Test Bank for Living with Art 11th Edition Mark
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Principles of Design
Multiple Choice Questions
1. The organization of visual elements in two-dimensional art is called:
A. taste.
B. composition.
C. context.
D. pictorial space.
E. visual weight.
Composition is the organization of lines, shapes, colors, and other art elements in a work of art. More often applied to two-dimensional art; the broader term is design.
Bloom's: Understand
Learning Objective: Recall how the principles of art and design are used in works of art
Topic: color
Topic: light
Topic: line
Topic: shape and mass
Topic: space
Topic: texture and pattern
Topic: time and motion
Copyright © 2016 McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.
2. Which of the following are not among the principles of design?
A. unity and variety
B. emphasis and subordination
C. balance and rhythm
D. texture and color
E. proportion and scale
Texture and color are elements of art and design, not principles, which are guidelines for a composition or design.
Bloom's: Understand
Learning Objective: Recall how the principles of art and design are used in works of art
Topic: balance
Topic: color
Topic: emphasis and subordination
Topic: rhythm
Topic: scale and proportion
Topic: texture and pattern
Topic: unity and variety
3. Georgia O'Keeffe's Deer's Skull with Pedernal, which is set directly on the vertical axis, utilizes ___________ balance.
A. asymmetrical
B. relieved symmetrical
C. radial
D. optimal
E. hierarchical
A symmetrical balance has a vertical axis down the center of the composition, with forms on both sides of the axis corresponding to another in size, shape, and placement.
Bloom's: Understand
Learning Objective: Describe how balance functions in a work of art
Learning Objective: Recall how the principles of art and design are used in works of art
Topic: Georgia O'Keeffe
Topic: balance
Copyright © 2016 McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.
4. Drawing attention to an area by contrasting dark and light is one way of demonstrating
A. rhythm and texture.
B. scale and proportion.
C. emphasis and subordination.
D. symmetry and asymmetry.
E. None of these answers are correct.
Emphasis draws our attention to certain parts of a composition, while subordination purposely makes some parts of a composition less interesting.
Bloom's: Understand
Learning Objective: Describe how emphasis and subordination function in a work of art
Topic: emphasis and subordination
Topic: light
5. Scale is defined as:
A. color's relation to value.
B. the size in relation to a standard or "normal" size.
C. the size relation of parts to the whole.
D. the interplay of all of these: the color's relation to value, the size relation of one object to another, and the size relation of parts to the whole.
E. None of these answers are correct.
Scale is the size in relation to some "normal" or constant size.
Bloom's: Understand
Learning Objective: Describe how scale and proportion function in a work of art
Topic: scale and proportion
Copyright © 2016 McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.
6. Sculptor Claes Oldenburg tends to challenge viewers' idea of
A. symmetry.
B. emphasis.
C. scale.
D. balance.
E. unity.
Oldenburg creates works that are radically large, almost like giants.
Bloom's: Understand
Learning Objective: Describe how scale and proportion function in a work of art
Topic: scale and proportion
7. Which ancient Roman's writings on architecture related the human body to geometric shapes?
A. Marcus Aurelius
B. Augustus
C. Vitruvius
D. Vespasian
E. Livy
Vitruvius was a Roman architect who related the perfected male form to the perfect geometry of the square and the circle.
Bloom's: Understand
Learning Objective: Recall how the principles of art and design are used in works of art
Topic: scale and proportion
Topic: shape and mass
Copyright © 2016 McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.
8. The Parthenon and the Modulor were both designed according to a ratio known as:
A. the vanishing point.
B. the true view.
C. the silver mean.
D. the golden section.
E. the central plan.
The golden section is a length of two unequal segments in which the smaller one has the same ratio to the larger one as the larger one has to the whole.
Bloom's: Understand
Learning Objective: Describe how scale and proportion function in a work of art
Topic: architecture
Topic: scale and proportion
9. The design principle that is based on repetition is called:
A. rhythm.
B. balance.
C. emphasis.
D. focal point.
E. It is known by all these terms.
Rhythm has a pattern, which comes from repetition.
Bloom's: Understand
Learning Objective: Describe how rhythm functions in a work of art
Topic: rhythm
Topic: texture and pattern
Copyright © 2016 McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.
10. By positioning the dark, dense image of death next to the billowing, light form representing life, Gustav Klimt's painting Death and Life demonstrates artistic use of:
A. hierarchical scale.
B. symmetrical balance.
C. unity.
D. variety.
E. asymmetrical balance.
An asymmetrical balance has two sides that do not match, but the work still seems to be balanced because of the placement of forms.
Bloom's: Understand
Learning Objective: Describe how balance functions in a work of art
Topic: balance
11. In a two-dimensional work with asymmetrical balance, the appearance of balance is achieved by:
A. following a canon.
B. the use of ideal proportions.
C. distributing visual weight accordingly.
D. All of these: following a canon; the use of ideal proportions; and distributing visual weight accordingly.
E. None of these answers are correct.
Balance comes from the equal distribution of visual weight to either side of a felt or implied center of gravity.
Bloom's: Understand
Learning Objective: Describe how balance functions in a work of art
Topic: balance
Topic: emphasis and subordination
Copyright © 2016 McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.
12. Rather than depend solely upon visual unity, an artist will sometimes create
unity by unifying the ideas in a work of art.
A. idealized
B. invisible
C. conceptual
D. ideological
E. symmetrical
Ideas are concepts, and unity can be achieved through any means as long as it creates a sense of oneness, of things belonging together and making up a coherent whole.
Bloom's: Understand
Learning Objective: Describe how unity and variety function in a work of art
Topic: unity and variety
13. In a two-dimensional work of art that is balanced symmetrically, the implied center of gravity is:
A. along the vertical axis down the center of the composition.
B. eliminated altogether.
C. along the horizon line.
D. at the focal point.
E. the midpoint of the golden rectangle.
Balance comes from the equal distribution of visual weight to either side of a felt or implied center of gravity.
Bloom's: Understand
Learning Objective: Describe how balance functions in a work of art
Topic: balance
Copyright © 2016 McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.
14. The Thirteen-Diety Jnanadakini Mandala uses ________ to suggest that there is a hidden order to the universe.
A. perspective
B. asymmetry
C. proportion
D. symmetry
E. the golden section
Cosmic order is the subject of this work of art, and to show the cosmic realm is logical and orderly, a mandala diagram is used with clear geometry and symmetry.
Bloom's: Understand
Learning Objective: Describe how balance functions in a work of art
Topic: balance
15. Annette Messager's Mes Voeux demonstrates the use of:
A. conceptual unity.
B. radial balance.
C. grand scale.
D. the golden section.
E. All of these answers are correct.
In this work, there is unity, but not visually. The unity comes from the ideas.
Bloom's: Understand
Learning Objective: Describe how unity and variety function in a work of art
Topic: unity and variety
Copyright © 2016 McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.
16. The ancient Egyptians developed a standard set of proportions used to create images of the "correct" or "perfect" human, as have many cultures both ancient and modern. This set of proportions was created using:
A. rhythm.
B. form.
C. the golden mean.
D. the golden section.
E. a squared grid.
As evident in unfinished works, we can see that the ancient Egyptians started with grids with each palm of the hand occupying one square of the grid.
Bloom's: Understand
Learning Objective: Describe how scale and proportion function in a work of art
Topic: scale and proportion
17. Georgia O'Keeffe's painting Deer's Skull with Pedernal is a prime example of:
A. symmetrical balance.
B. hierarchical scale.
C. informal balance.
D. linear perspective.
E. horizontal symmetry.
A symmetrical balance has a vertical axis down the center of the composition, with forms on both sides of the axis corresponding to other each other in size, shape, and placement.
Bloom's: Understand
Learning Objective: Describe how balance functions in a work of art
Topic: Georgia O'Keeffe
Topic: balance
Copyright © 2016 McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.
18. Pablo Picasso's Girl Before a Mirror explores the traditional theme of:
A. still life.
B. portraiture.
C. hierarchical scale.
D. vanitas.
E. the golden section.
Vanitas, coming from the Latin word for "vanity," explore the fleeting nature of earthly life and happiness.
Bloom's: Understand
Learning Objective: Define and recognize iconography
Learning Objective: Interpret how art explores the theme of human experience
Topic: Life and Death in Art
Topic: Pablo Picasso
Topic: iconography
19. Symmetrical balance, as used by Georgia O'Keeffe, expresses:
A. calmness.
B. order and authority.
C. disarray.
D. independence.
E. rebellion.
Symmetrical balance is often used to express order, harmony, and authority. O'Keeffe's Deer's Skull with Pedernal has a forceful, formal presence because of the symmetrical balance.
Bloom's: Understand
Learning Objective: Describe how balance functions in a work of art
Topic: Georgia O'Keeffe
Topic: balance
Copyright © 2016 McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.
20. Another term for asymmetrical balance is:
A. radial balance.
B. visual weight.
C. scale.
D. informal balance.
E. None of these answers are correct.
Asymmetrical balance occurs when the two sides of a composition do not match, but yet there appears to be a balance in the work.
Bloom's: Understand
Learning Objective: Describe how balance functions in a work of art
Topic: balance
21. In art, the design principle of balance functions to:
A. encourage our active participation in a work.
B. help communicate a work's moods.
C. lead our eyes around a work.
D. help communicate a work's meanings.
E. All of these answers are correct.
Balance comes from the equal distribution of visual weight to either side of a felt or implied center of gravity.
Bloom's: Understand
Learning Objective: Describe how balance functions in a work of art
Topic: balance
Copyright © 2016 McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.
22. Henry Ossawa Tanner's The Banjo Lesson creates emphasis through:
A. size and placement of the figures.
B. directional lines of sight leading to a focal point.
C. contrasting values of dark skin against a pale background.
D. elimination of detail and bright colors in the background.
E. All of these answers are correct.
There are many ways to create emphasis, including size, placement, values, directional lines, contrast, and subordination of the background.
Bloom's: Understand
Learning Objective: Recall how the principles of art and design are used in works of art
Topic: emphasis and subordination
Topic: light
Topic: line
Topic: scale and proportion
23. Claes Oldenburg and Coosje van Bruggen created shock value through use of:
A. symmetry.
B. repetition.
C. scale.
D. abstraction.
E. variety.
Both Oldenburg and van Bruggen added a shock value to their works by overturning our perception of scale as the measure of all things.
Bloom's: Understand
Learning Objective: Describe how scale and proportion function in a work of art
Topic: scale and proportion
Copyright © 2016 McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.
24. Which work of art uses hierarchical scale?
A. a royal altar to the hand
B. Deer's Skull with Pedernal
C. façade of Sant'Andrea, Mantua
D. The Large Bathers
E. Study of Human Proportions According to Vitruvius
Hierarchical scale is the use of scale to indicate relative importance. In the royal altar to the hand, the king is at the center because he is the most important followed by his attendants.
Bloom's: Understand
Learning Objective: Describe how scale and proportion function in a work of art
Topic: scale and proportion
Topic: sculpture
25. The ancient Roman architect Vitruvius associated the perfected male form with the perfect geometry of:
A. the square and rectangle.
B. the circle and square.
C. the triangle and circle.
D. the rectangle and triangle.
E. None of these answers are correct.
In Vitruvius' form, the figure stands inside a square defined by his height and the span of his arms, and a circled centered at his navel.
Bloom's: Understand
Learning Objective: Describe how scale and proportion function in a work of art
Topic: scale and proportion
Copyright © 2016 McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.
26. The use of scale to indicate relative importance is known as ________ scale.
A. proportional
B. hierarchical
C. golden
D. rhythmic
E. symmetrical
Hierarchical scale shows figures of greatest important in the center and usually in a larger scale than the other figures.
Bloom's: Understand
Learning Objective: Describe how scale and proportion function in a work of art
Topic: scale and proportion
27. The architect Le Corbusier designed the Modulor, a tool he used for calculating human proportions, based upon:
A. pictorial space.
B. hierarchical scale.
C. the golden section.
D. visual weight.
E. informal balance.
The Modulor is based on two overlapping golden sections. The first extends from the feet to the top of the head; the second extends from the navel to the tip of an upraised hand.
Bloom's: Understand
Learning Objective: Describe how balance functions in a work of art
Learning Objective: Describe how scale and proportion function in a work of art
Topic: Le Corbusier
Topic: balance
Topic: scale and proportion
Copyright © 2016 McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.
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mouth, and the beautiful broad brow drooping with the weight of thought, and yet with an eternal youth and freshness shining out of it as from the morning forehead of a boy, are all remarkable, and their harmony with each other in a placid tenderness not less so.
Chaucer’s beginnings as an author were translations from the French and Italian. Imitations they should rather be called, for he put himself into them, and the mixture made a new poem. He helped himself without scruple from every quarter. And, indeed, there is nothing more clear than that the great poets are not sudden prodigies, but slow results. Just as an oak profits by the foregone lives of immemorial vegetable races, so we may be sure that the genius of every remembered poet drew the forces that built it up from the decay of a whole forest of forgotten ones. And in proportion as the genius is vigorous and original will its indebtedness be; will it strike its roots deeper into the past and into remoter fields in search of the virtue that must sustain it.
Accordingly, Chaucer, like Shakspeare, invented almost nothing. Wherever he found anything directed to Geoffrey Chaucer he took it and made the most of it. Indeed, the works of the great poets teach us to hold invention somewhat cheap. The Provençal rhymers did the best to invent things that nobody ever thought of before, and they succeeded in producing what nobody ever thought of again. He must be a very great poet indeed who can afford to say anything new.
In the great poets I think there is always a flavor of race or country which gives them a peculiar nearness to those of the same blood, and where the face of the individual nature is most marked, it will be found that the type of family is also most deeply stamped. It is remarkable that Chaucer, who probably spoke French as often and as familiarly as English, who levied his contributions upon Norman, Italian, and Latin writers, should yet have become (with an exception) the most truly English of our poets.
In endeavoring to point out what seem to be the peculiar characteristics of Chaucer, I think we shall find one of the chief to be this—that he is the first poet who has looked to nature as a motive of
conscious emotion. Accordingly, his descriptions are always simple and addressed to the eye rather than to the mind, or to the fancy rather than to the imagination. Very often he is satisfied with giving a list of flowers with no epithet, or one expressive of color or perfume only.
Mr. Lowell here read a number of passages from the “Assembly of Fowls” and other poems of Chaucer, with an extract from Spenser.
Now I observe that all Chaucer’s epithets are primary, or such as give birth to the feeling; and all Shakspeare’s secondary, or such as the feeling gives birth to. In truth, Shakspeare’s imagination is always dramatic, even in his narrative poems, and it was so abundant that the mere overflow of it has colored the very wellsprings of the English language, and especially of English poetry. On Chaucer, nature seems to have always smiled (except in winter, which he cordially hated), and no rumor of man’s fall appears to have reached the trees and birds and flowers. Nature has taken to thinking lately, and a moral jumps up out of a blossom, like a jack-ina-box.
Another characteristic which we find in all the poems where Chaucer speaks in his own person is a sentiment of seclusion He always dreams of walking in a park or a garden walled-in on every side. It is not narrowness but privacy that he delights in, and a certain feeling of generous limitation. In this his poems are the antithesis of Milton’s, which always give a feeling of great spaces.
In description it would be hard to find Chaucer’s superior. His style is distinguished always by an energetic simplicity, which is a combination exceedingly rare. It was apparently natural to him. But when he is describing anything that he loves, here is an inexpressible tenderness, as if his eyes filled with tears. His narrative flows on like one of our inland rivers, sometimes hastening a little, and in its eddies seeming to run sunshine; sometimes lingering smoothly, while here and there a beautiful quiet thought, a pure feeling, a golden-hearted verse opens as quietly as a water-lily, and makes no ripple. In modern times the desire for startling expression
is so strong that people hardly think a thought is good for anything unless it goes off with a pop like a gingerbeer cork.
In Chaucer’s pathetic passages (and they are many), the presence of pity is a thing to be noticed—and the more so as he is the best pathetic story-teller among the English, and, except Dante, among the modern poets. Chaucer, when he comes to the sorrow of his story, seems to croon over the thoughts, and soothe them, and handle them with a pleasant compassionateness, as a child treats a wounded bird which he cannot make up his heart to let go, and yet fears to close his fingers too firmly upon.
Mr. Lowell, in illustration, read from the “Man of Law’s Tale,” and other of the poems.
What I have said of Chaucer’s pathos is equally true of his humor. It never invades a story, but pervades it. It circulates through all his comic tales like lively blood, and never puddles on the surface any unhealthy spots of extravasation. And this I take to be the highest merit of narrative—diffusion without diffuseness.
I have not spoken yet of Chaucer’s greatest work, the “Canterbury Tales.” He has been greatly commended for his skill in the painting of character, and, indeed, nothing too good can be said of him in this respect. But I think it is too much the fashion to consider Chaucer as one of those Flemish painters who are called realists because they never painted the reality, but only the material. It is true that Chaucer is as minute in his costume as if he were illuminating a missal. Nothing escapes him—the cut of the beard, the color of the jerkin, the rustiness of the sword. He could not help this, his eye for the picturesque is so quick and sure. But in drawing the character it is quite otherwise. Here his style is large and free, and he emphasizes, but not too strongly, those points only which are essential, and which give variety to his picture without any loss to the keeping. For he did not forget that he was painting history and not a portrait. If his character of the good parson (which still stands not only unmatched but unapproached by the many later attempts at the same thing) seem an exception, it is yet in truth a confirmation of what I have
said. For, in this case, for the very sake of keeping, it was necessary to be more full and careful, because the good parson alone must balance the friar, the pardoner, and all the other clerical personages who are almost unmixedly evil. Justice is always a leading quality in great minds, and by this single figure on one side and the group on the other Chaucer satirizes the Church, as it can only be satirized, by showing that it contrasts with that true religion with which it should be identical. And was there ever anything so happy as Chaucer’s satire! Commonly satire is unhappy, but Chaucer’s is positively more kindly than the panegyric of some poets.
In calling Chaucer genial I chose the word with forethought. This geniality made it impossible that his satire should be intellectual. The satire of the intellect deals with the outside only, trying the thing satirized by a rigid standard. But it results from Chaucer’s genial temperament that justice in him is so equipoised by love that it becomes mercy, which is the point of rest between absolute law and human frailty. Therefore Chaucer, properly speaking, is not a satirist but a humorist; in other words, his satire is imaginative, and thus, in perfect subordination to narrative (though not to dramatic) art, he makes his characters satirize themselves. I suppose that no humorist ever makes anybody so thoroughly an object of satire as himself—but then one always satirizes himself kindly because he sees all sides. Falstaff is an example of this. Now this is just the character of imaginative or humorous satire, that the humorist enters his subject, assumes his consciousness, and works wholly from within. Accordingly when Chaucer makes his Frere or Pardoner expose all his own knaveries, we feel not as if he said, “See what a precious scamp this fellow is,” but “This is the way we poor devils play fantastic tricks before high heaven.” The butt of the humorist is Man (including himself and us); the butt of the satirist is always individual man. The humorist says we; the moralist and satirist, thou. Here is the strength of the great imaginative satirist of modern times, Mr. Thackeray
In satire, the antithesis of Chaucer is Pope; as a painter of life and manners, Crabbe, who had great powers of observation without
imagination. Therefore what is simplicity in Chaucer is poverty in Crabbe.
Chaucer is the first great poet who held up a mirror to contemporary life in its objectivity, and for the mere sake of its picturesqueness— that is, he is the first great poet who has treated To-day as if it were as good as Yesterday. Dante wrote life also, but it was his own life, and what is more, his own interior life. All his characters are represented in their relation to that. But Chaucer reflected life in its large sense—the life of men, from the knight to the ploughman. Thus it is that he always quietly and naturally rises above the Conventional into the Universal. And so his great poem lives forever in that perennial contemporaneousness which is the great privilege of genius. Thus the man of genius has a double immortality—in heaven and on earth at the same time; and this is what makes it good to be a genius at all, that their beauty and their goodness live after them, and every generation of men can say of them—They are our friends also.
I know not how to sum up what we feel about Chaucer except by saying, what would have pleased him most, that we love him. I would write on the first page of his volume the inscription which he puts over the gate in his “Assembly of Fowls”:
Through me men go into the blissful place Of the heart’s heal, and deadly woundes cure; Through me men go into the welle of Grace, Where green and lusty May shall ever endure. This is the way to all good aventure; Be glad thou reader, and thy sorrow offcast. All open am I, pass in, and hye thee fast.