Art 126, Past Quizzes, Spring 2014

Quiz #1

  1. What is a commentary (explanation exposing origins, connections & results of material examined)?
  2. What is an axiom (unquestionable assumption)?
  3. What is a concept (collection of different kinds of data & thought forming overall idea)?
  4. What is an issue (2 or more concepts in conflict, dissatisfaction)?
  5. What is the purpose of Classicism (reveal divine truth and hence benefit soul)?
  6. What are the two Classical axioms about truth (no conflict, age & prestige)?
  7. What is the goal of Classical thinkers (achieve greatness)?
  8. How do you recognize Classical Beauty (completeness/good condition, bright colour/light, geometric qualities)?
  9. Spell contrapposto.
  10. Give any three signals of Idealization (nudity/near nudity, face and body at rest, contrapposto, smooth skin/little detail, geometric qualities)

Review of Quiz

Questions this time were asked in direct form, mimicking the language and order of the site. This lets you parrot. Another time, I will ask questions differently. For example, for question 6, I might ask:

How do Classical thinkers recognize truth (age & prestige)?
or
Did Classical thinkers believe that truth had to be proved (no)?
or
What assumption did Classical thinkers make about the variety of truths (cannot conflict/must harmonize)?
or
If two truths cannot conflict, what must they do (harmonize)?
Learn to think flexibly - to recognize ideas under different guises & to apply the information you already know.

Quiz no 2

  1. Do you have to prove Classical Truth (no)?
  2. What 2 things was Classical Beauty supposed to be able to do (manifest God, ennoble soul)?
  3. What does Idealization tell you about a figure (divine, perfect, favoured/grace)?
  4. What is the universe and everything in it made of, according to Plato (dross)?
  5. Why did Giotto make his figures so large (so they could be easily seen, narrative clarity)?
  6. Why did Giotto make landscapes and buildings so small (required to be complete for Classical Beauty, if he made them to scale, they would be cut up by the frame & incomplete)?
  7. Why would artists and architects want to make perfectly geometrical space (create Classical Beauty with no dross, only experience of perfection possible under Classicism)?
  8. What is foreshortening (compacting objects so they project towards viewer)?
  9. What is the Italian word for "blurry" (sfumato)?
  10. What is the Italian word for modelling in light and shade, or modelling in light and dark (chiaroscuro)?
  11. What is the word for deep pools of black shadow (tenebrism)?

Quiz 3

  1. Give three ways Classical thinkers recognized greatness (innovation, achievement, exhaustion).
  2. Why was is essential for a church to be Classically Beautiful (CB manifests God & ennobles soul as a church should do)
  3. Alberti set architects a difficult problem with the design of a church fašade. Did he solve it himself (no)?
  4. How was the problem solved in the end (colossal corbels, by Giacomo della Porta on Il Gesu)?
    (name of architect & church = 1 bonus point each)
  5. What is exhaustion (perfection, no improvement considered possible)?
  6. At St Peter's, did Bramante put the geometry in the masonry or the space (space)?
  7. Was Bramante's design for St Peter's Classically Beautiful (yes)?
  8. Was Bramante's design for St Peter's structurally safe (no)?
  9. What is an axiom (unquestionable assumption)?
  10. What is the result for Classical thought if two truths come into conflict (it collapses, fails)?

Quiz no 4

  1. Give three signals for a STATIC composition (horizontals, verticals, wide base, simplicity, complete forms)
  2. Name two human experiences of the static (e.g. mountains, architecture, doors, walls, locks, sleep, death, etc)
  3. Give three signals for a LYRICAL composition (curves, sfumato or soft/blurry finish, use of blue)
  4. Name three human experiences of lyrical forms (e.g. sea/water, hills, clouds, infants, eroticism, etc)
  5. Which compositional type do diagonal forms belong to (dynamic)?
  6. Which compositional type is most likely to be used for solemn purposes (static - remember, our experience of the static tends to be absolute. There's no arguing with the eternity and immovability of mountains, the finality of death, the exclusion of locks etc)
  7. Spell "corbel"
  8. What is "foreshortening" (compacting an object so it appears to project towards the viewer remember, foreshortening is different from linear perspective. It is about objects, not space, and about projection not recession)
  9. Did Classical thought place any restrictions on women artists (yes, only painting/engraving)?
  10. Pliny set women artists at the end of his chronology of art - why (the later developments were more prestigious, he understood women artists as the proof that humanity and art had reached their highest perfection)?