Accounting
Anthropology
Archaeology
Art History
Banking
Biology & Life Science
Business
Business Communication
Business Development
Business Ethics
Business Law
Chemistry
Communication
Computer Science
Counseling
Criminal Law
Curriculum & Instruction
Design
Earth Science
Economic
Education
Engineering
Finance
History & Theory
Humanities
Human Resource
International Business
Investments & Securities
Journalism
Law
Management
Marketing
Medicine
Medicine & Health Science
Nursing
Philosophy
Physic
Psychology
Real Estate
Science
Social Science
Sociology
Special Education
Speech
Visual Arts
Question
8. Which stylistic characteristic distinguishes fourteenth-century figure painting in Siena from that produced in Florence?
A. the use of modeling to suggest three-dimensional forms
B. the placement of figures in naturalistic and architectural settings
C. an emphasis on jewel-like coloring and elegantly posed forms
D. the use of tempera paint on small-paneled altarpieces
Answer
This answer is hidden. It contains 8 characters.
Related questions
Q:
Discuss the iconography of Nam June Paiks Electronic Superhighway: Continental U.S. (Fig. 33-22).
Q:
Critics of the Vietnam Veterans Memorial (Fig. 33-49) were especially outraged by the use of
A. the color black.
B. the serene setting.
C. the size and magnitude.
D. the listing of names.
Q:
Louise Nevelson arrived at works such as Sky Cathedral (Fig. 33-2) after
A. piecing together different shapes of glass.
B. experimenting with combines.
C. stacking boxes of discarded objects.
D. collaging photographs.
Q:
What topic became controversial when Chris Ofilis painting The Holy Virgin Mary (Fig. 33-47) was displayed in the Brooklyn Museum?
A. art history
B. arts funding
C. access to art
D. communication
Q:
How did artists of the 1960s and 1970s expand on the idea of feminist art?
A. They incorporated geometric form.
B. They took a biological approach.
C. They performed with male artists.
D. They wrote feminist manifestos.
Q:
How did early twentieth-century artists systematically undermine the traditional rules of Western art?
Q:
How does Umberto Boccionis Unique Forms of Continuity in Space (Fig. 32-23) embrace the Futurists idea of the beauty of speed?
Q:
What did the Fauvists do to repudiate traditional notions of pictorial representation?
Q:
Which artist conceptualized the readymade?
A. Brancusi
B. Boccioni
C. Lger
D. Duchamp
Q:
Why did the U.S. government hire Dorothea Lange and other photographers during the Great Depression?
A. It was a part of a program that provided jobs to unemployed artists.
B. They hoped to build public support for federal assistance for rural America.
C. They wanted artwork that reflected the national American identity.
D. It was part of an effort to create an art market for underdeveloped states.
Q:
What motivated Picasso to create his large-scale painting Guernica (Fig. 32-64) for the Spanish Pavilion at the 1938 Paris Exposition?
A. It was a celebration of Spains technological innovations in the early twentieth century.
B. It was a response to the German bombing of a small Basque town, sponsored by Spanish Nationalists.
C. It memorialized the huge loss of life through trench warfare in World War I.
D. It was a modern version of traditional history painting recognizing Spanish accomplishments.
Q:
In the years after World War II, Francis Bacons paintings evoked the horrors of war and human suffering through
A. expressive images of distorted figures.
B. raw, heavily worked abstract forms.
C. biomorphic images that held personal symbolism.
D. large-scale murals inspired by Renaissance frescoes.
Q:
A spare, geometric style of Modern architecture in Europe developed in response to
A. Pre-Raphaelite
B. Neo-Baroque
C. Bauhaus
D. Art Nouveau
Q:
The best-known artist to emerge from the Harlem Community Art Center was
A. Dali.
B. Lawrence.
C. Hepworth.
D. Moore.
Q:
Surrealist painters variety of techniques were known collectively as
A. collage.
B. automatism.
C. primitivism.
D. readymades.
Q:
Discuss the movement of Realism. Provide examples and formal descriptions.
Q:
Compare and contrast the design and aesthetics of the Grand Staircase, Opra, Paris (Fig. 31-4) and the Reading Room of the Bibliotheque Nationale, Paris (Fig. 31-52).
Q:
How is Central Park organized?
Q:
What is Japonisme?
Q:
What was the early photographic process?
Q:
What interest led Gauguin to give up his affluent lifestyle in search of simpler pleasures?
A. Japonisme
B. the primitive
C. peasants
D. anarchists
Q:
The reading room at the Bibliothque Nationale in Paris (Fig. 31-52) demonstrates the tendency of late nineteenth-century architects to
A. fuse a historicizing approach to form with new technologies.
B. reject the use of mass-produced and industrial materials in design.
C. explore new architectural forms that could reflect the modern world.
D. adhere to the dictum that form ever follows function.
Q:
What impact did the suppression of the Paris Commune have on art?
A. There was a resurgence in religious art and the Romantic style.
B. Artists turned to lithography and other printed formats for social critique.
C. Overt political commentary in French art diminished.
D. Avant-garde artists produced politically charged work under pseudonyms.
Q:
Which artist is known for producing portraits of some of Britains leading intellectuals?
A. Timothy OSullivan
B. Henry Fox Talbot
C. Julia Margaret Cameron
D. James Abbott McNeill Whistler
Q:
How were Enlightenment ideas reflected in art of the eighteenth century? Choose examples that demonstrate the diverse range of styles used to express these interests.
Q:
What was the role of art academies in the eighteenth century, and how did they influence artistic development of the period?
Q:
How did Joseph Wright of Derby glorify science?
Q:
Who were really only honorary members of the academies?
A. sculptors
B. foreigners
C. women
D. architects
Q:
What about Ingress work in the early nineteenth century demonstrates the ongoing interest in Neoclassicism?
A. his erotic or aristocratic subject matter
B. his attention to color and surface textures
C. his academic line and formal structure
D. his emphasis on moral virtue and reason
Q:
How did Benjamin Latrobe incorporate new symbolic forms in his design for the U.S. Capitol building?
A. an asymmetrical floor plan
B. Native American patterns on walls
C. representations of indigenous plants on columns
D. brick made from local clay