WorksheetsFine Arts Sec. 6 Global Connection
Total questions: 106
Worksheet time: 35mins
Recall: Which statement best describes how early twentieth-century American artists found inspiration?
They mainly looked to ancient Roman sculpture for ideas.
They often looked to Europe, drawing from movements like Cubism and Surrealism.
They focused only on folk art from rural American communities.
They borrowed primarily from Asian calligraphy traditions.
Skill/Concept: After World War I ended, how did the art world change according to the passage?
It became more isolated, with fewer international exchanges.
It shifted to a more globally interconnected scene with a more diverse set of influences.
It returned to strictly classical styles with little experimentation.
It banned modern art movements in major cities.
Recall: Which European modern art movements are named as impacting American artists?
Cubism, Dada, Futurism, Expressionism, and Surrealism
Pointillism, Baroque, Rococo, and Neoclassicism
Minimalism, Pop Art, Op Art, and Conceptual Art
Impressionism, Fauvism, Symbolism, and Romanticism
Strategic Thinking: Based on the text, which scenario best illustrates transatlantic artistic exchange in the 1920s?
American musicians bring jazz and ragtime to European nightlife while European modernist leaders influence American visual artists.
European governments ban American music, stopping cultural exchange between continents.
Only American painters travel to Europe, while writers and dancers remain in the United States.
American movies are prohibited in Paris, limiting U.S. cultural presence.
Skill/Concept: Which group name did Gertrude Stein use for many American writers living in Europe during the 1920s?
The Harlem Renaissance
The Lost Generation
The Beat Movement
The Abstract Expressionists
Recall: Around how many Americans were living in Paris in 1924, according to the estimate mentioned?
About 3,200
More than 32,000
About 320,000
Fewer than 320
Skill/Concept: Which pair correctly matches an American performer with the type of audience or venue noted in the text?
Isadora Duncan—Hollywood movie theaters
Josephine Baker—Parisian audiences
Charlie Chaplin—French Riviera salons
Georgia O’Keeffe—Berlin nightclubs
Strategic Thinking: If a city wanted to attract American expatriate artists in the 1920s, which policy would most likely align with European strategies after WWI described in the text?
Discouraging modernization and limiting financial growth
Encouraging rebuilding with modernization and aggressive financial growth
Banning mixed drinks and social venues
Eliminating international travel permits for artists
Strategic Thinking: Which development reverses the earlier direction of Dada’s influence, as explained in the passage?
Dada spreads from New York back to Europe, alongside American trends like jazz and cocktails becoming popular in cities such as Paris and Berlin.
Dada disappears entirely from both Europe and America, leaving no impact.
Dada becomes a government policy enforced in European schools.
Dada changes into classical realism and replaces modernism.
Which statement best describes Gerald Murphy’s early education and career interests?
He studied architecture at Harvard and became a professional architect.
He graduated from Yale in literature and showed little interest in pursuing landscape architecture as a career.
He trained as a painter at Yale and immediately worked as a full-time artist.
He studied engineering in Paris and designed watches for luxury brands.
Why were the Murphys able to live a lavish lifestyle in Europe during the 1920s?
Gerald Murphy earned a high income from selling many paintings.
They inherited a villa from Ernest Hemingway.
Their families’ wealth, including the Mark Cross leather store, allowed them to live comfortably without relying on art sales.
They won a large cash prize for an art competition.
The term Lost Generation in this context refers to which group?
Young soldiers who never returned from World War I
Writers and artists who lived abroad after World War I seeking a society of good company, art, and ideas
Factory workers who moved to city streets during industrialization
Scientists who opposed modern technology in the 1920s
Which notable friends and visitors were part of the Murphys’ social circle at their Villa America?
Albert Einstein and Georgia O’Keeffe
Ernest Hemingway, F. Scott Fitzgerald, and Cole Porter
Walt Disney and Duke Ellington
Henri Matisse and Frida Kahlo
Which art movement most influenced Gerald Murphy’s painting style?
Impressionism, with soft brushwork and light effects
Surrealism, with dreamlike scenes
Purism, emphasizing primary colors, simple shapes, and solid forms
Romanticism, focusing on emotion and nature
Which artist is identified as Murphy’s greatest influence and a key figure in Purism?
Pablo Picasso
Fernand Léger
Erik Satie
Igor Stravinsky
According to the text, which subjects did Purist artists often choose?
Mythological gods and medieval castles
Ocean liners, factory chimneys, cars, and city streets
Landscapes with barns and mountains
Portraits of royal families
Which of the following is NOT one of Murphy’s small canvases mentioned in the text?
Watch
Razor
Cocktail
Boulevard
Which design qualities of Purism most affected Murphy’s compositions?
Soft edges and visible brushstrokes
Clean, sharp lines and little or no shading
Thick impasto and swirling textures
Heavy use of atmospheric perspective
What makes the painting Watch (1925) striking in scale for a small canvas?
It is a miniature locket painting less than two inches wide.
At around six and a half feet square, its zoomed-in gears and dials dominate a wall.
It is a panoramic mural that wraps around a room.
It is painted on fabric banners meant to blow in the wind.
Which description best captures the visual effect in Watch around the central cogs?
A calm, empty space with no shapes
A realistic portrait of a clockmaker at work
A fantasia of interlocking geometrical shapes suggesting energy and motion
A landscape with mountains hidden behind the watch
How did some viewers interpret the watch symbolically, according to the text?
As a symbol of ancient myths and legends
As a sign of rejection of technology and modern life
As an emblem of American consumer culture and modern values of speed and control over time
As a reminder of the quiet countryside
Which statement best reflects critics’ views of Murphy’s style and identity as an artist during his lifetime?
His work was clearly a break from French Purism and purely American in style.
His work was not seen as separate from French Purism nor specifically American, seeming like an epitome of transatlantic style.
He was considered a leader of German Expressionism.
He was famous mainly for painting portraits of kings and queens.
What major life event led to the end of Murphy’s painting career?
A move to Asia where he stopped creating art
A fall that injured his painting arm
The death of one of his children and the Great Depression, after which he returned to run the family company
A ban on American artists in France
Which statement best describes Meta Warrick Fuller’s career background before creating Ethiopia Awakening?
She trained only in Philadelphia and focused on painting landscapes.
She studied sculpture in Paris around 1899–1903 and briefly with Auguste Rodin.
She learned art in Haiti during the 1910s while organizing the Rosenwald Fund.
She was primarily a poet and never received formal art training.
What major movement connected people of African descent globally and influenced Fuller’s work?
Impressionism
Pan-Africanism
Cubism
Surrealism
According to the passage, why was Fuller’s perspective in the 1920s somewhat different from many New Negro artists?
She lived in a small city outside major artistic centers and was older than most of them.
She refused to exhibit her art publicly and worked only in secret.
She moved to Europe and abandoned American themes entirely.
She focused exclusively on painting rather than sculpture.
What role did Ethiopia Awakening play at the 1921 America’s Making Exhibit in New York?
It was a minor work displayed in a corner with no special attention.
It served as the centerpiece of the Black section, highlighting Pan-Africanism and Black pride.
It was displayed in the Asian art section to emphasize cross-cultural trade.
It was banned due to controversy about modernism.
Which description best matches the materials and surviving versions of Ethiopia Awakening?
Only one marble version survives, and marble was used to represent darker skin tones.
There is at least one bronze cast and one plaster version; bronze appears brownish-gold and plaster is painted black.
All versions were carved wood painted white to symbolize purity.
The original was life-size in marble with several lost bronze copies.
Who commissioned Ethiopia Awakening and what organization did he work for?
Pablo Picasso; Museum of Modern Art
James Weldon Johnson; NAACP
W. E. B. Du Bois; Crisis magazine
Aaron Douglas; Rosenwald Fund
Which feature on the figure in Ethiopia Awakening directly references ancient Egyptian practices?
A European-style hat symbolizing travel
A folded linen headdress called a nemes and bandage-like wrappings of mummification
Greek-style sandals indicating democracy
A Roman laurel crown celebrating victory
What visual strategy did many Black American artists of the 1920s and 1930s use to celebrate identity, according to the text?
Avoiding African motifs to emphasize assimilation
Intentionally incorporating African motifs and visual styles
Copying European portraits without change
Using only landscape scenes to avoid politics
Which statement reflects the difference in how some European and Black American artists approached African art in the early 1900s?
Both groups ignored African art altogether.
European artists used African forms mainly for visual abstraction, while Black artists used them to reclaim and celebrate identity.
Black American artists rejected African art as too radical, while Europeans preserved traditional meanings.
European artists studied only Egyptian art, while Black artists focused only on Greek art.
What did the adoption of African imagery symbolize at the beginning of the Harlem Renaissance, as noted by Renée Ater?
A return to European classicism
A new radicalized Black identity
A decline in sculptural experimentation
The end of Pan-African ideas
Why did Fuller’s choice of bronze and painted plaster help viewers interpret the figure’s identity?
These materials naturally erased all surface detail.
Bronze has a brownish-gold patina and the plaster was painted black, making it easier to read the figure as a Black woman.
Marble turns blue over time, matching traditional Egyptian art.
Wood absorbs light, hiding the figure’s features.
How did Fuller’s sculpture intervene in debates about ancient Egyptians’ racial identity?
By portraying Egyptians as purely European in origin
By aligning with Pan-African scholars who argued for the Blackness of the Egyptians as part of an ancient and noble lineage
By avoiding any Egyptian references to stay neutral
By focusing only on Greek symbols to contrast with Egypt
Fuller wrote that the figure in Ethiopia Awakening was “gradually unwinding the bandage of its mummified past.” What idea does this image most closely support?
Forgetting history to look only to the future
Awakening after a long sleep to reclaim history and agency
Rejecting African heritage to adopt European traditions
Celebrating only ancient Rome
Why might Fuller have titled the work Ethiopia Awakening even though the sculpture visually references Egypt?
Ethiopia and Egypt were interchangeable symbols of Black power and history for many Black intellectuals of the era.
Ethiopia was the only African country known to artists in the 1920s.
Egypt had no connection to Pan-African ideas.
The title was chosen randomly without meaning.
Which biblical verse was often cited by Black preachers to connect Egypt and Ethiopia with liberation?
Psalm 23:1
Psalm 68:31 (King James Version)
John 3:16
Genesis 1:1
What modern historical event made Ethiopia a symbol of resistance for many Americans, as discussed in the passage?
Ethiopia’s expulsion of the Italians in 1896
The building of the Suez Canal in 1869
The fall of the Roman Empire
The French Revolution of 1789
Which statement about the 1921 America’s Making Exhibit is accurate based on the text?
It featured only European immigrant groups and excluded Black Americans.
It celebrated thirty-three different immigrant groups; Black Americans were listed as “honorary immigrants.”
It focused on medieval art and had no modern works.
It was held in Paris to honor French colonial history.
Which friend of Fuller’s was a prominent leader in Pan-Africanism and organized Pan-African Congresses starting in 1919?
Childe Hassam
W. E. B. Du Bois
Alfred Stieglitz
William Merritt Chase
Which statement best describes Yasuo Kuniyoshi’s early life and training?
He was born in Japan, moved to the United States at sixteen, and studied at the Art Students League.
He was born in the United States, trained only in Japan, and returned to New York in the 1950s.
He grew up in Europe, studied with Pablo Picasso, and first exhibited in Paris.
He immigrated as a child with his family and learned art only from folk artists.
What helped launch Kuniyoshi’s career and led to his first solo show in New York in 1922?
Support from collector Hamilton Easter Field, who was interested in Asian and American folk art
Winning a government art prize for World War I posters
Becoming an assistant to a famous muralist in Chicago
Opening his own art school in Boston
Which visual feature creates a sense that the space in Boy Stealing Fruit is unsteady and ambiguous?
The table and tray tip away from the viewer and their supports are partly hidden
The background is filled with detailed city buildings in perfect perspective
The figures are rendered with precise anatomical realism
Bright spotlighting defines every edge with sharp shadows
The simplified, outline-focused treatment of forms in Boy Stealing Fruit reflects Kuniyoshi’s interest in which tradition?
American folk art
Renaissance classicism
Baroque theatricality
Impressionist brushwork
Which element on the left side of Boy Stealing Fruit adds to the painting’s ambiguity?
A large framed image that seems like a window onto a New England townscape
A glowing fireplace with realistic brickwork
A mirror showing the artist painting the scene
An open door revealing a crowded marketplace
How are the boy’s facial features described in the analysis of Boy Stealing Fruit?
Reduced to a few lines with small almond-shaped eyes outlined in dark brown paint
Rendered with meticulous shading that models every muscle
Hidden entirely by a hat and shadow
Painted with bright, pointillist dots to suggest light
Which overall color quality is noted for Boy Stealing Fruit?
A brownish-yellow palette with unified tones
Neon primary colors with high contrast
Cool blue-gray tones with heavy impasto
Black-and-white grayscale without color
What is American folk art, as defined in the material?
Art and objects of everyday use crafted by artists or artisans who lack formal academic training
Only decorative art made by Indigenous communities
Paintings produced exclusively in urban art academies
Sculptures created by European modernists
Which items are listed as examples collected as American folk art by the 1920s?
Weathervanes, butter churns, pottery, quilts, and boxes
Marble statues, stained-glass windows, and cathedral murals
Photographs, lithographs, and bronze busts
Neon signs, comic books, and plastic toys
Which two major exhibitions helped establish American folk art in the 1920s and 1930s?
“Early American Art” (1924) and “American Folk Art: The Art of the Common Man in America 1750–1900” (1932)
“The Armory Show” (1913) and “Harlem on My Mind” (1969)
“Salon des Refusés” (1863) and “Les Demoiselles d’Avignon” (1907)
“New Deal Art” (1934) and “Pop Art Now” (1962)
What is one reason interest in American folk art grew in the early 20th century?
A desire for uniquely American forms free from European influence
The discovery of ancient Roman murals in New York
Government bans on handmade crafts
The rise of digital art platforms
In art history, what does primitivism refer to according to the text?
Borrowing styles or techniques from groups viewed as “other,” often seen as closer to nature and less bound by artmaking rules
A strict return to medieval manuscript techniques
Only the use of prehistoric cave imagery in modern art
An approach that rejects all cultural borrowing
Why is primitivism described as problematic in the material?
Artists often borrow from cultures with less power and know little about the forms they appropriate
It requires buying expensive materials that few can afford
It eliminates all traditional craftsmanship
It forbids artists from studying history
From which sources have artists drawn inspiration under the umbrella of primitivism since the mid-1800s?
French peasants, Indigenous peoples in North and Latin America, African ethnic groups, Pacific Islanders, and self-taught artists
Only European royal portraitists and academic sculptors
Industrial engineers and architects exclusively
Ancient Greek philosophers and mathematicians alone
Which interpretations are offered for the subject of Boy Stealing Fruit?
A reference to scarcity of tropical fruits in Japan during Kuniyoshi’s childhood and a link to the Momotarō folk tale of a boy born from a peach
A retelling of a European myth about a golden apple and a prince
A political cartoon about taxes on imported goods
A scene from a famous American novel about farming
What controversy surrounded Kuniyoshi’s inclusion in MoMA’s 1929 exhibition “Paintings by Nineteen Living Americans”?
Some critics questioned whether he should be included as an American, reflecting debates about immigrant artists’ identities
He was accused of copying another artist’s painting in the show
He refused to display any paintings and left the show empty
The museum misattributed his work to another painter
Which 1924 U.S. legislation affected Kuniyoshi and many Japanese immigrants?
A law that severely restricted Japanese immigration and barred most Japanese Americans from becoming naturalized citizens
An act that granted immediate citizenship to all Asian immigrants
A statute that funded scholarships for foreign-born artists
A decree that required artists to register their paintings with the government
How did Kuniyoshi contribute during World War II according to the text?
He was hired to illustrate wartime materials by the Department of Defense propaganda office
He served as a front-line soldier in Europe and stopped making art
He moved back to Japan to create patriotic films
He organized a sculpture school for refugees in South America
What identity stance does Boy Stealing Fruit demonstrate according to the discussion of nativism?
Kuniyoshi’s refusal to be pigeonholed as either Asian or American, asserting an Asian-American identity
A declaration that he was only a Japanese artist and not American
A claim that art should exclude all foreign influences
An endorsement of European-only styles as truly American
Which statement best describes Frank Lloyd Wright’s reputation according to the passage: He was probably the most famous American architect and pioneered several styles across his long career.
He was a little-known regional builder who followed one style.
He was probably the most famous American architect and pioneered several styles over decades.
He was a painter who occasionally designed houses.
He was famous only for skyscrapers made of steel.
What is the Prairie Style noted for in Wright’s early career? It featured dedication to local materials, large flattened overhanging roofs, and floor plans without strong divisions between rooms.
Tall narrow towers with Gothic windows
Steel-and-glass curtain walls and minimal roofs
Large flattened overhanging roofs and open interior plans using local materials
Circular domes with marble interiors
Which buildings helped expand Wright’s reputation around 1910 as he took larger commissions?
Churches and hotels
Sports stadiums and airports
Subway stations and bridges
Museums and theaters only
Which museum completed in 1959, six months after Wright’s death, was his final building?
The Metropolitan Museum of Art
Solomon R. Guggenheim Museum in New York City
Art Institute of Chicago
Museum of Modern Art in New York
In the 1920s, what new inspiration influenced Wright’s Los Angeles buildings, including the Ennis House?
Medieval European castles
Pre-Columbian architecture of Mesoamerica and Latin America
Traditional Japanese tea houses only
Ancient Greek temples exclusively
What material did Wright use as the primary component for the Ennis House and other Southern California houses of that period?
Reinforced concrete shaped in molds
Solid marble blocks carved on site
Unreinforced adobe bricks
Cast iron panels bolted together
Which statement explains Wright’s textile block system used at the Ennis House?
Thin glass tiles glued to wood frames
Molded concrete tiles, sixteen inches square and three and a half inches thick, stacked like building blocks and tied with steel rods before cavities were filled with more concrete
Stone bricks cut by hand and set without any metal reinforcement
Steel panels welded together to form walls
Each of the four textile block houses had its own repeated tile pattern. What does the Ennis House pattern include according to the passage?
A motif of circles and waves
A series of nested squares with another small square at one corner
Animal shapes carved in relief
Diagonal stripes alternating with dots
How did the site and exterior design make the Ennis House appear from the south?
Like a stepped pyramid above a massive retaining wall
Like a floating glass box over water
Like a circular arena with a domed roof
Like a farmhouse with a pitched roof
Which interior design idea did Wright pursue at the Ennis House to create unity? He insisted on a total work of art with harmonious materials and design elements throughout the house.
A total work of art integrating custom metalwork, stained glass, and built-in features
A minimalist approach leaving walls bare and undecorated
A mix-and-match style where each room uses unrelated themes
A focus on movable partitions instead of built-in details
What ancient civilization’s architecture most strongly inspired the Ennis House, with stepped pyramid forms and intricate geometric carving?
Ancient Roman
Mayan
Egyptian Old Kingdom exclusively
Chinese Han dynasty
Which famous Mayan site with a stepped pyramid called the Kukulkán Temple was cited as a model for the cubic stacking and geometric forms of the Ennis House?
Teotihuacan
Chichén Itzá
Tikal
Machu Picchu
Wright named his California style “Romanza.” What does the passage suggest about this word?
It was a technical term from engineering.
It was an invented word with hints of Spanish that echoed romanticized views of Mesoamerican ruins.
It was the official Spanish word for pyramid.
It was a Mayan word for stone carving.
Which two Andean sites are mentioned as possible inspirations for Wright’s textile block system and integration with landscape, similar to the Ennis House?
Pompeii and Herculaneum
Stonehenge and Skara Brae
Machu Picchu and Ollantaytambo
Angkor Wat and Borobudur
What natural challenge has repeatedly damaged the Ennis House, requiring restoration led by Wright’s grandson with updated versions of textile block technologies?
Extreme heat waves
Major earthquakes and landslides in Southern California
Flooding from nearby rivers
Hurricanes on the Pacific coast
How do the abstract geometric designs in Native art, such as zigzags, chevrons, and faceted shapes, relate to modern movements according to the passage?
They were seen as unrelated to modern styles.
They often resemble Art Deco motifs and contributed to Native works being viewed as modern art.
They inspired only Gothic Revival architecture.
They were banned from museums in the 1920s.
Which Pueblo community were Maria Montoya Martinez and Julian Martinez members of?
San Ildefonso Pueblo
Acoma Pueblo
Taos Pueblo
Zuni Pueblo
In many Pueblo cultures, who traditionally passes down pottery-making techniques?
Men through apprenticeships
Women through the female line
Community leaders through ceremonies
Traders through workshops
Which skill is MOST associated with Maria’s role in the couple’s pottery collaboration?
Carving stone tools for polishing
Painting complex geometric designs
Shaping and firing the clay
Marketing and selling the works
Which event first brought Maria’s live demonstrations of Southwestern pottery techniques to a national audience?
The Exposition of Indian Tribal Arts (1931–32)
The 1904 Louisiana Purchase Exposition
The Santa Fe Indian Market (1922)
The Transcontinental Railroad opening (1869)
Around what year did Maria and Julian develop their black-on-black ware innovation?
About 1904
About 1910
About 1918
About 1932
For roughly how long did Maria and Julian produce black-on-black ware continuously?
About five years
About fifteen years
About twenty-five years
About fifty years
During the first fifteen years of their collaboration, how were the Martinezes’ pottery surfaces typically decorated?
Monochrome glossy black with no motifs
Colorful with off-white backgrounds and motifs in black and reddish-brown
Plain unpolished clay with carved lines
Glazed in bright primary colors with metallic accents
Which step did Maria perform to create the shiny surface before Julian added painted designs in the black-on-black technique?
Glazed with a transparent varnish
Rubbed the slip-coated surface with a stone until highly polished
Carved grooves into the clay body
Sprinkled sand to add texture
What environmental condition during firing helped turn the slip black in the black-on-black technique?
High humidity inside the kiln
An oxygen-deprived environment
Rapid cooling with water
Exposure to bright sunlight
In the black-on-black style, how were the painted designs made visible against the polished surface?
By using bright colored paints after firing
By carving deep relief lines before polishing
By brushing on a second layer of slip without polishing to create matte areas
By inlaying silver wire into the clay
Which description best matches the bowl discussed: its size and form?
About nine and a half inches wide with a narrow base and swelling form
Exactly twelve inches wide with straight sides
Six inches wide with a flat bottom
Over twenty inches wide with a sharp rim
What Puebloan building method did Maria use to form her vessels?
Wheel-throwing on a fast potter’s wheel
Slip-casting in plaster molds
Hand-coiling and shaping by smoothing with scoops
Press-molding over wooden forms
The large plate likely dates to the 1930s and features a repeating feather design inspired by which historical source?
Mimbres Valley pottery patterns from the eleventh century CE
European Art Deco posters from Paris
Chinese Ming dynasty porcelain motifs
Navajo weaving patterns of the 1800s
Which comparison was often made between the Martinezes’ black-on-black ware and popular culture of their era?
It resembled Victorian floral decoration
It matched the lively geometrical patterning of Art Deco
It copied Renaissance naturalism
It paralleled Impressionist brushwork
What was the “Indian Craze” as described by historian Elizabeth Hutchinson?
A movement to teach Native languages in schools
A widespread passion for collecting Native American arts, often displayed as decorative items
A government policy for relocating tribes
A campaign to ban sales of Native art
Which statement best explains how the Martinezes contributed to redefining Native art as fine art in the 1920s–30s?
They refused to participate in exhibitions to keep traditions secret
Their success and signatures helped shift public perception from craft to fine art while staying grounded in customary processes
They only produced functional wares for local use
They adopted European glazing to imitate porcelain
Why was it unusual in Pueblo cultures for artists to sign their works, and how did Maria handle this when fame grew?
Signatures were believed to bring bad luck; Maria avoided signing entirely
Works were expected to remain within the community and boasting was discouraged; Maria sometimes signed, sometimes let others sign, and sometimes decorated others’ pots
Signatures were reserved for religious leaders; Maria got special permission to sign
Signing required government approval; Maria waited until after 1950
Which art style is Charles Sheeler most associated with during the late 1920s, known for a hard-edged, photorealist look that celebrated modern technology?
Precisionism
Impressionism
Romanticism
Surrealism
What is the subject of Charles Sheeler’s photograph titled Criss-Crossed Conveyors?
A Ford automotive plant with intersecting conveyor belts
A rural Pennsylvania barn interior
A New York City street scene at night
A portrait of Henry Ford in his office
Which two movements focused on industrial efficiency and influenced Sheeler’s representation of modern factories?
Fordism and Taylorism
Cubism and Fauvism
Romanticism and Symbolism
Pop Art and Minimalism
What major change did Henry Ford introduce to magneto production that cut the time from twenty minutes to five minutes?
Assigning each worker a single task on a continuous assembly line
Hiring only highly skilled artisans to build entire units
Outsourcing parts to different factories
Turning off the conveyor belts during inspections
By 1911, what was Ford Motor Company’s market share before rapid growth at Highland Park?
Twenty percent
Five percent
Fifty percent
Ninety percent
Around a decade after 1911, how many cars was Ford producing each year during factory working hours?
About 2.3 million cars
About 230,000 cars
About 23 million cars
About 300,000 cars
What wage strategy did Ford use to attract workers, which pressured other companies to raise pay?
Paying double the average daily rate for unskilled workers
Offering unpaid internships with training
Providing free housing instead of wages
Paying only for completed cars, not hours worked
Which competitor’s strategies pushed Ford to introduce the redesigned Model A in 1927 with a variety of colors and an attractive silhouette?
General Motors led by Alfred P. Sloan Jr.
Chrysler led by Walter P. Chrysler
Studebaker led by John N. Willys
Packard led by James Ward Packard
Why did many of Sheeler’s photographs of the River Rouge plant show few or no people?
Fordism downplayed individual workers and emphasized machines as the agents of modernity
Photography at the time could not capture moving people clearly
Workers refused to be photographed for safety reasons
Sheeler only photographed at night when no one was present
Which description best captures the composition of Criss-Crossed Conveyors as explained in the text?
A complex interplay of triangular forms in steel trusses with conveyor belts crossing above and railcars below
A soft-focus portrait of a manager in front of an office window
A panoramic city skyline with skyscrapers at sunset
A rural landscape with rolling hills and a farmhouse
What artistic or cultural reference did Sheeler emphasize in 1932 by displaying Criss-Crossed Conveyors in a format resembling a medieval altarpiece?
A religious allusion created by the conveyors forming a cross
An homage to ancient Greek pottery
A celebration of Renaissance portraiture
A tribute to Japanese woodblock prints
Which film is cited as a negative response to Fordism, showing a worker getting caught in the cogs of a machine?
Modern Times (1936) by Charlie Chaplin
Metropolis (1927) by Fritz Lang
The General (1926) by Buster Keaton
City Lights (1931) by Charlie Chaplin
Which painting by Sheeler from 1929 is noted as one of his most notable works of this style?
Upper Deck
American Gothic
Nighthawks
The Persistence of Memory
