Chapter 3 Application Quiz

The Visual Elements of Art
. In the painting, the man about to be shot kneels, while extending his hands in a pose that simultaneously communicates helplessness and resolute pride. The man's outstretched arms remind us of Jesus on the cross. The soldiers, in matching uniforms, raise their guns in identical stances, faceless and anonymous. Their repetition one after the next gives the impression of an unending line of death. A solitary lamp thrusts a heavenly glow on the Spanish victim. The rest of the scene, even the monastery in the back, has been overcome by darkness. Singly lit, the man is the sacrificed martyr, ready to die for Spain in the fight against evil. Spanish citizens about to be slaughtered display tormented expressions. The men coming up the hill show the methodical pace of the slaughter. Men already shot lay in their own blood. One holds his arms in the same outstretched position of the figure about to be shot. The repetition creates a rhythm of death, as the two could be one man at different points in time.

Figure 19.16. Francisco Goya. The Third of May, 1808. 1814. Oil on canvas, 8' 9" X 13' 4". Prado Museum, Madrid, Spain.

In Francisco Goya. The Third of May, 1808, the guns form_______ (blank) lines, while the man in the white shirt and two men to his left form_______ (blank) lines as they look in different directions.

. The color woodcut shows a Japanese woman with her hair dress wearing an elegant kimono.
FIGURE 7.5. Kitagawa Utamaro. Woman at the Height of Her Beauty. Edo period, 1794. Color woodcut, 15 1/8" × 9 15/16". Spencer Museum of Art, University of Kansas, Lawrence.

Kitagawa Utamaro's Woman at the Height of Her Beauty is dominated by what kind of shapes?

. The color photograph shows the same interior of the train station, but now it has been transformed into a museum. The ceiling and arches are the same, but there are no traintracks. Instead, there is a museum gallery.
Figure 12.10B. Gae Aulenti. Musée d'Orsay. 1986, Paris, France.

This view of the Musée d'Orsay reminds us of the difference between mass and negative space. The mass is the ____________ (blank) and the negative space is the __________ (blank).

. The sculpture depicts a young man with a serious look on his face. He stands with his legs apart and his upper body twisted, as if ready to throw something.
Figure 4.12. Gianlorenzo Bernini. David. 1623. Marble, approximately 5' 7" high. Borghese Gallery, Rome, Italy.

Which of the following textures in Gian Lorenzo Bernini's David is the actual texture?

. A boy sits on an old man's lap with a banjo in his hand while the old man helps him play. A frying pan is one of many ordinary objects that sit on the floor and the table behind them.
Figure 19.22. Henry Ossawa Tanner. The Banjo Lesson. 1893. Oil on canvas, 4' 1" X 2' 11 ½". Hampton University Museum, Hampton, Virginia.

Henry Ossawa Tanner's The Banjo Lesson uses chiaroscuro because:

. Zooming in to Figure 20.35, one woman's eyes are formed from a television sitting on top of a cast face. She is next to a woman in a blue dress on her right, and women in red and white dresses to her left.
FIGURE 20.36 B (DETAIL). Marisol. The Party. 1965-66. Fifteen life-size figures and three wall panels, with painted wood and carved wood, mirrors, plastic, television set, clothes, shoes, glasses, and other accessories. Toledo Museum of Art, Ohio.

This detail of Marisol's The Party is dominated by what kind of color scheme?

. A man and a woman standing in front of a quaint rural home. The thin old man (on the right) is nearly bald, wears circular glasses, overalls, a navy blue jacket, and holds a pitchfork. The woman (on the left) has blond hair (only a strand of it hangs behind her right ear), blue eyes, a brown dress above a black shirt, white collar, and orange pendant.
Figure 20.26. Grant Wood. American Gothic. 1930. Oil on beaver board, 2' 6 ¾" X 2' 1 ¾". Art Institute of Chicago, Illinois.

Grant Wood's American Gothic uses which property of color to show the serious nature of the people it portrays?

. Stylized vegetation appears decorative, even though Sultan Muhammad created a believable scene. Lines of calligraphy from the poem are in boxes. While Rustam and the animals are presented in a calm, dignified manner, the perilous action is evident in symbolism, seen in the yelling and sneering human faces that are hidden in the landscape, visible in the detail.
FIGURE 16.25A. Sultan Muhammad. Rustam Sleeps While Rakhsh Fights Off a Lion. From a manuscript page from the Shahnama, from Tabriz, Iran. 1515-22. Gouache on paper, 16" × 11 1/2". The British Museum, London.

Sultan Muhammad's illustration of Rustam Sleeps While Rakhsh Fights Off a Lion uses which methods for depicting the illusion of three-dimensional space on a two-dimensional surface?

. The three Horatii brothers swear allegiance to Rome. Their father, representing the state, presents them with swords, approving their sacrifice. Sisters of the Curiatii and Horatii weep. At the very least, they will lose either their brothers or their beloveds.

Figure 19.10. Jacques-Louis David. The Oath of the Horatii. 1784. Oil on canvas, 10' 8 3/8" X 14'. Louvre Museum, Paris, France.

Jacques-Louis David. The Oath of the Horatii uses which methods for depicting the illusion of three-dimensional space on a two-dimensional surface?

. In the war panel, 1. At the bottom, Sumerian chariots trample naked enemies, so shown to depict their lower, humiliated status. 2. In the middle, Sumerian soldiers lead captured, naked enemies. 3. At the top, soldiers present naked prisoners to a ruling figure, who is shown with such hierarchical scaling, his large size denoting his importance, that his head breaks through the line of the top register.
FIGURE 13.12. Standard of Ur, war panel. From the Royal Cemetery, Ur (present-day Muqaiyir, Iraq). c. 2500 BCE. Wood inlaid with shell, lapis lazuli, red limestone, and bitumen, 8" × 1' 7". The British Museum, London.

Why does the Standard of Ur's war panel show the passage of time?

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