1. Art that looks very much like objects in the natural world is never expressive.
a. True
*b. False
2. Movement is an important element in much of the art of
*a. Calder
b. Smith
c. Kline
d. Puryear
e. Maillol
Title: Balance
3. If most of the forms in a work of art are concentrated in one side of the composition, the work is
always out of balance.
a. True
*b. False
Title: Balance -Axial
4. Axial Balance and radial balance are both types of symmetrical balance.
*a. True
b. False
Title: Casting
5. Whenever you make an ice cube, you are, in effect, making a ______________________.
a. asssembling
*b. casting
c. carving
d. relief
e. model
Title: Casting
6. What type of process is Casting?
a. Additive process
b. Subtractive process
c. Firing process
*d. Substitution process
Title: Casting
7. The sculptural method that generally involves the use replacement of a non-permanent
material such as clay, wax, or plaster with molten (superheated. metal is called____________.
a. modeling
b. carving
c. assembling
*d. casting
e. equestrian
Title: Casting
8. The sculptural method that generally involves the use of molten (superheated. metal is called
a. modeling
b. carving
c. assembling
*d. casting
e. equestrian
Title: Color -Afterimage
9. If you stare at certain color areas for half a minute and then turn your eyes quickly to a white
page or wall, you may see the same image in its complementary colors. This phenomenon is
called ____________________.
a. color image
b. hallucination
*c. afterimage
d. point image
e. optical exhaustion
Title: Color - Analogous
10. Analogous colors are adjacent to each other on a 12-color color wheel and have something in
*a. True
b. False
Title: Color-dimensions
11. The relative purity or grayness of colors is referred to as ________________.
a. chroma
b. saturation
c. intensity
*d. all of these
e. none of these
Title: Color-dimensions
12. The three dimensions of color are hue, value and intensity.
*a. True
b. False
Title: Color-hue
13. Hue is _________________.
a. the relative lightness and darkness of color
b. the relative brightness and dullness of color
*c. the name that differentiates one color from another
d. a neutral color
e. a product of refraction
Title: Color-Neutral colors
14. When complementary colors are mixed together in equal amounts, the result is usually a
a. greater intensity
b. fuzziness
*c. neutral
d. primary color
e. secondary color
Title: Color-White light
15. White light refracts, or breaks up, into the colors of a rainbow when passed through a mirror.
a. True
*b. False
Title: Color wheel - Complementary
16. Colors directly opposite one another on the color wheel are called____________.
*a. complementary
b. primary
c. analogous
d. neutral
e. tertiary
Title: Color wheel - Complementary
17. Complementary color harmonies are those in which the colors are close to one another on the
color wheel.
a. True
*b. False
Title: Color wheel - Monochromatic
18. When a painting or other work of art is designed almost entirely in one hue or color, its color
scheme is said to be____________.
a. analogous
b. repetitive
*c. monochromatic
d. complementary
e. ambiguous
Title: Color wheel - Primary
19. One of the three primary colors can be made by mixing two colors together.
a. True
*b. False
Title: Color wheel - Primary
20. On the basic color wheel, the hues red, yellow, and blue are called ___________ colors.
a. tertiary
*b. primary
c. secondary
d. complementary
e. analogous
Title: Color wheel - secondary
22. On the color wheel, orange, green, and violet are known as secondary colors.
*a. True
b. False
Title: Content
23. In a work of art, "content" refers to the message that is communicated.
*a. True
b. False
Title: Contrast
24. Contrast is the interaction of elements that express the dualities seen in opposites.
*a. True
b. False
Title: Emphasis
25. Direction lines, lighting, placement, and isolation are all devices to create emphasis.
*a. True
b. False
Title: Form
26. The word ______________________ is used to describe how a work of art looks, its size,
shape, materials, color, and composition.
a. reality
b. naturalism
c. representation
d. content
*e. form
Title: Form
27. The word form is identified in the text as ___________.
a. shape or mass
b. the way an artwork is put together
c. composition
d. structure
*e. all of these
Title: foreshortening
28. The term _______________ describes a technique painters use to make human or animal
forms appear to recede into depth "behind" the picture surface.
*a. foreshortening
b. contrapposto
c. linear direction
d. isometric projection
e. anatomical perspective
Title: golden section
29. Many objects in our world, including the standard index card, have proportions close to that of
the golden section.
*a. True
b. False
Type: Iconography
30. The story and symbols in a work of art make up its ____________.
a. anthropomorphism
b. representation
*c. iconography
d. iconoclasm
e. synthesism
Title: Impasto
31. Impasto is a shading or tinting technique.
a. True
*b. False
Title: isolation
32. When one form in a composition is visually different and apart from all the others, that form
gains emphasis by ____________________________.
a. scale
b. light
*c. isolation
d. pointing
e. content
Title: Kinetic
33. sculpture is sculpture that____________.
a. can be exhibited outdoors
*b. incorporates motion
c. is made from steel
d. should best be viewed from all sides
e. deals with the family
Title: Linear perspective
34. Linear perspective is more common in European-based art than in Eastern art.
*a. True
b. False
Title: Linear perspective
35. In linear perspective, forms meant to be seen as farther away from the viewer
a. larger
*b. smaller
c. higher
d. lower
e. lighter
Title: Linear perspective
36. The concept of the "vanishing point" is the key to atmospheric perspective.
a. True
*b. False
Title: Linear perspective
37. In linear perspective, parallel lines receding into the distance seem to converge, until they
meet at the____________.
a. focal point.
b. epicenter.
c. picture plane
*d. vanishing point
e. perspective line
Title: Linear perspective & isometric
38. In both linear and isometric perspective, forms meant to be understood as background are
made smaller than forms meant to be seen as foreground.
*a. True
b. False
Title: Movement
39. The types of lines usually considered to be the most dynamic and suggestive of movement
are _________________________.
a. vertical
b. horizontal
*c. diagonal
d. light
e. dark
Title: nonrepresentational
40. Most artists who paint in an abstract or nonrepresentational style do so because they cannot
draw well.
a. True
*b. False
Title: outline
41. A drawing that has no shading or interior detail is often called an "outline drawing."
*a. True
b. False
Title: picture plane
42. In a painting meant to convey the illusion of depth in space, the extreme foreground and the
painting's surface are the same. This is called the _______________________.
a. vanishing point
*b. picture plane
c. perspective
d. overlap
e. point of no return
Title: picture plane
43. The "picture plane" is the level at which paintings are hung on the wall.
a. True
*b. False
Title: proportion
44. The term ________________________ refers to size relationships between parts of a whole
or between items perceived as a unit.
a. scale
b. balance
*c. proportion
d. synchronization
e. unity
Title: proportion
45. Proportion and scale refer to the size of an art object.
a. True
*b. False
Title: Repetition
46. Repetition in a work of art helps to create ____________________________.
a. variety
b. intensity
c. emphasis
*d. unity
e. anxiety
Title: rhythm
47. Visual rhythm operates when there is ordered repetition.
*a. True
b. False
Title: Silverpoint
48. Silverpoint is considered one of the most demanding of the liquid drawing media.
a. True
*b. False
Title: space- Oldenburg
49. Although Oldenburg's Knife Ship is huge in its proportion, it falls into scale when displayed in
a large space.
a. True
*b. False
Title: space
50. Two ways to create the illusion of three-dimensional space on a two-dimensional surface are
__________________ and __________________.
a. cross-hatching and stippling
b. diminishing size and horizontal placement
c. atmospheric perspective and afterimage
d. linear direction and outline
*e. vertical placement and overlapping
Title: Style
51. The text identifies "style" as the sum of traits that we can see as ____________.
a. fashionable, trendy, and expensive
b. regular, repetitive, and rhythmic
*c. constant, recurring, and coherent
d. elegant, aristocratic, and polished
e. eccentric, individual, and unique
Title: Style
52. Style is always associated with one single artist, never with a group.
a. True
*b. False
Title: Stylized
53. "Stylized" refers to art in which certain representative features of an image are exaggerated.
*a. True
b. False
Title: texture
54. In two-dimensional art, a massing of closely spaced lines or brush strokes can produce visual
*a. True
Title: texture- actual
55. Textures we experience through the sense of touch are called _________ textures.
a. soft
*b. actual or tactile
c. visual or perceptional
d. memorable
e. illusionistic
Title: Unity
56. Unity is the appearance or condition of oneness usually brought about by a combination of
motivating ideas.
a. True
*b. False
Title: Value
57. The term used to refer to relative lightness or darkness is _____________.
a. chroma
b. hue
*c. value
d. intensity
e. saturation
Title: Visual weight
58. The apparent "heaviness" or "lightness" of forms arranged in a composition is referred to as
a. mass
b. volume
c. balance
d. progression
*e. visual weight