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Art > Exam > Flashcards

Exam Flashcards

1
Q

an element of art that is derived from reflected light
is aroused in brain response of the eyes to different wavelengths of light
has three properties- hue, value, and intensity

A

color

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2
Q

material used to made art

A

medium

plural- media

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3
Q

the element of art that refers to how things feel, or look as if they might feel if touched
perceived by touch and sight
objects can have rough or smooth and matte and shiny

A

texture

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4
Q

objects having three dimensions
like a shape, has height height and width, but it also has depth,
either geometric or free-form

A

forms

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5
Q

something that stands for, or represents, something else

A

symbol

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6
Q

basic visual symbols in the language of art.

line, shape and form, space, color, value, and texture

A

elements of art

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7
Q

an element of art that is the path of a moving point through space
can vary in appearance- can have different lengths, widths, textures, directions, and degree of curve
they are considered one-dimensional and are measured by length
a line is also used by an artist to control the viewer’s eye movement
5 kinds- vertical, horizontal, diagonal, curved, and zigzags

A

line

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8
Q

a graphic system that creates the illusion of depth and volume on a flat surface.
all recording receding lines meet at a single point
in two point ___ different sets of lines meet at different points

A

linear perspective

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9
Q

principle of art concerned with the size relationships of one part to another

A

proportion

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10
Q

irregular surface that reflects light unevenly

opposite of smooth texture

A

rough texture

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11
Q

a special type of formal balance in which two halves of a balance composition are identical, mirror images of each other

A

symmetry

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12
Q

mid-nineteenth-century artistic style in which familiar scenes are presented as they actually appeared

A

realism

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13
Q

way of organizing parts of a design involving a balance of unlike objects
asymmetry is another term
opposite is formal balance

A

informal balance

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14
Q

a process in which an artist repeatedly transfers an original image from one prepares surface to another

A

printmaking

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15
Q

part of the picture plane that appears closest to the viewer
usually at the bottom of the picture

A

foreground

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16
Q

point on the horizon where receding parallel lines seem to meet

A

vanishing point

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17
Q

part of the picture plane that seems to be farthest from the viewer

A

background

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18
Q

the technique of using crossed lines for shading

A

crosshatching

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19
Q

twentieth- century art containing shapes that simplify shapes of real objects to emphasize form instead of subject matter

A

abstract art

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20
Q

the element of art that describes the darkness or lightness of an object
depends on how much light a surface proximity
one of the three properties of color

A

value

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21
Q

principle of art concerned with equalizing visual forces, or elements, in a work of art
two types- formal and informal

A

balance

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22
Q

a two-dimensional area that is defined in some way
has only height and width
geometric or free-form

A

shape

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23
Q

the element of art that refers to the emptiness or area between, around, above, below, or within objects
shapes and forms defined by__ around them and within them

A

space

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24
Q

the way the principles of art are used to organize the elements of art

A

composition

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25
Q

art that has no recognizable subject matter

A

nonobjective art

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26
Q

an expressive movement

A

gesture

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27
Q

shapes or forms made by forces of nature

opposite of manufactured shapes/forms

A

organic shapes/forms

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28
Q

technique of shading using dots

A

pointillism/ stippling

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29
Q

technique of shading through smooth, gradual application of dark value

A

blending

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30
Q

the principle of art that refers to a two-dimensional decorative visual repetition
no movement and may or may not have rhythm

A

pattern

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31
Q

painting style devoted after World War II in New York City that emphasizes abstract elements of art rather than recognizable subject matter, and also stressed feelings and emotions

A

Abstract expression

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32
Q

rhythm you perceive through your eyes rather than through your ears

A

Visual rhythm

33
Q

type of balance in which forces or elements of a design come out (radiate) from a central point

A

Radial balance

34
Q

the principle of art used to create the look and feeling of action and to guide the viewer’s eyes throughout the work of art

A

Visual Movement

35
Q

line parallel to the horizon

lie flat and are parallel to the bottom edge of the paper or canvas

A

Horizontal line

36
Q

lines that move in the same direction and always stay the same distance apart

A

Parallel lines

37
Q

rules that are govern how artists organize the elements of art
rhythm, movement, pattern, balance, proportion, variety, emphasis, and harmony

A

Principles of art

38
Q

When judging a work of art, there are no absolutes.
True
False

A

True

39
Q

The fundamental impulse behind the human need to create art is to express oneself or convey an idea or feeling.
True
False

A

true

40
Q

All human beings are born with the same natural ability to create accurate representations of subject matter in their art.
True

False

A

false

41
Q

The subject matter of prehistoric paintings indicates a fascination with the facial expressions of early humans.
True
False

A

false

42
Q

Which of these would you not consider a work of art?
A view of Earth taken from a satellite spacecraft’s automatic recording device.
A piece of furniture designed by Eero Saarinen.
Crude paintings of animals on a cave wall made by a prehistoric human being.
A mask used in a ritual by early Native Americans.

A

A view of Earth taken from a satellite spacecraft’s automatic recording device.

43
Q

To have an “aesthetic appreciation” of something means
you consider the difficulty involved in creating it.
you respond to it in terms of its beauty.
you appreciate its practical usefulness.
you think it might be a good investment.

A

you respond to it in terms of its beauty.

44
Q

red

A

primary

45
Q

blue-green

A

tertiary (intermidiate)

46
Q

violet

A

secondary

47
Q

gray

A

neutral

48
Q

midnight-blue

A

shade of blue

49
Q

pink

A

tint of red

50
Q

burnt-orange

A

neutralized tone of orange

51
Q

olive green

A

shade of blue

52
Q

The two design elements that are most directly related to human sense memory are __________.

a. line and space
b. color and texture
c. shape and line
d. value and color

A

b. color and texture

53
Q

Artists developed a range of colors in different kinds of media in an attempt to imitate ___________.

a. the multicolored work of past artists
b. the texture of a variety of objects
c. the natural phenomenon of absorption and reflection of white light by objects
d. the color wheel and color relationships

A

c. the natural phenomenon of absorption and reflection of white light by objects

54
Q

Claude Monet painted Rouen Cathedral many times in an effort to __________.

a. depict every architectural detail of the Cathedral
b. depict it from all sides and points of view
c. depict it before and after a major renovation and exterior paint job
d. depict it at various times of the day and year, to illustrate its changing colors and textures from reflected light

A

d. depict it at various times of the day and year, to illustrate its changing colors and textures from reflected light

55
Q

The manipulation of line in The Boating Party helps the viewer ___________.

a. focus upon the main subject of the painting
b. understand the emotional idea of the painting
c. establish a distant horizon line that heightens the anxiety of the moment
d. all of the above

A

c. establish a distant horizon line that heightens the anxiety of the moment

56
Q

The difference between shape and form can best be understood by thinking of an object in terms of ____________.

a. its outline vs. its mass and volume
b. its curves or straight edges
c. its softness vs. its hardness
d. its value vs. its intensity

A

a. its outline vs. its mass and volume

57
Q

Color the small form a darker, duller color than the inside of the bowl to create a sense of depth.
True
False

A

False

58
Q

Create value gradation by coloring the small form in varying shades, from bright to dull, to give a sense of its roundness.
True
False

A

True

59
Q

Paint smoothly inside the inner core and edge of the “bite” into the small form, but roughen the paint texture of the outside surface of the small form to distinguish the outside from the inside.
True
False

A

True

60
Q

Place the small form in the bowl in a spatial and light source relationship that creates the most amount of shadow on the bowl’s surface, indicating the bowl’s depth.
True
False

A

True

61
Q

Leave the negative space around the bowl completely blank so that its shape looks solid within its ground.
True
False

A

False

62
Q

An organically structured composition can express ideas, feelings, and moods, even when there is no recognizable

a. subject.
b. person.
c. focus.
d. reason.

A

a. subject.

63
Q

Of the following, which is not a fundamental human response to which artists hope to appeal?

a. Our natural inclination to seek order amid chaos.
b. Our need to make visual sense of an image through recognition of a subject.
c. Our unconscious detection of a familiar sense of proportion.
d. Our absolute need for realistic detail and accurate representation.

A

d. Our absolute need for realistic detail and accurate representation.

64
Q

Organic unity is achieved in a work of art when

a. all design principles have been represented.
b. the subject fits within the frame in a normal way.
c. we can make visual sense of it.
d. the design is symmetrical and its parts are in equal proportional relationships.

A

c. we can make visual sense of it.

65
Q

The golden mean is

a. a tool for measuring the distance between the entablature and pediment of a temple.
b. the incorporation of warm colors into a composition to elicit a sense of well-being.
c. a hard and fast rule requiring all parts of a design to be in equal proportions.
d. a common proportional relationship that elicits an unconscious sense of satisfaction in the viewer.

A

d. a common proportional relationship that elicits an unconscious sense of satisfaction in the viewer.

66
Q

Asymmetrical design

a. makes the viewer feel confused and uncomfortable.
b. achieves a sense of symmetry through the balancing of different asymmetrical elements.
c. is only used in abstract artworks.
d. is a design centered upon a vertical axis line, usually in the form of a single vertical object.

A

b. achieves a sense of symmetry through the balancing of different asymmetrical elements.

67
Q

A colonnade is a good example of which of the following principles of design?

a. Variety only.
b. Rhythm only.
c. Asymmetrical balance.
d. Variety, gradation, harmony, and rhythm.

A

d. Variety, gradation, harmony, and rhythm.

68
Q

What is the purpose of the abstract artist in eliminating conventional subject matter from a painting?

a. To create simple forms that match the modern architectural environment where the painting will hang.
b. To confuse viewers and express the meaninglessness of human communication.
c. To remove all subject matter or detail so that past associations or sentiments towards a subject do not hinder our fundamental responses to the work.
d. To experiment with different elements and materials for the sake of experimentation.

A

c. To remove all subject matter or detail so that past associations or sentiments towards a subject do not hinder our fundamental responses to the work.

69
Q

In Arrangement in Gray and Black #1, the painter has arranged his composition

a. to make his subject more realistic looking.
b. to engage the viewer with an exciting sense of motion and rhythm.
c. to express an idea or feeling that underlies the realistic depiction of his subject.
d. to experiment with a wide variety of shades and tints within the neutral colors of black and white.

A

c. to express an idea or feeling that underlies the realistic depiction of his subject.

70
Q

Blue, Orange, Red by Mark Rothko elicits a fundamental visual response by means of

a. the harmonious use of only warm colors.
b. the golden mean relationship of its complementary color fields.
c. the symmetrical balance of analogous color fields.
d. the sense of erratic movement through zig-zagged lines.

A

b. the golden mean relationship of its complementary color fields.

71
Q

The simple, logical, asymmetrical construction of primary colors and lines in Tableau 2 by Piet Mondrian creates

a. an accurate representation of Mondrian’s subject.
b. a wild and erratic feeling of chaos.
c. a hazy, imprecise depiction of an outdoor tableau.
d. a very modern sense of order and economy.

A

d. a very modern sense of order and economy.

72
Q

A sketchbook is most useful for

a. completed dry and wet media works.
b. sketching observed images that can be used later for other works.
c. practicing drawing techniques.
d. all of the above

A

d. all of the above

73
Q

Ink is a wet medium that can be used in all but

a. lithograph printing.
b. drawing.
c. engraving.
d. batik printing.

A

d. batik printing.

74
Q

Watercolorists must be careful to

a. not allow colors to run together.
b. work only on dry paper.
c. work fast because watercolor paints are applied while the paper surface is damp.
d. paint on surfaces that have a lot of “tooth.”

A

c. work fast because watercolor paints are applied while the paper surface is damp.

75
Q

Tempera uses a thin binder, often made from eggs; tempera paints

a. allow for precise and detailed work.
b. are very impermanent and flaky.
c. make it difficult to mix colors.
d. are very good for creating texture in a painting.

A

a. allow for precise and detailed work.

76
Q

Fresco paintings are usually created on

a. a canvas that has been prepared with gesso.
b. a sketch book or other easily carried paper.
c. exterior walls of masonry buildings.
d. interior walls that are being plastered.

A

d. interior walls that are being plastered.

77
Q

The difference between relief and intaglio printing is

a. relief printing requires acid baths and intaglio does not.
b. relief printing creates a raised image in reverse light on a dark field, whereas intaglio images are engraved or etched images of dark on light fields.
c. relief printing allows for much finer, precise detail than does intaglio printing.
d. relief printing cannot incorporate color, whereas intaglio printing can.

A

b. relief printing creates a raised image in reverse light on a dark field, whereas intaglio images are engraved or etched images of dark on light fields.

78
Q

Photography is an art form that requires

a. a set of technical photographic skills and knowledge of materials and processes, in addition to an understanding of composition and elements of art.
b. the ability to operate a camera and nothing more.
c. a contrived set-up that requires much planning and deliberation.
d. a spontaneous, intuitive ability to snap a picture at the right moment

A

a. a set of technical photographic skills and knowledge of materials and processes, in addition to an understanding of composition and elements of art.

Art (2 decks)

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