Ultimate Trivia Questions Quiz On Art APR Test!

56 Questions

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Ultimate Trivia Questions Quiz On Art APR Test!

Ultimate Trivia Questions Quiz on Art Apr Test! Renaissance is not something that only took place in one country but the whole of Europe. Do you of some of the changes that took place when it came to the art and culture of the people in Europe? This trivia quiz will help you refresh your understanding of the rebirth of art.

Questions and Answers
  • 1. 
    Early Northern Renaissance (1400’s +)
    • A refined style of painting in the late 14th-century and early 15th-century Europe characterized by splendid processions and courtly scenes, ornate embellishment, and attention to detail.
  • 2. 
    Early Northern Renaissance (1400’s +)  
    • Illustration or decoration of books and letters with pictures or designs.
  • 3. 
    Early Northern Renaissance (1400’s +)
    • A painting, usually in tempera but sometimes in oil, whose ground is a wooden panel.
  • 4. 
    Early Northern Renaissance (1400’s +)
    • A set of conventional meanings attached to images; as an artistic approach, representation or illustration that uses the visual conventions and symbols of a culture.
  • 5. 
    Early Northern Renaissance (1400’s +)
    • A technique of painting with oil-based pigments, where thin, transparent layers of diluted oil paint are applied to create highly illusionistic representations.
  • 6. 
    Early Northern Renaissance (1400’s +)
    • A painting or other art form that creates such a realistic image that the viewer may wonder whether it is real or an illusion.
  • 7. 
    Italian Renaissance
    • During the Early Italian Renaissance, they were very interested in the Greek and Roman past. Literally a rebirth in Greek and Roman art and architecture. They emphasized humanism.
  • 8. 
    Italian Renaissance
    • In architecture, a decorative element that recalls the shape of a structural pier. They are attached to the wall plane and project very little. They may have all the visual elements of piers, including base, shaft, capital, and embulature above. (Columns attached to the wall, basically).
  • 9. 
    Italian Renaissance
    • The early Italian renaissance was an age of competition—artists wanted to see who was better.
  • 10. 
    Italian Renaissance
    • A position in which a figure is obliquely balanced around a central vertical axis. Also see weight-shift principle.
  • 11. 
    Italian Renaissance
    • During the _____ ______ renaissance, in the art they copied the Classical nude.
  • 12. 
    Italian Renaissance
    • A system or organizing space in two-dimensional media in which lines that are in reality parallel and horizontal are represented as converging diagonals. The method is based on foreshortening, in which the space between the lines grows smaller until it disappears, just as objects appear to grow smaller as they become more distant.
  • 13. 
    Italian Renaissance
    • A type of painting in which pigments are applied to a fresh, wet plaster surface or wall and thereby become part of the surface or wall.
  • 14. 
    Italian Renaissance
    • The ____ _____ Rennaisance artworks had mythological themes.
  • 15. 
    Italian Renaissance
    • A system of belief in which human kind is views as the standard by which all things are measured.
  • 16. 
    Italian Renaissance
    • A kind of painting in which pigments are mixed with casein, size, or egg—particularly egg yolk—to create a dull finish.
  • 17. 
    Italian Renaissance
    • The art and science of designing aesthetic buildings, bridges, and other structures to help people meet their personal and communal needs.
  • 18. 
    The High Renaissance (1495-1520)
    • A person with many talents ore interests, especially in the humanities. A scholar during the Renaissance who (because knowledge was limited) could know almost everything about many topics.
  • 19. 
    The High Renaissance (1495-1520)
    • The technique of allowing tones and colors to shade gradually into one another, producing softened outlines or hazy forms.
  • 20. 
    The High Renaissance (1495-1520)
    • Leonardo da Vinci drew the Vitruvian man with notes that go along with it, which shows he understands human proportion. Each separate part was a simple fraction of the whole. For example, the head measured from the forehead to the chin was exactly one-tenth of the total height, and the outstretched arms were always as wide as the body was tall. They emphasized proportion during the Renaissance!
  • 21. 
    The High Renaissance (1495-1520)
    • St. _____’s has both Renaissance and Baroque elements.
  • 22. 
    The High Renaissance (1495-1520)
    • The ____ ________ ushered in a new era for some artists—one of respect, influence, fame, and most important, the power to shape their circumstances.
  • 23. 
    Renaissance in Venice
    • In painting, a semitransparent coating on a painted surface that provides a glassy or glossy finish. In ceramics, a hard, glossy coating formed by applying a liquid suspension of powdered material to the surface or a ware, which is then dried and fired at a temperature that causes the ingredients to melt together.
  • 24. 
    Renaissance in Venice
    • An artistic technique in which subtle graduations of value create the illusion of rounded three-dimensional forms in space; also termed modeling (from Italian for “light-dark”).
  • 25. 
    Late Renaissance outside of Italy
    • Cutting; in printmaking, an intaglio process in which plates of copper, zinc, or steel are cut with a burin and the ink image is pressed onto the paper.
  • 26. 
    Late Renaissance outside of Italy
    • Relief printing in which the grain of a wooden matrix is carved with a knife.
  • 27. 
    Late Renaissance outside of Italy
    • A design or form carved in relief on a block of linoleum.
  • 28. 
    Late Renaissance outside of Italy
    • Simple human representations; realistic figure painting that focuses on themes taken from everyday life.
  • 29. 
    Baroque in Italy To cut or wear away the part below or under
  • 30. 
    Baroque in Italy
    • In sculpture, the removal of material, as in carving.
  • 31. 
    Baroque in Italy
    • Dramatic lights and darks, light used to create  drama
  • 32. 
    Baroque in Italy
    • Diminishing the size of the parts of an object that are represented as farthest from the viewer. Specifically, rendering parts of an object as receding from the viewer at angles oblique to the picture plane so that they appear proportionately shorter than parts of the object that are parallel to the picture plane.
  • 33. 
    Baroque in Italy
    • Fine plaster used for coating wall surfaces or molding into architectural decorations.
  • 34. 
    Baroque in Italy
    • A form of surrealism that renders the irrational content, absurd juxtapositions, and changing forms of dreams in a highly illusionistic manner that blurs the distinctions between the real and the imaginary.
  • 35. 
    Baroque in Holland
    • Application of a medium such as oil or acrylic paint so that an actual texture is built up on a surface.
  • 36. 
    Baroque in Holland
    • Having qualities unique to the art of painting.
  • 37. 
    Baroque in Holland
    • Dark room, a way to project an image onto a surface to trace.
  • 38. 
    Baroque in France (“Classical Baroque”)
    • A neoclassical, nonexperimental style promoted by the Royal French Academy during the eighteenth and nineteenth centuries.
  • 39. 
    Baroque in France (“Classical Baroque”)
    • A place of study or training in a special field
  • 40. 
    Baroque in France (“Classical Baroque”)
    • A railing held up by small posts, or balusters, as on a staircase.
  • 41. 
    • Rococo art had light fluffy colors
  • 42. 
    • An annual exhibition of the French Academy held in the spring during the eighteenth hand nineteenth centuries.
  • 43. 
    • A period of radical social and political upheaval in French and European history. The absolute monarchy that had ruled France for centuries collapsed in three years.
  • 44. 
    • Perspective in which the illusion of depth is created through parallel planes that appear to recede from the picture plane.
  • 45. 
    • Romantic artists are interested in Eastern (exotic) content. They favor emotional, colorful, loose shapes, and exotic passion over intellect. They favor color over line.
  • 46. 
    • In printmaking, an intaglio process in which the matrix is first covered with an acid-resistant ground. The ground is removed from certain areas with a needle, and the matrix is dipped in acid, which eats away at the areas exposed by the needle. These areas become grooves that are inked and printed.
  • 47. 
    • An etching technique in which a metal plate is colored with acid resistant resin and heated, causing the resin to melt. Before printing, areas of the plate are exposed by a needle, and the plate receives an acid bath. Aquatinting can be manipulated to resemble washes.
  • 48. 
    • A form of architecture where cast iron plays a central role. It was a prominent style in the Industrial Revolution era when cast iron was relatively cheap and modern steel had not yet been developed. 
  • 49. 
    • In architecture, to build before hand at a factory rather than at the building site.
  • 50. 
      • Paint in which pigments are combined with an oil medium.
  • 51. 
    • A paint with a water medium. They are usually made by mixing pigments with a gum binder and thinning the mixture with water.
  • 52. 
    • Intaglio (engraving, drypoint, etching)
      • ________
        • A variation of engraving in which the surface of the matrix is cut with a needle to make rough edges. In printmaking, rough edges make soft rather than crisp lines.
  • 53. 
    • History of photography
      •  It started off with the ______ ______. However, people had to copy it by tracing. The next developments in photography concerned the search for photosensitive surfaces that could permanently affix images. These developments came by bits and pieces.
  • 54. 
    • Mannerist artists abandoned copying directly from nature and copied art instead. Works thus became “secondhand” views from nature. Line, volume, and color no longer duplicated what the eye saw but were derived instead from what other artists had already seen.
  • 55. 
    • The revival of a classical style or treatment in art, literature, architecture, or music, but from a new perspective or with a new motivation.
  • 56. 
    • A movement in the arts and literature that originated in the late 18th century, emphasizing inspiration, subjectivity, passion, and the primacy of the individual.