
Jackson Pollock
Authored by Peter WOOTTEN
Arts
10th Grade
Used 246+ times

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15 questions
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1.
MULTIPLE CHOICE QUESTION
30 sec • 1 pt
Which artist had the greatest influence on Jackson Pollock?
Pablo Picasso
Joan Miro
Roy Lichtenstein
Dan Flavin
2.
MULTIPLE CHOICE QUESTION
30 sec • 1 pt
Q1. Which of the following did NOT inspire Jackson Pollock to explore a range of styles of artistic expression?
Contemporary Mexican Murals
Surrealism
French Impressionistic Paintings
Navajo Sand Paintings
3.
MULTIPLE CHOICE QUESTION
30 sec • 1 pt
Why did Pollock's drip paintings cause a sensation in the art world?
It was a completely new and innovative method
People did not like it and did not consider it art
He was the most famous of all of the artists exploring with drip painting at the time
He had a very large display at the National Art Gallery that made him immediately famous
4.
MULTIPLE CHOICE QUESTION
30 sec • 1 pt
Who came up with the subtitle for Jackson Pollock's painting No 1, 1950?
Artist, Pablo Picasso
Art Critic, Clement Greenberg
President Harry Truman
His father, Leroy Pollock
5.
MULTIPLE CHOICE QUESTION
30 sec • 1 pt
Which art style is described as "completely innovative method of infusing images with emotional force and made the act of creating visible in the art work."?
Collage
Gouache
Pop Art
Drip Splatter Painting
6.
MULTIPLE CHOICE QUESTION
30 sec • 1 pt
Pollock painted his first wall-size work, called Mural (c. 1943–44). This painting represents Pollock’s breakthrough into a totally personal style that infuses......
his love of country music and Mexican culture
Benton’s compositional methods and energetic linear invention
a growing confidence after Peggy Guggenheim purchased his work
the Surrealist free association of motifs and conscious imagery.
7.
MULTIPLE CHOICE QUESTION
30 sec • 1 pt
In 1947 Pollock first used the process of pouring or dripping paint onto a flat canvas in stages, often alternating weeks of painting with weeks of contemplating before he finished a canvas.
This process allowed him to record the force and scope of his physical gesture in trajectories of enamel or oil paint.
This process allowed him to record the force and scope of his physical gesture in trajectories of acrylic or oil paint.
This process allowed him to record the force and scope of his physical gesture in trajectories of enamel or aluminum paint.
This process allowed him to record the force and scope of his physical gesture in trajectories of enamel or lead paint.
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