Quiz 4 - Chapter 12
Scotland
QUESTION 10 In what country did the Glasgow style take place? A. Austria B. England/Great Britain C. Germany D. Scotland
geometric
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. A. Victorian B. organic C. Celtic D. geometric
The Beggarstaffs
Brothers-in-law James Pryde and William Nicholson, both respected academic painters, opened an advertising design studio in 1898. To protect their reputations as artists, they took on the pseudonym _____________. A. The Beggarstaffs B. Priester C. Metropolis D. Manoli
geometric complexity
Charles Rennie Mackintosh created graphic designs characterized by three of the following. Which does NOT belong? A. stylized natural forms B. symbolic imagery C. flat planes of color D. geometric complexity
it was a design lab
The periodical Ver Sacrum (1898-1903) was innovative primarily because ________. A. it had an unusual rectangular format B. artists contributed their work without pay C. there were few subscribers D. it was a design lab
collage
During their brief collaboration, James Pryde and William Nicholson developed a new technique that was later named _____________. A. Sachplakat B. Plakatstil C. collage D. art deco
True
Dutch architect J. L. Mathieu Lauweriks, who was fascinated with geometric form, developed grids that began with a square circumscribed around a circle and made numerous permutations by subdividing and duplicating this basic structure. True False
Weiner Werkstatte (Vienna Workshops)
Financed by industrialist Fritz Wändorfer, the _____________ was an outgrowth of Sezessionstil and sought a close union of the fine and applied arts in the design of lamps, fabrics, books, greeting cards, and other printed matter. The goal was to offer an alternative to poorly designed, mass-produced articles and trite historicism. Decoration was used only when it served these goals. A. Vienna Secession B. The Glasgow School C. Deutshe Werkbund (German Association of Craftsmen) D. Weiner Werkstatte (Vienna Workshops)
appropriate materials, functional forms, and a unity of visual organization
In his teaching and writings, Belgian designer Henri van de Velde became a vital source for the development of twentieth-century architecture and design theory. He demanded __________. A. appropriate materials, functional forms, and a unity of visual organization B. machine-made objects that appeared to be handmade C. abolishing the past and starting anew D. a lot of decoration and ornament
False
Henri van de Velde's works are early examples of the modernist integration of form and function; their forms communicated their uses objectively and clearly. True False
Le Style Mucha
Identify the Style
Alfred Roller
Identify the artist/designer (first and last name)
Frank Lloyd Wright
Identify the artist/designer (first and last name)
Gustav Klimt
Identify the artist/designer (first and last name)
Jules Cheret
Identify the artist/designer (first and last name)
Koloman Moser
Identify the artist/designer (first and last name)
Lucian Bernhard
Identify the artist/designer (first and last name)
Peter Behrens
Identify the artist/designer (first and last name)
Will Bradley
Identify the artist/designer (first and last name)
alphonse mucha
Identify the artist/designer (first and last name)
lucian bernhard
Identify the artist/designer (first and last name)
Beggarstaff
Identify the artist/designers
Arts and Crafts
Identify the style
Glasgow Four
Identify the style
Plakatstil
Identify the style
Sachplakat
In Switzerland, even after modern production procedures such as offset printing began to be used for most poster production, traditional lithographic crafts were retained in what was known as Basel realism. The works of Niklaus Stoecklin, Otto Baumberger, and Herbert Leupin, which were characterized by a simple, laconic, and sometimes hyperrealistic approach, were called _____________because they featured individual objects as the main subject. A. Sachplakat B. Plakatstil C. art deco D. collage
False
In the style known as Plakatstil, which emerged during the 1920s and 1930s, streamlining, zigzag, and decorative geometry were used to express the modern era of the machine while still satisfying a passion for decoration that carried over from art nouveau. True False
France
In what country did Art Nouveau develop its distinctive style? A. United States B. England/Great Britain C. France D. Germany
Germany
In what country did Plakatstil begin? A. Germany B. Austria C. France D. Scotland
Austria
In what country did the Vienna Secession take place? A. Germany B. England/Great Britain C. France D. Austria
concept
Lucian Bernhard's approach, and the subsequent style that he inspired, was characterized by three of the following. Which does NOT belong? ___________ A. dominant, simple shapes B. product name C. flat color D. concept
rational geometry
Peter Behrens's architectural and graphic designs, beginning in 1904, evolved toward forms based on ________. A. rational geometry B. spiritual expression C. medieval art D. organic simplicity
Frank Lloyd Wright
QUESTION 1 During the final years of the nineteenth century, American architect ____________ was becoming known to European artists and designers not only for his architecture, but for his design interests in furniture, fabrics, wallpapers, and stained-glass windows. He rejected historicism and saw space as the essence of design. His repetition of rectangular zones and use of asymmetrical spatial organization were adopted by other designers. A. Henri van de Velde B. Frank Lloyd Wright C. J. Herbert McNair D. Charles Rennie Mackintosh
appropriate materials, functional forms, and a unity of visual organization
QUESTION 19 In his teaching and writings, Belgian designer Henri van de Velde became a vital source for the development of twentieth-century architecture and design theory. He demanded __________. A. appropriate materials, functional forms, and a unity of visual organization B. machine-made objects that appeared to be handmade C. abolishing the past and starting anew D. a lot of decoration and ornament
William Morris
QUESTION 23 Philosophically, the Vienna Workshops (Wiener Werkstätte) opening in 1903 was influenced by ________. A. the Beggarstaffs B. Peter Behrens C. William Morris D. Frank Lloyd Wright
True
The Berthold Foundry designed a family of ten sans-serif typefaces that were variations on one original font, Akzidenz Grotesk (called Standard in the United States). This marked a major step in the evolution of the unified and systematized type family and had a major influence on twentieth-century typography. True False
Peter Behrens
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. A. Josef Hoffmann B. Charles Rennie Mackintosh C. Peter Behrens D. Talwin Morris
four artists working in a similar style
The Glasgow School refers to ________________ in Scotland. A. The Glasgow School of Art B. non-academic art instruction C. The Glasgow Institute of Fine Arts D. four artists working in a similar style
False
The coloring book style of Aubrey Beardsley used a thick black contour drawing to lock forms into flat areas of color in a manner similar to medieval stained-glass windows. True False
Plakatstil
The shift from naturalism, which began with Henri Toulouse-Lautrec, continued with the work of James Pryde and William Nicholson during their brief advertising career. But it was Lucian Bernhard who inspired the design approach that emerged in Germany early in the twentieth century known as _____________. A. pictorial modernism B. Sachplakat C. art deco D. Plakatstil
Jules Cheret
Which artist was one of the first to experiment with chromolithography to create new forms of poster art? A. Will Bradley B. Jules Cheret C. Eugene Grasset D. Alphonse Mucha
Akidenz Grotesque
____________ is a sans-serif typeface designed by the Berthold Foundry. Ten variations were designed: four weights plus three expanded and three condensed versions, which allowed compositors to achieve contrast and emphasis within one family of typefaces. This was a major step in the evolution of the unified and systemized type family. A. Helvetica B. Behrenschrift C. Akidenz Grotesque D. News Gothic
England/Great Britain
n what country did the Arts and Crafts movement begin? A. France B. England/Great Britain C. United States D. Germany