Introduction to Project Management 2nd Edition Schwalbe Test Bank

Introduction to Project Management 2nd Edition
Schwalbe Test Bank download
https://testbankfan.com/product/introduction-to-project-
management-2nd-edition-schwalbe-test-bank/
Visit testbankfan.com today to download the complete set of
test bank or solution manual

Here are some recommended products for you. Click the link to
download, or explore more at testbankfan.com
Information Technology Project Management 9th Edition
Schwalbe Test Bank
https://testbankfan.com/product/information-technology-project-
management-9th-edition-schwalbe-test-bank/
Information Technology Project Management 7th Edition
Kathy Schwalbe Test Bank
management-7th-edition-kathy-schwalbe-test-bank/
Information Technology Project Management Revised 6th
Edition Schwalbe Test Bank
management-revised-6th-edition-schwalbe-test-bank/
Introduction to Criminology Theories Methods and Criminal
Behavior 9th Edition Hagan Test Bank
https://testbankfan.com/product/introduction-to-criminology-theories-
methods-and-criminal-behavior-9th-edition-hagan-test-bank/

Bond Markets Analysis And Strategies 8th Edition Fabozzi
Solutions Manual
https://testbankfan.com/product/bond-markets-analysis-and-
strategies-8th-edition-fabozzi-solutions-manual/
Maternal Child Nursing Care 2nd Edition Ward Test Bank
https://testbankfan.com/product/maternal-child-nursing-care-2nd-
edition-ward-test-bank/
Hands-On Networking Fundamentals 2nd Edition Michael
Palmer Test Bank
https://testbankfan.com/product/hands-on-networking-fundamentals-2nd-
edition-michael-palmer-test-bank/
Anatomy Physiology and Disease Foundations for the Health
Professions 1st Edition Roiger Solutions Manual
https://testbankfan.com/product/anatomy-physiology-and-disease-
foundations-for-the-health-professions-1st-edition-roiger-solutions-
manual/
Essential Environment The Science behind the Stories 5th
Edition Withgott Test Bank
https://testbankfan.com/product/essential-environment-the-science-
behind-the-stories-5th-edition-withgott-test-bank/

Marketing Management 11th Edition Peter Solutions Manual
https://testbankfan.com/product/marketing-management-11th-edition-
peter-solutions-manual/

Chapter 5: Planning Projects, Part 2 (Project Quality, Human Resource,
Communications, Risk, And Procurement Management)
TRUE/FALSE
1. Quality, human resource, communications, risk, and procurement management are incidental to project
success.
ANS: F PTS: 1 REF: 162
2. Project plans provide the basis for executing tasks.
ANS: T PTS: 1 REF: 162
3. Project management involves meeting or exceeding stakeholder needs and expectations.
4. The project manager ultimately decides what level of quality is acceptable.
5. Quality must be considered on an equal level of importance with project scope, time, and cost.
6. A single project should have only one checklist.
7. People determine the success and failure of organizations and projects.
8. The size and complexity of the project determines how simple or complex the organizational chart is.
9. Having a plan guarantees that all communications will flow smoothly.
10. The communications management plan for any project should always be expressed in written form.
11. Project Web sites provide a centralized way of delivering project documents and other
communications.
12. Risk management contributes very little to the chance of a project succeeding.

13. A risk management plan summarizes how risk management will be performed on a particular project.
14. Project teams should initially focus on risk events that fall in the low sections of the probability/impact
matrix.
15. There can be one or more potential responses to each risk event.
16. Many people should be responsible for monitoring each risk event.
17. Project managers should include clauses in contracts to help manage project risks.
18. By having suppliers visibly compete against each other, the buyers reduce their risks and benefit from
competition.
19. Good procurement management typically involves buyers and sellers in a zero-sum game.
20. In the context of choosing whether to make or buy goods and services, the members of the
Just-In-Time Training project would be exercising the “make” option if they conducted basic
management training in-house.
21. Unlike other project plans, the contents of the procurement management plan do not vary with project
needs.
22. Contract type is a key consideration in a procurement management plan.
23. The salaries for people working directly on a project and materials purchased for a specific project are
indirect costs.
24. Indirect costs are often calculated as a percentage of direct costs.

25. A bid is a document prepared by buyers providing pricing for standard items that have been clearly
defined by the seller.
26. A weighted scoring model provides a systematic process for selection based on numerous criteria.
MULTIPLE CHOICE
1. Project ____ management ensures that the project will satisfy the stated or implied needs for which it
was undertaken.
a. integration c. portfolio
b. quality d. performance
ANS: B PTS: 1 REF: 163
2. ____ to requirements means that the project’s processes and products meet written specifications.
a. Voluntary adherence c. Conformance
b. Management d. Fidelity
ANS: C PTS: 1 REF: 163
3. If a project’s stakeholders are not satisfied with the quality of the project management or the resulting
products or services, the project team will need to adjust ____, time, and cost to satisfy stakeholder
needs and expectations.
a. range c. vision
b. breadth d. scope
ANS: D PTS: 1 REF: 164
4. Examples of common ____ used by organizations include failure rates of products produced,
availability of goods and services, and customer satisfaction ratings.
a. metrics c. requirements
b. analytics d. guidelines
ANS: A PTS: 1 REF: 166
5. Two important metrics related to the Just-In-Time Training project include the ____ and course
evaluation ratings.
a. rate of attrition c. overall attendance
b. survey response rate d. quantity of lesson modules
6. A project ____ chart is a graphic representation of how authority and responsibility is distributed
within the project.
a. organizational c. stakeholder
b. planning d. management

7. Some organizations, including Global Construction, use RACI charts—a type of responsibility
assignment matrix that shows Responsibility, ____, Consultation, and Informed roles for project
stakeholders.
a. Analysis c. Accountability
b. Allowance d. Assignment
8. In a RACI chart, each task may have multiple ____ entries.
a. R, C, or I c. A, C, or R
b. A, R, or I d. A, C, or I
9. A(n) ____ histogram is a column chart that shows the number of resources required for or assigned to
a project over time.
a. resource c. allocation
b. requirements d. assignment
10. A(n) ____ management plan describes when and how people will be added to and removed from a
project.
a. exchange c. staffing
b. labor d. human resource
11. Project ____ management involves generating, collecting, disseminating, and storing project
information.
a. information c. data
b. communications d. media
12. The WBS for the Just-In-Time Training project included an item called ____ communications to
ensure good project communications.
a. shareholder c. global
b. sponsor d. stakeholder
13. Project teams can develop project Web sites using Web-____ tools, such as Microsoft FrontPage or
SharePoint Designer 2007 or Macromedia Dreamweaver; enterprise project management software, if
available; or a combination of the two approaches.
a. authoring c. generation
b. management d. coding
14. PMI defines a project ____ as an uncertainty that can have a negative or positive effect on meeting
project objectives.
a. hazard c. risk
b. danger d. challenge

15. ____ plans are developed for risks that have a high impact on meeting project objectives, and are put
into effect if attempts to reduce the risk are not effective.
a. Emergency c. Secondary
b. Fallback d. Support
16. ____ risk events might include the performance failure of a product produced as part of a project,
delays in completing work as scheduled, increases in estimated costs, supply shortages, litigation
against the company, and strikes.
a. Negative c. Calculated
b. Hidden d. Countervailing
17. ____ risk events include completing work sooner than planned or at an unexpectedly reduced cost,
collaborating with suppliers to produce better products, and obtaining good publicity from the project.
a. Collaborative c. Anticipated
b. Positive d. Probable
18. There are ____ important dimensions of risk events.
a. two c. four
b. three d. five
19. Under which risk register heading would you list a defective product, poor survey results, reduced
consulting costs, or good publicity?
a. An identification number for each risk event
b. A rank for each risk event
c. The name of the risk event
d. A description of the risk event
20. Under which risk register heading would you list identification of a defective hard drive as the source
of a computer defect?
a. The category under which the risk event falls
b. The risk owner, or person who will own or take responsibility for the risk event
c. Potential responses to each risk event
d. The root cause of the risk event
21. You can help identify the root cause of problems by creating a cause-and-effect or ____ diagram.
a. fishbone c. results
b. event d. deterministic
22. ____ are indicators or symptoms of actual risk events.
a. Signals c. Triggers

b. Flags d. Monitors
23. ____ contracts reduce the risk of incurring higher costs than expected.
a. Variable-price c. Oral
b. Bid d. Fixed-price
24. Project ____ management includes acquiring or procuring goods and services for a project from
outside the organization.
a. logistics c. acquisition
b. procurement d. supply
25. As the business world continues to become more competitive and ____, more and more projects
include procurement.
a. global c. local
b. provincial d. regulated
26. Which of the following is a key output of project procurement management planning?
a. quality metrics c. contract statements of work
b. quality checklists d. project Web site
27. You would use a(n) ____-or-buy analysis to decide whether to purchase or lease items for a particular
project.
a. retain c. acquire
b. lease d. inspect
28. Suppose that the purchase price for a piece of equipment is $12,000, with operational costs of $400 per
day. If the same equipment can be leased for $800 per day (inclusive of operational costs), after how
many days will the lease cost equal the purchase cost?
a. 10 c. 30
b. 15 d. 60
29. Which of the following topics could you expect to find in a procurement management plan?
a. methodology for risk management
b. guidelines on types of contracts to be used in different situations
c. budget and schedule estimates for risk-related activities
d. risk categories
30. Three broad categories of contracts are fixed price, or lump sum; ____; and time and material.
a. cost intensive c. cost reducing
b. cost averse d. cost reimbursable

31. A ____ contract has the least amount of risk for the buyer.
a. firm-fixed price c. soft-fixed-price
b. fixed-price incentive d. contingent-fixed
32. The costs of providing a work space for project workers, office furniture, electricity, and a cafeteria are
____ costs.
a. direct c. indirect
b. explicit d. incidental
33. Time-and-____ contracts are a hybrid of both fixed-price and cost reimbursable contracts.
a. space c. price
b. material d. reimbursable
34. ____ pricing can be used in various types of contracts to require the buyer to pay the supplier a
predetermined amount per unit of service.
a. Volume c. Variable
b. Discount d. Unit
35. A(n) ____ is a document in which sellers describe what they will do to meet the requirements of a
buyer.
a. proposal c. schedule
b. charter d. draft
36. A Request for ____ is a document used to solicit quotes or bids from prospective suppliers.
a. Proposal c. Quote
b. Price d. Cost
37. After thoroughly evaluating a supplier, many organizations summarize evaluations using a supplier
____ matrix—a type of weighted scoring model.
a. survey c. construction
b. evaluation d. review
COMPLETION
1. It is important to effectively plan the scope, time, and cost dimensions of a project and to develop the
overall project management plan as part of ____________________ management.
ANS: integration

PTS: 1 REF: 162
2. The International Organization for Standardization (ISO) defines ____________________ as “the
degree to which a set of inherent characteristics fulfill requirements” (ISO9000:2000).
ANS: quality
PTS: 1 REF: 163
3. ____________________ for use means that a product can be used as it was intended.
ANS: Fitness
PTS: 1 REF: 164
4. A(n) ____________________ is a standard of measurement.
ANS: metric
PTS: 1 REF: 166
5. A(n) ____________________ is a list of items to be noted or consulted.
ANS: checklist
PTS: 1 REF: 167
6. Project human ____________________ management is concerned with making effective use of the
people involved with a project.
ANS: resource
PTS: 1 REF: 169
7. A(n) ____________________ is a matrix that maps the work of the project as described in the work
breakdown structure (WBS) to the people responsible for performing the work.
ANS:
responsibility assignment matrix
RAM
responsibility assignment matrix (RAM)
RAM (responsibility assignment matrix)
PTS: 1 REF: 169
8. A(n) ____________________ management plan is a document that guides project communications.
ANS: communication
PTS: 1 REF: 174
9. ____________________ are easy-to-use journals on the Web that allow users to write entries, create
links, and upload pictures, while allowing readers to post comments to particular journal entries.

ANS: Blogs
PTS: 1 REF: 176
10. Key outputs of project ____________________ management planning include a risk management
plan, a probability/impact matrix, a risk register, and risk-related contractual agreements.
ANS: risk
PTS: 1 REF: 177
11. ____________________ plans are predefined actions that the project team will take if an identified
risk event occurs.
ANS: Contingency
PTS: 1 REF: 178
12. Contingency reserves or contingency ____________________ are funds held by the project sponsor
that can be used to mitigate cost or schedule overruns if unknown risks occur.
ANS: allowances
PTS: 1 REF: 178
13. Risk ____________________ refer to specific, uncertain events that may occur to the detriment or
enhancement of the project.
ANS: events
PTS: 1 REF: 180
14. One side (axis) of a(n) ____________________/impact matrix or chart lists the relative probability of
a risk event occurring, and the other side (axis) of the chart shows the relative impact of the risk event
occurring.
ANS: probability
PTS: 1 REF: 181
15. A risk ____________________ is a document that contains results of various risk management
processes, often displayed in a table or spreadsheet format.
ANS: register
PTS: 1 REF: 181
16. The ____________________ cause of a problem is the real or underlying reason a problem occurs.
ANS: root
PTS: 1 REF: 182

17. Work done by outside suppliers or sellers should be well documented in ____________________,
which are mutually binding agreements that obligate the seller to provide the specified products or
services, and obligate the buyer to pay for them.
ANS: contracts
PTS: 1 REF: 183
18. Competition for supplying goods and services can also help reduce ____________________ risks and
enhance positive risks on projects.
ANS: negative
PTS: 1 REF: 183
19. Risk management planning addresses procurement-related topics, such as preparing risk-related
____________________ agreements.
ANS: contractual
PTS: 1 REF: 186
20. ____________________ analysis involves estimating the internal costs of providing a product or
service, and comparing that estimate to the cost of outsourcing.
ANS: Make-or-buy
PTS: 1 REF: 187
21. A(n) ____________________ management plan is a document that describes how the procurement
processes will be managed, from developing documentation for making outside purchases or
acquisitions to contract closure.
ANS: procurement
PTS: 1 REF: 190
22. Fixed-price or ____________________ contracts involve a fixed total price for a well defined product
or service.
ANS: lump sum
PTS: 1 REF: 190
23. ____________________ contracts involve payment to the seller for direct and indirect actual costs.
ANS: Cost reimbursable
PTS: 1 REF: 191
24. A(n) ____________________ is a document used to solicit proposals from prospective suppliers.
ANS:
Request for Proposal

RFP
Request for Proposal (RFP)
RFP (Request for Proposal)
PTS: 1 REF: 192
ESSAY
1. Describe quality planning and the quality management plan.
ANS:
Quality planning includes identifying which quality standards are relevant to the project and how best
to satisfy those standards. It also involves designing quality into the products and services of the
project as well as the processes involved in managing the project. It is important to describe important
factors that directly contribute to meeting customer requirements. Organizational policies related to
quality, the scope statement, product descriptions, and related standards and regulations are all
important inputs to the quality planning process.
The quality management plan describes how the project management team will implement quality
policies. Like other project plans, its format and contents vary based on the particular project and
organizational needs. It can be a long, formal document or short and informal.
PTS: 1 REF: 164
2. Describe several functions that may be performed using a RAM (responsibility assignment matrix).
ANS:
A RAM allocates work to responsible and performing organizations, teams, or individuals, depending
on the desired level of detail. For smaller projects, it is best to assign WBS activities to individuals.
For larger projects, it is more effective to assign the work to organizational units or teams. In addition
to using a RAM to assign detailed work activities, you can use a RAM to define general roles and
responsibilities on projects. This type of RAM can include the stakeholders in the project. The project
team should decide what to use as categories in the RAM and include a key to explain those
categories. For example, a RAM can show whether stakeholders are accountable for (A) or just
participants (P) in part of a project, and whether they are required to provide input (I), review (R), or
sign off (S) on parts of a project. This simple tool enables the project manager to efficiently
communicate the roles of project team members and expectations of important project stakeholders.
PTS: 1 REF: 169
3. Identify eight items that should be addressed by a communications management plan.
ANS:
The communications management plan should address the following items:
Stakeholder communications requirements
Information to be communicated, including format, content, and level of detail
Identification of who will receive the information and who will produce it
Suggested methods or guidelines for conveying the information
Description of the frequency of communication
Escalation procedures for resolving issues
Revision procedures for updating the communications management plan
A glossary of common terminology used on the project.
PTS: 1 REF: 174

4. What is the main purpose of the risk management plan? How should the document be constructed?
ANS:
A risk management plan documents the procedures for managing risk throughout the life of a project.
Project teams should hold several planning meetings early in the project’s life cycle to help develop
the risk management plan. The project team should review project documents as well as corporate risk
management policies, risk categories, lessons learned from past projects, and templates for creating a
risk management plan. It is also important to review the risk tolerances of various stakeholders. For
example, if the project sponsor is risk-averse, the project might require a different approach to risk
management than if the project sponsor were a risk seeker.
PTS: 1 REF: 178
5. What is a contract statement of work (SOW) and how should it be specified?
ANS:
A contract statement of work (SOW) is a description of the work that is to be purchased. The SOW
should be included with the RFP to clarify the work that needs to be performed. The contract SOW is a
type of scope statement that describes the work in sufficient detail to allow prospective suppliers to
both determine if they are capable of providing the goods and services required, and determine an
appropriate price for the work. A contract SOW should be clear, concise, and as complete as possible.
It should describe all services required and include performance information, such as the location and
timing of the work. It is important to use appropriate words in a contract SOW—for example, must
instead of may. Must implies that something has to be done; may implies that there is a choice
involved. The contract SOW should specify the products and services required for the project, use
industry terms, and refer to industry standards.
PTS: 1 REF: 195

Other documents randomly have
different content

HARA GONE TO HIS REST
fortunate since such a scheme appears to be quite practicable; but if
I could have even one picture which I could proudly leave for
posterity—that might be too great an ambition for an artist of my
class. Will you laugh at me when I say how I wish to live five years
more, if not five years, two years at least, if not two years, even one
year? It might be better, after all, for me to die with hope than to
live and fail.” With a sudden thought he changed the subject; he
thought, doubtless, he had no right to make me unnecessarily sad,
and resumed the talk on Hokusai and Utamaro where he had left off
a little while before. “I wish that you will see Utamaro’s picture in my
friend’s possession; it is, needless to say, the picture of a courtesan.
How that lovely woman sits! (Here Hara changed his attitude and
imitated the woman in the picture.) Oh, these charming bare feet!
That is where Utamaro put his best art; I cannot forget the feeling
that I felt with the most attractive naked heels of the picture.”
I gave him many instances of doctors’
mistakes to encourage him, before I left his
house. I called on him two weeks or ten days later; but I was not
admitted to his presence, as the doctor had already forbade any
outside communication. At my third call I was told that he was
growing still worse; it was on October 29 that I made my fourth call,
and I found at once that the house had been somewhat upset. Alas,
my friend Busho Hara had gone already to his eternal rest! I rushed
up to the upstairs room where the cold body of the artist was lying;
he could not see or hear his friend. I cried. I was told by one of
Hara’s friends, who saw his last moment, how sorry he was that he
did not see me when his final end approached, and that he had
begged him to tell me that he was wrong in what he told me before
about art. Now, what did he mean by that? I already suspected, as I
said before, that he was growing to deny his own art; now I should
like to understand by that final special message to me that he
wished to wholly deny all the human art of the world against great
Nature before his death. When he grew weaker and weaker, I think
that he found it more easy to dream of Nature; whether conscious or
unconscious, he must have been in the most happy state, at least for

SITTING AT THE SHOP
FRONT
his last days, as he was going to join himself with her. I never saw
such a dead face so calm, so sorrowless, like Hara’s; it reminded me
of a certain Greek mask which I saw somewhere; indeed, he had a
Greek soul in the true meaning.
We six or seven friends of his kept a tsuya, or wake, before his
coffin, as is the custom, on the night of the 29th; the night rapidly
advanced when the reminiscences of this passed great artist were
told to keep us from falling asleep. One man was speaking of the
story of Hara’s friendship with Danjuro Ichikawa, the great tragedian
of the old kabuki school of the modern Japanese stage. Once he
played the rôle of Benkei in “Adaka ga Seki,” which he wished Hara
to draw; it was a most unusual treat on the actor’s part to give the
artist one whole box at the Kabuki Theatre during fifteen days only
for that purpose, where he appeared every day not to draw, but to
look at the acting. But Hara very quickly sketched him one day at the
moment when he thought that the actor was prolonging his acting at
a certain place to make him easy to sketch; in fact, Danjuro made
his acting in some parts stand still for fifteen minutes. Strangely
enough, the other actors who were playing with him did not know
that, while Hara rightly read the actor’s intention and thought.
Danjuro said afterwards that Mr. Hara understood him through the
power of his being a great artist. Did he draw the picture and finish
it? That is the next question. He did not, as was often the case with
Hara; he wrote the actor bluntly he was sorry that this spirit was
gone, making it impossible to advance. The one who told the story
exclaimed: “I never saw an artist like Hara so slow to paint, or who
found it so difficult to paint.”
Among us there was a well-known frame
manufacturer, Yataya by name, who, it is
said, was Hara’s very first friend in Tokyo,
where he came thirty years before from his native Okayama; he
spoke next on his dear friend: “He made his call on me at my store
in Ginza almost every night; he never came up into the room, but sat
always at the shop front. And there he gazed most thoughtfully on

the passing crowd of the street with his fixed eyes; he made himself
quite an unattractive figure especially for the shop front. ‘Who is that
sinister-looking fellow?’ I was often asked. I am sure that he must
have been there studying the people; his interest in anything was
extremely intent. He was a great student.”
While I am now writing upon Hara, I feel I see that he is sitting at
a certain shop front, perhaps of Hades. Is he not studying the action
of the dead souls clamorous as in their living days?

Introduction to Project Management 2nd Edition Schwalbe Test Bank

IX
THE UKIYOYE ART IN ORIGINAL
I often think the general impression that the best Ukiyoye art
reveals itself in colour-print has to be corrected in some special
cases, because the Ukiyoye art in original kakemono, though not so
well appreciated in the West, is also a thing beautiful; and I feel
proud to say that I have often seen those special cases in Japan. On
such occasions I always say that I am impressed as if the art were
laughing and cursing fantastically over the present age, whose
prosaic regularity completely misses the old fascination of
romanticism which Japan of two or three hundred years ago
perfected by her own temperament. Whenever I see it (mind you, it
should be the best Ukiyoye art in original) at my friend’s house by
accident, or in the exhibition hall, my heart and soul seem to be
turning to a winged thing fanned by its magic; and when my
consciousness returns, I find myself narcotised in incense, before the
temple of art where sensuality is consecrated through beauty.
It is not too much to say that Shunsho Katsukawa, who died in
1792 at the age of ninety-seven, gained more than any other artist
from the originals, through his masterly series of twelve pieces, “A
Woman’s Year,” owned by Count Matsura, a most subtle arrangement
of figures whose postures reach the final essence of grace perhaps
from the delicate command of artistic reserve, the decorative
richness of the pictures heightened by life’s gesticulation of beauty;
whilst the harmony of the pictorial quantity and quality is perfect.
Behind the pictures we read the mind of the artist with the critic’s
gift of appraising his own work. When we realise the somewhat
exaggerated hastiness of later artists, for example, artists like
Toyokuni the First, or Yeizan (the other artists being out of the
question, of course), Shunsho’s greatness will be at once clear. It

“BEAUTIES IN A BAMBOO
FOREST"
may have been his own thought to modify the women’s faces from
the artless roundness of the earlier artists to the rather emphatic
oblong, from simplicity to refinement, although I acknowledge it was
Harunobu’s genius to make the apparent want of effort in women’s
round faces flow into the sad rhythm of longing and passion, a
symbol of the white, weary love; in Harunobu we have a singular
case of the distinction between simplesse and simplicité. It was the
old Japanese art to portray delicacy only in the women’s hands and
arms; but certainly it was the distinguished art of Shunsho, with
many other contemporary Ukiyoye artists, to make the necks,
especially the napes, the points of almost tantalising grace; what a
charm of abandon in those shoulders! And what a beautiful
elusiveness of the slightly inclined faces of the women! I am always
glad to see Shunsho’s famous picture, “Seven Beauties in a Bamboo
Forest,” owned by the Tokyo School of Art, in which the romantic
group of chignons leisurely promenade, one reading a love-letter,
another carrying a shamisen instrument, through the shade of a
bamboo forest. Not only in this picture, but in many other
arrangements of women and sentiment, Shunsho reminds me of the
secret of Cho Densu of the fifteenth century in his elaborate Rakan
pictures, particularly in the point that the figures, while keeping their
own individual aloofness, perfectly well fuse themselves in the
alembic of the picture into a composition most impressive. And you
will soon find that when the sense of monotony once subsides, your
imagination grows to see their spiritual variety.
It is rather difficult to see a best
specimen of the originals of Harunobu or
even of Utamaro. I think there is some
reason, however, to say in the case of Utamaro that he did not leave
many worthy pictures in original, because he made the blocks,
fortunately or unfortunately, a castle to rise and fall with; while I see
the fact on the one side that, while he was not accepted in the polite
society of his time, he gained as a consequence much strength
through his restriction of artistic purpose. There was nothing more
ridiculous for the Ukiyoye artists of those days than to intrude their

THE WITHDRAWAL FROM
SOCIETY
work of the so-called “Floating World” into the aristocratic tokonoma,
the sacred alcove of honour for the art of a Tosa or a Kano, and to
attempt to call themselves Yamato Yeshi, whatever that means.
What wisdom is there to become neutral, like Yeishi or in some
degree Koryusai, who never created any distinct success either as
Ukiyoye artist or as so-called polite painter. I can easily read the
undermeaning how they were even insulted, by the cultured class,
when they tried to satisfy their own resentment by such an
assumption of Yamato Yeshi (“the Yamato artist,” Yamato being the
classic name of Japan); I see more humiliation in it than pride. The
contempt displayed toward them, however, was not so serious till the
appearance of Moronobu, who created his own art out of their
sudden descent; his realism accentuated itself in the portrayal of
courtesans and street vagrants of old Yedo, for the popular
amusement, at the huge cost of being criticised as immoral. The
artists before his day, even those to-day roughly termed the Ukiyoye
artists, were the self-same followers. To begin with Matabei, after
the Kano, Tosa, and Sumiyoshi schools successively, their work was
strengthened or weakened according to the situation by the
irresistibility of plebeianism; it is clear that the final goal for their
work was, of course, the tokonoma of the
rich man and the nobles. And it seems that
they must have found quite an easy access
into that scented daïs, if I judge from the pictures of the “Floating
World” (what an arbitrary name that!) that remain to-day. They had,
in truth, no necessity to advertise themselves as Yamato Yeshi, like
some artists of the later age who were uneducated and therefore
audacious; and in their great vanity wished to separate themselves
from their fellow-workers; while their work has a certain softness—
though it be not nobility—at least not discordant with the grey
undertone of the Japanese room, doubtless they lack that strength
distilled and crystallised into passionate lucidity which we see in the
best colour-prints. When I say that Moronobu was the founder of
Ukiyoye art, I mean more to call attention to the fact that the
Japanese block print was well started in its development from his
day, into which process the artists put all sorts of spontaneity, at

HEREDITY SUPERSTITION
once cursing creed and tradition. As for the Ukiyoye artists, I dare
say their weakness in culture and imagination often turned to force;
they gained artistic confidence in their own power from their
complete withdrawal from polite society. Such was the case with
Utamaro and Hiroshige. I wonder what use there was to leave poor
work in the original like that of Toyokuni and Yeizan, whose works
often serve only to betray their petty ambition.
I have seen enough of the originals of this interesting Ukiyoye art,
beginning with Matabei and Katsushige; Naganobu Kano, the
former’s contemporary, is much admired in the series of twelve
pictures, “Merry-making under the Flowers,” with the illogical
simplicity natural to the first half of the seventeenth century. The fact
that the name “Floating World” did not mean much in those days can
be seen in the work of Rippo Nonoguchi or Gukei Sumiyoshi, whose
classical respect weakened the pictorial impression. Mr. Takamine,
who is recognised as the keenest collector of Ukiyoye art in Japan,
has quite an extensive collection of the works of Ando Kwaigetsudo
(1688-1715), Anchi Choyodo, Dohan Kwaigetsudo (early eighteenth
century), Doshu Kwaigetsudo, Doshin Kwaigetsudo, Nobuyuki
Kameido, Rifu Tosendo, Katsunobu Baiyuken, and Yeishun Baioken,
all of them contemporaries of Doshu. Although their merit is never so
high, even when not questionable, we can imagine that their work
must have been quite popular, even in high quarters; among them
Dohan might be the cleverest, but as a Japanese critic says, his
colour-harmony is marred by ostentatious imprudence. I have seen
the best representation of Sukenobu Nishikawa in “Woman Hunting
Fireflies,” soft and delicate. The other artists I came to notice and
even admire are Choshun Miyakawa, Masanobu Okumura,
Shigemasa Kitawo, and other names. I think
that the time should come when the original
Ukiyoye art, too, should be properly priced in the West; we are still
sticking to our hereditary superstition that no picture is good if we
cannot hang it in the tokonoma, where we burn incense and place
the flowers arranged to invoke the greyness of the air. But I wonder

why we cannot put an Utamaro lady here on the Japanese
tokonoma.

THE TAIHEIYO GAKWAI
CLUB
X
WESTERN ART IN JAPAN
The Japanese works of Western art are sometimes beautiful; but I
can say positively that I have had no experience of being carried
away by them as by good old Japanese art. There is always
something of effort and even pretence which are decidedly modern
productions. I will say that it is at the best a borrowed art, not a
thing inseparable from us. I ask myself why those artists of the
Western school must be loyal to a pedantry of foreign origin as if
they had the responsibility for its existence. It would be a blessing if
we could free ourselves in some measure, through the virtue of
Western art, from the world of stagnation in feeling and thought. I
have often declared that it was the saviour of Oriental art, as the
force of difference in element is important for rejuvenation. But what
use is it to get another pedantry from the West in the place of the
old one? I have thought more than once that our importation of
foreign art is a flat failure. It may be that we must wait some one
hundred years at least before we can make it perfectly Japanised,
just as we spent many years before thoroughly digesting Chinese
art; but we have not a few pessimists who can prove that it is not
altogether the same case. Although I have said that the foreign
pedantry greatly troubles the Japanese work of Western art, I do not
mean that it will create the same effect as upon Western artists. I
am told the following story:
A year or two ago a certain Italian, who
had doubtless a habit of buying pictures
(with little of real taste in art, as is usually
the case with a picture-buyer), went to see the art exhibition of the
Taiheiyo Gakwai Club held at Uyeno Park, and bought many pictures
on the spot, as he thought they were clever work of the Japanese

PERCEPTION OF REALISM
school. Alas, the artists meant them to be oil paintings of the
Western type! The Italian’s stupidity is inexcusable; but did they
indeed appear to him so different from his work at home? The
saddest part is that they are so alien to our Japanese feeling in
general; consequently they have little sympathy with the masses. It
is far away yet for their work to become an art of general
possession; it can be said it is not good art when it cannot at once
enter into the heart. It is not right at all to condemn only the
Western art in Japan, as any other thing of foreign origin is equally
in the stage of mere trial. I often wonder about the real meaning of
the modern civilisation of Japan. Imitation is imitation, not the real
thing at all.
There are many drawbacks, as I look upon the material side, to
the Western art becoming popular; for instance, our Japanese house
—frail, wooden, with the light which rushes in from all sides—never
gives it an appropriate place to look its best. And the heaviness of its
general atmosphere does not harmonise with the simplicity that
pervades the Japanese household; it always appears out of place,
like a chair before the tokonoma, a holy dais. Besides, the artists
cannot afford to sell their pictures cheap, not because they are good
work, but because there are only a few orders for them. I believe we
must undertake the responsibility of making good artists; there is no
wonder that there is only poor work since our understanding of
Western art is little, and we hardly try to cultivate the Western taste.
If we have no great art of the Western school, as is a fact, one half
the whole blame is on our shoulders.
Here my mind dwells in more or less voluntary manner upon the
contrast with the Japanese art, while I walk through the gallery of
Western art of the Taiheiyo Gakwai Club of this year in Uyeno Park.
There are exhibited more than two hundred, or perhaps three
hundred pieces—quite an advance in numbers over any exhibition
held before; but I am not ready to say how they stand on their
merit. I admit, at the outset, that the artists
of the Western school have learned well how

to make an arrangement no artist of the pure Japanese school ever
dreamed to attain; and I will say that it is sometimes even subtle.
But I have heard so much of the artistic purpose, which could be
best expressed through the Western art. Are they not, on the other
hand, too hasty and too direct to describe them? Some of their work
most nakedly confesses their artistic inferiority to their own thought.
What a poor and even vulgar handling of oil! I have no hesitation to
say that there is something mistaken in their perception of realism.
(Quite a number of artists in this exhibition make mistakes in this
respect.) Indeed there is no word like realism (perhaps better to say
naturalism) which, in Japan’s present literature, has done such real
harm; it was the Russian or French literature that taught us the
meaning of vulgarity, and again the artists, some artists at least,
received a lesson from these writers. It is never good to see pictures
overstrained. Go to the true Japanese art to learn refinement. While
I admit the art of some artist which has the detail of beauty, I must
tell him that reality, even when true, is not the whole thing; he
should learn the art of escaping from it. That art is, in my opinion,
the greatest of all arts; without it, art will never bring us the eternal
and the mysterious. If you could see some work of Nakagawa or
Ishii exhibited here, you would see my point, because they are
somehow wrong for becoming good work, while they impress with
line and colour. I spoke before of effort and pretence; such an
example you will find in Hiroshi Yoshida’s canvases, big or small,
most of them being nature studies. (By the way, this Yoshida is the
artist who exhibited two great canvases, called “Unknown,” or “World
of Cloud,” painted doubtless from Fuji mountain, overlooking the
clouds at one’s feet, and “Keiryu,” or “The Valley,” at the Government
exhibition with some success some years ago.) I am ready to admit
that the artist has well brought out his purpose, but the true reality
is not only the outside expression. His pictures are executed
carefully; but what a forced art! This is the age when all Japanese
artists, those of the Japanese school not excepted, are greatly
cursed by objectivity. Some one has said that the Japanese dress,
speaking of Japanese woman as a picture, does serve to make the
distance greater. I thought in my reflection on art that so it is with

THE SPIRITUAL INSULARITY
the Japanese art. And again how near is Western art, at least the
Japanese work of the Western school! Such a nearness to our feeling
and mind, I think, is hardly the best quality of any art. I have ceased
for some time to expect anything great or astonishing from Wada or
Okada or even Kuroda; we most eagerly look forward to the sudden
appearance of some genius at once to frighten and hypnotise and
charm us and make the Western art more intimate with our minds.
I amused myself thinking that it was
Oscar Wilde who said that Nature imitates
art; is not the nature of Japan imitating the poor work of the
Western method? Art is, indeed, a most serious thing. It is the time
now when we must jealously guard our spiritual insularity, and
carefully sift the good and the bad, and protect ourselves from the
Western influence which has affected us too much in spite of
ourselves. Speaking of the Western art in Japan, I think I have
spoken quite unconsciously of the general pain, not only in art, but
in many other things, from which we wish we could escape.
After I have said all from my uncompromising thought, my mind,
which is conscious to some extent of a responsibility for Japan’s
present condition in general, has suddenly toned down to thinking of
the short history of Western art in Japan, that is less than fifty years.
What could we do in such a short time? It may even be said that we
did a miracle in art as in any other thing; I can count, in fact, many
valuable lessons (suggestions too) from the Western art that we
transplanted here originally from mere curiosity. Whether good or
bad, it is firmly rooted in Japan’s soil; we have only to wait for the
advent of a master’s hand for the real creation of great beauty. It
seems to me that at least the ground has been prepared.
Charles Wirgman, the special correspondent sent to the Far East
from the Illustrated London News, might be called the father of
Western art in Japan; he stayed at Yokohama till he died in 1891 in
his fifty-seventh year. He was the first foreign teacher from whom
many Japanese learned the Western method of art; Yoshiichi
Takahashi was one of his students. Before Takahashi, Togai

THE GOVERNMENT’S
INTEREST
Kawakami was known for his foreign art in the early eighties; but it is
not clear where he learned it. Yoshimatsu Goseda was also, besides
Takahashi, a well-known student of Wirgman, and Shinkuro
Kunizawa was the first artist who went to London in 1875 for art
study, but he died soon after his return home in 1877 before he
became a prominent figure in the art world.
When the Government engaged Antonio Fentanesi, an Italian artist
of the Idealistic school, in 1876, as an instructor, the Western school
of art had begun to establish itself even officially. This Italian artist is
still to-day respected as a master. He was much regretted when he
left Japan in 1878. Ferretti and San Giovanni, who were engaged
after Fentanesi, did not make as great an impression as their
predecessor. However, the time was unfortunate for art in general, as
the country was thrown into disturbance by the civil war called the
Saigo Rebellion. The popularity which the Western art seemed to
have attained had a great set-back when the pictures were excluded
from the National Exhibition in 1890. But in the reaction the artists of
the Western school gained more vigour and determination; Shotaro
Koyama, Chu Asai, Kiyowo Kawamura, and others were well-known
names in those days. Kiyoteru Kuroda and Keiichiro Kume, the
beloved students of Raphael Collin, returned home when the China-
Japan war was over; they brought back quite a different art from
that with which we had been acquainted hitherto. And they led
vigorously the artistic battle; the present popularity at least in
appearance is owing to their persistence and industry. The
Government again began to show a great interest in Western art; it
sent Chu Asai and Yeisaku Wada to Paris to study foreign art. Not
only these, many others sailed abroad privately or officially to no
small advantage; you will find many Japanese students of art
nowadays wherever you go in Europe or America.
We were colour-blind artistically before
the importation of Western art, except
these who had an interest in the so-called
colour-print; but the colour-print was less valued among the

intellectual class, as even to-day. Our artistic eye, which was only
able to see everything flat, at once opened through the foreign art to
the mysteries of perspective, and though they may not be the real
essence of art, they were at least a new thing for us. There are
many other lessons we received from it; it seems to me that the best
and greatest value is its own existence as a protest against the
Japanese art. If the Japanese art of the old school has made any
advance, as it has done, it should be thankful to the Western school;
and at the same time the artists of foreign method must pay due
respect to the former for its creation of the “Western Art Japonised.”
It may be far away yet, but such an art, if a combination of the East
and West, is bound to come.

APPENDIX I
THE MEMORIAL EXHIBITION OF
THE LATE HARA
The memorial exhibition of Busho Hara, a Japanese artist of the
Western school, held recently in Tokyo to raise a fund for his
surviving family as one of its objects (Hara passed away in October,
1913, in his forty-seventh year), had many significances, one of
which, certainly the strongest, was in contradiction of the general
understanding that Western paintings will never sell in Japan; even a
trifling sketch in which the artist only jotted down his momentary
memory fetched the most unusual price. Hara is a remarkable
example of one who created his own world (by that I mean at least
the buyers, though not real appreciators) among his friends through
his personality, which strengthened his work; paradoxically we shall
say he was an artist well known and utterly unknown; and when I
say he was an utterly unknown artist, I have my thought that he
never even once exhibited his work to the public, and his often
defiant spirit and high aim made him scorn and laugh over people’s
ignorance on art. How he hated the Japanese art world where real
merit is no passport at all. But Hara’s friends are pleased to know
from this exhibition the fact that even the public he ever so despised
are not so unresponsive to his art, whose secret he learned in
London.
Hara was, sad to say, also an artist whose Western art-work, like
that of some other Japanese artists to whom quite an excellent
credit was given in their European days, much declined or, better to
say, missed somehow the artistic thrill since he left England in 1906.
Why was that? What made him so? Was it from the fact that there is
no gallery of Western art old or new in Japan where your work will

only be belittled after you have received a good lesson there? or is it
that our Japanese general public never have a high standard in the
matter of art, especially of Western art? I think there are many
reasons to say that the passive, even oppressive air of Japan,
generally speaking, may have a perfectly disintegrating effect on an
artist trained in the West; it would not be wholly wrong to declare
that the real Western art founded on emotion and life cannot be
executed in Japan. Hara made quite many portraits by commission
since that 1906, some of which were brought out in this exhibition.
As they are work more or less forced, we must go to his other works
for his best, which he executed with mighty enthusiasm and faith
under England’s artistic blessing. He writes down in his diary, the
reading of which was my special privilege, on January 2nd of 1905,
the following words: “At last Port Arthur has fallen. When the war
shall be done that will be the time for our battle of art against
Europe to begin. Oh, what a great responsibility for Japanese
artists!”
Hara made a student’s obeisance toward Watts among the modern
masters, whose influence will be most distinctly seen in one of his
pictures in this exhibition called “The Young Sorrow” (the owner of
this picture is Mr. Takashi Matsuda, one of a few great art collectors
in Japan), in which a young sitting nude woman shows only her
beautiful back, her face being covered by her hands. What a sad,
visionary, pale clarification in colour and tone! Hara writes down
when his mind was saturated with Watts at Tate’s or somewhere
else: “What an indescribable sense of beauty! Art is indeed my only
world and life. Again look at the pictures. How tender, how soft, and
how warm in tone and atmosphere! And how deep is the shadow of
the pictures! And that deep shadow is never dirty.” Again he writes
down on his visit to Tate’s on a certain day: “It was wrong that I
attempted to bring out all the colours from the beginning at once,
and even tried to finish the work up by mending. There is no wonder
my colours were dead things. We must have the living beauty and
tone of colours; by that I do never mean showy. I must learn how to
get the deep colour by light paint.” While he was saturated with

Watts, he on the other hand was copying Rembrandt at the National
Gallery. Hara’s copy of “The Jewish Merchant” is now owned by the
Imperial Household in Tokyo. This copy and a few other copies of
Rembrandt were in the exhibition. And Hara was a great admirer of
Turner. Markino confesses in his book or books that it was Hara who
first opened his spiritual eyes to Turner. At this memorial exhibition
Turner is represented by Hara’s copy of Venice. There was in the
exhibition “The Old Seamstress,” which I was pleased to say was one
of Hara’s best pictures. Whenever I see Hara’s pictures of any old
woman, not only this “Old Seamstress,” I think at once that what
you might call his soul sympathy immediately responded to the old
woman, since Hara’s heart and soul were world-wearied and most
tender.
Markino has somewhere in the book the following passages: “First
few weeks I used to take him round the streets, and whenever we
passed some picture shops he stopped to look through the shop
window, and would not move on. I told him those nameless artists’
work was not half so good as his own. But he always said: ‘Oh,
please don’t say so. Perhaps my drawings are surer than those, and
my compositions are better too. But the European artists know how
to handle oils so skilfully. I learn great lessons from them.’”
Indeed when he returned home he had fully mastered the
technique of handling oils from England, where he stayed some four
years. It is really a pity that Hara passed away without having fully
expressed his own art in his masterly technique, which he learned
with such sacrifice and patience. His death occurred suddenly at the
time when he was about to break away from his former self and to
create his own new art ten times stronger, fresher, and more
beautiful.
I wish to call the readers’ attention to Yoshio Markino’s My
Recollections and Reflections, which contains the most sympathetic
article on Busho Hara.

APPENDIX II
THE NERVOUS DEBILITY OF
PRESENT JAPANESE ART
When I say that I received almost no impression from the annual
Government Exhibition of Japanese Art in the last five or six years, I
have a sort of same feeling with the tired month of May when the
season, in fact, having no strength left from the last glory of bloom
(what a glorious old Japanese art!), still vainly attempts to look
ambitious. Although it may sound unsympathetic, I must declare
that the present Japanese art, speaking of it as a whole, with no
reference to separate works or individual artists, suffers from
nervous debility. Now, is it not the exact condition of the Japanese
life at present? Here it is the art following after the life of modern
Japan, vain, shallow, imitative, and thoughtless, which makes us
pessimistic; the best possible course such an art can follow in the
time of its nervous debility might be that of imitation.
When the present Japanese art tells something, I thank God, it is
from its sad failure; indeed, the present Japanese art is a lost art,
since it explains nothing, alas, unlike the old art of idealistic
exaltation, but the general condition of life. It is cast down from its
high pedestal.
I do not know exactly what simplicity means, when the word is
used in connection with our old art; however, it is true we see a

peculiar unity in it, which was cherished under the influence of India
and China, and always helped to a classification and analysis of the
means through which the artists worked. And the poverty of subjects
was a strength for them; they valued workmanship, or the right use
of material rather than the material itself; instead of style and
design, the intellect and atmosphere. They thought the means to be
the only path to Heaven. But it was before the Western art had
invaded Japan; that art told them of the end of art, and laughed at
the indecision of æsthetic judgment and uncertainty of realism of
Japanese art. It said: “It is true that you have some scent, but it is
already faded; you have refinement, but it is not quite true to nature
and too far away.” Indeed, it is almost sad one sees the artists
troubled by the Western influence which they accepted, in spite of
themselves; I can see in the exhibitions that many of them have
long ago lost their faith by spiritual calamity, and it is seldom to see
them able to readjust their own minds under such a mingled
tempest of Oriental and Occidental. Is it not, after all, merely a
waste of energy? And how true it is with all the other phenomena of
the present life, their Oriental retreat and Occidental rush.
The present Japanese art has sadly strayed from subjectivity, the
only one citadel where the old Japanese art rose and fell; I wonder if
it is not paying a too tremendous price only to gain a little objectivity
of the West.
Printed by Hazell, Watson & Viney, Ld., London and Aylesbury, England.

*** END OF THE PROJECT GUTENBERG EBOOK THE SPIRIT OF
JAPANESE ART ***
Updated editions will replace the previous one—the old editions
will be renamed.
Creating the works from print editions not protected by U.S.
copyright law means that no one owns a United States
copyright in these works, so the Foundation (and you!) can copy
and distribute it in the United States without permission and
without paying copyright royalties. Special rules, set forth in the
General Terms of Use part of this license, apply to copying and
distributing Project Gutenberg™ electronic works to protect the
PROJECT GUTENBERG™ concept and trademark. Project
Gutenberg is a registered trademark, and may not be used if
you charge for an eBook, except by following the terms of the
trademark license, including paying royalties for use of the
Project Gutenberg trademark. If you do not charge anything for
copies of this eBook, complying with the trademark license is
very easy. You may use this eBook for nearly any purpose such
as creation of derivative works, reports, performances and
research. Project Gutenberg eBooks may be modified and
printed and given away—you may do practically ANYTHING in
the United States with eBooks not protected by U.S. copyright
law. Redistribution is subject to the trademark license, especially
commercial redistribution.
START: FULL LICENSE

THE FULL PROJECT GUTENBERG LICENSE

Welcome to our website – the perfect destination for book lovers and
knowledge seekers. We believe that every book holds a new world,
offering opportunities for learning, discovery, and personal growth.
That’s why we are dedicated to bringing you a diverse collection of
books, ranging from classic literature and specialized publications to
self-development guides and children's books.
More than just a book-buying platform, we strive to be a bridge
connecting you with timeless cultural and intellectual values. With an
elegant, user-friendly interface and a smart search system, you can
quickly find the books that best suit your interests. Additionally,
our special promotions and home delivery services help you save time
and fully enjoy the joy of reading.
Join us on a journey of knowledge exploration, passion nurturing, and
personal growth every day!
testbankfan.com

Introduction to Project Management 2nd Edition Schwalbe Test Bank

More Related Content

Similar to Introduction to Project Management 2nd Edition Schwalbe Test Bank (20)

Recently uploaded (20)

Introduction to Project Management 2nd Edition Schwalbe Test Bank