Q&A Hero

Q: What was Edvard Munch trying to depict in his lithograph The Scream? a. the feeling of being a social outcast b. the fear of abandonment c. the feeling of hearing a loud, piercing shriek from nature d. a man emitting a loud shriek e. none of these are correct

Q: The dark field method is __________. a. the use of dark metal plates b. based upon the color field painters of the mid-twentieth century c. the ground that covers a metal plate in an etching before being placed in an acid bath d. when ink covers the entire plate before being removed to create the desired image in monotype e. the glue that forms a stencil in silkscreen

Q: Caravaggio was known for his chiaroscuro; what does this term mean? a. extreme naturalism b. a dramatic contrast of light and dark c. secular subject matter d. disguising symbolism e. none of these are correct

Q: The Japanese sculptural group the Amida Buddha reflects the tastes of its aristocratic patrons by ____. a. having gilded wood b. being refined and aloof like a prince c. containing slim, delicate, and ornate carvings d. depicting the angels surrounding the Buddha like royal attendants e. all of these are correct

Q: The Power of Art

Q: All of the following are true about African sculpture except ______. a. wood carving is the most important sculptural art of Africa b. sculpture in wood is carved from a single piece of a tree c. the shape of the sculpture is limited by the size and shape of the tree d. casting is the most important sculptural art of Africa e. none of these are correct

Q: Most cast metal sculptures are made to be hollow by using a process called the _______. a. lost wax method b. maquette c. low relief d. subtractive method e. additive method

Q: Which of the following is NOT true of artist networks? a. They were first developed in the twentieth century. b. They resist the notion that artists do not collaborate. c. They have always played a key role in art making. d. They encourage the exchange of ideas. e. They are limited to artists working at the same time.

Q: The nineteenth century artist that helped to elevate color lithography to a fine art status was _______. a. William Hogarth b. Bonnie Maclean c. Barbara Kruger d. Mary Cassatt e. Henri de Toulouse-Lautrec

Q: In his painting The Last Supper, Tintoretto made his subject matter _____. a. come to life b. exciting c. a combination of Titians color with Michelangelos design and drawing d. dramatic e. all of these are correct