Getlein - Living With Art - 10e solutions manual and test bank 0073379255
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Getlein - Living With Art - 10e, TEST BANK 0073379255
Living With Art by Mark Getlein - 10e, TEST BANK 0073379255
ch2 Key
| 1. | Van Gogh's paintings are of high value because
Although van Gogh's art was known by few people while he was alive, he is credited posthumously with impacting generations of artists and contributing to the development of modern art. |
| Blooms Level: Understand |
| 2. | According to the author, Leonardo da Vinci's Mona Lisa dazzled his contemporaries because
New painting methods developed by da Vinci created the lifelike presentation of a real woman. |
| Blooms Level: Understand |
| 3. | During the ________ the term "art" was used roughly in the same sense as "craft."
The Renaissance brought about an elevated status of the fine arts and a division was distinguished between the fine arts and applied arts, which involved hand-crafted functional forms. |
| Blooms Level: Understand |
| 4. | The field of philosophy called aesthetics asks the question
Aesthetics examine the nature and beauty of art and address the evolving terms, judgments, and concepts of art. |
| Blooms Level: Understand |
| 5. | Fisherman's Cottage on the Cliffs at Varengeville was painted by
Claude Monet was a founder of the French Impressionist movement of painting, a name derived from one of his paintings, Impression, Sunrise. |
| Blooms Level: Understand |
| 6. | What term describes work done by nonprofessionals?
All these terms involve art created by people with no formal training in art processes and are self-taught. Each term is associated with different approaches to the art object ranging from utilitarian to unconventional; art that is outside of the mainstream art world. |
| Blooms Level: Understand |
| 7. | To discover why the sculptor of the Amida Nyorai depicted the subject with elongated earlobes, specific hand gestures, and a bun atop his head requires the use of
Iconography conveys ideas relevant to specific cultures or religions through symbolic meanings of signs and subjects. |
| Blooms Level: Understand |
| 8. | The term style is used to categorize a work of art by its
Style gives a work of art an identity that belongs to a particular movement, culture, or person. |
| Blooms Level: Understand |
| 9. | Our modern ideas about art carry with them ideas about
Viewers have a responsibility related to art, which involves the process of experiencing and reflecting upon a work. Contemporary artists consider the engagement of their work with their audience an important component of the appreciation of the art object. |
| Blooms Level: Understand |
| 10. | During the 18th century, beauty and art were discussed together because both
Philosophers thought the character of pleasure was intellectual and the viewer's gaze upon an object is to take pleasure in what he or she was seeing. |
| Blooms Level: Understand |
| 11. | ________ is the name for a standard subject in Christian art, that of Mary, the mother of Jesus, holding her son after he was taken down from the cross.
Pieta means "pity" in Italian, and describes the emotional connotation of the image in regard to the religious iconography. |
| Blooms Level: Understand |
| 12. | If a work of art is faithful to our visual experience, its style is
Naturalistic art closely resembles the form it portrays; the subjects' contours and curves are portrayed accurately. Naturalism is a component of realistic art. |
| Blooms Level: Understand |
| 13. | When discussing the size, shape, material, color, and composition of a work of art, we are discussing its
Form includes visual elements and principles of design to shape the way a work of art looks. |
| Blooms Level: Understand |
| 14. | During the Renaissance in Western Europe, ________ came to be regarded as the more elevated of the arts.
New discoveries in methods to make optically convincing representations elevated painting, sculpture and architecture to a higher status. |
| Blooms Level: Understand |
| 15. | After much study of the Arnolfini Double Portrait, experts agree that
Objects that have symbolic representations are dependent on different times and places, are culturally based, and have varied symbolic interpretations. |
| Blooms Level: Understand |
| 16. | Context is a factor of ties that bind a work of art to the
Context focuses on the cultural background of the artist, art object and its connections to the larger world of human beliefs, values, and principles. |
| Blooms Level: Understand |
| 17. | Ann Hamilton's Mantle is an example of
Installation art forms involve a space presented as a work of art that can be entered, experienced, explored, and reflected upon. |
| Blooms Level: Understand |
| 18. | Andy Warhol's images created from celebrities are portrayed through mass produced:
Warhol employed the silkscreen method to produce multiple images of a subject exploring celebrity culture and mass-produced advertising. |
| Blooms Level: Understand |
| 19. | Which statement is NOT true regarding James Hamilton's Throne of the Third Heaven… body of work?
Hamilton was an unknown artist until his work was discovered after his death and is an example of an untrained artist who created a physical representation of his vision. |
| Blooms Level: Understand |
| 20. | Representational art with an approach to naturalism covers:
These are a few of the broad range of approaches representational art involves. |
| Blooms Level: Understand |
| 21. | Philosophers determined that the pleasure of art was an intellectual pleasure and was perceived through:
Setting aside personal, practical stakes we might have in what we are viewing and taking pleasure in what we see is disinterested contemplation. |
| Blooms Level: Understand |
| 22. | Cite and describe four works representing each of these categories: representational, abstract, trompe l'oeil, and nonrepresentational. For each of the works you select explain what the artist communicated through the form of his or her artwork. Each selected artwork should be precise examples of these categories. Students should be specific and use correct terminology when analyzing the artwork, and should also place them into an historical context which informs the content of the works. |
| Blooms Level: Analyze |
| 23. | Identify and explain three reasons that an artist would elect to present content through abstract or nonrepresentational form, referring to a different work or artist as an example for each of the reasons you have identified. Examples should include three of the following: starting points, range of approaches, visual impact, stylization, essence, and form. |
| Blooms Level: Analyze |
| 24. | Rebecca Purdum has compared non-verbal communication with nonrepresentational art. Discuss this comparison in relation to the roles of the artist and the observer. Nonrepresentational art conveys the essence of an artwork. The roles of artist and observer rely on what each brings to the artwork. A communication process begins with the artist's inner necessity to create and the observer's insights and experienced feelings when viewing the artwork. |
| Blooms Level: Analyze |
| 25. | At the beginning of the 20th century, how did the development of photography transform the art of artists who worked in non-photographic media? Which artist determined that this new process changed the process of representing the observable world and how? Photography offered a mechanical way to record images. It gave artists a way to liberate themselves from copying nature. Picasso recognized photography as the pivotal change in art making. |
| Blooms Level: Analyze |
| 26. | Consider the differences between "outsider" (naïve or folk) art and the works of professional artists, explaining the reasons that you believe that "outsider" art should or should not be accepted by critics, museums and galleries, and the public as "real" art. The emergence and validation of difference within culture, the collapse of the distinction between an elite and low culture, and a proliferation of the popular arts had challenged and broadened what we recognize as art and who we consider are artists. |
| Blooms Level: Analyze |
| 27. | Discuss the relationship between non-Western works of art that do not appear to represent conventional Western ideals of beauty and the form and content of those works. Discuss several examples of differences in culture or tradition that prove standards of beauty to be culturally specific rather than universal. Both Western art and non-Western art employed naturalistic and abstract styles. The cultural concepts informed the standards of beauty with influences such as spiritual and physical reality, and commemoration of ancestors. |
| Blooms Level: Analyze |
| 28. | Consider Jan van Eyck's painting, Arnolfini Double Portrait. Discuss three symbols within it that reveal the possible iconography of the work. Then explain an alternate interpretation of the work relating to the meaning of the same objects. Symbols such as the dog, the shoes, the one candle and the mirror have a cultural significance. In a contemporary era, those symbols would have other meanings, depending on the viewer's interpretation. |
| Blooms Level: Analyze |
| 29. | Consider both Auguste Rodin's The Kiss and the Head of King from the Yoruba kingdom of Ife, included in this chapter of the text. Compare and contrast the materials from which the works were created and the styles each work represents, mentioning at least two of the general categories of styles (cultural, period/historical, and school styles). Finally, discuss the themes of art that you believe each work presents. Both pieces are sculptural--one of bronze, the other of stone--and each are presented in a naturalistic manner. They are informed by the cultural realities of the time. Thematically, the head is of a spiritual nature. The Kiss is more emotional and physical. |
| Blooms Level: Analyze |
| 30. | Considering both of these works, included in this chapter of the text, discuss each artist's style and treatment of the subject: Utamaro's Hairdressing, from Twelve Types of Women's Handicraft; and Degas' Nude Woman Having her Hair Combed. Both artworks are thematically connected as they involve women's grooming activities. The methods in which they are presented are different as one is abstracted and the other is more naturalistic. |
| Blooms Level: Analyze |
| 31. | The ideas we have about art today have not always been in place. Discuss how the Mona Lisa, one of the most famous works of Western art, became a product of our modern era. Consider influences such as historical context, the concept of celebrity, the term "art" today compared to the term in "art" before the modern era. The Mona Lisa gained popularity after being presented to the public in museums. Celebrity is determined by popularity and exposure. Warhol recognized this concept and used the Mona Lisa image in his artwork to convey the celebrity surrounding an image that is instantly recognizable. |
| Blooms Level: Analyze |
| 32. | Discuss how the artist Louise Bourgeois rejected traditional art education and explored alternative paths to create a career that spanned decades. Include her personal influences and public attention, and how she came to terms with life through her art. Bourgeois was dissatisfied with official art education, which led to an exploration of alternate paths, most valuably a period of study with painter Fernand Léger. Her marriage to American art historian, Robert Goldwater, took her to America were she found an atmosphere that allowed her to do as she wanted. |
| Blooms Level: Analyze |
| 33. | Compare and contrast Matisse's two paintings Piano Lesson and Music Lesson addressing the abstract qualities of each, the presentation of the content, and how the objects presented in the painting inform directly or indirectly the content of the paintings. The two paintings explore form and content. They share the same subject matter (content) but are different in form (look). Music Lesson depicts a social setting in a relaxed representational style, whereas Piano Lesson is an abstracted composition with less focus on content and more on form. |
| Blooms Level: Analyze |
| 34. | The Amida Nyorai as an example of a sculpture that employs the iconography of Japanese Buddhism. Give an example of an artwork that employs Christian iconography and explain how the components of the artwork are examples of the term iconography. Examples will vary. The Arnolfini Double Portrait is an example of Christian iconography through symbolic details. Specific objects in the work represent concepts. For example, the single candle represents a holy presence; the dog, marriage fidelity and love; and shoes, a sign of a sacred ground. |
| Blooms Level: Analyze |
| 35. | Compare Titian's Assumption and Friedman's Untitled in regard to historical and social context, visual presentation, and audience. Titian's Assumption is a religious painting not housed in a museum, but in a church, and created during a period when Christianity was central. Viewers experience the splendor of the setting when viewing it as a part of an altarpiece. The church becomes the museum. Friedman's Untitled requires the contemplative spaces of a contemporary gallery or museum. He believes the work's context resides in this space; if placed outside, it becomes an historical artifact in opposition to the original context. |
| Blooms Level: Analyze |
| 36. | Discuss how Ann Hamilton's Mantle and Joseph Bueys's How to Explain Pictures to a Dead Hare are examples of installation and performance art, addressing the performance nature of the pieces, the importance or unimportance of the space, the visual impact, and your response to this type of art. Installation art uses a determined space as a work of art that can be experienced for a limited time. Hamilton and Bueys's works employ installation space as platforms for the performance nature of their artwork. |
| Blooms Level: Analyze |
ch2 Summary
| Category | # of Questions |
| Blooms Level: Analyze | 15 |
| Blooms Level: Apply | 15 |
| Blooms Level: Understand | 21 |
| Getlein - Chapter 02 | 36 |
Chapter Two: What Is Art?
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Chapter Outline
Chapter 2. What Is Art?
Vincent van Gogh, Wheat Field and Cypress Trees
Robert Watts, Rembrandt Signature
Andy Warhol, Thirty Are Better than One
Leonardo da Vinci, Mona Lisa
ArtIST and Audience
Claude Monet, Fisherman’s Cottage on the Cliffs at Varengeville
Andrea del Verrochio, David
Dasavanta, Shravana, and Madhava Khurd (attr.), Badi’uzzaman Fights Iraj to a Draw
James Hampton, Throne of the Third Heaven of the Nations’ Millennium General Assembly
Art and Beauty
Edward Weston, Cabbage Leaf
Giovanni Bellini, Pietá
Francisco de Goya, Chronos Devouring One of His Children
Art and Appearances
Pablo Picasso, First Communion
Pablo Picasso, Seated Woman Holding a Fan
Representational and Abstract Art
Louise Bourgeois, Woman with Packages
Duane Hanson, Housepainter III
Head of a King, from Ife
Cylindrical Head, from Ife
Hathor and Sety, Egypt
Nonrepresentational art
Vasily Kandinsky, Swinging
Rebecca Purdham, Chin Up
Style
Kitagawa Utamaro, Hairdressing, from Twelve Types of Women’s Handicraft
Edgar Degas, Nude Woman Having Her Hair Combed
Susan Rothenberg, Maggie’s Ponytail
Art and Meaning
Form and Content
Henri Matisse, Piano Lesson
Henri Matisse, Music Lesson
Auguste Rodin, The Kiss
Janine Antoni, Gnaw
Iconography
Jocho, Amida Nyorai, in the Hoodo (Phoenix Hall), Byodo-in Temple, Japan
Jan van Eyck, Arnolfini Double Portrait
Jan van Eyck, Arnolfini Double Portrait (detail)
Context
Finial of a linguist’s staff, from Ghana
Akan (Fante) linguists
Titian, Assumption
Thomas Struth, Church of the Frari, Venice
Tom Friedman, Untitled
Art and Objects
Navajo men creating a sand painting
Standing figure holding supernatural effigy, Olmec
Josef Beuys performing How to Explain Pictures to a Dead Hare
Bwa masqueraders, Burkina Faso
Ann Hamilton, Mantle
Felix Gonzalez-Torres, Untitled
Thinking about Art: Insiders and Outsiders
Artists: Louise Bourgeois
Thinking about Art: Aesthetics
Lecture Topics
1. How symbolism expands the meaning of an art work
2. The life and work of Andy Warhol
3. The inter-relationship of art, artists, fame, and value
4. The relationship between words and images in various cultures
5. Art and its audiences
6. Art as a cultural artifact; art as personal expression
7. Outsider Art: Artworks and their artists
Presenting the Ideas
1. Discuss the personal sacrifices that artists make for their art. Examples include Vincent’s letters to Theo, Gauguin’s reversals of fortune, and Michelangelo’s or Leonardo’s writings about their lives.
2. Analyze the values societies place on art and artists, considering the roles of patrons, collectors, and other viewers. How many of these values are contemporary, and how have these roles changed over time? Are these categories applicable to non-Western art?
3. Introduce the varied ways in which works of art originate: from within the artist, through commissions, in response to public demands, etc. How do cultural patterns and historical context shape a work of art, and what relationship do these forces have to the work of creative individuals?
4. Introduce the concepts of representation and abstraction, stressing that there are degrees of abstraction, and noting the differences between abstracted art and nonrepresentational art. Examples could include the works of Picasso, Bourgeois, Goya, and Kandinsky.
5. Lecture on an art first, focusing on the story and formal elements/principles of design. Then lecture on another image but giving information about the artist as well and any connection to the subject matter portrayed. Then ask students “Which image do you connect with more and why? What gives you a better understanding of it or takes away from your enjoyment of it?”
Discussion Topics
1. Is any painting worth millions of dollars? If yes, why some paintings and not others?
2. Who determines whether a person is an artist: the person or the public? How is that determination made? What factors in the life and times of an artist might contribute to his/her fame?
3. What is the relationship between “beauty” and content and form? Is this relationship universal, or does it change with different cultures and times?
4. What is your perception of an artist? Explain.
Discussing the Ideas: Paper, Class Activity and Project Suggestions
1. What other professions require individuals to make sacrifices similar to those made by some artists? What types of rewards might compensate those dedicated to art or other professions for their sacrifices? What factors do you think have contributed to the popularity and success of some artists while other talented artists seemed to be failures during their lifetimes?
2. How do artists become famous and successful today? How does the process of selling and marketing art differ in the 21st century from the 19th or the 16th centuries? How does an artist determine the price to ask for a work of art? Which artists presented in Chapter Twenty-two [or elsewhere in the text from the last half of the 20th century or in 21st century] do you believe will be considered great artists in the 22nd century? Why do you think so?
3. How does the role of the artist change if he/she creates a work as a commission? Does the patron assume some of the role of the artist if he/she determines aspects of the form and/or content of the work…as in a portrait where the subject is determined by the patron, for instance…or if the patron determines color scheme or size or media? Does accepting a commission in which the buyer makes some of the artistic decisions mean that the artist is “selling out”? Why or why not? Why would an artist refuse to accept such commissions?
4. In which periods and cultures have those who created visual works been considered “craftspeople” rather than “artists”? Why do you think that this has been the case? How have artists been treated differently than craftspeople by the public? When and why do you think these differences came about? Would you classify certain works in the text as crafts and others as art? Which ones, and why?
5. Create a nonrepresentational work that conveys some emotion or idea. Give the work a title that will help the viewer understand the content of the work. Then write a description of what is being conveyed in this work, and of your creative decisions.
6. Trace an image from a magazine or a photograph. Make sure that the image is at least 5x7”. Then simplify the tracing to create an abstraction or stylization of the original image. Have an exhibit of the abstractions that you have separated from the originals, and the originals themselves. See who can match the most pairs of works.
7. Create a visual work that incorporates the symbols of your own time and place. Make sure that your work has content as well as form and conveys a message to viewers. Along with your work, create a glossary of symbols that will help viewers discover the meaning of your work.
8. Select two works of art from any chapter in the text: one work of art that allows you to remain detached from the subject matter, and one that you respond to strongly and emotionally. Capture images of these works and create a display (poster, slide show, or Web page) in which you present the works and also critique them. Select works that appeal to you and try to explain how you can appreciate a work with either detachment or attachment, objectivity or subjectivity.
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