Deck 3: Being a Critic of the Arts
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ملء الشاشة (f)
Deck 3: Being a Critic of the Arts
1
Interpretive criticism centers upon
A) formal elements of a work
B) the content
C) the relative merits of a work
D) the degree of beauty of a work of art
A) formal elements of a work
B) the content
C) the relative merits of a work
D) the degree of beauty of a work of art
the content
2
Descriptive criticism focuses upon
A) formal elements of a work
B) the content
C) the relative merits of a work
D) the degree of beauty of a work of art
A) formal elements of a work
B) the content
C) the relative merits of a work
D) the degree of beauty of a work of art
formal elements of a work
3
Evaluative criticism centers on
A) formal elements of a work
B) the content
C) the relative merits of a work
D) the degree of beauty of a work of art
A) formal elements of a work
B) the content
C) the relative merits of a work
D) the degree of beauty of a work of art
the relative merits of a work
4
A work of art is most likely to be judged a masterpiece by an evaluative critic if
A) it is inexhaustible
B) its form is perfect
C) it has a subject matter that defies comprehension
D) it puzzles critics
A) it is inexhaustible
B) its form is perfect
C) it has a subject matter that defies comprehension
D) it puzzles critics
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5
A detail relationship of an artistic form is
A) the connection of one part to the overall structure
B) the connection of a part to another part or parts
C) the detail within a part
D) none of the above
A) the connection of one part to the overall structure
B) the connection of a part to another part or parts
C) the detail within a part
D) none of the above
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6
A region of a work of art is
A) a larger distinct part or group of parts
B) a geographical representation
C) a landscape area
D) none of the above
A) a larger distinct part or group of parts
B) a geographical representation
C) a landscape area
D) none of the above
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7
A structural relationship in a work of art is
A) the overall organization
B) the connection of a part to the overall structure
C) a perceptually distinct part or group of parts
D) none of the above
A) the overall organization
B) the connection of a part to the overall structure
C) a perceptually distinct part or group of parts
D) none of the above
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8
Which of the following was considered shock art?
A) Ofili, Holy Virgin Mary
B) Pollock, Autumn Rhythm
C) Siqueiros, Echo of a Scream
D) Dine, Shovel
A) Ofili, Holy Virgin Mary
B) Pollock, Autumn Rhythm
C) Siqueiros, Echo of a Scream
D) Dine, Shovel
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9
Jackson Pollock's Autumn Rhythm has
A) clear-cut regions
B) no clear-cut regions
C) no structure
D) no detail relationships
A) clear-cut regions
B) no clear-cut regions
C) no structure
D) no detail relationships
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10
The statement that Picasso's Guernica is a better painting than Blume's Eternal City is
A) interpretive
B) historical
C) descriptive
D) evaluative
A) interpretive
B) historical
C) descriptive
D) evaluative
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11
The statement that there are more detailed relationships in Autumn Rhythm than in the Last Supper is
A) interpretive
B) historical
C) descriptive
D) evaluative
A) interpretive
B) historical
C) descriptive
D) evaluative
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12
The statement that the bull in Guernica symbolizes Franco's utter insensitivity to suffering is
A) interpretive
B) descriptive
C) evaluative
D) historical
A) interpretive
B) descriptive
C) evaluative
D) historical
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13
Interpretive critics, even more so than other critics, must be familiar with
A) the form-content
B) the subject matter
C) other schools of criticism
D) the regional relationship
A) the form-content
B) the subject matter
C) other schools of criticism
D) the regional relationship
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14
Noticing the rhyme, steady meter, and quatrain stanza structure of Yeats's "The Lake of Innisfree" is
A) interpretive criticism
B) historical criticism
C) descriptive criticism
D) evaluative criticism
A) interpretive criticism
B) historical criticism
C) descriptive criticism
D) evaluative criticism
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15
N. J. Berrill points out in Man's Emerging Mind that
A) we are more likely to believe what we see
B) we are more likely to see what we believe
C) we believe that we see what is there
D) seeing is believing
A) we are more likely to believe what we see
B) we are more likely to see what we believe
C) we believe that we see what is there
D) seeing is believing
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16
Descriptively criticize Last Supper (Figures 3-1 and 3-2). Students should refer to the Perception Key on p. 55 for explicit instructions.
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