ch 1.7 (questions)

Chapter 1.7

Scale and Proportion

PART 1FUNDAMENTALS

Copyright © 2011 Thames & Hudson

PART 1FUNDAMENTALS

Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields

Chapter 1.7 Scale and Proportion

Introduction

We perceive scale in relation to our own size Art objects created on a monumental scale appear larger

than they would be in normal life

Art objects created on a human scale correspond to the size of things as they actually exist

Small-scale objects appear smaller than our usual experience of them in the real world

Usually, an artist ensures that all the parts of an object are in proportion to one another

But discordant proportions can express specific meanings

PART 1FUNDAMENTALS



Scale

Artists and designers make conscious choices about the scale of their work when they consider the message they want to put across

A small-scale work implies intimacy

Large-scale works can be experienced by groups of viewers and usually communicate big ideas directed at a large audience

Practical considerations can affect an artist’s decision about scale too

Cost, time it will take to execute the piece, and demands that a specific location may place on the work are all factors

PART 1FUNDAMENTALS



Scale and Meaning

Usually a monumental scale indicates heroism or other epic virtues

War monuments, for example, often feature figures much larger than life-size in order to convey the bravery of the warriors

1.126 Claes Oldenburg and Coosje van Bruggen, Mistos (Match Cover), 1992. Steel, aluminum, fiber-reinforced plastic, painted with polyurethane enamel, 68' x 33' x 43’4”. Collection La Vall d'Hebron, Barcelona, Spain

PART 1FUNDAMENTALS



Claes Oldenburg and Coosje van Bruggen,Mistos (Match Cover)

Uses monumental scale to poke fun while expressing admiration for the little things of everyday life

Oldenburg transforms the essence of everyday things as he magnifies their sculptural form

Oldenburg believes that the items of mass culture, no matter how insignificant they might seem, express a truth about modern life

1.127 Robert Lostutter, The Hummingbirds, 1981. Watercolor on paper, 1¾ x 5⅝”. Collection of Anne and Warren Weisberg

PART 1FUNDAMENTALS



Robert Lostutter, The Hummingbirds

Lostutter uses small scale to enhance the character of his work

He likes to create his works on the scale not of a human but of a bird

The tiny scale of the work—only one person at a time can see it properly—forces us to come closer, so viewing it becomes an intimate experience

PART 1FUNDAMENTALS



Hierarchical Scale

Hierarchical scale refers to the deliberate use of relative size in a work of art, in order to communicate differences in importance

Almost always, larger means more important, and smaller means less important

1.128 slide 1: Relief from the northern wall of the hypostyle hall at the great temple of Amun, 19 th Dynasty, c. 1295–1186 BCE.

Karnak, Egypt

1.128 slide 2: Hierarchical scale: Relief from the northern wall of the hypostyle hall at the great temple of Amun, 19th Dynasty, c. 1295–1186 BCE.

Karnak, Egypt

PART 1FUNDAMENTALS



Hierarchical scale: Relief from the northern wall of the hypostyle hall at the great temple of Amun

In the art of ancient Egypt, the king, or pharaoh, was usually the largest figure depicted because he had the highest status in the social order

This scene depicts the military campaign of Pharaoh Seti I (figure A) against the Hittites and Libyans

1.129 Jan van Eyck, Madonna in a Church, 1437–8. Oil on wood panel, 12⅝ x 5½”. Gemäldegalerie, Staatliche Museen, Berlin, Germany

PART 1FUNDAMENTALS



Jan van Eyck, Madonna in a Church

Uses hierarchical scale to communicate spiritual importance

In his effort to glorify the spiritual importance of Mary and the Christ child, Van Eyck separates them from normal human existence

Van Eyck has scaled them to symbolize their central importance in the Christian religion

PART 1FUNDAMENTALS



Distorted Scale

An artist may deliberately distort scale to create an abnormal or supernatural effect

1.130 Dorothea Tanning, Eine Kleine Nachtmusik, 1943. Oil on canvas, 16⅛ x 24”. Tate, London

PART 1FUNDAMENTALS



Dorothea Tanning, Eine Kleine Nachtmusik

Dorothea Tanning was a Surrealist artist

The sunflower seems huge in relation to the interior architecture and the two female figures standing on the left

By contradicting our ordinary experience of scale, Tanning invites us into a world unlike the one we know

Eine Kleine Nachtmusik (“A Little Night Music”) is a title borrowed from a lighthearted piece of music by the composer Mozart, but ironically Tanning’s scene exhibits a strange sense of dread

PART 1FUNDAMENTALS



Proportion

The relationships between the sizes of different parts of a work make up its proportions

By controlling these size relationships, an artist can enhance the expressive and descriptive characteristics of the work

PART 1FUNDAMENTALS



1.131 Examples of how proportion changes on vertical and horizontal axes

PART 1FUNDAMENTALS



Human Proportion

Carefully chosen proportion can make an art object seem pleasing to the eye

This goes for the human body, too

The ancient Egyptians used the palm of the hand as a unit of measurement

The ancient Greeks sought an ideal of beauty in the principle of proportion

The models used by the Greeks for calculating human proportion were later adopted by artists of ancient Rome, and then by Renaissance artists

PART 1FUNDAMENTALS

Interactive Exercises:

Click the image above to start the interactive exercises



NOTE: Internet access is required to view this material

Human Proportion

http://www.wwnorton.com/college/art/gatewaystoart/ch/07/interactive.aspx

PART 1FUNDAMENTALS



1.132 Ancient Egyptian system using the human hand as a standard unit of measurement

1.133 Nigerian Ife artist, Figure of Oni, early 14th–15th century. Brass with lead, 18⅜” high. National Museum, Ife, Nigeria

PART 1FUNDAMENTALS



Nigerian Ife artist, Figure of Oni

The Oni is the most powerful and important figure in this culture

The head is large in proportion to the rest of the body; the Yoruba believe that the head is the seat of a divine power

Many African sculptures exaggerate the head and face as a way to communicate status, destiny, and a connection to the spiritual

Click the image above to launch the video

PART 1FUNDAMENTALS



1.134 Raphael, The School of Athens, 1510–11. Fresco, 16’ 8” x 25’. Stanza della Segnatura, Vatican City

PART 1FUNDAMENTALS

Gateway to Art:



Raphael, The School of AthensScale and Proportion in a Renaissance Masterpiece

Raphael’s sensitivity to proportion reflects his pursuit of perfection

He indicated the importance of his masterpiece by creating it on a magnificent scale

He composed the individual figures so that the parts of each figure are harmonious in relation to each other and portray an idealized form

Double emphasis on the center brings our attention to the opposing gestures of two famous Greek philosophers, Plato and Aristotle

PART 1FUNDAMENTALS



The Golden Section

The Golden Section is a proportional ratio of 1:1.618, which occurs in many natural objects

Real human bodies do not have exactly these proportions, but when the ratio 1:1.618 is applied to making statues, it gives naturalistic results

The proportions of Ancient Greek sculptures are often very close to the Golden Section

PART 1FUNDAMENTALS



1.135 The Golden Section

1.136 Poseidon (or Zeus), c. 460–450 BCE. Bronze, 6’10½” high. National Archaeological Museum, Athens, Greece

1.137 Diagram of proportional formulas used in the statue

PART 1FUNDAMENTALS



Poseidon

As a Greek god, Poseidon had to have perfect proportions

The sculptor applied a conveniently simple ratio, using the head as a standard measurement

The body is three heads wide (at the shoulders) by seven heads high

PART 1FUNDAMENTALS



Proportional Ratios

“Golden Rectangles” is a technique based on nesting inside each other a succession of rectangles based on the 1:1.618 proportions of the Golden Section

The shorter side of the outer rectangle becomes the longer side of the smaller rectangle inside it, and so on

The result is an elegant spiral shape

1.138a Henry Peach Robinson, Fading Away, 1858. Combination albumen print. George Eastman House, Rochester, New York

1.138b Proportional analysis: Henry Peach Robinson’s Fading Away

PART 1FUNDAMENTALS



Henry Peach Robinson, Fading Away

Henry Peach Robinson was a great photographic innovator

This image shows Robinson’s attention to the coordinated ratios in artistic composition

Notice how the right-hand drape divides the photograph into two Golden Rectangles, and how the spiral draws our eye to the dying young woman

1.139 Iktinos and Kallikrates, Parthenon, 447–432 BCE. Athens, Greece

PART 1FUNDAMENTALS



Iktinos and Kallikrates, Parthenon

By applying the idealized rules of proportion for the human body to the design of the Parthenon, a temple to the goddess Athena, the Greeks created a harmonious design

The proportions correspond quite closely to the Golden Section

The vertical and horizontal measurements work together to create proportional harmony

PART 1FUNDAMENTALS



1.140 The use of the Golden Section in the design of the Parthenon


PART 1FUNDAMENTALS



PART 1FUNDAMENTALS



Conclusion

When proportion conforms to scale, all the parts of the work look the way we expect them to

Scale and proportion are basic to most works; size choices influence all the other elements and principles in the design

PART 1FUNDAMENTALS

PowerPoints developed by CreativeMyndz Multimedia Studios


This concludes the PowerPoint slide set for Chapter 1.7

Gateways to Art: Understanding the Visual Arts By Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields


REVIEW QUESTIONSCH. 1.7

• SCALE AND PROPORTION

• When a Yoruba sculptor created a human form, he or she made this body part disproportionately large:

a) feet.b) hands.c) head.d) torso.e) none of these body parts

• Something done on a monumental scale usually indicates __________ .

a) epic virtuesb) heroismc) braveryd) admiratione) all of the other answers

• This Greek sculptor wrote a treatise on how to create a statue of a human being with perfect proportions.

a) Platob) Aristotlec) Phidiasd) Michelangeloe) Polykleitos

• This use of scale can create an abnormal or supernatural effect, and was used by the Surrealists to do just that.

a) Proportionb) Distorted scalec) Monumental scaled) Small scalee) Balance

• Raphael’s School of Athens depicts this:

a) a gathering of great scholars.

b) the building where philosophy was taught.

c) a Turkish bath.d) a group of figures with

large heads.e) artists at work on Greek

art.

• In Egyptian art the Pharaoh was almost always depicted in this way.

a) Small in relation to other objects

b) The same as other figuresc) Along the edge of the

workd) As the largest of all figurese) Lying down

• Robert Lostutter creates his work with a particular scale in mind. That scale relates to these animals:

a) birds.b) elephants.c) whales.d) insects.e) microbes.

• Scale can be used to indicate importance but not __________ .

a) sizeb) bignessc) significanced) smallnesse) none of these answers

• Henry Peach Robinson created his photographic work Fading Away by using a Golden __________ for the format dimensions.

a) Triangleb) Spiralc) Squared) Sectione) Harp

• A work that is created in small scale can communicate __________ .

a) intimacyb) monumentalityc) big ideasd) epic storiese) all of the other answers

1.147 Francisco de Zurbarán, The Funeral of St. Bonaventure, 1629. Oil on canvas, 8' 2” x 7' 4”. Musée du Louvre, Paris, France

Francisco de Zurbarán, The Funeral of St. Bonaventure

• Most of the lightest values in the painting are reserved for the clothing adorning the dead body of St. Bonaventure

• These create a central focal point that stands out in contrast to the surrounding dark values

• The whiteness of his clothing symbolizes Bonaventure's spotless reputation

• Enough light value is distributed to the other figures to allow our eyes to be drawn away from the saint’s body, making the composition more interesting

PART 1FUNDAMENTALS


Chapter 1.8 Emphasis and Focal Point

Emphasis and Focal Point in Action:Placement

The placement of elements within a composition controls rhythm and creates multiple focal points

1.148 Ando Hiroshige, “Riverside Bamboo Market, Kyobashi,” from One Hundred Famous Views of Edo, 1857. 15 x 10⅜”. James A. Michener Collection, Honolulu Academy of Arts, Hawaii

Ando Hiroshige, “Riverside Bamboo Market, Kyobashi”

• The positions of the moon, the bridge, and the figure in a boat form three separate focal points

• Each shape commands our attention and draws more of our focus to the right side of the work

• The varying distances between the placements of the three focal points also create rhythm that adds visual interest

PART 1FUNDAMENTALS



Conclusion

All the elements and principles of art can serve to create emphasis

Both actual and implied lines shape our examination of a work of art by directing the movement of our gaze

Contrasts between different values, colors, or textures can sometimes be so dramatic and distinct that we cannot help but feel drawn to that area of a work


PART 1FUNDAMENTALS



PART 1FUNDAMENTALS



1.141 Metropolitan Museum of Art, Gift of Nathan Cummings, 1966, 66.30.2. Photo Metropolitan Museum of Art/Art Resource/Scala, Florence

1.142 Photo © Museum of Fine Arts, Boston. Courtesy Jules Olitski Warehouse LLC. © Estate of Jules Olitski, DACS, London/VAGA, New York 2011

1.143 © Estate of Mark Tobey, ARS, NY/DACS, London 2011. Courtesy Sotheby’s

1.144 Musées Royaux des Beaux-Arts de Belgique, Brussels

1.145 Galleria degli Uffizi, Florence

1.146 Victoria & Albert Museum, London

1.147 Musée du Louvre, Paris

1.148 James A. Michener Collection, Honolulu Academy of Arts

Picture Credits for Chapter 1.8

PART 1FUNDAMENTALS



Study Questions chapter 1.8

PART 1FUNDAMENTALS



1.This is a specific place of visual emphasis in a work of art.

a. Focal pointb. Varietyc. Subversiond. Vanishing pointe. None of these answers

PART 1FUNDAMENTALS



2. When an artist wants to draw attention away from a particular part of the work, he or she uses__________.

Topic: n/aa. subordinationb. focal pointc. emphasisd. distortione. balance

• 3. The abstract work Tin Lizzie Green by Jules Olitzki draws attention to this part of the work.

• a. top• b. bottom• c. center• d. left• e. right

• 4. Blue Interior by Mark Tobey focuses the viewer’s attention squarely on this area of emphasis:

• a. there is no area of emphasis

• b. the blue marks.• c. the light marks.• d. the center.• e. the bottom edge.

• 5. In Bruegel’s Landscape with the Fall of Icarus, the viewer is directed away from Icarus plunging into the sea through the use of __________ .

• a. subordination• b. focal point• c. emphasis• d. balance• e. proportion

• 6. In Artemisia Gentileschi’s work Judith Decapitating Holofernes, the viewer is directed to the __________ that is indicated by directional lines.

• a. area of emphasis• b. subordinated point• c. vanishing point• d. the top of the work• e. focal point

PART 1FUNDAMENTALS



7. This kind of line tends to be more visually active so it can draw the viewer’s attention.

a. Verticalb. Diagonalc. Horizontald. Solide. None of these

• 8. Placement of elements in a composition controls this and creates multiple focal points.

• a. Size• b. Proportion• c. Rhythm• d. Line• e. Focal point

• 9. Hiroshige used this process to create the work "Riverside Bamboo Market, Kyobashi.”

• a. Sculpture• b. Ceramics• c. Tapestry• d. Printmaking• e. Glass

PART 1FUNDAMENTALS



10. Which of these elements of art and principles of design can be used to create emphasis?

a. All of the other answersb. Shapec. Colord. Contraste. Rhythm

Chapter 1.9

Pattern and Rhythm

PART 1FUNDAMENTALS


PART 1FUNDAMENTALS


Chapter 1.9 Pattern and Rhythm

Introduction

Artists use pattern and rhythm to bring order to space and to create a dynamic experience of time

When events recur, this creates a pattern

Patterns are created by the recurrence of an art element

In a work of art, the repetition of such patterns gives a sense of unity

Rhythm arises through the repetition of pattern

The rhythm of a series of linked elements guides the movement of our eyes across and through a design

PART 1FUNDAMENTALS



Pattern

The use of repetition in a work of art usually results in the creation of a pattern

Artists often create unity in works of art by repeatedly using a similar shape, value, or color, for example

An artist can use repetition of a pattern to impose order on a work

Sometimes artists use alternating patterns to make awork more lively

The area covered by pattern is called the field

PART 1FUNDAMENTALS



1.149 Horizontal alternating pattern

Suzanne Valadon, The Blue Room

• Includes three contrasting patterns– The blue bed covering, in

the lower portion of the painting

– The green-and-white striped pattern in the woman’s pajama bottoms

– Above the figure is a mottled pattern

• The differences in these patterns energize the work

1.150 Suzanne Valadon, The Blue Room, 1923. Oil on canvas, 35½ × 45⅝”. Musée National d’Art Moderne,Centre Georges Pompidou, Paris, France

PART 1FUNDAMENTALS



Motif

A design repeated as a unit in a pattern is called a motif

Motifs can represent ideas, images, and themes that can be brought together through the use of pattern

An artist can create a strong unified design by repeating a motif

PART 1FUNDAMENTALS

Gateway to Art:



Huqqa base

Elements, such as the flowers and leaves of the plants, recur at intervals

1.151 Huqqa base, India, Deccan, last quarter of 17th century. Bidri ware (zinc alloy inlaid with brass), 6⅞ x 6½ in. Metropolitan Museum of Art, New York

1.152 slide 1: Pashmina carpet with millefleur pattern, northern India, Kashmir or Lahore, second half of 17th century. Ashmolean Museum, Oxford

1.152 slide 2: Detail of pashmina carpet with millefleur pattern

PART 1FUNDAMENTALS



Pashmina carpet with millefleur pattern

Flower-like motifs are arranged in a pattern in the center


PART 1FUNDAMENTALS



Chuck Close, Self Portrait

• Uses motif to unify his paintings• Uses a repeated pattern of

organic concentric rings set into a diamond shape as the basic building blocks for his large compositions

• There is a difference between a close-up view of the painting and the overall effect when we stand back from this enormous canvas

• The motif that Close uses is the result of a technical process

• A grid that subdivides the entire image organizes the placement of each cell

1.153a Chuck Close, Self Portrait, 1997. Oil on canvas, 8’6” × 7’. MOMA, New York

1.153b Chuck Close,Self Portrait, detail

1.153c Chuck Close, Self Portrait, detail

PART 1FUNDAMENTALS



Randomness

The introduction of chance symbolizes anti-order

Artists who introduce randomness to a work try toavoid predictable repetition

Works made in this way purposely contradict widelyused traditional methods

Hans Arp, Trousse d’un Da

• Dada reveled in absurdity, irrationality, the flamboyantly bizarre, and the shocking

• Arp worked on creating “chance” arrangements

• Arp claimed that the arrangement of the shapes happened by random placement

1.154 Hans Arp, Trousse d’un Da,1920–21. Assemblage of driftwood nailed onto wood with painting remains, 15 x 10½ x 1¾”. Musée National d’Art Moderne, Centre Georges Pompidou, Paris, France

PART 1FUNDAMENTALS



Rhythm

Rhythm gives structure to the experience of looking, just as it guides our eyes from one point to another in a work of art

There is rhythm when there are at least two points of reference in an artwork

The intervals between elements provide points of reference for more complex rhythms

Pieter Bruegel, Hunters in the Snow

• We see not only large rhythmic progressions that take our eye all around the canvas, but also refined micro-rhythms in the repetition of such details as the trees, houses, birds, and colors

• The party of hunters on the left side first draws our attention into the work

• Our gaze then travels from the left foreground to the middle ground on the right

• We then look at the background of the work

• As a result of following this rhythmic progression, our eye has circled round the whole picture

1.155 slide 1: Pieter Bruegel, Hunters in the Snow, 1565. Oil on panel, 46 x 63¾ in. Kunsthistorisches Museum, Vienna, Austria

1.155 slide 2: Detail of Pieter Bruegel, Hunters in the Snow

1.155 slide 3: Detail of Pieter Bruegel, Hunters in the Snow

PART 1FUNDAMENTALS



Simple Repetitive Rhythm

A repeating “pulse” of similar elements sets up a visual rhythm that a viewer can anticipate

Such regularity communicates reassurance

The design of buildings is often intended to reassure us about the stability and durability of the structure

For this reason, architectural designs often incorporate simple repetition

Great Mosque of Córdoba

• Each of the repeating elements—columns, arches, and voussoirs—creates its own simple rhythm

• The accumulation of these simple repetitions also enhances the function of the space and becomes a part of the activity of worship, like prayer beads, reciting the Shahada (profession of faith), or the five-times-a-day call to prayer

1.156 Great Mosque of Córdoba, prayer hall of Abd al-Rahman I, 784–6, Córdoba, Spain

PART 1FUNDAMENTALS



Progressive Rhythm

Repetition that regularly increases or decreases in frequency creates a progressive rhythm as the eyemoves faster or slower across the surface of the work

PART 1FUNDAMENTALS



Alternating Rhythm

Artists can intertwine multiple rhythms until theybecome quite complex

Alternation of rhythms can add unpredictabilityand visual excitement

Bai-ra-Irrai

• The imagery above the entry of this bai begins, at the bottom, with the regular rhythms of horizontal lines of fish, but the images above become increasingly irregular as they change to other kinds of shapes

1.158 slide 1: Bai-ra-Irrai, originally built c. 1700 and periodically restored, Airai village, Airai State, Republic of Palau

1.158 slide 2: Detail of Bai-ra-Irrai

Goya, The Third of May, 1808Visual Rhythm in the Composition

• It can be divided up into two distinct rhythmic groups

• Although the number of figures in each group is the same, they are distributed very differently

– The group of French soldiers on the right stands in a pattern so regulated it is almost mechanical

– On the left side, the rhythms are irregular and unpredictable

• The alternating rhythm in this painting leads our eye from the figure in white, through a group of figures, downward to the victims on the ground

• It helps define our ideas about humanity and inhumanity

1.159 Francisco Goya, The Third of May, 1808, 1814. Oil on canvas, 8’4⅜” x 11’3⅞”. Museo Nacional del Prado, Madrid

PART 1FUNDAMENTALS



Rhythmic Design Structure

How artists divide visual space into different sections to achieve different kinds of effect

Rosa Bonheur, Plowing in the Nivernais: The Dressing of the Vines

• A horizontal structure leads our eye in sequence from one group of shapes to the next

• Bonheur expertly organizes the composition, emphasizing the cumulative effect of the rhythm of the groupings as they move from left to right

• By changing the width of the gaps between the animals, Bonheur suggests their irregular movement as they plod forward

• Each group also has a different relative size and occupies a different amount of space, creating a visual rhythm

1.160a Rosa Bonheur, Plowing in the Nivernais: The Dressing of the Vines, 1849. Oil on canvas, 4’4¾” x 8’6⅜”.Musée d’Orsay, Paris, France

1.160b Rhythmic structural diagram of 1.160a

PART 1FUNDAMENTALS



Conclusion

In works of art, good composition articulates patterns and rhythms in a way that grabs our attention

Because the visual rhythm of pattern is predictable, it tends to unify a work of art

Some artists try to contradict pattern by imposing randomness and chance to free a work from what they see as suffocating orderliness

Irregular rhythm can make a work seem unpredictable or make us feel uneasy

PART 1FUNDAMENTALS






PART 1FUNDAMENTALS



1.149 Ralph Larmann

1.150 Musée National d’Art Moderne, Centre Georges Pompidou, Paris

1.151 Metropolitan Museum of Art, Louis E. and Theresa S. Seley Purchase Fund for Islamic Art, and Rogers Fund, 1984. Photo Metropolitan Museum of Art/Art Resource/Scala, Florence

1.152 Ashmolean Museum, Oxford

1.153a, 1.153b, 1.153c Museum of Modern Art, New York, Gift of Agnes Gund, Jo Carole and Ronald S. Lauder, Donald L. Bryant, Jr., Leon Black, Michael and Judy Ovitz, Anna Marie and Robert F. Shapiro, Leila and Melville Straus, Doris and Donald Fisher, and purchase, Acc. no. 215.2000. Photo Ellen Page Wilson, courtesy The Pace Gallery © Chuck Close, The Pace Gallery

1.154 © DACS 2011

1.155 Kunsthistorisches Museum, Vienna

1.156 iStockphoto.com

1.157 Please note that this image is not available for digital use but can be found on page 148 of the textbook.

1.158 © WaterFrame/Alamy

1.159 Museo Nacional del Prado, Madrid

1.160a Musée d’Orsay, Paris

1.160b Ralph Larmann

Picture Credits for Chapter 1.9

PART 1FUNDAMENTALS



STUDY QUESTIONS CH 1.9

PART 1FUNDAMENTALS



1.This principle of design arises from repetition of a pattern.

a. Balanceb. Focal pointc. Unityd. None of these answerse. RhythmFeedback/Reference: Page 142

PART 1FUNDAMENTALS



2. Sometimes artists use this kind of changing pattern to make a work more lively.

a. Alternating patternb. Focal patternc. Interval patternd. Repetitive patterne. Balanced patternFeedback/Reference: Page 142

PART 1FUNDAMENTALS



3. In Islamic art it is not uncommon to see complex interlaced __________, which are designs repeated as units in a pattern.

a. arabesquesb. mihrabsc. motifsd. qiblase. none of theseFeedback/Reference: Page 143

PART 1FUNDAMENTALS



4. The artist Chuck Close used a repeated pattern of organic concentric rings set into a diamond pattern to create his large __________ .

a. sculpturesb. ceramicsc. paintingsd. glasswaree. printsFeedback/Reference: Page 144

PART 1FUNDAMENTALS



5. Chuck Close’s Self Portrait of 1997 is made up of small units that are unrecognizable, or __________ .

a. abstractb. representationalc. stylizedd. realistice. expressionisticFeedback/Reference:

PART 1FUNDAMENTALS



5. Chuck Close’s Self Portrait of 1997 is made up of small units that are unrecognizable, or __________ .

a. abstractb. representationalc. stylizedd. realistice. expressionisticFeedback/Reference: Page 144

PART 1FUNDAMENTALS



6. Using automatic reactions to apply art materials in such a way as consciously to deny order can lead to __________ in art.

a. structureb. balancec. unityd. randomnesse. proportionFeedback/Reference:

PART 1FUNDAMENTALS



6. Using automatic reactions to apply art materials in such a way as consciously to deny order can lead to __________ in art.

a. structureb. balancec. unityd. randomnesse. proportionFeedback/Reference: Page 146

PART 1FUNDAMENTALS



7. The German-French sculptor Hans Arp worked on creating "__________ " arrangements to communicate the ideas of the Dada movement.

a. chanceb. controlledc. rigidd. solide. none of theseFeedback/Reference: Page 146

ch 1.7 (questions)

Education

monumental scale

human scale

tiny scale

small scale

visual arts

work of art

kathryn shieldschapter

size art objects