Humanities Through The Arts 10Th Edition By Lee Jacobus – Test Bank

 

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Sample Test

Humanities through the Arts, 10e (Jacobus)

Chapter 3   Being a Critic of the Arts

 

1) Interpretive criticism centers upon

1.   A) formal elements of a work.

2.   B) the content.

3.   C) the relative merits of a work.

4.   D) the degree of beauty of a work of art.

 

Answer:  B

Page Ref: 49

Learning Objective:  Define interpretive criticism.

Bloom’s:  1. Knowledge

 

2) Descriptive criticism focuses upon

1.   A) formal elements of a work.

2.   B) the content.

3.   C) the relative merits of a work.

4.   D) the degree of beauty of a work of art.

 

Answer:  A

Page Ref: 49

Learning Objective:  Define descriptive criticism.

Bloom’s:  1. Knowledge; 2. Comprehension

 

3) Evaluative criticism centers on

1.   A) formal elements of a work.

2.   B) the content.

3.   C) the relative merits of a work.

4.   D) the degree of beauty of a work of art.

 

Answer:  C

Page Ref: 49

Learning Objective:  Define evaluative criticism.

Bloom’s:  1. Knowledge

 

4) A work of art is most likely to be judged a masterpiece by an evaluative critic if

1.   A) it is inexhaustible.

2.   B) its form is perfect.

3.   C) it has a subject matter that defies comprehension.

4.   D) it puzzles critics.

 

Answer:  A

Page Ref: 58

Learning Objective:  Define evaluative criticism.

Bloom’s:  2. Comprehension; 3. Apply

 

 

5) A detail relationship of an artistic form is

1.   A) the connection of one part to the overall structure.

2.   B) the connection of a part to another part or parts.

3.   C) the detail within a part.

4.   D) none of the above.

 

Answer:  B

Page Ref: 51

Learning Objective:  Identify detail and structural relationships in works of art.

Bloom’s:  1. Knowledge; 2. Comprehension

 

6) A region of a work of art is

1.   A) a larger distinct part or group of parts.

2.   B) a geographical representation.

3.   C) a landscape area.

4.   D) none of the above.

 

Answer:  A

Page Ref: 51

Learning Objective:  Identify detail and structural relationships in works of art.

Bloom’s:  1. Knowledge

 

7) A structural relationship in a work of art is

1.   A) the overall organization.

2.   B) the connection of a part to the overall structure.

3.   C) a perceptually distinct part or group of parts.

4.   D) none of the above.

 

Answer:  B

Page Ref: 51

Learning Objective:  Identify detail and structural relationships in works of art.

Bloom’s:  1. Knowledge

 

8) Which of the following was considered shock art?

1.   A) Ofili, Holy Virgin Mary

2.   B) Pollock, Autumn Rhythm

3.   C) Drost, The Polish Soldier

4.   D) Leonardo, The Last Supper

 

Answer:  A

Page Ref: 59

Learning Objective:  Identify examples of shock art.

Bloom’s:  1. Knowledge; 2. Comprehension

 

 

9) The statement that Picasso’s Guernica is a better painting than Blume’s The Eternal City is

1.   A) interpretive.

2.   B) historical.

3.   C) descriptive.

4.   D) evaluative.

 

Answer:  D

Page Ref: 57

Learning Objective:  Distinguish between three kinds of criticism (descriptive, interpretive, and evaluative).; Define evaluative criticism.

Bloom’s:  3. Apply

 

10) The statement that there are more detailed relationships in The Flame than in The Last Supper is

1.   A) interpretive.

2.   B) historical.

3.   C) descriptive.

4.   D) evaluative.

 

Answer:  C

Page Ref: 49

Learning Objective:  Define descriptive criticism.; Distinguish between three kinds of criticism (descriptive, interpretive, and evaluative).

Bloom’s:  2. Comprehension; 3. Apply

 

11) The statement that the bull in Picasso’s Guernica symbolizes Franco’s utter insensitivity to suffering is

1.   A) interpretive.

2.   B) descriptive.

3.   C) evaluative.

4.   D) historical.

 

Answer:  A

Page Ref: 53

Learning Objective:  Distinguish between three kinds of criticism (descriptive, interpretive, and evaluative).; Define interpretive criticism.

Bloom’s:  2. Comprehension; 3. Apply

12) Interpretive critics, even more so than other critics, must be familiar with

1.   A) the form-content.

2.   B) the subject matter.

3.   C) other schools of criticism.

4.   D) the regional relationship.

 

Answer:  B

Page Ref: 56

Learning Objective:  Define interpretive criticism.

Bloom’s:  1. Knowledge; 2. Comprehension

 

13) Noticing the rhyme, steady meter, and quatrain stanza structure of Yeats’s “The Lake of Innisfree” is

1.   A) interpretive criticism.

2.   B) historical criticism.

3.   C) descriptive criticism.

4.   D) evaluative criticism.

 

Answer:  C

Page Ref: 55

Learning Objective:  Define descriptive criticism.; Distinguish between three kinds of criticism (descriptive, interpretive, and evaluative).

Bloom’s:  2. Comprehension; 3. Apply

 

14) A descriptive criticism of Jackson Pollock’s The Flame would

1.   A) point out the vigorous color contrasts of the composition.

2.   B) assess the merits of Pollock’s work.

3.   C) explain the symbolic meaning of the fiery forms.

4.   D) assert that the work is a masterpiece.

 

Answer:  A

Learning Objective:  Define descriptive criticism.; Distinguish between three kinds of criticism (descriptive, interpretive, and evaluative).

Bloom’s:  2. Comprehension; 3. Apply

15) N. J. Berrill points out in Man’s Emerging Mind that

1.   A) we are more likely to believe what we see.

2.   B) we are more likely to see what we believe.

3.   C) we believe that we see what is there.

4.   D) seeing is believing.

 

Answer:  B

Explanation:  As N. J. Berrill points out in Man’s Emerging Mind,

 

The statement you often hear that seeing is believing is one of the most misleading ones a man has ever made, for you are more likely to see what you believe than believe what you see. To see anything as it really exists is about as hard an exercise of mind and eyes as it is possible to perform.

Page Ref: 56

Learning Objective:  Recognize the importance of form-content in the analysis of a work of art.

Bloom’s:  1. Knowledge

 

16) Descriptively criticize the Last Supper (see Figure 3-1). Point out every facet of form that seems important. Look for shapes that relate to each other, including shapes formed by groupings of figures. Do any shapes stand out as unique? Explain.

 

Answer:  Answers will vary.

Learning Objective:  Analyze Leonardo da Vinci’s painting “The Last Supper.”

Bloom’s:  4. Analysis

 

17) Discuss the detail and structural relationships in Picasso’s Guernica.

 

Answer:  Answers will vary.

Learning Objective:  Identify detail and structural relationships in works of art.

Bloom’s:  3. Apply

 

Humanities through the Arts, 10e (Jacobus)

Chapter 5   Sculpture

 

1) Sculpture, more than painting, appeals to

1.   A) the visual sense.

2.   B) the sense of touch.

3.   C) the imagination.

4.   D) common sense.

 

Answer:  B

Page Ref: 95

Learning Objective:  Describe characteristics of sculpture.

Bloom’s:  1. Knowledge

 

2) What statement best describes the space around a sculpture?

1.   A) It is empty.

2.   B) It is sensory.

3.   C) It is intangible.

4.   D) It is shallow.

 

Answer:  B

Explanation:  The space around a sculpture is sensory rather than empty. Despite its invisibility, sensory space—like the wind—is felt.

Page Ref: 103

Learning Objective:  Describe sensory space.

Bloom’s:  2. Comprehension

 

3) Which type of sculpture has the least amount of depth dimension?

1.   A) Sculpture in the round

2.   B) High-relief sculpture

3.   C) Low-relief sculpture

4.   D) Medium-relief sculpture

 

Answer:  C

Page Ref: 109

Learning Objective:  Recognize characteristics of low-relief sculpture.

Bloom’s:  1. Knowledge; 2. Comprehension

 

 

4) Sculpture that has grooves of various depths cut into the surface plane of stone while the surface remains clearly perceptible is

1.   A) sunken-relief sculpture.

2.   B) low-relief sculpture.

3.   C) high-relief sculpture.

4.   D) being true to materials.

 

Answer:  A

Page Ref: 99

Learning Objective:  Recall characteristics of sunken-relief sculpture.

Bloom’s:  1. Knowledge; 2. Comprehension

 

5) Our bodies are more actively involved in the perception of

1.   A) low-relief sculpture.

2.   B) high-relief sculpture.

3.   C) sculpture in the round.

4.   D) sunken-relief sculpture.

 

Answer:  C

Page Ref: 106

Learning Objective:  Recognize characteristics of sculpture in the round.

Bloom’s:  1. Knowledge; 2. Comprehension

 

6) An example of “truth to materials” in sculpture is

1.   A) a stone carving that lacks depth.

2.   B) a realistic shape that replicates some false or fictitious reality.

3.   C) an abstract shape with no clearly identifiable subject.

4.   D) a wood carving shaped to reveal the grain of the wood.

 

Answer:  D

Explanation:  Truth to materials refers to respect for (or defiance of) the distinctive characteristics of an artistic medium.

Page Ref: 110

Learning Objective:  Explain the notion of truth to materials.

Bloom’s:  2. Comprehension; 3. Apply

 

7) The Pietá was sculpted by

1.   A) Calder

2.   B) Michelangelo

3.   C) Rodin

4.   D) Ghiberti

 

Answer:  B

Page Ref: 101

Learning Objective:  Recognize characteristics of sculpture in the round.

Bloom’s:  1. Knowledge

 

 

8) Which type of sculpture especially brings out the three-dimensionality of objects?

1.   A) low relief sculpture

2.   B) high relief sculpture

3.   C) sculpture in the round

4.   D) sunken relief sculpture

 

Answer:  C

Page Ref: 100

Learning Objective:  Recognize characteristics of sculpture in the round.

Bloom’s:  1. Knowledge

 

9) Abstract sculptures

1.   A) usually represent specific objects and events.

2.   B) often make the density of sensa their primary subject matter.

3.   C) can only represent density, but cannot present it.

4.   D) are space sculptures.

 

Answer:  B

Page Ref: 97

Learning Objective:  Describe characteristics of sculpture.

Bloom’s:  2. Comprehension

 

10) Which of the following is true of contemporary versus traditional sculpture?

1.   A) It is more likely to be made by modeling.

2.   B) It is more likely to be made by carving.

3.   C) It is more likely to be made by assembling preformed pieces of material.

4.   D) It is easy to classify.

 

Answer:  C

Page Ref: 125

Learning Objective:  Differentiate contemporary and traditional sculpture.

Bloom’s:  4. Analysis

 

11) Protest against technology sculpture emphasizes

1.   A) spatial relationships between humans.

2.   B) the density of technological materials.

3.   C) humanity’s growing dependence on technology.

4.   D) technological movement.

 

Answer:  C

Page Ref: 114

Learning Objective:  Differentiate contemporary and traditional sculpture.

Bloom’s:  2. Comprehension

 

 

12) Spiral Jetty is an example of

1.   A) earth sculpture.

2.   B) environmental sculpture.

3.   C) machine sculpture.

4.   D) accommodation with technology.

 

Answer:  A

Explanation:  The earth itself is subject matter.

Page Ref: 118

Learning Objective:  Classify “Spiral Jetty” as earth sculpture.

Bloom’s:  4. Analysis

 

13) Lin’s Vietnam Veterans Memorial is an example of

1.   A) public sculpture.

2.   B) earth sculpture.

3.   C) environmental sculpture.

4.   D) sculpture in the round.

 

Answer:  A

Explanation:  Consider the location and shape of Lin’s sculpture.

Page Ref: 122

Learning Objective:  Classify works of public sculpture.

Bloom’s:  4. Analysis

 

14) Why was Lin’s Vietnam Veterans Memorial initially controversial?

1.   A) It commemorated an unpopular war.

2.   B) It applauded feminist efforts.

3.   C) It provoked antiwar sentiment.

4.   D) It defied spatial perception.

 

Answer:  A

Explanation:  Maya Ying Lin’s Vietnam Veterans Memorial (Figure 5-27) is in Washington, D.C. Because the Vietnam War was both terribly unpopular and a major defeat, there were fears that any memorial might stir public antagonism. However, it has become a most popular attraction both in its place in Washington, D.C., and as a replica tours around the country.

Learning Objective:  Recall the controversial background of Lin’s Vietnam Veterans Memorial.

Bloom’s:  1. Knowledge

 

15) Describe Edgar Degas’s The Little Fourteen-Year-Old Dancer (Figure 5-5). What is the subject matter of the sculpture? What does the composition of the dancer tell us about the subject matter?

 

Answer:  Answers will vary.

Learning Objective:  Describe characteristics of sculpture.; Analyze specific works of sculpture.

Bloom’s:  3. Apply; 4. Analysis

 

 

16) Compare Michelangelo’s David (Figure 5-8) with Rodin’s Danaïde (Figure 5-9). How does each sculptor establish the gender of his figure? Does Rodin achieve more in terms of gender identity by leaving some of the original marble unfinished?

 

Answer:  Answers will vary.

Learning Objective:  Analyze specific works of sculpture.;Evaluate specific works of sculpture.

Bloom’s:  4. Analysis; 5. Synthesis; 6. Evaluation