Question 1

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

Accepted Answer

Frank Lloyd Wright

Question 2

Identify the artist/designer (first and last name)

Accepted Answer

alphonse mucha

Question 3

Identify the artist/designer (first and last name)

Accepted Answer

Jules Cheret

Question 4

Identify the artist/designer (first and last name)

Accepted Answer

Lucian Bernhard

Question 5

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

Accepted Answer

The Beggarstaffs

Question 6

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

Accepted Answer

geometric complexity

Question 7

Identify the artist/designer (first and last name)

Accepted Answer

Will Bradley

Question 8

Identify the artist/designer (first and last name)

Accepted Answer

alphonse mucha

Question 9

QUESTION 10  In what country did the Glasgow style take place?   A.  Austria   B.  England/Great Britain   C.  Germany   D.  Scotland

Accepted Answer

Scotland

Question 10

Identify the style

Accepted Answer

Arts and Crafts

Question 11

Identify the Style

Accepted Answer

Le Style Mucha

Question 12

Identify the artist/designer (first and last name)

Accepted Answer

Peter Behrens

Question 13

Identify the artist/designer (first and last name)

Accepted Answer

Peter Behrens

Question 14

In what country did Art Nouveau develop its distinctive style?   A.  United States   B.  England/Great Britain   C.  France   D.  Germany

Accepted Answer

France

Question 15

Identify the style

Accepted Answer

Glasgow Four

Question 16

n what country did the Arts and Crafts movement begin?   A.  France   B.  England/Great Britain   C.  United States   D.  Germany

Accepted Answer

England/Great Britain

Question 17

Identify the artist/designer (first and last name)

Accepted Answer

Alfred Roller

Question 18

Identify the style

Accepted Answer

Glasgow Four

Question 19

Identify the artist/designer (first and last name)

Accepted Answer

Lucian Bernhard

Question 20

Identify the artist/designer (first and last name)

Accepted Answer

Gustav Klimt

Question 21

Identify the artist/designer (first and last name)

Accepted Answer

Koloman Moser

Question 22

Identify the artist/designers

Accepted Answer

Beggarstaff

Question 23

Identify the artist/designer (first and last name)

Accepted Answer

Frank Lloyd Wright

Question 24

Identify the style

Accepted Answer

Plakatstil

Question 25

Identify the artist/designer (first and last name)

Accepted Answer

Peter Behrens

Question 26

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

Accepted Answer

geometric

Question 27

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

Accepted Answer

True

Question 28

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

Accepted Answer

Sachplakat

Question 29

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

Accepted Answer

appropriate materials, functional forms, and a unity of visual organization

Question 30

QUESTION 23  Philosophically, the Vienna Workshops (Wiener WerkstÃ¤tte) opening in 1903 was influenced by ________.    A.  the Beggarstaffs   B.  Peter Behrens   C.  William Morris   D.  Frank Lloyd Wright

Accepted Answer

William Morris

Question 31

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

Accepted Answer

collage

Question 32

Financed by industrialist Fritz WÃ¤ndorfer, 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)

Accepted Answer

Weiner Werkstatte (Vienna Workshops)

Question 33

Identify the artist/designer (first and last name)

Accepted Answer

lucian bernhard

Question 34

____________ 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

Accepted Answer

Akidenz Grotesque

Question 35

In what country did Plakatstil begin?   A.  Germany   B.  Austria   C.  France   D.  Scotland

Accepted Answer

Germany

Question 36

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

Accepted Answer

Peter Behrens

Question 37

In what country did the Vienna Secession take place?   A.  Germany   B.  England/Great Britain   C.  France   D.  Austria

Accepted Answer

Austria

Question 38

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

Accepted Answer

concept

Question 39

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

Accepted Answer

Plakatstil

Question 40

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

Accepted Answer

False

Question 41

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

Accepted Answer

False

Question 42

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

Accepted Answer

it was a design lab

Question 43

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

Accepted Answer

Jules Cheret

Question 44

Identify the style

Accepted Answer

Plakatstil

Question 45

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

Accepted Answer

rational geometry

Question 46

Identify the artist/designer (first and last name)

Accepted Answer

Peter Behrens

Question 47

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

Accepted Answer

False

Question 48

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

Accepted Answer

four artists working in a similar style

Question 49

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

Accepted Answer

True

Question 50

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

Accepted Answer

appropriate materials, functional forms, and a unity of visual organization

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