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Worksheets

Art S4

Total questions: 116

Worksheet time: 58mins

Name
Class
Date
1.

The overarching theme presented is

a)

American isolationism in art

b)

American art in a global and cross-cultural context

c)

Religious revival in the arts

d)

The decline of modernism

2.

In the 1920s, many American artists moved to Europe primarily to

a)

Escape prohibition laws

b)

Engage with avant-garde modernist movements firsthand

c)

Study religious iconography

d)

Paint exclusively for tourists

3.

Gerald Murphy’s painting Watch (1925) exemplifies

a)

Machine Age modernism and transatlantic cultural exchange

b)

Romantic landscape art

c)

Social realism

d)

Religious symbolism

4.

Gerald Murphy was part of a group of American expatriates centered in

a)

Paris and the French Riviera

b)

Berlin and Vienna

c)

Chicago and Detroit

d)

New York and Boston

5.

Murphy and his wife Sara were close friends with

a)

F. Scott and Zelda Fitzgerald

b)

Georgia O’Keeffe and Alfred Stieglitz

c)

Pablo Picasso and Henri Matisse

d)

Diego Rivera and Frida Kahlo

6.

The Murphys were known for

a)

Hosting artists and writers who defined the Jazz Age abroad

b)

Political activism

c)

Religious art commissions

d)

Architectural design

7.

Gerald Murphy’s Watch was inspired by

a)

Precision objects and mechanical design

b)

Landscapes of southern France

c)

Abstract expressionist gesture

d)

Religious icons

8.

Watch depicts

a)

The inner workings of a timepiece

b)

An airplane engine

c)

A factory interior

d)

A city skyline

9.

Murphy’s Watch draws stylistic influence from

a)

French Purism and Cubism

b)

Italian Baroque art

c)

Romantic landscape painting

d)

German Expressionism

10.

Purism, developed by artists like Ozenfant and Le Corbusier, emphasized

a)

Clean geometric order and the beauty of manufactured forms

b)

Expressive brushwork and emotion

c)

Political satire

d)

Ornamental pattern and luxury

11.

The sharply defined forms and flat color areas in Watch demonstrate

a)

Precision and abstraction inspired by industrial design

b)

Loose, painterly technique

c)

Organic naturalism

d)

Folk realism

12.

Murphy’s Watch was first exhibited in

a)

The Salon des Indépendants in Paris

b)

The Armory Show in New York

c)

The Whitney Biennial

d)

The Guggenheim Museum

13.

The scale of Watch is notable because

a)

It monumentalizes a small object into heroic proportions

b)

It is miniature and portable

c)

It is sculptural rather than painted

d)

It is a collage of mixed materials

14.

Murphy’s attention to mechanical detail conveys

a)

Awe at technological progress

b)

Fear of industrialization

c)

Satire of machinery

d)

Nostalgia for nature

15.

The painting Watch can be read as

a)

A metaphor for the mechanization and precision of modern life

b)

A religious allegory

c)

A political cartoon

d)

An abstract landscape

16.

Murphy’s composition eliminates

a)

Depth and perspective in favor of flat, diagram-like space

b)

Geometric symmetry

c)

All recognizable form

d)

The use of line

17.

The fragmented forms in Watch echo

a)

The Cubist influence of breaking objects into essential parts

b)

Impressionist brushwork

c)

Romantic symbolism

d)

Baroque grandeur

18.

Murphy’s precise, hard-edged technique connects him to which movement?

a)

Precisionism

b)

Fauvism

c)

Surrealism

d)

Minimalism

19.

Precisionism in American art celebrated

a)

Industrial subjects with modern clarity and order

b)

Political revolutions

c)

Folk art traditions

d)

Abstract emotion

20.

Murphy’s Watch and works by other expatriates show that

a)

American artists absorbed and transformed European modernism

b)

American art remained isolated from Europe

c)

Artists avoided technology

d)

Americans rejected abstraction

21.

The bold scale of Watch relates conceptually to

a)

Advertising and mass culture imagery

b)

Classical history painting

c)

Religious icon panels

d)

Folk portraiture

22.

The bright, simplified palette in Watch evokes

a)

Machine precision and graphic design

b)

Atmospheric landscape

c)

Organic nature scenes

d)

Emotional turmoil

23.

Murphy’s Watch transforms a mechanical object into

a)

A monumental modern icon

b)

A narrative scene

c)

A surreal fantasy

d)

A delicate still life

24.

Gerald Murphy's artistic production was

a)

Limited but influential in transatlantic modernism

b)

Prolific throughout his lifetime

c)

Focused entirely on sculpture

d)

Nonexistent after his first exhibition

25.

Thematically, Watch aligns with

a)

The Machine Age fascination shared by artists in Europe and America

b)

Rural nostalgia

c)

Colonial romanticism

d)

Anti-industrial sentiment

26.

Murphy’s approach to industrial imagery differed from social realists because he

a)

Celebrated rather than critiqued modern design

b)

Depicted labor struggles

c)

Avoided abstraction

d)

Focused on poverty

27.

The circular gears and linear symmetry of Watch create

a)

A rhythmic balance reminiscent of music and motion

b)

A chaotic, disordered effect

c)

Organic irregularity

d)

Purely random geometry

28.

Murphy’s Watch visually connects to the Jazz Age through its

a)

Syncopated rhythm, glamour, and embrace of modern style

b)

Depiction of rural America

c)

Use of natural imagery

d)

Focus on poverty and struggle

29.

The relationship between Watch and its Parisian context demonstrates

a)

The global circulation of ideas between European and American modernists

b)

The decline of transatlantic exchange

c)

Purely nationalist art

d)

Isolation from industrial design

30.

Murphy’s work parallels that of French artist Fernand Léger through

a)

Machine-inspired forms and bold mechanical rhythm

b)

Expressionist brushwork

c)

Mythological subject matter

d)

Use of collage and text

31.

Which statement best describes how Watch engages with the Machine Age?

a)

It treats industrial parts as a monumental modern icon

b)

It portrays machines as threats to humanity

c)

It hides mechanical forms behind natural motifs

d)

It rejects precision for expressive gesture

32.

Which feature of Watch most contributes to its sense of order and balance?

a)

Interlocking gears and precise symmetry

b)

Loose, gestural brushstrokes

c)

Asymmetrical organic vines

d)

Crowded, overlapping figures

33.

Why is Murphy’s celebration of modern design significant within his era?

a)

It contrasts with contemporaries who emphasized social critique of industry

b)

It aligns with medieval revivalism

c)

It follows a tradition of landscape naturalism

d)

It rejects any connection to European modernism

34.

What aspect of modern life does Watch most directly reflect?

a)

Timekeeping technology and industrial precision

b)

Pastoral leisure and agrarian work

c)

Religious ritual and iconography

d)

Psychological portraiture

35.

Murphy’s transatlantic connections suggest that modernist ideas in the early 20th century were

a)

Circulating across borders through artists and design

b)

Strictly contained within national schools

c)

Opposed to industrial imagery

d)

Limited to sculpture

36.

Which statement best captures the central theme of Meta Warrick Fuller’s Ethiopia Awakening?

a)

A celebration of industrial modernism detached from heritage

b)

A symbolic rebirth of African heritage and identity

c)

An embrace of European classical mythology over African themes

d)

A satire of the Harlem Renaissance

37.

In which broader cultural movement is Ethiopia Awakening most closely situated?

a)

Abstract Expressionism

b)

The Harlem Renaissance

c)

Romanticism

d)

Pop Art

38.

Which iconographic tradition most strongly informs the visual language of Ethiopia Awakening?

a)

Greek classical sculpture

b)

Egyptian iconography

c)

Renaissance humanism

d)

Bauhaus functionalism

39.

What exhibition context helped bring public attention to Ethiopia Awakening?

a)

The 1913 Armory Show in New York

b)

The 1921 “America’s Making” Exposition in New York

c)

The 1939 World’s Fair

d)

The 1925 Paris Exposition Internationale

40.

How is the central figure in Ethiopia Awakening typically described?

a)

A wrapped mummy figure awakening to life

b)

A classical Greek goddess in contrapposto

c)

An abstract geometric totem

d)

A modern dancer in motion

41.

The title Ethiopia Awakening most directly symbolizes

a)

Colonial nostalgia

b)

The rise of Africa and its diaspora after oppression

c)

The decline of Western art

d)

A protest against Egyptian antiquity

42.

Fuller’s training that influenced her sculptural approach included study with which major artist?

a)

Henry Moore in London

b)

Käthe Kollwitz in Berlin

c)

Auguste Rodin in Paris

d)

Constantin Brâncuși in Paris

43.

Which pairing best describes the conceptual synthesis in Ethiopia Awakening?

a)

Egyptian iconography with modern racial consciousness

b)

Cubism with Surrealism

c)

Classical myth with Christian allegory

d)

Scientific realism with naturalism

44.

What does the bandaging around the figure in Ethiopia Awakening suggest?

a)

Decorative pattern only

b)

Physical injury

c)

Both ancient mummification and modern emergence from constraint

d)

Total immobility and death

45.

The figure’s upright posture and forward gaze primarily convey

a)

Humility and submission

b)

Pride, dignity, and self-awareness

c)

Satirical irony

d)

Fear and uncertainty

46.

Why is Egyptian visual language significant in Fuller’s sculpture?

a)

It offers a neutral, apolitical style.

b)

It connects African diasporic identity to an ancient African civilization.

c)

It imitates trends from the Bauhaus school.

d)

It serves as a critique of archaeology.

47.

Which phrase best describes Fuller’s intended message through Ethiopia Awakening?

a)

Technological triumphalism

b)

Cultural reanimation and self-determination

c)

Anti-urban nostalgia

d)

Dadaist absurdity

48.

What formal choice helps communicate the theme of emergence in Ethiopia Awakening?

a)

Use of fragmented cubist planes

b)

Bandage-like wrappings that partially release the body

c)

Polychrome surfaces

d)

Mechanical gears and cogs

49.

Ethiopia in the title most directly functions as

a)

A reference to a specific modern nation-state only

b)

A symbol for Africa and Black diasporic identity

c)

A metaphor for European civilization

d)

An allusion to industrial progress

50.

Which historical context MOST aligns with the sculpture’s message?

a)

Post–World War II consumer culture

b)

Early 20th-century Black cultural renaissance and activism

c)

Late 18th-century neoclassicism

d)

1960s Pop Art movement

51.

Compared with purely classical Greek forms, Fuller’s use of Egyptian motifs primarily

a)

Centers an African lineage of beauty and power

b)

Aims for anatomical idealization alone

c)

Rejects symbolism entirely

d)

Moves toward industrial minimalism

52.

Which aspect of the work best signals a forward-looking vision?

a)

Downcast eyes and slumped shoulders

b)

Rigid symmetry suggesting stasis

c)

A poised stance and awakening gesture

d)

Fragmentation into nonrepresentational forms

53.

What does the sculpture suggest about identity within the Harlem Renaissance?

a)

Identity is detached from historical roots.

b)

Identity emerges from reclaiming African heritage.

c)

Identity is defined by European mentorship alone.

d)

Identity is primarily technological.

54.

Which statement best characterizes Yasuo Kuniyoshi’s Boy Stealing Fruit (1923)?

a)

A depiction of pure abstraction with no narrative

b)

A cross-cultural work blending identity themes with a folk narrative

c)

A political propaganda poster supporting a party

d)

A hyperrealist study of anatomy

55.

Kuniyoshi’s background most directly relevant to Boy Stealing Fruit is that he

a)

worked exclusively in Japan and followed traditional scroll painting

b)

emigrated to the United States and developed a hybrid artistic style

c)

focused primarily on European printmaking

d)

led a school of Baroque chiaroscuro

56.

The composition of Boy Stealing Fruit most clearly blends

a)

American folk imagery and Japanese pictorial design

b)

Renaissance linear perspective and academic realism

c)

Abstract cubism and automatic surrealism

d)

Minimalist grids and monochrome surfaces

57.

What mood does the subject of Boy Stealing Fruit primarily convey?

a)

Mischievous humor mixed with moral ambiguity

b)

Tragic heroism and sacrifice

c)

Strict religious allegory

d)

Didactic political messaging

58.

Kuniyoshi’s simplified figures and flattened space in Boy Stealing Fruit show strongest influence from

a)

Japanese woodblock prints (ukiyo-e)

b)

Baroque chiaroscuro

c)

Cubist collage

d)

Romantic naturalism

59.

The patterned surfaces and textures in Boy Stealing Fruit suggest connections to

a)

craft traditions and folk decorative arts

b)

industrial engineering diagrams

c)

scientific botanical plates

d)

Renaissance fresco technique

60.

Kuniyoshi’s color choices in Boy Stealing Fruit are best described as

a)

muted earth tones with patterned color blocks

b)

only bright primary colors

c)

gray monochrome study

d)

pure black-and-white ink wash

61.

The child caught mid-action in Boy Stealing Fruit symbolizes

a)

the tension between innocence and mischief

b)

religious revelation

c)

historical tragedy

d)

fear and punishment

62.

The playful mood of Boy Stealing Fruit most strongly contrasts with the

a)

solemn dignity of Fuller’s Ethiopia Awakening

b)

energetic abstraction of Futurism

c)

satirical scenes of department stores

d)

monumental murals of Benton

63.

Kuniyoshi’s art often reflects his experience as

a)

a European aristocrat

b)

a rural Midwestern farmer

c)

a political radical in Europe

d)

a Japanese immigrant negotiating identity in America

64.

Boy Stealing Fruit reveals influence from

a)

folk art storytelling and a childlike perspective

b)

industrial design blueprints

c)

scientific illustration accuracy

d)

Gothic architectural plans

65.

In Kuniyoshi’s painting, humor serves primarily to

a)

mask a deeper commentary on outsider status and cultural hybridity

b)

praise European monarchies

c)

display romantic idealism

d)

invoke nostalgia for Edo-period samurai

66.

Kuniyoshi’s simplified forms and playful style were admired for

a)

merging Eastern and Western modernist vocabularies

b)

rejecting all tradition entirely

c)

mimicking photographic realism

d)

overt political protest iconography

67.

Both Fuller and Kuniyoshi use figuration to

a)

explore identity, heritage, and belonging in a modern world

b)

celebrate technological machinery

c)

depict religious miracles exclusively

d)

avoid personal or cultural themes

68.

A theme shared by Fuller’s Ethiopia Awakening and Kuniyoshi’s Boy Stealing Fruit is

a)

cultural synthesis and human dignity across boundaries

b)

mechanical abstraction and impersonal form

c)

partisan political propaganda

d)

strict religious allegory

69.

Kuniyoshi’s style can best be labeled

a)

naïve modernism rooted in personal symbolism

b)

hyperrealism with photographic precision

c)

abstract expressionism

d)

geometric minimalism

70.

The angular lines and decorative surfaces in Boy Stealing Fruit relate most directly to

a)

Japanese print design and folk craft

b)

French neoclassical painting

c)

American advertising layouts

d)

Italian Renaissance sculpture

71.

Which visual strategy in Boy Stealing Fruit communicates a cross-cultural identity?

a)

Combining American folk motifs with Japanese ukiyo-e compositional flatness

b)

Using only European academic perspective and anatomy

c)

Eliminating narrative content entirely

d)

Applying photorealistic shading to mimic cameras

72.

Which interpretation best explains the painting’s enduring appeal?

a)

Its humorous surface paired with poignant insight into belonging and outsider status

b)

Its strict adherence to Renaissance proportion rules

c)

Its function as a literal document of a historical event

d)

Its focus on industrial progress and machines

73.

In terms of design, Boy Stealing Fruit most likely avoids

a)

deep illusionistic perspective in favor of flattened space

b)

decorative patterning inspired by craft

c)

narrative suggestion through gesture

d)

any reference to Japanese pictorial approaches

74.

Frank Lloyd Wright's Ennis House (1923–24) is located in which city?

a)

Los Angeles, California

b)

Chicago, Illinois

c)

New York, New York

d)

Santa Fe, New Mexico

75.

The Ennis House was designed for which clients?

a)

Charles and Mabel Ennis

b)

Alfred Stieglitz and Georgia O’Keeffe

c)

F. Scott and Zelda Fitzgerald

d)

Thomas Hart Benton

76.

The Ennis House is part of Wright’s group of

a)

Textile block houses inspired by ancient design motifs

b)

Prairie-style homes of the Midwest

c)

Usonian homes of the 1940s

d)

Modern glass houses of the postwar era

77.

Which architectural traditions most influenced Wright’s Ennis House?

a)

Mayan and pre-Columbian architecture

b)

Egyptian temples

c)

Gothic cathedrals

d)

Japanese tea houses

78.

What is the signature material in the Ennis House?

a)

Concrete textile blocks

b)

Adobe clay

c)

Marble and steel

d)

Wood and glass

79.

The “textile block” technique used by Wright involved

a)

Interlocking patterned concrete blocks joined by steel rods

b)

Carved wooden panels

c)

Hand-painted tiles

d)

Cast bronze molds

80.

The surface patterning on the Ennis House most strongly evokes

a)

Geometric abstraction and ancient relief carving

b)

Floral Art Nouveau design

c)

Minimalist repetition

d)

Cubist collage

81.

Wright’s aim with the textile-block houses was to

a)

Create affordable modern dwellings inspired by indigenous architecture

b)

Imitate European palaces

c)

Reject ornament entirely

d)

Focus on religious spaces

82.

The Ennis House design reflects which overarching principle?

a)

Integration of architecture, ornament, and environment

b)

Strict adherence to European tradition

c)

Isolation from its landscape

d)

Minimalist neutrality

83.

The pattern on the Ennis House façade was derived from

a)

Abstract Mayan motifs

b)

Celtic knotwork

c)

Egyptian hieroglyphs

d)

Baroque scrolls

84.

Kuniyoshi’s cross-cultural style reflects which broader trend in modernism?

a)

Modernism’s global reach and hybrid creativity

b)

Isolationist nationalism

c)

Total rejection of Japanese tradition

d)

Technical copying of European realism

85.

Fuller and Kuniyoshi both show that early modern American art

a)

Marginalized identities contributed to defining modern American art

b)

Only European artists shaped modernism

c)

American art ignored diversity

d)

Global exchange ended after World War I

86.

Fuller’s Ethiopia Awakening represents an early step toward

a)

The cultural self-definition of the Harlem Renaissance

b)

The collapse of African art traditions

c)

Pure abstraction

d)

Religious fundamentalism

87.

Kuniyoshi’s humor and empathy in Boy Stealing Fruit convey

a)

A deeply human, playful response to cultural displacement

b)

Detachment from identity

c)

Satire of modernism

d)

Rejection of art training

88.

Fuller’s and Kuniyoshi’s works reveal that early 20th-century American modernism was

a)

Enriched by global and multicultural influences

b)

Purely nationalistic

c)

Technologically obsessed and apolitical

d)

Focused only on European models

89.

Which term best describes the cultural process evident in the Ennis House, where indigenous motifs are adapted within modern American architecture?

a)

Cultural hybridization

b)

Appropriation without adaptation

c)

Technological determinism

d)

Neoclassical revivalism

90.

Which feature best demonstrates Wright’s interest in merging ornament with structure in the Ennis House?

a)

Load-bearing concrete blocks that are also patterned

b)

Nonstructural plaster decorations

c)

Applied wallpaper friezes

d)

Curtain-wall glass panels

91.

Compared with Wright’s earlier Prairie houses, the textile-block houses like Ennis House primarily emphasize

a)

Ancient-inspired modular masonry systems

b)

Horizontal wooden siding

c)

Open timber rafters

d)

Steel-and-glass transparency

92.

Which statement best explains how the Ennis House participates in American modernism?

a)

It fuses modern construction with pre-Columbian visual language

b)

It rejects all ornament in favor of pure functionalism

c)

It directly copies European Gothic forms

d)

It relies exclusively on traditional carpentry

93.

Why was the textile-block approach aligned with Wright’s social goals?

a)

It promised economical, site-responsive housing with expressive identity

b)

It maximized expensive marble imports

c)

It standardized aesthetics across all climates

d)

It reduced architecture to unornamented boxes

94.

Maria Martinez (1887–1980) and Julian Martinez (1897–1943) were artists of which Pueblo community?

a)

Navajo Nation in Arizona

b)

San Ildefonso Pueblo in New Mexico

c)

Hopi Tribe in northern Arizona

d)

Lakota Sioux of South Dakota

95.

What are the Martinez artists best known for developing?

a)

Silver jewelry inlaid with turquoise

b)

Sand paintings

c)

Textile weaving

d)

Black-on-black pottery with matte and polished designs

96.

Their signature black-on-black style was created primarily by which firing method?

a)

Firing clay in a controlled oxygen-reduced kiln

b)

Using commercial dyes

c)

Painting with metallic glaze

d)

Adding pigment to the clay

97.

The visual contrast in Martinez pottery comes from which combination?

a)

Painted enamel colors

b)

Glossy and matte surfaces forming geometric designs

c)

Added gemstones

d)

Inlaid woodwork

98.

Maria Martinez’s pottery revived and modernized which tradition?

a)

European porcelain techniques

b)

Colonial Spanish ceramics

c)

Egyptian glasswork

d)

Pueblo ceramic traditions dating back centuries

99.

Julian Martinez contributed primarily by doing what?

a)

Painting the matte geometric motifs on the pottery surface

b)

Sculpting in marble

c)

Designing silver jewelry

d)

Building kilns

100.

The geometric motifs on Martinez pottery often reference which sources?

a)

Industrial tools

b)

Religious saints

c)

Written alphabets

d)

Natural elements like feathers, clouds, and rain

101.

Why was the Martinezes’ work embraced by the art world?

a)

It imitated European realism

b)

It was mass-produced

c)

It united Indigenous craftsmanship with modern design sensibility

d)

It rejected tradition

102.

Maria and Julian Martinez’s black-on-black pottery demonstrates what broader idea within modern American art?

a)

The intersection of cultural heritage and modern aesthetics

b)

Pure functionalism without ornament

c)

Abstract Expressionism

d)

Postmodern irony

103.

The Martinezes’ innovations elevated pottery from what to what?

a)

Religion to ritual

b)

Painting to sculpture

c)

Industry to commerce

d)

Folk craft to fine art recognition

104.

The influence of the Martinezes parallels that of Wright in showing what about U.S. modernism?

a)

Dependence on European models

b)

Rejection of cultural diversity

c)

Modern American art’s engagement with Indigenous and ancient forms

d)

The triumph of industrial mass production

105.

The black sheen of Martinez pottery was achieved through which process?

a)

Polishing with smooth stones before firing

b)

Adding oil after firing

c)

Spraying synthetic glaze

d)

Using metallic powder

106.

The visual unity of Martinez pottery reflects Pueblo ideals emphasizing what values?

a)

Competition and innovation

b)

Satire and irony

c)

Commercial speed and mass production

d)

Harmony, balance, and respect for materials

107.

Both the Ennis House and Martinez pottery demonstrate which shared design aim?

a)

Exclusive focus on technology

b)

Elimination of ornament

c)

Dependence on European classicism

d)

Integration of ancient motifs into modern American design

108.

In both architecture and craft, the 1920s–30s American modernists sought which goal?

a)

A uniquely national style built from global and Indigenous inspirations

b)

To reject non-Western sources

c)

To return entirely to Neoclassicism

d)

To mass-produce uniform forms

109.

The tactile surface of Wright’s Ennis House and the sheen of Martinez pottery both express what kind of dialogue?

a)

Industrial uniformity

b)

A rejection of ornament

c)

Mechanical perfection only

d)

A dialogue between handcraft and modern material

110.

Maria Martinez’s legacy extended beyond art primarily through which activity?

a)

Political activism

b)

Religious leadership

c)

Teaching and preserving Pueblo ceramic traditions

d)

Industrial design

111.

International recognition of the Martinezes’ pottery indicates what larger cultural shift?

a)

The isolation of Indigenous art from global trends

b)

The decline of modern design

c)

The rejection of cultural exchange

d)

The growing appreciation for Native American art as central to U.S. modernism

112.

Which procedure best explains how the matte motifs appear against the polished black surface in Martinez pottery?

a)

Applying white slip after firing

b)

Masking areas during polishing so they remain matte

c)

Carving deeply into the clay post-firing

d)

Using colored glazes to paint designs

113.

Which statement best captures how the Martinezes bridged tradition and innovation?

a)

They abandoned Pueblo methods for industrial production.

b)

They combined Pueblo ceramic techniques with modern aesthetics to create fine art objects.

c)

They focused solely on commercial speed and uniformity.

d)

They replaced handcraft with machine processes.

114.

Together, Wright’s Ennis House and Martinez’s pottery reflect which idea?

a)

Cultural dialogue between modern technology and ancient traditions

b)

Total opposition between craft and architecture

c)

Exclusive urban design

d)

Minimalist austerity

115.

What is the broader message about American modernism presented in this section?

a)

American modernism emerged through global exchange and cultural hybridity

b)

Modern art developed in isolation from the world

c)

Indigenous art was unrelated to modern design

d)

European styles fully dominated U.S. art

116.

By drawing on both Indigenous and international forms, artists like Wright and the Martinezes most directly did what?

a)

Reframed modernism as inclusive and culturally diverse

b)

Rejected ornament entirely

c)

Focused only on industrial themes

d)

Created purely functional works