The exam instruction is in the below attachment file.
Art History 121B: EXAM 2
Please answer all the questions in this Exam which is worth a maximum of 75
points. Respond to each of the questions by following the instructions in
brackets.
Remember, since this will be an open note Exam, the completeness and
accuracy of your answers as well as putting your answers in your own words
(no plagiarism) will be what earns you a high grade.
Be sure to get your answers from the recorded lectures, assigned readings,
and information found on the lecture outline. Do not google for answers as I
may not agree with what you find on the internet but I will always agree with
what I tell you. đ
You have from Wednesday at 3:30 p.m. until Saturday at 4:00 p.m. to
complete the Exam and submit it via email as a Word document to
cgarfinkle@ucsb.edu no later than 4:00 p.m. (Pacific) on Saturday, Feb. 20.
Points will be deducted for late submissions.
Please put your name and EXAM 2 on your document and do not resend the
images with your Exam answers.
mailto:cgarfinkle@ucsb.edu
1. Henry O. Tanner, The Annunciation
Q: Point to three ways this image presents its subject differently than traditional European
versions. [Answer with three short sentencesâdonât just indicate which objects but explain each
of the differences.] 3 points
2. Court of Honor, Worldâs Columbian Exposition, Chicago, IL
Q: What was the âWhite Cityâ and why was it given this nickname? Specifically, what is it
commemorating and how does that relate to its theme? [Answer with one well-structured
paragraph and in complete sentences.] 5 points
3. Mary Cassatt, The Childâs Bath
Q: What are the modern elements to this work? Although the subject is still recognizably from
nature, it is not always âaccurateâ to the real world. What was the artistic influence and how
does the artist handle their new approach to art? Give three specific examples. [Answer with
three or four sentences.] 5 points
4. William Rimmer, Flight and Pursuit
Q: Describe the conflict created in this work, between the realistically painted versus âimaginaryâ
elements, in trying to understand what is actually/possibly being presented. Point to three
specifics found in the work. [Answer with one well-structured paragraph and in complete
sentences.] 6 points
5. Frederick MacMonnies, Nathan Hale, City Hall Park, NY, bronze
Q: What is the subject of this work, why was it commissioned (what was it honoring/celebrating),
and how is naturalism achieved (point to two specific details in the work in terms of costume and
pose)? [Answer with one or two well-structured paragraphs and in complete sentences.]
10 points
6. Edwin Blashfield, Evolution of Civilization, Reading Room, Library of Congress,
Washington, D.C., mural
Q: What is the specific subject matter of this work and how does it relate to the function of the
building for which it was created? What are the ways in which each of the twelve figures are
identified and what three compositional devices are used to unify them? [Answer with two well-
structured paragraphs, one per question, and in complete sentences.] 10 points
7. left: James McNeill Whistler, Nocturne in Black and Gold: The Falling Rocket
right: Thomas Eakins, The Gross Clinic
Q: How do these paintings exemplify the artistsâ ideas of what a âmodernâ work of art should be?
How and why did they each make a âscandalâ when first exhibited? [Answer with two to four well-
structured paragraphs and in complete sentences.] 15 points
left right
left right
8. left: Augustus Saint-Gaudens, Robert Gould Shaw Memorial, Boston Common, Boston, MA , bronze
right: Augustus Saint-Gaudens, Adams Memorial, Rock Creek Cemetery, Washington, D.C., bronze
Q: Compare these two memorials by the same sculptor as public versus private works of art. What
does each represent? Comment on the expression or lack of action, meaning, and function in each.
[Answer with two to four well-structured paragraphs and in complete sentences.] 15 points
No images will be shown for this section. Answer the following questions. 2 points each
9. The term âsubjective realistâ is specifically exemplified in Thomas Eakinsâs painting Max Schmitt
in a Single Scull by . . .
a. Eakins including his self portrait as the rower in the second scull (boat).
b. Eakins selecting a subject matter that is personally important to himâsports as a
modern subject, for example.
c. Eakinsâs painting his name on the second scull (boat).
d. All of the above
e. None of the above
10. James McNeill Whistler applied musical terms to the titles of his paintings based on the type
of composition or mood he was presenting; therefore, a composition that relies on the
relationship between its parts would be called while the depiction of a night
scene is called ?
a. an Arrangement/a Nocturne
b. an Arrangement/a Symphony
c. a Nocturne/a Symphony
d. a Nocturne/an Arrangement
11. Staff is a pliable material which can be applied over an armature and easily molded into a
sculptural decoration which is how the production of mass quantities of large-scale sculptural
works were made to decorate the buildings at the Worldâs Columbian Exposition.
TRUE FALSE
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