Art section 3 Flashcards

(90 cards)

1
Q

Urban areas were important locations for the development of what?

A

Jazz age art, architecture, and popular culture like music, fashion, theater, and movies.

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2
Q

For most of America’s history, it had been a mostly _________ nation.

A

rural

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3
Q

The 1920 census demonstrated that (for the first time in the nation’s history), most Americans lived in ___________

A

cities

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4
Q

In the following decade after 1920, more many Americans moved from the countryside to urban areas?

A

six million americans

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5
Q

In the 1920s, African Americans began moving from the rural South to where?

A

Industrial cities all over the country, such as southern cities like Birmingham, Alabama, and northern industrial powerhouses like Cleveland, Detroit, Los Angeles, and Chicago.

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6
Q

Which city’s black population more than doubled during the 1920s, from 152,000 to 328,000?

A

New York

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7
Q

The massive relocation of African Americans between 1915 and 1970 was known as the?

A

Great Migration

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8
Q

Between which years did the Great Migration take place?

A

1915 and 1970

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9
Q

Why did the Great Migration occur?

A

African Americans moved out of the rural South, seeking better opportunities and higher wages in urban settings.

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10
Q

In the fifty years leading up to the Jazz Age, an estimated how many new immigrants had come into the country?

A

26 million

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11
Q

The 1910 census showed that in New York, what percent of residents were either foreign-born or the first-generation children of immigrants?

A

78.6 percent

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12
Q

Out of the fifteen largest cities in the country in 1910, which cities recorded a majority of their population as immigrants or first-generation?

A

Baltimore and New Orleans

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13
Q

What did Yasuo Kuniyoshi, Tina Modotti, Man Ray, and Alfred Stieglitz have in common?

A

They were all either immigrants or the children of them.

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14
Q

Why did the ratio of Black Americans in the 1920s compared to other races decrease in major cities?

A

Because congress severely limited the number of applicants who were let in, establishing immigration quotas in legislation. (Passed in 1921, 1924, and 1929)

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15
Q

During the 1920s, Urban America was still shaped by the polices of which era?

A

The Progressive Era.

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16
Q

When was the Progressive Era in effect?

A

Between the 1890s and 1920s.

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17
Q

What was the Progressive Era?

A

It privileged regulation and the intervention of local, state, and federal government into citizens’ lives, managing issues like corruption, pollution, poverty, etc.

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18
Q

The Progressive Era saw the growth of specialized education and professionalism in which fields?

A

Medicine and the Law.

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19
Q

Which sociology researchers at the University of Chicago established the academic discipline of urban studies in the 1920s, formalizing the study of urban systems and communities for the first time?

A

Ernest W. Burgess and Robert E. Park

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20
Q

The idea of Zoning laws was a result of which era?

A

The Progressive Era

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21
Q

What were zoning laws?

A

Laws used to manage sprawl & create more orderly and navigable cities, separating industrial areas from residential areas to avoid pollution.

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22
Q

The most famous zoning ordinance was New York City’s law titled?

A

The “setback” law, part of a larger zoning bill of 1916.

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23
Q

What was the “setback” law?

A

A law created to avoid tall buildings turning streets into dark, gloomy corners, requiring buildings must be built a certain distance from the “lot line” & have a facade that receded a further distance back for each incremental increase in height.

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24
Q

The “setback” law led to what architectural trend?

A

Pyramidal towers and inspired imaginative artistic responses, like those produced by the architectual draftsman Hugh Ferriss.

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25
Even in places where the "setback"/stepped-back profile was not required by law, the pyramidal style of skyscraper became a fashionable marker of modernity and which art movement?
The Art Deco movement.
26
Zoning wasn't popular because it dictated what landowners could build on their ____________.
holdings
27
Some city leaders used zoning to support forms of what?
racial and class segregation.
28
What did the Supreme Court hold zoning as constitutional?
1926
29
At the end of the 1920s, what percent of urban Americans lived in a city or neighborhood with zoning laws?
60 percent.
30
William Van Alen was a native New Yorker born in what year?
1888
31
Where did William Van Alen study?
The Pratt Institute, a technical college targeted towards mostly working class men.
32
Who founded the Pratt Institute?
Philanthropist Charles Pratt in 1887.
33
When did William Van Alen win a scholarship to study in Paris at the prestigious Ecole des Beaux-Arts school?
1908
34
The Ecole des Beaux-Arts school stressed fundamentals based on which models?
Greek, Roman, and Renaissance models.
35
Americans who graduated from the Ecole des Beaux-Arts school and adopted what type of architectural style?
Beaux-arts style.
36
Starting in 1911, Van Alen worked as a professional architect in New York before securing the commission in what year for what would become known as the Chrysler Building?
1927
37
How tall was the Chrysler Building?
1,046 feet.
38
the Chrysler Building briefly held what title?
The tallest building in the world before being eclipsed by the Empire State Building eleven months later.
39
Which project was Van Alen's first major solo commission?
the Chrysler Building
40
the Chrysler Building was originally requested requested by who before automotive tycoon Walter P. Chrysler bought the land and the commission in 1928?
A real estate developer
41
the Chrysler Building is in a style known as?
Art Deco, named after a 1925 exhibition of architecture and decorative arts in Paris with the lengthy title "International Expo of Modern Decorative and Industrial Arts"
42
Art Deco reflected a new direction for architecture and the applied arts, including?
Furniture, lighting, textiles, jewelry, tableware, and metalwork.
43
What was Art Deco?
An opulent and colorful style, using new materials from the industrial milieu like plastic, aluminium, and shiny chrome. It was visually exciting with repeated patterns, intricate geometric shapes, and iconography of streamlined trains, gears, and lightning bolts, appealing to consumers' sense of dynamism, progress, and energy.
44
The Art Deco style achieved status as "art" in 1929 when what Museum of Art put on an exhibition of Art Deco interior design?
The Metropolitan Museum of Art.
45
Art Deco's popularity would decline as quickly as it had risen, caused by?
The onset of the Depression's financial crisis. (Opulence was no longer something to boast about)
46
How was the Chrysler Building designed on the inside?
It was filled with opulent materials and dazzling Art Deco details that made it one of the most iconic buildings on the Manhattan skyline.
47
How was the Chrysler Building in line with the requirements of the setback zoning law?
The building sat on a large, two-tiered square base out of which the slender, elegant, middle section of the building rose for thirty stories.
48
At the corners of the middle section of the Chrysler Building, oversized chrome heads known as what were placed there?
Gargoyles, stylized and elongated geometric eagle heads coated with shining sheets of polished chrome.
49
The Gargoyles on the Chrysler building are made to echo what reference?
Luxury cars featuring hood ornaments, plated with chrome, that would evoke an air of luxury and speed.
50
Decorative brickwork on the Chrysler building facade incorporates chevrons, which are? Along with images of wheels and horizontal lines that reference movement.
nested V-shapes, often seen in Art Deco Pieces.
51
What is the Chrysler building most glorious feature?
Its "crown", a massive and gleaming pyramidal form made of seven arch-shaped tiers. Each of them faced with a reflective panel of stainless steel cladding and punctuated by a regular pattern of triangular-shaped windows.
52
The visual appearance of the exterior of the Chrysler building might remind viewers of?
A luxury automobile
53
The crown of the Chrysler building referenced a New York Icon known as?
The Statue of Liberty, whose spiky crown has a similar repeating triangular pattern & resembles an Egyptian pyramid.
54
Who opened the tomb of Tutankhamun in 1922?
British Archaeologist Howard Carter
55
British Archaeologist Howard Carter opening the tomb of tutankhamun in 1922 led to a craze called?
Egyptomania, sweeping Europe and America.
56
Many forms in Art Deco, like the nested, repeating shapes and angular designs, were adapted from?
Egyptian models, with the bright colors of Egyptian luxury materials being a great match for the Art Deco love of golds, blues, and other rich tones.
57
What was the lobby of the Chrysler Building like?
Equally luxurious, with colorful patterned marble veneer, a mural on the ceiling celebrating the building's construction, and elevator doors featuring a gold, black, and maroon design of flaring foliage inspired by Egyptian aesthetics.
58
Despite its name, the Chrysler Building was not intended to house what?
The headquarters of the Chrysler automotive corporation (they kept a few offices there but mostly leased the building's space to other corporate tenants)
59
In the public mind, the Chrysler Building was connected to what?
Chrysler Cars
60
One could argue that the innovative and recognizable design of the Chrysler Building would be more valuable to Chrysler's image than?
paid advertisements.
61
The Chrysler building remains an emblem of what in New York in the 1920s?
The glamor, dazzle, and optimism of the Art Deco style.
62
Who wrote in the early twentieth century, "consumption of goods was not a separate, sidelined activity that existed apart from an individual's effort to construct an identity... Consumer goods provided the resources out of which an individual could fabricate such an identity."?
Rob Schorman
63
Who was Guy Pene du Bois?
A man born in Brooklyn, New York, in 1884 who spoke french at home.
64
Who was Guy Pene du Bois's father?
A writer and art critic from Louisiana.
65
Guy Pene du Bois took up painting at what age?
15 with William Marritt Chase and later with the Ashcan painter Robert Henri.
66
Where did Guy Pene du Bois go prior to his fathers death?
A trip to paris in 1905 and a return to New York in 1906.
67
How did Guy Pene du Bois work to support himself?
as a journalist.
68
When did Guy Pene du Bois have his first solo show?
1918, followed by more exhibitions in the next six years.
69
For the most of the time, Guy Pene du Bois and his wife lived where?
In Westport, Connecticut, where he was surrounded by artistic friends, including the writers F. Scott Fitzgerald and Sherwood Anderson.
70
In spite of the prohibition, Guy Pene du Bois described his time in Westport, Connecticut as?
"gin and orange juice ruled the days and nights... Work was an effort made between parties."
71
When did Guy Pene du Bois and his family relocate to Paris and move to the village of Garnes in the Fresh countryside?
1924
72
From 1924 to 1930, Guy Pene du Bois worked _______________, living mostly in France but exhibiting and selling his work in the United States and returning oten.
transatlantically
73
Guy Pene du Bois became known for?
His images of Jazz Age spaces like cafes, art galleries, restaurants, and supper clubs, locations that also interested his close friend Edward Hopper.
74
In the 1930s, Guy Pene du Bois created public artworks on government commissions, like?
Three post office murals
75
In the 1940s, Guy Pene du Bois was increasingly unable to work due to declining health, passing away in?
1958
76
Woman on Sofa is a visual harmony in tones of?
Red.
77
In Woman on Sofa, the woman's short, curly red hair has been teased into what shape?
A mushroom shape
78
In Woman on Sofa, the woman's green eyes look out at us from?
A slight shadow.
79
What type of dress is the woman wearing In Woman on Sofa?
A cowl-neck dress, painted in tones of coral pink to orange-red. A boxy shape that hits at mid-calf.
80
What is the woman wearing around her neck in In Woman on Sofa?
A long string of beads that would reach down past her waist if she stood up.
81
The details of the background and couch fall away in the piece "Woman on Sofa" to?
enable us to focus closely on the woman's face, clothing, and pose.
82
In Woman on Sofa, the woman's confident expression and modern styling give the work both of which two ideas?
Intimacy and power.
83
The notion of what emerged in the late nineteenth century as women took advantage of educational opportunities and moved into more public roles?
"New Woman"
84
The New Women were overwhelmingly what demographic?
White and middle class, representing the first wave of feminism between circa 1970 and 1900.
85
While "New Women" advocated for Women's ability to work outside their home, many remained?
Conservative in their belief in women's roles as moral guides to the family and the nation.
86
After the turn of the century, what grew more public?
Women's activism, where women stressed independence, intelligence, and unconventionality.
87
Art showing the "New Woman" ideal still mostly focused on which demographic of women?
Rich European American women, often showing them engaged in physical pursuits like golf, tennis, and bicycling, always chic and well dressed.
88
The exemplar example of the "New Woman" was?
The Gibson Girl, imagined by Charles Dana Gibson for Life magazine around 1890.
89
Ashcan artists embraced what vision of the New Woman?
A more working-class vision (still white), basically independent & lived on her own than with parents.
90
The early twentieth-century New Woman ideal culminated with the ratification of which amendment?
The nineteenth amendment guaranteeing women's suffrage in 1920.