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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 |