Chapter 6 – Light and Color Multiple Choice Questions 1. The artist Artemisia Gentileschi heightens the drama of Judith and Maidservant with the Head of Holofernes by using a technique that comes from an Italian word meaning “murky.” This technique is called a) hatching. b) cross-hatching. c) tenebrism. d) simultaneous contrast. Answer: c 2. The artist that painted Le Chahut (The Can-Can) was interested in harmonizing complementary colors. The resulting process came to be known as a) chromaticism. b) pointillism. c) orphism. d) constructivism. Answer: b 3. 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. Answer: a 4. 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 Answer: d 5. 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 Answer: a 6. 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 Answer: b 7. 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 Answer: a 8. By the 19th century, the type of perspective used in paintings such as J.M.W. Turner’s Rain, Steam, and Speed—The Great Western Railway had come to dominate the thinking of landscape painters. What type is it? a) luminous perspective b) aerial or atmospheric perspective c) two-point linear perspective d) axonometric projection Answer: b 9. Michelangelo’s Head of a Satyr shows the use of a) linear perspective. b) cross-hatching. c) axonometric projection. d) achromatism. Answer: b 10. 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. Answer: a 11. 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. Answer: a 12. A color’s brightness or dullness is called its a) relative key. b) tint or shade. c) intensity or saturation. d) hue. Answer: c 13. 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. Answer: d 14. 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. Answer: a 15. 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. Answer: c 16. 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. Answer: a 17. Which of these elements does not help to create space in art? a) perspective b) light c) color d) palette Answer: d 18. What is the chosen medium of the sculptor Dan Flavin? a) oil paint b) human ashes c) fluorescent lighting d) dirt Answer: c 19. 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 Answer: a 20. 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. Answer: d 21. The background mountains in DaVinci’s Madonna of the Rocks provide a perfect example of a) linear perspective. b) stacked perspective. c) hieratic perspective. d) atmospheric perspective. Answer: d 22. In the history of art, the association of good with light and evil with dark was first fully-developed by a) Leonardo DaVinci. b) Michelangelo. c) Artemesia Gentileschi. d) Johann Wolfgang von Goethe. Answer: d 23. 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 Answer: b 24. Is Jane Hammond’s Fallen an overall warm or cool “composition”? a) warm b) cool c) both d) neither Answer: a 25. 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 Answer: c 26. What is yellow’s complementary color? a) blue b) red c) orange d) violet Answer: d 27. Hatching and cross-hatching are ways of turning line into what? a) color b) volume c) actual texture d) a & b Answer: b Short Answer and Essay Questions 28. What are the three basic areas of shadow? Answer: The three basic areas of shadow are the umbra (deepest shadow), penumbra (partial shadow), and antumbra (outermost shadow). 29. The act of painting outdoors, often practiced by Claude Monet and other impressionists, is known by what technical term? Answer: The act of painting outdoors, often practiced by Claude Monet and other impressionists, is known as "plein air painting." 30. What happens when all the different spectrum colors of light are mixed together? Answer: When all the different spectrum colors of light are mixed together, they create white light. 31. How can an artist decrease a hue’s intensity or saturation? Answer: An artist can decrease a hue's intensity or saturation by adding its complementary color or by mixing it with gray. 32. Name the three primary colors. Answer: The three primary colors are red, blue, and yellow. 33. Give an example of complementary colors. Answer: An example of complementary colors is red and green, as they are opposite each other on the color wheel. 34. What is the content of Jane Hammond’s Fallen? Answer: The content of Jane Hammond’s "Fallen" is a collection of tarot cards, each with a unique image and symbolic meaning, reflecting themes of fate, chance, and human experience. 35. How has the restoration of the Sistine Chapel changed our understanding of Michelangelo’s palette? Do you think Michelangelo used color to help define form? Answer: The restoration of the Sistine Chapel has revealed Michelangelo’s use of a broader and more vibrant color palette than previously thought, challenging the notion of his work being primarily monochromatic. Michelangelo likely used color strategically to help define form, as evident in his mastery of light and shadow in his frescoes. 36. Discuss the emotional effects of warm and cool colors by citing examples from the chapter. Answer: Warm colors such as red, orange, and yellow are often associated with energy, passion, and warmth. For example, Vincent van Gogh's "The Night Café" utilizes warm colors to evoke a sense of unease and tension. Cool colors like blue, green, and purple are associated with calmness, serenity, and tranquility. An example is Henri Matisse's "The Dance," which employs cool colors to create a sense of harmony and balance. 37. Explain Artemisia Gentileschi’s use of tenebrism and modeling in her painting, Judith and Maidservant with the Head of Holofernes, and discuss the effects these techniques produce. Answer: Artemisia Gentileschi utilizes tenebrism, a dramatic use of light and dark, to heighten the emotional intensity of the scene. The strong contrast between light and shadow accentuates the figures' expressions and gestures, emphasizing the tension and drama of the moment. Additionally, her skillful modeling of the figures creates a sense of three-dimensionality and physical presence, drawing the viewer into the narrative with a heightened sense of realism and empathy. Test Bank for A World of Art Henry M. Sayre 9780205901340, 9780205887576, 9780134082349, 9780134081809, 9780205898879
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