Deck 6: Painting

Question 1

Easel paintings are:

A) Always created on easels
B) Are self-contained, portable works of art
C) Are always created by solitary artists
D) Are intended to be viewed from different angles

Answer 1

B

Question 2

In paint, _______ provides the color and _______ makes it adhere to the support.

A) Pigment / thinner
B) Binder / thinner
C) Pigment / binder
D) Pigment / gesso

Answer 2

C

Question 3

Priming a support means adding which two layers to it?

A) Size and paint
B) Pigment and glaze
C) Palette and canvas
D) Size and ground

Answer 3

D

Question 4

Why might an artist choose a sponge over a brush to apply paint?

A) It yields a different effect
B) It covers more surface quickly
C) It is easier to clean
D) It is used for murals

Question 5

Which would have an actual bumpy texture?

A) Glaze
B) Impasto
C) Priming
D) Vehicle

Question 6

In order to communicate a message, an artist must consider:

A) Techniques
B) Materials
C) Tools
D) All of these

Question 7

If a painting possesses a fresh and direct appearance because of the speed of application, it was probably made using:

A) Oil paint
B) Fresco
C) Encaustic
D) Acrylic

Question 8

If an artist wants their mural to last, which is the best method?

A) Buon fresco
B) Fresco secco
C) Trompe l'oeil
D) Vanitas

Question 9

What is the purpose of a cartoon?

A) To be able to transfer a drawing to another work of art
B) To be able to protect the surface of a work of art
C) To be able to exaggerate a painting in a humorous way
D) To be able to animate the steps used to create a fresco

Question 10

Tempera paint is not good for blending because:

A) It is susceptible to cracking
B) It is made with melted wax
C) It is water-based
D) It dries very quickly

Question 11

Oil paint is DIFFERENT from fresco because oil paint:

A) Dries quickly
B) Uses a limited number of colors
C) Can be applied in thick, impastos
D) Is lusterless and has no glare

Question 12

Transparent watercolor is SIMILAR to oil paint because transparent watercolor:

A) Can be applied in controlled, precise marks
B) Can't be spread in layers
C) Can't be used for easel painting
D) Uses pigment but no binder

Question 13

Gouache is DIFFERENT from transparent watercolor, because gouache:

A) Can be painted precisely
B) Uses gum arabic
C) Dries quickly
D) Can be painted over sections to change them

Question 14

Acrylics can be applied with rugged brushstrokes, in thin washes, in opaque fields, or in transparent glazes. Because of these characteristics, we say that acrylics:

A) Mimic the vehicles of other paints
B) Should be a non-toxic alternative to other paints
C) Mimic the effects of other paints
D) Can be blended like oil paints

Question 15

Even though Camille Utterback's Entangled (figure 6.28A) is not a traditional painting, why might we consider it one?

A) Its message and use of paint
B) Its message and sense of human touch
C) Its incorporation of textile scrims
D) Its interaction with the audience

Question 16

Impasto can give a two-dimensional work of art actual texture.

Question 17

Buon fresco is less durable than fresco secco.

Question 18

Tempera is water-soluble and can be blended.

Question 19

Transparent watercolors can be blended easily.
Incorrect

Question 20

Acrylic paint can mimic the effects of oil paints.

Question 21

Vehicles are composed of thinners and _______ .

Question 22

Adding a size and a ground to a support is called _______ .

Question 23

A thin, transparent layer of paint placed over an opaque undercoat is called a _______ .

Question 24

Paint that uses a vehicle made of wax is called _______ .

Question 25

The full-size drawing used to transfer an artist's design to guide a buon fresco painting is called a _______ .

Question 26

Why do artists need to consider the layers, tools, and techniques that they can use when they paint? Give specific examples.

Question 27

Giotto di Bondone's The Lamentation (figure 6.15), created in fresco, with Jan van Eyck's The Annunciation (figure 6.18A), created in oil, in terms of color and simulated texture. How do these characteristics of the different paints affect how the artists were able to convey a particular message?

Question 28

Looking at the portrait of the boy Eutyches (Figure 6.11), explain how we might be able to tell that it is an encaustic painting. Give specific examples.

Question 29

If acrylic paint can be made to mimic other paints' properties, why would an artist choose NOT to use it? Give examples.

Question 30

Explain what you feel should be the criteria for including digital painting as a type of painting. Give specific examples.