Kurt Schwitters (1887-1948) was a German artist famous for his collages, or “Merz Pictures,” as he called them. He lived through World War I and World War II, witnessing immense changes in Germany. In a paper for an art history class, a student claims that Kurt Schwitters had a particular talent for using discarded materials to respond to a chaotic, incoherent world.Which quotation from a scholar describing Schwitters’ work would best support the student’s claim?“After World War I, Schwitters encountered modernist art by El Lissitzky and Piet Mondrian.”eliminate“Schwitters used train tickets, buttons, used cigarette packs, and bits of driftwood for his collages.”eliminate“The juxtapositions Schwitters made in his collages using actual trash reflect the horrors he saw on the battlefield—torn limbs amidst blown-up factories.”eliminate“Schwitters, in addition to visual art, also experimented with poetry and musical compositions, stringing together words and sounds in a discordant fashion.”

After World War I and before the rise of the Nazis, artists in Weimar Germany created some of the most cutting-edge modernist art of the twentieth century. Haunted by his experiences on the battlefield, former soldier Otto Dix made art depicting the horrors he saw on the ------- of wounded soldiers, skeletons, and other horrific sights created by modern warfare. When the Nazis came to power, Dix was blacklisted from galleries and labeled a “degenerate artist.”Which choice completes the text so that it conforms to the conventions of Standard English? front—paintingseliminatefront, paintingseliminatefront; paintingseliminatefront. Paintingseliminate

James Van Der Zee _____.Group of answer choiceswas well known for his collageshad most of his work destroyed because no one would purchase and store the collectioncreated hundreds of photos of Harlem's middle classmade work in a modern, silhouetted style

The Belgian Surrealist artist ________ created The Treachery of Images, a work that calls our attention to the illusionary characteristics of painting. Group of answer choicesPierre-Paul Prud’honRené MagritteEdith HayllarAndrea MantegnaThomas Hart Benton

Select the best evidence to support the statement "The task of returning art stolen during World War II continued long after the end of the war." There may be more than one correct choice.During Germany's conquest of Europe, a Nazi party group known as the Einsatzstab Reichsleiter Rosenberg (or ERR) stole millions of paintings, manuscripts, sculptures, furniture, and other cultural materials. These artifacts were slated either for destruction or to be displayed in a future Führermuseum. In the final months of World War II and continuing for years afterward, the Monuments Men worked to protect these treasures and return them to their rightful owners.In the war's aftermath, the Monuments Men were aided by the discovery of thirty-nine photo albums created by the ERR documenting their theft. These albums also served as evidence during the Nuremburg Trials as proof of the massive Nazi art looting operations. These thirty-nine albums are now part of the National Archives.

Select the correct answer.Which is an example of the role of photography in post–World War II art movements? A. Andy Warhol's Marilyn Diptych B. Hannah Höch’s cut with the kitchen knife Dada through the Last weimar Beer-Belly Epoch of Germany C. Liu Zheng's The Chinese