YOU WERE LOOKING FOR: Art Appreciation Test Questions And Answers
These can make studying on-the-go a lot easier. Make sure you read reviews before choosing one—their quality varies widely. Step 3: Practice Multiple-Choice Questions Once you have your theory down, test it out by practicing multiple-choice...
Focus on understanding what each question is asking and keep a running list of any vocabulary that is still unfamiliar. Step 4: Practice Free Response Questions All free response questions on the AP Art History exam include either images of works of...
The College Board has the free response questions from the , , , and exams posted on its website. Another helpful resource when preparing for the AP Art History exam is also found on the College Board website— this presentation from Heather Madar of Humboldt State University provides a small sampling of the free response questions, along with insight into how students performed and the places they struggled. Step 5: Take Another Practice Test As you did at the very beginning of your studying, take a practice test to evaluate your progress.
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Facts and Information — 15 points Plug in the correct answer from the choices in the box below. It is harmony and symmetry. That which is clarified or revealed in the arts. The philosophy that studies the nature of beauty. The mental state in which a person becomes completely immersed and focused on a task. The magic moment of the creative process. It is an infection of emotion which union gives joy to the beholder. The act of uniting with the art work which gives aesthetic experience. The meaning of a work of art. It includes the materials, the composition, the elements and the principles used in the work of art. Describes the important characteristics of the composition in order to improve our understanding of the part-to-part and part-to-whole interrelationships. The size relationships between one part to the whole or one part to another part.
Our taste is connected with our deep feelings. Anyone can question or challenge our taste. Balance is always formal or symmetrical. Rhythm, movement, proportion, and balance are elements of art. The elements of art and principles of design are interrelated. The form is a subject matter revealed. The artistic form of Mondrian includes the basic elements of lines, primary colors, and the neutral colors. Piet Mondrian believes that the true vision of reality can be presented in a composition which is derived from a fragment of reality. If you are looking at the interrelationships of parts and elements, you are doing an analysis to the work of art. A good judgment in the work of art is finding out what the artist is trying to convey. In describing art, one must look at how form transforms subject matter into content. The totality of any work of art is a continuum of parts. Something is a work of art only when its maker intended it to be a work of art.
If he did, he would cease to be an artist. Art is a lie that makes us realize truth, at least the truth that is given us to understand. The artist must know the manner whereby to convince others of the truthfulness of his lies. Brief background: The Potato Eaters, completed in , is considered by many to be Van Gogh's first great work of art. At the time of its creation, Van Gogh had only recently started painting and had not yet mastered the techniques that would later make him famous. This could attribute to the interesting look of the piece as well as the overall feeling produced from the painting.
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The Program Core Exam Sample Questions The core examination is designed to test the student's general understanding of concepts and materials implicit in the program of core courses minor. The goal is to demonstrate an ability to relate general issues and concerns common to all the arts. Consider this theory modified from Tolstoy : The purpose of art is to communicate the mental state of the artist be it an emotion, an idea, or otherwise so that that mental state is accurately reproduced in the audience be it listener, viewer, reader, etc. As such, the sole or central determinate criterion in whether a work of art is good is whether and the degree to which the work reliably leads to an accurate reproduction of that state.
Explore this theory. For example: Is the theory compelling? Why or why not? Is the theory viable? Does it run into problems, and if so, can they be solved? Note that the theory is meant to apply to all the arts, and so your exploration should at the very lease involve examples from theater, the visual arts, and music. Although the existence of art is evident all around us, justifying the existence and purpose of art is no easy task. The justification of art is particularly pressing when public money is being used to fund the production and dissemination of art works.
Some theorists have stressed the cognitive value of art works, others the sense of community they may foster. However, there are people who think that those goals may be achieved without the benefit of works of art, by other means a general education, community meetings such as church services, etc. How would you go about justifying the production and dissemination of works of art? Are there particular works in theater, music, literature, dance, or the visual arts that provide evidence for your view? As you outline your position, make sure you address what some previous theorists have said on this topic, and how your answer differs from or develops their ideas. Historically, artists have been, and still are, the target of censorship efforts, often because of objections to the moral message carried by their work. In ancient and contemporary writings, philosophical and not, we find, explicit or implicit, the notion that "if it carries an immoral message, it is not real art".
If one agrees, one must conclude that depicting moral evil in a way that makes it attractive, softens the suffering that it causes, or dismisses goodness, is an unacceptable waste of artistic talent. One could agree that artists have the responsibility to adhere to moral norms, and that the artworld should police itself. On the other side, one could consider such self censorship as an unacceptable violation of artistic autonomy, and claim that art ought not to be evaluated in terms of moral norms. Evaluate these pro and con, including pedagogical and philosophical perspectives and offering examples from theater, music and visual arts. Identify parallels or affinities among the arts that explain how each can influence the others. Are there some parallels among the arts that can explain how each can influence the others? Give examples from art, music, and theatre, along with a philosophical basis in your discussion of this question. Some people in our society consider the arts to be elitist.
Why do some people hold this belief? What approaches might we take to remove this barrier to arts participation or attendance? Conversely, is it really important to attempt to engage society in the arts? If so, why? Some theorists have argued that knowledge about the context in which works of art are made is crucial to our appreciation and understanding of them; others have argued that such knowledge is not important to our engagement with art. How important is knowledge of historical context to artistic appreciation and understanding? What can one get from a work of art without knowledge of context? What might be missing? Is there an important distinction between knowledge of general historical context of an art work and knowledge of the history of the specific art form?
Are there general answers to the aforementioned questions, or do the answers depend on the specific of art discipline? Use examples from theatre, music, and the visual arts, as well as making reference to philosophical theorists that you have studied in core classes. You have done artistic work in both the US and in Saudi Arabia—one country has been described as having a democratic and open society, and the other may be described as having a religiously-based society with strict traditions.
While it may be that each country's aesthetic sensibilities are divergent, both countries have had disputes regarding controversial art. Is there something inherent and unique in the arts that can cause outrage and controversy? Please address the issue of censorship of the arts, including self-censorship especially in your own art work , as it relates to each country. Use examples from the visual arts, music, and theatre, and provide a philosophical basis for your answer.
Explore the notion of collaboration within the arts. One significant characteristic of contemporary art practice is pan-artistic collaboration: musicians, visual artists , actors, directors, writers and many others with diversity of skill sets increasingly create products that include many forms of artistic expression. They reach beyond Western traditions for inspiration. Their collaboration often includes contributions and borrowings from literature, social science, hard science, humanities and other fields of study. To what extent might collaboration dilute the effect of one of the arts? Conversely, in what ways can all the engaged arts be enriched and magnified the sum greater than the parts? What, if any, precedents for this practice exist in the context of earlier eras? What may be motivating current trends of collaboration? Making use of examples from theatre, art and music, discuss the value to the art world of this notion. Be sure to develop a philosophical base for your discussion.
A long standing debate in the arts as well as in philosophical discussion is the relevance and stringency of rules in the production or performance of an artwork. The extreme, opposing viewpoints can be stated like this: a Rules are binding: while breaking a rule may be acceptable, there is a heavy burden of proof on the artist to explain why the breaking of a rule is necessary to her artistic goals b Rules, any kind of rules, unless embraced by the artist herself, are unacceptable impositions on artistic freedom.
These positions are extreme, but can an intermediate position be justified? Explain, evaluating pro and con, by including pedagogical and philosophical perspectives and offering examples from theater, music, and visual arts. Background: The ontology of instrumental classical music is a thriving subject in aesthetics, with views ranging from the work as an eternal, abstract universal 'discovered' by the composer, to the work as an abstract structure of sounds that is 'indicated' by a particular composer.
The ontologies of theater and of literature, as with any kind of performable, repeatable artwork, suffer similar difficulties of accounting for the stable as well as the variable elements in a work in such a way that we can correctly identify a work as an instance of X and not of a perhaps similar work Y. Question: The opera combines all these art forms into something not reducible to any of them. Would the ontology of opera therefore be a combination of the ontologies of music, theater, and literature, or something completely different and unique to it? As a test case: Does transplanting opera from its native milieu to East Africa have any effect on the ontology of the art form? Does an ontology of performance arts differ from the ontology of visual artworks? How does familiarity with a work of art affect our appreciation of it? Is it possible to approach a familiar work with sufficiently open mind so that new impressions can be experienced?
Be sure to establish a reasoned basis for your discussion. Develop a philosophical position for your discussion and make use of examples perhaps other than the ones mentioned above from music, art and theatre. Discuss the notion that the arts define culture. How can art be used to help people experience and come to an understanding of the world? Does knowing about art, or doing art help a person learn about the world, or refine skills that are useful in functioning in the world? In your response, address both contemporary and one historical culture, including music, theatre, and visual art in your discussion. Given your conclusions, provide a philosophical argument for how contemporary and future artists should consider their role in society. Works of art are often said to be evocative.
Is the experience one-to-one—uniquely between the artist and the spectator—or is it plural: between the artist and the entire audience? Does such art foster communication among the audience? Make use of examples from visual arts, theatre, music in your discussion, establish a philosophical base for your comments, and consider opposing points of view in formulating your response. One of the board members of your theatre company commented that "after we pay the bills, then you can go do your art.
Opposing theorists have dismissed the attempt to distinguish these categories. Are there significant distinctions to be made between these categories? More specifically, are there differences between these categories that are relevant for criticism i. If so, how might one go about making these distinctions? How are these distinctions critically important or why aren't they? If you do not think the distinctions are significant, explain why the distinctions are still frequently invoked. Make sure that examples are drawn from art, music, theatre and that a philosophical base is established for your discussion. Bertold Brecht is quoted about the nature of art: "Art is not a mirror held up to reality, but a hammer with which to shape it. If you feel that art is to be used to shape and develop the nature of society, discuss examples of that use of art.
If you feel that art is to record and reflect society, discuss examples that support your position. Make use of examples of art, music, theatre as well as philosophy in your discussion. Texas Tech University has 11 colleges, one being the College of Visual and Performing Arts which includes visual art, music, and theatre. In what sense are they unified at all? Do any of these art forms actually challenge the conception that they share important properties? Discuss both philosophical and practical reasons on both sides of the question of the integration of the arts.
Students will identify basic elements in a piece of art through speaking and writing. Students will enhance their observation skills. Materials Art work reproductions, or their own works Journals Procedure This lesson works wonderfully with young children; simply hold a discussion. With older students, hold a discussion or ask them to write responses to the following questions: Look carefully at the work of art in front of you. What colors do you see in it? List the specific colors What objects do you see in the work of art in front of you? List the objects that you see. What is going on in this work of art? Mention whatever you see happening, no matter how small. Does anything you have noticed in this work of art so far colours, objects, or events remind you of something in your own life?
Is this work of art true-to-life? How real has the artist made things look? What ideas and emotions do you think this work of art expresses? Do you have a sense of how the artist might have felt when he or she made this work of art? Does it make you feel one way or another? If the class is looking at more than one piece, you can ask: Take a look at the other works of art displayed around this one. Do they look alike? What is similar about the way they look e. What is different? What would you have called this work of art if you had made it yourself? Does the title of the work, if there is one, make sense to you? Have students reflect on their observations. Think back on your previous observations. What have you discovered from looking at this work of art? Have you learned anything about yourself or others? Do you like this work of art?
Why or why not? Has your reaction to the work changed? Do you like it more or less than you did in the beginning? Original copyright , Davis. Copyright , Harvard Project Zero. Encourage students to observe details by asking specific and pointed questions about various works of art.
Your artist statement will either entice them to dig deeper into your art business or it will scare the sale right out of them. In order to nail this introduction and make your art business unforgettable, answer these five questions for potential buyers in your artist statement: 1. Why are you drawn to this subject? How do you choose a theme? Giving a behind-the-scenes look into what drives your art is an excellent way to begin building an emotional connection with your audience. What Does Your Artwork Represent? Does your art represent something about you? Does it represent a message about the world? Does it focus on a piece of history or look to the future? Our tip: give just enough detail to keep readers interested and grasp your artwork better.
Artist statements are intended to be an introduction. Like the old saying goes, always leave them wanting more. What Inspires You? What connection do you have to your art? What motivates you? Enthusiastically express why you create what you do and your audience will feel more enthusiastic about it, too. How Do You Make It? Why do you use certain materials? What techniques do you use? Explaining what goes into a piece can help buyers grasp the significance and scope of your work. How do you interpret the meaning of your work? Now, this question should be handled carefully. Notice that this question has no intention of directing your viewers on how to feel or think. The goal of your artist statement should be to widen the reach of your audience. And, laying down the law on exactly how to process your artwork simply defeats the point and might turn away buyers. Now that you know what to write about … Follow these five writing tips for a memorable artist statement.
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