Question 1

The simplest form of balance is symmetry, which is achieved when

Accepted Answer

A)  an equilibrium exists between the two sides of an equal axis, even if the sides do not resemble each other directly. 
B)  a perception of depth is created. 
C)  only primary colors are used. 
D)  two sides of a work are mirror images of each other. 
A)  an equilibrium exists between the two sides of an equal axis, even if the sides do not resemble each other directly. 
B)  a perception of depth is created. 
C)  only primary colors are used. 
D)  two sides of a work are mirror images of each other.

Question 2

Adding white to a color alters both its hue and its value.

Accepted Answer

A) True 
 B)False

Question 3

The overall plan or structure of a work of art is known as its

Accepted Answer

A)  balance. 
B)  composition. 
C)  expression. 
D)  shape. 
A)  balance. 
B)  composition. 
C)  expression. 
D)  shape.

Question 4

Hues containing a common color in different proportions are said to be

Accepted Answer

A)  analogous. 
B)  tertiary. 
C)  achromatic. 
D)  axonometric. 
A)  analogous. 
B)  tertiary. 
C)  achromatic. 
D)  axonometric.

Question 5

Alexander Calder's Cat provides evidence to support the argument that there is no relationship between signifier and signified.

Accepted Answer

A) True 
 B)False

Question 6

Which type of line indicates force and counterforce?

Accepted Answer

A)  wavy 
B)  perpendicular 
C)  zigzag 
D)  parallel 
A)  wavy 
B)  perpendicular 
C)  zigzag 
D)  parallel

Question 7

A work that depicts figures and objects so convincingly that an appearance of reality is created is said to be

Accepted Answer

A)  illusionistic. 
B)  naturalistic. 
C)  stylized. 
D)  romanticized. 
A)  illusionistic. 
B)  naturalistic. 
C)  stylized. 
D)  romanticized.

The simplest form of balance is symmetry, which is achieved when

Adding white to a color alters both its hue and its value.

The overall plan or structure of a work of art is known as its

Hues containing a common color in different proportions are said to be

Alexander Calder's Cat provides evidence to support the argument that there is no relationship between signifier and signified.

Which type of line indicates force and counterforce?

A work that depicts figures and objects so convincingly that an appearance of reality is created is said to be

Why Do We Study the History of Art

Prehistoric Western Europe

The Ancient Near East

Ancient Egypt

The Aegean

The Art of Ancient Greece

The Art of the Etruscans

Ancient Rome

Early Christian and Byzantine Art

The Early Middle Ages

Romanesque Art

Gothic Art

Precursors of the Renaissance

The Early Renaissance

The High Renaissance in Italy

Mannerism and the Later Sixteenth Century in Italy

Sixteenth-Century Painting and Printmaking in Northern Europe

The Baroque Style in Western Europe

Rococo, the Eighteenth Century, and Revival Styles

Neoclassicism: the Late Eighteenth and Early Nineteenth Centuries

Romanticism: the Late Eighteenth and Early Nineteenth Centuries

Nineteenth-Century Realism

Nineteenth-Century Impressionism

Post-Impressionism and the Late Nineteenth Century

The Early Twentieth Century: Picasso, Fauvism, Expressionism, and Matisse

Cubism, Futurism, and Related Twentieth-Century Styles

Dada, Surrealism, Social Realism, Regionalism, and Abstraction

Mid-Century American Abstraction

Pop Art, Op Art, Minimalism, and Conceptualism

Continuity, Innovation, and Globalization

Filters

Exam 2: The Language of Art

The simplest form of balance is symmetry, which is achieved when

Adding white to a color alters both its hue and its value.

The overall plan or structure of a work of art is known as its

Hues containing a common color in different proportions are said to be

Alexander Calder's Cat provides evidence to support the argument that there is no relationship between signifier and signified.

Which type of line indicates force and counterforce?

A work that depicts figures and objects so convincingly that an appearance of reality is created is said to be

Why Do We Study the History of Art

Prehistoric Western Europe

The Ancient Near East

Ancient Egypt

The Aegean

The Art of Ancient Greece

The Art of the Etruscans

Ancient Rome

Early Christian and Byzantine Art

The Early Middle Ages

Romanesque Art

Gothic Art

Precursors of the Renaissance

The Early Renaissance

The High Renaissance in Italy

Mannerism and the Later Sixteenth Century in Italy

Sixteenth-Century Painting and Printmaking in Northern Europe

The Baroque Style in Western Europe

Rococo, the Eighteenth Century, and Revival Styles

Neoclassicism: the Late Eighteenth and Early Nineteenth Centuries

Romanticism: the Late Eighteenth and Early Nineteenth Centuries

Nineteenth-Century Realism

Nineteenth-Century Impressionism

Post-Impressionism and the Late Nineteenth Century

The Early Twentieth Century: Picasso, Fauvism, Expressionism, and Matisse

Cubism, Futurism, and Related Twentieth-Century Styles

Dada, Surrealism, Social Realism, Regionalism, and Abstraction

Mid-Century American Abstraction

Pop Art, Op Art, Minimalism, and Conceptualism

Continuity, Innovation, and Globalization

Filters