900–1902. Watercolor and graphite on pale buff wove paper, 47.8 x 31.4 cm. The Henry and Rose Pearlman Foundation, on long-term loan to the Princeton University Art Museum (L.1988.62.43)

Cézanne’s approach to watercolor was multilayered and often involved a play between drawing and color. Which of these statements is most accurate regarding his approach?

Your answerChoice

Cézanne always used graphite to design a composition and then used watercolor over the pencil.

Cézanne used watercolor to rough out a composition and then went over it in graphite.

Selected

Cézanne used graphite underdrawing under watercolor as well as pencil marks that cross over strokes of watercolor.

Question

Édouard Manet, French, 1832–1883. Young Woman in a Round Hat, ca. 1877–79. Oil on canvas, 54.6 x 45.1 cm. The Henry and Rose Pearlman Collection / photo Bruce M. White

The woman represented in this painting by Édouard Manet could best be described as:

Your answerChoice

a wealthy Parisienne

Selected

a woman in a fashionable outfit designed for promenading about town

a woman of the French lower class

Question

Paul Cézanne, French, 1839–1906. Mont Sainte-Victoire, ca. 1904–06. Oil on canvas, 83.8 x 65.1 cm. The Henry and Rose Pearlman Collection / photo Bruce M. White

Mont Sainte-Victoire, which dominates the countryside near Cézanne’s hometown of Aix-en-Provence, was an important subject in the artist’s oeuvre. Scholars speculate that this was because:

Your answerChoice

Cézanne and his childhood friends explored this landscape in their youth

Selected

The mountain formed part of the history of the region, as the site of a Roman defeat of an invading Teutonic army.

Both a & b

Question

Paul Gauguin, French, 1848–1903. Te Fare Amu (The House for Eating), 1895 or 1897. Carved wood relief, painted, 24.8 x 147.7 cm. The Henry and Rose Pearlman Collection (L.1988.62.62)

Paul Gauguin’s Te Fare Amu demonstrates the artist’s interest in direct carving. He created this particular sculpture:

Your answerChoice

to decorate his apartment in Paris

to offend a puritanical American audience

Selected

to help realize his dream of integrating art into the fabric of daily life

Question

Oskar Kokoschka, Austrian, 1886–1980. Henry Pearlman, 1948. Oil on canvas, 101.6 x 76.2 cm. The Henry and Rose Pearlman Foundation, on long-term loan to the Princeton University Art Museum / © 2013 Artists Rights Society (ARS), New York / Pro Litteris, Zurich

On his first trip to Europe, in 1948, Henry Pearlman met Oskar Kokoschka and commissioned the artist to paint this portrait. In which city did the men meet?

Your answerChoice
Selected

London

Paris

Vienna