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1 | • Question 1 | |
2 | 2 out of 2 points | |
3 | ||
4 | ||
5 | Titian's Assumption and Consecration of the Virgin demonstrates the power of: | |
6 | Answer | |
7 | Selected Answer: | |
8 | lines of sight. | |
9 | ||
10 | • Question 2 | |
11 | 0 out of 2 points | |
12 | ||
13 | ||
14 | Paul Strand's Abstraction, Porch Shadows reflects a 20th century effort to challenge the viewer's perspective with ____________. | |
15 | Answer | |
16 | Selected Answer: | |
17 | patterns of light and dark | |
18 | correct: odd or distorted perspective | |
19 | ||
20 | • Question 3 | |
21 | 2 out of 2 points | |
22 | ||
23 | ||
24 | In Giacometti's Man Pointing, our eye is directed down his right arm and past his pointed finger to some imagined point of interest beyond. This is an example of which formal element? | |
25 | Answer | |
26 | Selected Answer: | |
27 | implied line | |
28 | ||
29 | • Question 4 | |
30 | 2 out of 2 points | |
31 | ||
32 | ||
33 | How is Sol LeWitt's line (p. 64) best described in his work, Wall Drawing No. 681 C? | |
34 | Answer | |
35 | Selected Answer: | |
36 | analytic | |
37 | ||
38 | • Question 5 | |
39 | 2 out of 2 points | |
40 | ||
41 | ||
42 | Jacques-Louis David's The Death of Socrates is set up in a system of right angles on a grid structure. How does this affect the content of the piece? | |
43 | Answer | |
44 | Selected Answer: | |
45 | it reiterates the rationality of Socrates' actions | |
46 | ||
47 | • Question 6 | |
48 | 2 out of 2 points | |
49 | ||
50 | ||
51 | What is generally the preferred medium of Andy Goldsworthy? | |
52 | Answer | |
53 | Selected Answer: | |
54 | natural materials found on-site | |
55 | ||
56 | • Question 7 | |
57 | 2 out of 2 points | |
58 | ||
59 | ||
60 | In the Rubin vase illustration (p. 76), the black shape can be seen alternately as a foreground object resembling a vase, or as a background space between two white profiled faces. What is this relationship called? | |
61 | Answer | |
62 | Selected Answer: | |
63 | figure-ground reversal | |
64 | ||
65 | • Question 8 | |
66 | 2 out of 2 points | |
67 | ||
68 | ||
69 | DaVinci's The Last Supper is a perfect example of ____________. | |
70 | Answer | |
71 | Selected Answer: | |
72 | one-point perspective | |
73 | ||
74 | • Question 9 | |
75 | 2 out of 2 points | |
76 | ||
77 | ||
78 | Where is the vanishing point in The Last Supper by Leonardo da Vinci? | |
79 | Answer | |
80 | Selected Answer: | |
81 | at Jesus' head | |
82 | ||
83 | • Question 10 | |
84 | 2 out of 2 points | |
85 | ||
86 | ||
87 | A picture drawn in perspective that employs a single point of vision is called: | |
88 | Answer | |
89 | Selected Answer: | |
90 | monocular vision. | |
91 | ||
92 | • Question 11 | |
93 | 2 out of 2 points | |
94 | ||
95 | ||
96 | Which of these visual elements is most obvious in Andy Goldsworthy's Hazel Leaves? | |
97 | Answer | |
98 | Selected Answer: | |
99 | line | |
100 | ||
101 | • Question 12 | |
102 | 2 out of 2 points | |
103 | ||
104 | ||
105 | Jane Hammond's Fallen is made of many pieces, sewn together as a whole. What is it made of? | |
106 | Answer | |
107 | Selected Answer: | |
108 | a digitally scanned and printed image of a leaf with the name of soldiers killed in the Iraq War inscribed on each | |
109 | ||
110 | • Question 13 | |
111 | 2 out of 2 points | |
112 | ||
113 | ||
114 | Where is the negative space in the Rubin vase? | |
115 | Answer | |
116 | Selected Answer: | |
117 | in both, depending on how you look at it | |
118 | ||
119 | • Question 14 | |
120 | 2 out of 2 points | |
121 | ||
122 | ||
123 | There is a contradiction in the appearance of Martin Puryear's Self. What is it? | |
124 | Answer | |
125 | Selected Answer: | |
126 | it is much lighter than it appears, because it is hollow | |
127 | ||
128 | • Question 15 | |
129 | 2 out of 2 points | |
130 | ||
131 | ||
132 | What cultural conventions (p. 74) did Robert Mapplethorpe challenge in his photographic portrait of female bodybuilder, Lisa Lyon? | |
133 | Answer | |
134 | Selected Answer: | |
135 | the traditional representation of the female nude | |
136 | ||
137 | • Question 16 | |
138 | 2 out of 2 points | |
139 | ||
140 | ||
141 | Paul Cézanne's Madame Cézanne in a Red Armchair (fig. 114; p. 89) illustrates that the artist was more interested in: | |
142 | Answer | |
143 | Selected Answer: | |
144 | All of the Above. | |
145 | ||
146 | • Question 17 | |
147 | 2 out of 2 points | |
148 | ||
149 | ||
150 | In the 15th century in Italy there was a profound redefinition of space with the codification and usage of linear perspective. Some see the same thing happening today with______________. | |
151 | Answer | |
152 | Selected Answer: | |
153 | the increased usage and manipulation of cyberspace and virtual realities | |
154 | ||
155 | • Question 18 | |
156 | 2 out of 2 points | |
157 | ||
158 | ||
159 | According to Sayre, our notion of space has changed abruptly and even become "fluid" since the beginning of the twentieth century due to: | |
160 | Answer | |
161 | Selected Answer: | |
162 | Einstein's theories. | |
163 | ||
164 | • Question 19 | |
165 | 2 out of 2 points | |
166 | ||
167 | ||
168 | In Steve DiBenedetto's Deliverance, the artist is able to use ___________to create a sense of space. | |
169 | Answer | |
170 | Selected Answer: | |
171 | overlapping images | |
172 | ||
173 | • Question 20 | |
174 | 2 out of 2 points | |
175 | ||
176 | ||
177 | The Starry Night, by Vincent van Gogh, indicates the power of the artist's _______ line. | |
178 | Answer | |
179 | Selected Answer: | |
180 | expressive | |
181 | ||
182 | • Question 21 | |
183 | 2 out of 2 points | |
184 | ||
185 | ||
186 | Pat Steir's series The Drawing Lesson Part 1, Line # 1 is about what type of line? | |
187 | Answer | |
188 | Selected Answer: | |
189 | various artists' unique expressive lines | |
190 | ||
191 | • Question 22 | |
192 | 2 out of 2 points | |
193 | ||
194 | ||
195 | Cezanne's The Basket of Apples is full of what appear to be "mistakes" but are actually________. | |
196 | Answer | |
197 | Selected Answer: | |
198 | all of the above | |
199 | ||
200 | • Question 23 | |
201 | 2 out of 2 points | |
202 | ||
203 | ||
204 | In axonometric projection (p. 84), all lines indicating height, width, and depth remain: | |
205 | Answer | |
206 | Selected Answer: | |
207 | parallel. | |
208 | ||
209 | • Question 24 | |
210 | 2 out of 2 points | |
211 | ||
212 | ||
213 | Hung Liu studied and taught to paint with a strict classical line that is associated with the style of: | |
214 | Answer | |
215 | Selected Answer: | |
216 | Russian Social Realism. | |
217 | ||
218 | • Question 25 | |
219 | 2 out of 2 points | |
220 | ||
221 | ||
222 | Why is the stereoscope (p. 85) such an effective means of describing "real" space? | |
223 | Answer | |
224 | Selected Answer: | |
225 | It mimics binocular vision. | |
226 | ||
227 | • Question 26 | |
228 | 2 out of 2 points | |
229 | ||
230 | ||
231 | The organization of visual elements in an artwork is called: | |
232 | Answer | |
233 | Selected Answer: | |
234 | a composition. | |
235 | ||
236 | • Question 27 | |
237 | 2 out of 2 points | |
238 | ||
239 | ||
240 | How would you describe Sol LeWitt's use of line in Wall Drawing No. 681 C? | |
241 | Answer | |
242 | Selected Answer: | |
243 | all of the above | |
244 | ||
245 | • Question 28 | |
246 | 2 out of 2 points | |
247 | ||
248 | ||
249 | Leonardo da Vinci's The Last Supper is based on what specific type of perspective? | |
250 | Answer | |
251 | Selected Answer: | |
252 | one-point linear perspective | |
253 | ||
254 | • Question 29 | |
255 | 2 out of 2 points | |
256 | ||
257 | ||
258 | The surface of a painting or drawing is called: | |
259 | Answer | |
260 | Selected Answer: | |
261 | the picture plane. | |
262 | ||
263 | • Question 30 | |
264 | 2 out of 2 points | |
265 | ||
266 | ||
267 | What is yellow's complementary color? | |
268 | Answer | |
269 | Selected Answer: | |
270 | violet | |
271 | ||
272 | • Question 31 | |
273 | 2 out of 2 points | |
274 | ||
275 | ||
276 | What is the metaphorical significance of the carved sculpture, Feast Making Spoon, from the Ivory Coast (fig. 94)? | |
277 | Answer | |
278 | Selected Answer: | |
279 | it represents the power of the imagination to transform an everyday object into a symbolically charged container of social good. | |
280 | ||
281 | • Question 32 | |
282 | 2 out of 2 points | |
283 | ||
284 | ||
285 | When a style of line becomes associated as an artist's work, we say it is: | |
286 | Answer | |
287 | Selected Answer: | |
288 | autographic. | |
289 | ||
290 | • Question 33 | |
291 | 2 out of 2 points | |
292 | ||
293 | ||
294 | Gustave Caillebotte's Place de l'Europe on a Rainy Day (fig. 104; p. 83) is based on what specific type of perspective? | |
295 | Answer | |
296 | Selected Answer: | |
297 | multiple-point perspective (both one- and two-point perspective are used) | |
298 | ||
299 | • Question 34 | |
300 | 2 out of 2 points | |
301 | ||
302 | ||
303 | In Harmony in Red (The Red Room), Henri Matisse deliberately intended to violate the laws of perspective. Why? | |
304 | Answer | |
305 | Selected Answer: | |
306 | His interests were in things other than pure verisimilitude. | |
307 | ||
308 | • Question 35 | |
309 | 2 out of 2 points | |
310 | ||
311 | ||
312 | Where is the vanishing point in Duccio's Perspective Analysis of Annunciation of the Death of the Virgin, from the Maestá Altarpiece? | |
313 | Answer | |
314 | Selected Answer: | |
315 | at several points in the composition since Medieval artists used multiple viewpoints | |
316 | ||
317 | • Question 36 | |
318 | 2 out of 2 points | |
319 | ||
320 | ||
321 | Line can be used to delineate edges of form in space, imply movement, and ____________. | |
322 | Answer | |
323 | Selected Answer: | |
324 | a & b | |
325 | ||
326 | • Question 37 | |
327 | 2 out of 2 points | |
328 | ||
329 | ||
330 | Hatching and cross-hatching are ways of turning line into______________, or three-dimensional, modeled space. | |
331 | Answer | |
332 | Selected Answer: | |
333 | value | |
334 | ||
335 | • Question 38 | |
336 | 2 out of 2 points | |
337 | ||
338 | ||
339 | As in Suney, Olafur Eliasson is known for mainly using what "materials" in his work? | |
340 | Answer | |
341 | Selected Answer: | |
342 | light | |
343 | ||
344 | • Question 39 | |
345 | 2 out of 2 points | |
346 | ||
347 | ||
348 | Which of these pieces illustrates the use of "expressive" line? | |
349 | Answer | |
350 | Selected Answer: | |
351 | Van Gogh's The Starry Night | |
352 | ||
353 | • Question 40 | |
354 | 2 out of 2 points | |
355 | ||
356 | ||
357 | Although created for different purposes, Barbara Hepworth's Two Figures and the African feast-making spoon (pp. 77) share a similar trait. What is it? | |
358 | Answer | |
359 | Selected Answer: | |
360 | They are both positive forms that contain negative space. | |
361 | ||
362 | • Question 41 | |
363 | 2 out of 2 points | |
364 | ||
365 | ||
366 | When and where was linear perspective first codified (studied, organized, and written down)? | |
367 | Answer | |
368 | Selected Answer: | |
369 | during the Renaissance in Italy | |
370 | ||
371 | • Question 42 | |
372 | 2 out of 2 points | |
373 | ||
374 | ||
375 | In The Dead Christ (p. 86), Andrea Mantegna utilizes the technique of ______ in order to adjust the distortion created by the point of view. | |
376 | Answer | |
377 | Selected Answer: | |
378 | foreshortening | |
379 | ||
380 | • Question 43 | |
381 | 2 out of 2 points | |
382 | ||
383 | ||
384 | What media does Terry Winters use in his work, like Color and Information? | |
385 | Answer | |
386 | Selected Answer: | |
387 | all of the above | |
388 | ||
389 | • Question 44 | |
390 | 2 out of 2 points | |
391 | ||
392 | ||
393 | Hung Liu's paintings, such as Three Fujins (p. 69), rely on contrasts between two very important elements: | |
394 | Answer | |
395 | Selected Answer: | |
396 | carefully drawn structural lines and uncontrolled drip lines | |
397 | ||
398 | • Question 45 | |
399 | 2 out of 2 points | |
400 | ||
401 | ||
402 | What is the outcome, or the content of Mary Flanagan's (collection)? | |
403 | Answer | |
404 | Selected Answer: | |
405 | it draws upon information found on participants hard-drives to create a kind of collective unconscious of the Internet | |
406 | ||
407 | • Question 46 | |
408 | 2 out of 2 points | |
409 | ||
410 | ||
411 | Line can define space by _____________. | |
412 | Answer | |
413 | Selected Answer: | |
414 | all of the above | |
415 | ||
416 | • Question 47 | |
417 | 2 out of 2 points | |
418 | ||
419 | ||
420 | In House (p.57), how does Jaune Quick-to-See Smith evoke the simplicity of traditional Native American lifestyles that have disappeared? | |
421 | Answer | |
422 | Selected Answer: | |
423 | simple black outlines and ironic messages | |
424 | ||
425 | • Question 48 | |
426 | 2 out of 2 points | |
427 | ||
428 | ||
429 | As is common in Japanese art, the Kumano mandala creates the illusion of space by utilizing: | |
430 | Answer | |
431 | Selected Answer: | |
432 | oblique projection. | |
433 | ||
434 | • Question 49 | |
435 | 2 out of 2 points | |
436 | ||
437 | ||
438 | What is the most obvious visual element in Matisse's Harmony in Red (The Red Room)? | |
439 | Answer | |
440 | Selected Answer: | |
441 | its lack of spatial depth | |
442 | ||
443 | • Question 50 | |
444 | 2 out of 2 points | |
445 | ||
446 | ||
447 | When an artist's mark-making style, particularly his/her use of line, is recognizable, like Van Gogh's in The Starry Night, we say it is _____________. | |
448 | Answer | |
449 | Selected Answer: | |
450 | - | autographic |
450 | + | autographic |
451 | ||
452 | ||
453 | ||
454 | ||
455 | ||
456 | ||
457 | ||
458 | ||
459 | You are logged in as Brandi Smith (Logout) | |
460 | ||
461 | ||
462 | ||
463 | . | |
464 | ||
465 | ||
466 | You are here | |
467 | CCO | |
468 | / ► ARTC101-70021.201270 | |
469 | / ► Quizzes | |
470 | / ► Quiz - Chapter 04 (20 points) | |
471 | / ► Review of attempt 1 | |
472 | ||
473 | ||
474 | . | |
475 | ||
476 | ||
477 | Quiz - Chapter 04 (20 points) | |
478 | ||
479 | Review of attempt 1 | |
480 | ||
481 | ||
482 | ||
483 | ||
484 | ||
485 | ||
486 | ||
487 | ||
488 | Started on | |
489 | ||
490 | Monday, 17 September 2012, 10:10 AM | |
491 | ||
492 | ||
493 | ||
494 | Completed on | |
495 | ||
496 | Monday, 17 September 2012, 10:25 AM | |
497 | ||
498 | ||
499 | ||
500 | Time taken | |
501 | ||
502 | 14 mins 33 secs | |
503 | ||
504 | ||
505 | ||
506 | Grade | |
507 | ||
508 | 19 out of a maximum of 20 (95%) | |
509 | ||
510 | ||
511 | ||
512 | Question 1 | |
513 | Marks: 1 | |
514 | ||
515 | ||
516 | When an artist's mark-making style, particularly his/her use of line, is recognizable, like Van Gogh's in The Starry Night, we say it is _____________. | |
517 | ||
518 | ||
519 | Choose one answer. | |
520 | ||
521 | ||
522 | ||
523 | ||
524 | ||
525 | a. autographic | |
526 | ||
527 | correct | |
528 | ||
529 | ||
530 | ||
531 | ||
532 | ||
533 | b. too personal | |
534 | ||
535 | ||
536 | ||
537 | ||
538 | ||
539 | ||
540 | ||
541 | c. indecipherable | |
542 | ||
543 | ||
544 | ||
545 | ||
546 | ||
547 | ||
548 | ||
549 | d. analytical | |
550 | ||
551 | ||
552 | ||
553 | . | |
554 | ||
555 | Correct | |
556 | ||
557 | Marks for this submission: 1/1. | |
558 | . | |
559 | ||
560 | Question 2 | |
561 | Marks: 1 | |
562 | ||
563 | ||
564 | How would you describe Sol LeWitt's use of line in Wall Drawing No. 681 C? | |
565 | ||
566 | ||
567 | Choose one answer. | |
568 | ||
569 | ||
570 | ||
571 | ||
572 | ||
573 | a. precise | |
574 | ||
575 | ||
576 | ||
577 | ||
578 | ||
579 | ||
580 | ||
581 | b. controlled | |
582 | ||
583 | ||
584 | ||
585 | ||
586 | ||
587 | ||
588 | ||
589 | c. logical | |
590 | ||
591 | ||
592 | ||
593 | ||
594 | ||
595 | ||
596 | ||
597 | d. all of the above | |
598 | ||
599 | correct | |
600 | ||
601 | . | |
602 | ||
603 | Correct | |
604 | ||
605 | Marks for this submission: 1/1. | |
606 | . | |
607 | ||
608 | Question 3 | |
609 | Marks: 1 | |
610 | ||
611 | ||
612 | What cultural conventions did Robert Mapplethorpe challenge in his photographic portrait of female bodybuilder, Lisa Lyon? | |
613 | ||
614 | ||
615 | Choose one answer. | |
616 | ||
617 | ||
618 | ||
619 | ||
620 | ||
621 | a. the traditional representation of the female nude | |
622 | ||
623 | correct | |
624 | ||
625 | ||
626 | ||
627 | ||
628 | ||
629 | b. the use of classical models in modern photography | |
630 | ||
631 | ||
632 | ||
633 | ||
634 | ||
635 | ||
636 | ||
637 | c. the role of religion in art | |
638 | ||
639 | ||
640 | ||
641 | ||
642 | ||
643 | ||
644 | ||
645 | d. the belief that line is the most important element in art | |
646 | ||
647 | ||
648 | ||
649 | . | |
650 | ||
651 | Correct | |
652 | ||
653 | Marks for this submission: 1/1. | |
654 | . | |
655 | ||
656 | Question 4 | |
657 | Marks: 1 | |
658 | ||
659 | ||
660 | The organization of visual elements in an artwork is called: | |
661 | ||
662 | ||
663 | Choose one answer. | |
664 | ||
665 | ||
666 | ||
667 | ||
668 | ||
669 | a. a composition. | |
670 | ||
671 | correct | |
672 | ||
673 | ||
674 | ||
675 | ||
676 | ||
677 | b. a still life. | |
678 | ||
679 | ||
680 | ||
681 | ||
682 | ||
683 | ||
684 | ||
685 | c. an outline. | |
686 | ||
687 | ||
688 | ||
689 | ||
690 | ||
691 | ||
692 | ||
693 | d. a retrospective. | |
694 | ||
695 | ||
696 | ||
697 | . | |
698 | ||
699 | Correct | |
700 | ||
701 | Marks for this submission: 1/1. | |
702 | . | |
703 | ||
704 | Question 5 | |
705 | Marks: 1 | |
706 | ||
707 | ||
708 | Line can define space by _____________. | |
709 | ||
710 | ||
711 | Choose one answer. | |
712 | ||
713 | ||
714 | ||
715 | ||
716 | ||
717 | a. creating texture | |
718 | ||
719 | ||
720 | ||
721 | ||
722 | ||
723 | ||
724 | ||
725 | b. indicating the edge of a 2-d shape or 3-d form | |
726 | ||
727 | ||
728 | ||
729 | ||
730 | ||
731 | ||
732 | ||
733 | c. creating value | |
734 | ||
735 | ||
736 | ||
737 | ||
738 | ||
739 | ||
740 | ||
741 | d. all of the above | |
742 | ||
743 | correct | |
744 | ||
745 | . | |
746 | ||
747 | Correct | |
748 | ||
749 | Marks for this submission: 1/1. | |
750 | . | |
751 | ||
752 | Question 6 | |
753 | Marks: 1 | |
754 | ||
755 | ||
756 | In House, how does Jaune Quick-to-See Smith evoke the simplicity of traditional Native American lifestyles that have disappeared? | |
757 | ||
758 | ||
759 | Choose one answer. | |
760 | ||
761 | ||
762 | ||
763 | ||
764 | ||
765 | a. complex metaphors and dynamic lines | |
766 | ||
767 | ||
768 | ||
769 | ||
770 | ||
771 | ||
772 | ||
773 | b. political activism and romantic imagery | |
774 | ||
775 | ||
776 | ||
777 | ||
778 | ||
779 | ||
780 | ||
781 | c. simple black outlines and ironic messages | |
782 | ||
783 | correct | |
784 | ||
785 | ||
786 | ||
787 | ||
788 | ||
789 | d. kinetic forms and gestural brushstrokes | |
790 | ||
791 | ||
792 | ||
793 | . | |
794 | ||
795 | Correct | |
796 | ||
797 | Marks for this submission: 1/1. | |
798 | . | |
799 | ||
800 | Question 7 | |
801 | Marks: 1 | |
802 | ||
803 | ||
804 | Which of these visual elements is most obvious in Andy Goldsworthy's Hazel Leaves? | |
805 | ||
806 | ||
807 | Choose one answer. | |
808 | ||
809 | ||
810 | ||
811 | ||
812 | ||
813 | a. line | |
814 | ||
815 | correct | |
816 | ||
817 | ||
818 | ||
819 | ||
820 | ||
821 | b. shape | |
822 | ||
823 | ||
824 | ||
825 | ||
826 | ||
827 | ||
828 | ||
829 | c. texture | |
830 | ||
831 | ||
832 | ||
833 | ||
834 | ||
835 | ||
836 | ||
837 | d. space | |
838 | ||
839 | ||
840 | ||
841 | . | |
842 | ||
843 | Correct | |
844 | ||
845 | Marks for this submission: 1/1. | |
846 | . | |
847 | ||
848 | Question 8 | |
849 | Marks: 1 | |
850 | ||
851 | ||
852 | Pat Steir's series The Drawing Lesson Part 1, Line # 1 is about what type of line? | |
853 | ||
854 | ||
855 | Choose one answer. | |
856 | ||
857 | ||
858 | ||
859 | ||
860 | ||
861 | a. implied lines | |
862 | ||
863 | ||
864 | ||
865 | ||
866 | ||
867 | ||
868 | ||
869 | b. various artists' unique expressive lines | |
870 | ||
871 | correct | |
872 | ||
873 | ||
874 | ||
875 | ||
876 | ||
877 | c. lines of sight | |
878 | ||
879 | ||
880 | ||
881 | ||
882 | ||
883 | ||
884 | ||
885 | d. classical line | |
886 | ||
887 | ||
888 | ||
889 | . | |
890 | ||
891 | Correct | |
892 | ||
893 | Marks for this submission: 1/1. | |
894 | . | |
895 | ||
896 | Question 9 | |
897 | Marks: 1 | |
898 | ||
899 | ||
900 | How is Sol LeWitt's line best described in his work, Wall Drawing No. 681 C? | |
901 | ||
902 | ||
903 | Choose one answer. | |
904 | ||
905 | ||
906 | ||
907 | ||
908 | ||
909 | a. romantic | |
910 | ||
911 | ||
912 | ||
913 | ||
914 | ||
915 | ||
916 | ||
917 | b. analytic | |
918 | ||
919 | correct | |
920 | ||
921 | ||
922 | ||
923 | ||
924 | ||
925 | c. soft contour | |
926 | ||
927 | ||
928 | ||
929 | ||
930 | ||
931 | ||
932 | ||
933 | d. personal | |
934 | ||
935 | ||
936 | ||
937 | . | |
938 | ||
939 | Correct | |
940 | ||
941 | Marks for this submission: 1/1. | |
942 | . | |
943 | ||
944 | Question 10 | |
945 | Marks: 1 | |
946 | ||
947 | ||
948 | Cezanne's The Basket of Apples is full of what appear to be "mistakes" but are actually________. | |
949 | ||
950 | ||
951 | Choose one answer. | |
952 | ||
953 | ||
954 | ||
955 | ||
956 | ||
957 | a. attempts to animate the picture plane | |
958 | ||
959 | ||
960 | ||
961 | ||
962 | ||
963 | ||
964 | ||
965 | b. ways to make the composition more dynamic | |
966 | ||
967 | ||
968 | ||
969 | ||
970 | ||
971 | ||
972 | ||
973 | c. artistic choices meant to engage the imagination of the viewer | |
974 | ||
975 | ||
976 | ||
977 | ||
978 | ||
979 | ||
980 | ||
981 | d. all of the above | |
982 | ||
983 | correct | |
984 | ||
985 | . | |
986 | ||
987 | Correct | |
988 | ||
989 | Marks for this submission: 1/1. | |
990 | . | |
991 | ||
992 | Question 11 | |
993 | Marks: 1 | |
994 | ||
995 | ||
996 | Hung Liu's paintings, such as Three Fujins, rely on contrasts between two very important elements: | |
997 | ||
998 | ||
999 | Choose one answer. | |
1000 | ||
1001 | ||
1002 | ||
1003 | ||
1004 | ||
1005 | a. yin and yang. | |
1006 | ||
1007 | ||
1008 | ||
1009 | ||
1010 | ||
1011 | ||
1012 | ||
1013 | b. her love of Mao's Cultural Revolution and her need to paint. | |
1014 | ||
1015 | ||
1016 | ||
1017 | ||
1018 | ||
1019 | ||
1020 | ||
1021 | c. carefully drawn structural lines and uncontrolled drip lines | |
1022 | ||
1023 | correct | |
1024 | ||
1025 | ||
1026 | ||
1027 | ||
1028 | ||
1029 | d. All of the above. | |
1030 | ||
1031 | ||
1032 | ||
1033 | . | |
1034 | ||
1035 | Correct | |
1036 | ||
1037 | Marks for this submission: 1/1. | |
1038 | . | |
1039 | ||
1040 | Question 12 | |
1041 | Marks: 1 | |
1042 | ||
1043 | ||
1044 | In Giacometti's Man Pointing, our eye is directed down his right arm and past his pointed finger to some imagined point of interest beyond. This is an example of which formal element? | |
1045 | ||
1046 | ||
1047 | Choose one answer. | |
1048 | ||
1049 | ||
1050 | ||
1051 | ||
1052 | ||
1053 | a. implied line | |
1054 | ||
1055 | correct | |
1056 | ||
1057 | ||
1058 | ||
1059 | ||
1060 | ||
1061 | b. texture | |
1062 | ||
1063 | ||
1064 | ||
1065 | ||
1066 | ||
1067 | ||
1068 | ||
1069 | c. contour line | |
1070 | ||
1071 | ||
1072 | ||
1073 | ||
1074 | ||
1075 | ||
1076 | ||
1077 | d. perspective | |
1078 | ||
1079 | ||
1080 | ||
1081 | . | |
1082 | ||
1083 | Correct | |
1084 | ||
1085 | Marks for this submission: 1/1. | |
1086 | . | |
1087 | ||
1088 | Question 13 | |
1089 | Marks: 1 | |
1090 | ||
1091 | ||
1092 | Hung Liu studied and taught to paint with a strict classical line that is associated with the style of: | |
1093 | ||
1094 | ||
1095 | Choose one answer. | |
1096 | ||
1097 | ||
1098 | ||
1099 | ||
1100 | ||
1101 | a. the expressionists. | |
1102 | ||
1103 | ||
1104 | ||
1105 | ||
1106 | ||
1107 | ||
1108 | ||
1109 | b. abstract expressionism. | |
1110 | ||
1111 | ||
1112 | ||
1113 | ||
1114 | ||
1115 | ||
1116 | ||
1117 | c. Russian Social Realism. | |
1118 | ||
1119 | correct | |
1120 | ||
1121 | ||
1122 | ||
1123 | ||
1124 | ||
1125 | d. post-impressionism. | |
1126 | ||
1127 | ||
1128 | ||
1129 | . | |
1130 | ||
1131 | Correct | |
1132 | ||
1133 | Marks for this submission: 1/1. | |
1134 | . | |
1135 | ||
1136 | Question 14 | |
1137 | Marks: 1 | |
1138 | ||
1139 | ||
1140 | The Starry Night, by Vincent van Gogh, indicates the power of the artist's _______ line. | |
1141 | ||
1142 | ||
1143 | Choose one answer. | |
1144 | ||
1145 | ||
1146 | ||
1147 | ||
1148 | ||
1149 | a. analytical | |
1150 | ||
1151 | ||
1152 | ||
1153 | ||
1154 | ||
1155 | ||
1156 | ||
1157 | b. expressive | |
1158 | ||
1159 | correct | |
1160 | ||
1161 | ||
1162 | ||
1163 | ||
1164 | ||
1165 | c. contour | |
1166 | ||
1167 | ||
1168 | ||
1169 | ||
1170 | ||
1171 | ||
1172 | ||
1173 | d. classical | |
1174 | ||
1175 | ||
1176 | ||
1177 | . | |
1178 | ||
1179 | Correct | |
1180 | ||
1181 | Marks for this submission: 1/1. | |
1182 | . | |
1183 | ||
1184 | Question 15 | |
1185 | Marks: 1 | |
1186 | ||
1187 | ||
1188 | Titian's Assumption and Consecration of the Virgin demonstrates the power of: | |
1189 | ||
1190 | ||
1191 | Choose one answer. | |
1192 | ||
1193 | ||
1194 | ||
1195 | ||
1196 | ||
1197 | a. stained glass. | |
1198 | ||
1199 | ||
1200 | ||
1201 | ||
1202 | ||
1203 | ||
1204 | ||
1205 | b. lines of sight. | |
1206 | ||
1207 | ||
1208 | ||
1209 | ||
1210 | ||
1211 | ||
1212 | ||
1213 | c. gender associations with line. | |
1214 | ||
1215 | incorrect | |
1216 | ||
1217 | ||
1218 | ||
1219 | ||
1220 | ||
1221 | d. color. | |
1222 | ||
1223 | ||
1224 | ||
1225 | . | |
1226 | ||
1227 | Incorrect | |
1228 | ||
1229 | Marks for this submission: 0/1. | |
1230 | . | |
1231 | ||
1232 | Question 16 | |
1233 | Marks: 1 | |
1234 | ||
1235 | ||
1236 | Jacques-Louis David's The Death of Socrates is set up in a system of right angles on a grid structure. How does this affect the content of the piece? | |
1237 | ||
1238 | ||
1239 | Choose one answer. | |
1240 | ||
1241 | ||
1242 | ||
1243 | ||
1244 | ||
1245 | a. it is merely a compositional consideration | |
1246 | ||
1247 | ||
1248 | ||
1249 | ||
1250 | ||
1251 | ||
1252 | ||
1253 | b. it reiterates the rationality of Socrates' actions | |
1254 | ||
1255 | correct | |
1256 | ||
1257 | ||
1258 | ||
1259 | ||
1260 | ||
1261 | c. it doesn't, it's purely coincidental | |
1262 | ||
1263 | ||
1264 | ||
1265 | ||
1266 | ||
1267 | ||
1268 | ||
1269 | d. it refers to the passion of the moment | |
1270 | ||
1271 | ||
1272 | ||
1273 | . | |
1274 | ||
1275 | Correct | |
1276 | ||
1277 | Marks for this submission: 1/1. | |
1278 | . | |
1279 | ||
1280 | Question 17 | |
1281 | Marks: 1 | |
1282 | ||
1283 | ||
1284 | Lines that create a sense of movement and direction are called: | |
1285 | ||
1286 | ||
1287 | Choose one answer. | |
1288 | ||
1289 | ||
1290 | ||
1291 | ||
1292 | ||
1293 | a. construction lines. | |
1294 | ||
1295 | ||
1296 | ||
1297 | ||
1298 | ||
1299 | ||
1300 | ||
1301 | b. contour lines. | |
1302 | ||
1303 | ||
1304 | ||
1305 | ||
1306 | ||
1307 | ||
1308 | ||
1309 | c. continuous line. | |
1310 | ||
1311 | ||
1312 | ||
1313 | ||
1314 | ||
1315 | ||
1316 | ||
1317 | d. implied lines. | |
1318 | ||
1319 | correct | |
1320 | ||
1321 | . | |
1322 | ||
1323 | Correct | |
1324 | ||
1325 | Marks for this submission: 1/1. | |
1326 | . | |
1327 | ||
1328 | Question 18 | |
1329 | Marks: 1 | |
1330 | ||
1331 | ||
1332 | Which of these pieces illustrates the use of "expressive" line? | |
1333 | ||
1334 | ||
1335 | Choose one answer. | |
1336 | ||
1337 | ||
1338 | ||
1339 | ||
1340 | ||
1341 | a. Gaudier-Brzeska's Female Nude Back View | |
1342 | ||
1343 | ||
1344 | ||
1345 | ||
1346 | ||
1347 | ||
1348 | ||
1349 | b. Van Gogh's The Starry Night | |
1350 | ||
1351 | correct | |
1352 | ||
1353 | ||
1354 | ||
1355 | ||
1356 | ||
1357 | c. David's Study for the Death of Socrates | |
1358 | ||
1359 | ||
1360 | ||
1361 | ||
1362 | ||
1363 | ||
1364 | ||
1365 | d. a & b | |
1366 | ||
1367 | ||
1368 | ||
1369 | . | |
1370 | ||
1371 | Correct | |
1372 | ||
1373 | Marks for this submission: 1/1. | |
1374 | . | |
1375 | ||
1376 | Question 19 | |
1377 | Marks: 1 | |
1378 | ||
1379 | ||
1380 | What is generally the preferred medium of Andy Goldsworthy? | |
1381 | ||
1382 | ||
1383 | Choose one answer. | |
1384 | ||
1385 | ||
1386 | ||
1387 | ||
1388 | ||
1389 | a. oil paint | |
1390 | ||
1391 | ||
1392 | ||
1393 | ||
1394 | ||
1395 | ||
1396 | ||
1397 | b. clay | |
1398 | ||
1399 | ||
1400 | ||
1401 | ||
1402 | ||
1403 | ||
1404 | ||
1405 | c. natural materials found on-site | |
1406 | ||
1407 | correct | |
1408 | ||
1409 | ||
1410 | ||
1411 | ||
1412 | ||
1413 | d. bronze | |
1414 | ||
1415 | ||
1416 | ||
1417 | . | |
1418 | ||
1419 | Correct | |
1420 | ||
1421 | Marks for this submission: 1/1. | |
1422 | . | |
1423 | ||
1424 | Question 20 | |
1425 | Marks: 1 | |
1426 | ||
1427 | ||
1428 | Line can be used to delineate edges of form in space, imply movement, and ____________. | |
1429 | ||
1430 | ||
1431 | Choose one answer. | |
1432 | ||
1433 | ||
1434 | ||
1435 | ||
1436 | ||
1437 | a. display color | |
1438 | ||
1439 | ||
1440 | ||
1441 | ||
1442 | ||
1443 | ||
1444 | ||
1445 | b. be expressive of emotion or an idea | |
1446 | ||
1447 | correct | |
1448 | ||
1449 | ||
1450 | ||
1451 | ||
1452 | ||
1453 | c. create negative space | |
1454 | ||
1455 | ||
1456 | ||
1457 | . | |
1458 | ||
1459 | Correct | |
1460 | ||
1461 | Marks for this submission: 1/1. | |
1462 | . | |
1463 | ||
1464 | ||
1465 | ||
1466 | ||
1467 | ||
1468 | ||
1469 | ||
1470 | ||
1471 | ||
1472 | ||
1473 | ||
1474 | ||
1475 | ||
1476 | You are logged in as Brandi Smith (Logout) | |
1477 | ||
1478 | ARTC101-70021.201270 |