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| Question | Answer |
| INTRO: Hokusai is said to have used a live chicken’s footprints in a painting that communicated | the sensations of a fall day by the river |
| INTRO: William G. Wall’s print Fort Edward is a vehicle for expressing the artist’s thoughts about *the expansion/development of America *the beauty of the American landscape *the struggles between Native and European Americans | ALL OF THE ABOVE |
| INTRO: Western artists since the Renaissance have usually considered ______ to be the highest forms of art. | sculpture and painting |
| INTRO: During his lifetime, Vincent van Gogh ______ | practiced as an artist for only ten years |
| INTRO: Traditionally, artists in China learned their craft by ______. | copying the work of a great master |
| INTRO: Stolen art loses much of its value because ______ | lacking good title and proper provenance prevents its resale |
| INTRO: African masks displayed in museums were originally made ______. | to be worn during spiritual or magic ceremonies |
| INTRO: Art is sometimes censored by the authorities because: *it offends people’s religious beliefs *its sexual content seems pornographic it carries a political message that worries the authorities *its moral values seem improper | ALL OF THE ABOVE |
| INTRO: The Nazis’ Degenerate Art Exhibition contained work that ______. | attracted a large number of visitors |
| INTRO: The Turkish soldiers in Delacroix’s painting The Massacre at Chios are shown wearing turbans because the artist wanted ______. | the Turks to seem exotic and frightening |
| 1.1 These 1300-year-old South American drawings, which include an enormous image of a spider, were first discovered by overflying commercial aircraft because they are so huge. | Nazca lines |
| 1.1 Line can be used as a tool to __________ . | define outlines, connect points, define boundaries between planes, define shapes, direct our gaze, and convey a sense of movement and energy. |
| 1.1 Barbara Hepworth uses line to plan and visualize her three-dimensional artwork. What kind of three-dimensional artwork does she produce? | sculpture |
| 1.1 This artist would sometimes go for days without food or sleep in an attempt to explore the deep-rooted sources of creativity and truth. | Andre Masson |
| 1.1 Dashes and grids in The Devil Made Me Do It, by Sauerkids, are a good example of this kind of line. | implied |
| 1.1 In the work The Connectors, the artist James Allen uses this kind of line to draw the viewer's attention to the great height that faced the builders of the Empire State Building. | Directional |
| 1.1 Vertical lines tend to communicate __________ . | Strength |
| 1.1 This kind of shape is mathematically regular and precise. | Geometric |
| 1.1 This artist used contrasting positive and negative shapes to create his “Obey” campaign, an expression of guerrilla marketing and street theater. | Shepard Fairey |
| 1.1 Using negative shape, the graphic designer Al Grivetti inserted this number into the Big Ten logo to express the league's expansion. | 11 |
| 1.2 Which of these is a form? | Pyramid |
| 1.2 This famous object is the largest carving in the world created from a single stone | The sphinx |
| 1.2 The human figure communicates the rich experience of humanity and artists emulate this experience using this kind of form: | Organic |
| 1.2 Which of these is not a geometric form? sphere cube leaf pyramid cylinder | leaf |
| 1.2 There are two kinds of relief sculpture, a pronounced surface treatment called high relief and a shallow surface low relief called: | bas relief |
| 1.2 This element of art is used to describe the usable interior space of an architectural form: | volume |
| 1.2 This element of art is used to describe the solidity of a form, such as that of the Colossal Olmec Heads. | Mass |
| 1.2 A slick cold surface of a finely finished metal object, the rough-hewn splintery character of a broken branch, and the pebbly surface of a rocky beach are all examples of this element of art: | Texture |
| 1.2 Artists use this kind of texture if they want to contradict a viewer's normal expectations of a textured surface | subversive |
| 1.2 Frank Gehry's design for the Guggenheim Museum, Bilbao, uses contrasts of | organic and geometric form |
| 1.3 In The Treachery of Images, Magritte tell us that painting is a | visual trick |
| 1.3 These two values are at the extreme ends of a value range | black and white |
| 1.3 Artists sometimes use this method of applying value to give a feeling of three-dimensionality | chiaroscuro |
| 1.3 A series of closely arranged parallel lines that are overlapped by another set of parallel strokes to create a sense of value is called ______ | cross-hatching |
| 1.3 Artists intersperse value and texture to create a sense of ______ | Rhythm |
| 1.3 An artist can create an illusion of depth using only color by varying the ______ | intensity |
| 1.3 Contemporary filmmakers use this aerial effect to give the illusion of great depth, even when the scene is in a limited space. | Atmospheric perspective |
| 1.3 This Italian artist was the first to apply the tenets of linear perspective to the creation of artworks. | Brunelleschi |
| 1.3 This kind of perspective is best used when the artist is confronted by a complex scene where some of the image is placed at a high or low angle. | multi-point |
| 1.3 The method whereby rules of perspective are applied to represent unusual points of view is called ______ | Foreshortening |
| 1.4 Secondary colors can be created from a mixture of | Two primary colors |
| 1.5 A color that is lighter than its basic hue is called a | tint |
| 1.5 Reflected light excites __________ that line the back of our eyes, and their signals are reprocessed and interpreted as color in our brains. | nerve cells |
| 1.5 A color that is almost gray has a low | saturation |
| 1.5 This is a kind of color "map" that allows an artist to assess quickly the attributes of colors as they relate to each other. | color wheel |
| 1.5 Matisse was interested in using vibrant colors to | evoke an emotional response |
| 1.5 By using this kind of color combination, artists avoid jarring, contrasting color and mood | analogous |
| 1.5 This color with a cool temperature is often used to describe a depressed psychological state of mind. | Blue |
| 1.5 Color mixtures using light, like those in digital displays, are called __________ color mixtures. | additive |
| 1.5 When Paul Gauguin chose yellow for his work Yellow Christ, he chose the color for its __________ qualities. | expressive |
| 1.6 Artists face a communication challenge: to find a __________ within the chaos of nature and to select and organize materials into a harmonious composition. | structure |
| 1.6 An artist creates compositional unity by __________ | organizing all the visual elements of the work |
| 1.6 Hokusai's print of The Great Wave off Shore at Kanagawa uses compositional unity in which of these ways? *It makes the wave crests like the snow on Mt. Fuji *It repeats the shape of Mt. Fuji throughout the work *It repeats textures throughout the work *It places the boats in proximity to one another | ALL OF THE ABOVE |
| 1.6 An interior designer can balance curved and straight lines to __________ each other. | Compliment |
| 1.6 In his work The Flagellation Piero della Francesca communicates a mood of detachment and contemplation by using this principle of design. | unity |
| 1.6 A work can still display unity, even if none of the visual elements has anything in common, if | conceptual unity is used |
| 1.6 Gestalt unity is a term that is derived from this language: | GERMAN |
| 1.6 A good example of variety in a work would be | different shapes and colors |
| 1.6 The focal point of Rauschenberg's sculpture Monogram is | stuffed goat |
| 1.6 When Tibetan Buddhist monks create a sand mandala, they are creating a composition that has this kind of balance | radial |
| 1.7 Scale can be used to indicate importance but | Significance |
| 1.7 Something done on a monumental scale usually indicates __________ . *epic virtues *heroism *bravery *admiration | ALL OF THE ABOVE |
| 1.7 A work that is created in small scale can communicate __________ . | Intimacy |
| 1.7 Robert Lostutter creates his work with a particular scale in mind. That scale relates to these animals: | birds |
| 1.7 In Egyptian art the Pharaoh was almost always depicted in this way. | As the largest of all figures |
| 1.7 This use of scale can create an abnormal or supernatural effect, and was used by the Surrealists to do just that. | distorted scale |
| 1.7 This Greek sculptor wrote a treatise on how to create a statue of a human being with perfect proportions. | Polykleitos |
| 1.7 When a Yoruba sculptor created a human form, he or she made this body part disproportionately large: | head |
| 1.7 Raphael's School of Athens depicts this: | a gathering of great scholars |
| 1.7 Henry Peach Robinson created his photographic work Fading Away by using a Golden __________ for the format dimensions. | section |
| 1.8 This is a specific place of visual emphasis in a work of art. | focal point |
| 1.8 When an artist wants to draw attention away from a particular part of the work, he or she uses__________ | subordination |
| 1.8 The abstract work Tin Lizzie Green by Jules Olitzki draws attention to this part of the work. | center |
| 1.8 Blue Interior by Mark Tobey focuses the viewer's attention squarely on this area of emphasis: | theres no area of emphasis |
| 1.8 In Bruegel's Landscape with the Fall of Icarus, the viewer is directed away from Icarus plunging into the sea through the use of __________ . | subordination |
| 1.8 In Artemisia Gentileschi's work Judith Decapitating Holofernes, the viewer is directed to the __________ that is indicated by directional lines. | focal point |
| 1.8 This kind of line tends to be more visually active so it can draw the viewer's attention. | diagonal |
| 1.8 Placement of elements in a composition controls this and creates multiple focal points. | rhythm |
| 1.8 Hiroshige used this process to create the work “Riverside Bamboo Market, Kyobashi.” | printmaking |
| 1.8 Which of these elements of art and principles of design can be used to create emphasis? | shape, color, contrast, & rhythm |
| 1.9 This principle of design arises from repetition of a pattern. | rhythm |
| 1.9 Sometimes artists use this kind of changing pattern to make a work more lively. | alternating patterns |
| 1.9 In Islamic art it is not uncommon to see complex interlaced __________, which are designs repeated as units in a pattern. | motifs |
| 1.9 The artist Chuck Close used a repeated pattern of organic concentric rings set into a diamond pattern to create his large __________ . | paintings |
| 1.9 Chuck Close's Self Portrait of 1997 is made up of small units that are unrecognizable, or | abstract |
| 1.9 Using automatic reactions to apply art materials in such a way as consciously to deny order can lead to __________ in art. | randomness |
| 1.9 The German-French sculptor Hans Arp worked on creating "__________ " arrangements to communicate the ideas of the Dada movement. | chance |
| 1.9 When there are at least two points of reference in an artwork, __________ is present. | rhythm |
| 1.9 In this sixteenth-century work, the Dutch artist Pieter Bruegel uses rhythm to direct the viewer's attention through the work. | hunters in snow |
| 1.9 This is a way in which artists divide visual space into different kinds of sections to achieve different rhythmic effects. | rhythmic design structure |
| 1.10 A work of art is the product of interrelationships between various art elements and | principles |
| 1.10 If we can recognize the objects or people in a work of art, it is __________ | representational |
| 1.10 Allan Houser’s work Reverie is representational because __________ | includes two shapes we recognize as faces |
| 1.10 Iconographic analysis interprets objects and figures in an artwork as | signs or symbols |
| 1.10 Eva Hesse’s minimalist sculpture Hang-Up can be interpreted biographically as _________ | a window that leads to nothing |
| 1.10 Psychological analysis of Nighthawks by the artist Edward Hopper tells us that the painter was | expressing loneliness |
| 1.10 A formal analysis of Las Meninas by Diego de Silva y Velázquez would concentrate on this aspect of the work: | what was in the foreground and background |
| 1.10 Picasso studied and copied Las Meninas because __________ | he wanted to develop his own individual style |
| 1.10 Thomas Struth’s photograph Museo del Prado 7 is | a portrait of appreciation |
| 1.10 The tools of formal analysis help us to | understand how an artwork was made |
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