Review Questions Pg. 260
Review Questions Pg. 260
Period C 2/2/09
exchanging his soul with his youth. After much agony, Faust wins
salvation by accepting his duty to help others.
c. Ludwig Van Beethoven
i. A German composer that combines classical forms with a stirring
range of sound. He was the first composer to take full advantage of
the broad range of interments in the modern orchestra. In all,
Beethoven produced nine symphonies, five piano concertos, a violin
concerto, and opera, two masses, and a dozen shorter pieces. To
many, he is considered the greatest composer of his day.
d. Charlotte Bronte
i. English novelist; oldest of three Bronte sisters. Her most famous
piece of work is Jane Eyre, with a quiet governess and her brooding,
Byronic employer, whose large mansion conceals a terrifying secret.
e. Charles Dickens
i. An English novelist who vividly portrays the lives of slum dwellers
and factory workers, including children. In Oliver Twist, he tells the
story of a 9 year old orphan raised in a grim poor house. One day,
young Oliver gets up the nerve to ask for extra food.
f. Gustave Courbet
i. A French realist. He once said, “I cannot paint an angel for I have
never seen one.” Instead, he painted works such as The Stone
Breakers. Which shows two rough laborers on a country road.
g. Claude Monet
i. One impressionist that brushed stokes of color side by side without
any blending. According to new scientific studies of optics, the
human eye would mix these patches of color.
h. Postimpressionists
i. People against the ideas of impressionists. Also another group that
arose because of new directions in visual art was the
postimpressionists. These painters developed a variety of styles.
Some arranged small dots of color to define the shape of objects,
while other experimented with sharp brush lines and bright colors.
3. Define
a. Romanticism
i. 19th century artistic movement that appealed to emotion rather than
reason
b. Realism
i. An artistic movement whose aim was to represent the world as it is
c. Impressionism
i. School of painting in the late 1800s and early 1900s that tried to
capture fleeting visual impressions.