Ch. 6 Quiz - Chapter 6 Quiz with answers PDF

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Chapter 6 Quiz with answers...

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CHAPTER SIX QUIZ Use the following key words in a true sentence. The sentence must be created from the materials in Chapter Six. The statement in the sentence must be qualified (supported by examples) to prove that you not only understand the key word , but can apply it correctly. Note the examples below. You can see that the incorrect example uses the key term but does not indicate that the term is understood. Create your own sentences using the terms.

EXAMPLE LOCAL COLOR LOCAL COLOR

EXAMPLE If I decide to create a representational painting, I would use local color, since I would want it to look realistic. INCORRECT EXAMPLE I used local color in my painting.

ATMOSPHERIC PERSPECTIVE

If I decided to use atmospheric perspective in a painting of the Sierra Nevada, the mountains that were farther away from the viewer would be light blue while the ones that were closer to the viewer would be a darker blue.

HIGHLIGHTS

CHIAROSCURO

If I were drawing a ball in the Sun, the highlight would be the part of the ball that directly reflected the light from the Sun; I would color that part white. If I was a Renaissance artist, I would use chiaroscuro in my drawings to make them look more realistic; the time of day would need to be perfect (so that it’s not too hot for my subject to be outside, but not too dark that I can’t draw my subject), so I could accurately detail the shadows on my subjects face while still taking

into account the light coming from the sun. TENEBRISM

If I used tenebrism like Gentileschi did in Judith and Maidservant with the HEad of Holofernes, I would paint a picture of someone who got caught stealing food from the kitchen fridge; the only light would be from the fridge (the rest of the image would be dark, except for the subject’s face and what they were trying to steal).

CROSS HATCHING

If I were to make a drawing of an apple, I would use cross hatching so that the apple would look three-dimensional.

COLOR WHEEL

If I used Newton’s color wheel, it could tell me what colors I could use that would go best with yellow and green (violet and red).

TINT

If I wanted to create a tint of red, I would add white to red to make pink.

SHADE

If I wanted to create a shade of red, I would add black to red to make maroon.

PRIMARY COLORS

If I were to paint a picture using the colors red, yellow, and blue, I would be using the three primary colors.

SUBTRACTIVE PROCESS

If I were to add all the colors of Newton’s color wheel together one by one, they’re combined color would get closer and closer to black; this is an example of a subtractive process. If I wanted to use an additive process, I could

ADDITIVE PROCESS

PALETTE

INTENSITY

ANALOGOUS COLOR

COMPLEMENTARY COLOR

VALUE

create a work of art combining different hues of colored light together which would cause the resulting mixture to be close to the color white. If I were to create a painting with the colors red, blue, and yellow, a viewer viewing my painting would say that I used a restricted palette (since I only used those three colors). The intensity of the colors in my red, blue, and yellow painting would not suit a clown if the colors were a low or dull intensity since clowns are known to wear loud (or high intensity/bright) colors. If I used yellow and orange in a painting, I would be using analogous colors.

If I used red and green in a painting, I would be using complementary colors.

If I used light blue and dark blue in a painting, I would be using different values of blue.

Multiple Choice Questions 1. Mary Cassatt has manipulated light and color in In the Loge to emphasize the a) division between male and female spaces. b) passive role of a female spectator. c) prison-like opera box. d) significance of opera in the late 19th century. 2. J.M.W. Turner uses two types of perspective in Rain, Steam, and Speed—The Great Western Railway. What are they? a) atmospheric and two-point b) atmospheric and multiple view

c) stacked and two-point d) atmospheric and one-point 3. Figure of a Woman by Paul Colin probably derives from his____________. a) association with Josephine Baker and La Revue Nègre b) time spent traveling while in the Navy c) studies at L’Ecole des Beaux Arts in Paris d) travels in the southern United States

4. With atmospheric perspective, objects further from the viewer appear a) warmer and more detailed b) cooler and less distinct c) warmer and less distinct d) cooler and more detailed 5. Nikolai Buglaj’s “Race”ing Sideways is a commentary on the Western convention of a) associating blackness with negative qualities b) associating blackness with positive qualities c) associating whiteness with negative qualities d) none of the above 6. Michelangelo’s Head of a Satyr shows the use of a) linear perspective. b) cross-hatching. c) axonometric projection. d) achromatism. 7. The author describes Chuck Close’s painting Stanley as a) “layered” pointillism. b) “lusterless” and “murky.” c) “polychromism as its best.” d) All of the above.

8. One of the chief tools employed by artists of the Renaissance to show the effects of light is a) chiaroscuro. b) perspective. c) key. d) perceptual key. 9. A color’s brightness or dullness is called its a) relative key. b) tint or shade. c) intensity or saturation. d) hue. 10. On the color wheel, blues and greens are usually thought of as a) opposite each other. b) complementary colors. c) intermediate colors. d) cool colors. 11. On Newton’s color wheel, colors that lie directly between a secondary and primary are called a) intermediate colors. b) complementary colors. c) secondary colors. d) primary colors. 12. The range of colors that an artist has preferred to use in a work is referred to as the a) composition. b) style. c) palette. d) spectrum. 13. Artists sometimes choose to paint objects using colors that are not “true” to their optical or local colors. This is an example of the expressive use of a) arbitrary color. b) artistic color. c) secondary color. d) oblique color. 14. Which of these elements does not help to create space in art? a) perspective b) light c) color d) palette 15. What is the chosen medium of the sculptor Dan Flavin?

a) oil paint b) human ashes c) fluorescent lighting d) dirt 16. What is the primary subject matter of sculptor Dan Flavin? a) light and color b) stories from the bible c) surrealistic landscapes d) nude figures 17. DaVinci is largely responsible for formulating the rules of the effects of light and air in the landscape, called a) linear perspective. b) stacked perspective. c) hieratic perspective. d) atmospheric perspective 18. In the 1660s, who discovered that color is a direct function of light by passing sunlight through a prism and observing the bands of spectrum of colors? a) Rembrandt van Rijn b) Isaac Newton c) Gianlorenzo Bernini d) Jacob van Ruisdael 19. Is Jane Hammond’s Fallen an overall warm or cool “composition”? a) warm b) cool c) both

d) neither 20. Jane Hammond’s Fallen is made of many pieces, sewn together as a whole. What is it made of? a) fallen autumn leaves b) cut-out paintings of leaves c) digitally scanned and printed images of a leaf d) fabric made to look like leaves 21. What is yellow’s complementary color? a) blue b) red c) orange d) violet...