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Chapter 6 – Light and Color
Multiple Choice Questions
1. The artist Artemisia Gentileschi heightens the drama of Judith and Maidservant with
the Head of Holofernes by using a technique that comes from an Italian word meaning
“murky.” This technique is called:
a) hatching.
b) cross-hatching.
c) tenebrism
d) simultaneous contrast.
2. The artist that painted La Chahut, The Can-Can was interested in harmonizing
complementary colors. The resulting process came to be known as:
a) chromaticism.
b) pointillism.
c) orphism.
d) constructivism.
3. Mary Cassatt has manipulated light and color in In the Loge to emphasize:
a) the division between male and female spaces.
b) the passive role of a female spectator.
c) the prison-like opera box.
d) the significance of opera in the late 19th century.
4. JMW Turner uses 2 types of perspective in Rain, Steam, and Speed—The Great
Western Railway. What are they?
a) atmospheric and two-point
b) atmospheric and multiple view
c) stacked and two-point
d) atmospheric and one-point
5. Figure of a Woman by Paul Colin probably derives from his____________.
a) association with Josephine Baker and La Revue Negre
b) time spent traveling while in the Navy
c) studies at L’Ecole des Beaux Arts in Paris
d) travels in the southern United States
6. In Judith and Maidservant with the Head of Holofernes, Artemisia Gentilieschi makes
use of a high-contrast technique of painting called___________, Italian for “murky.”
a) chiaroscuro
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b) atmospheric perspective
c) hatching
d) tenebrism
7. With atmospheric perspective, objects further from the viewer appear ____________.
a) warmer and more detailed
b) cooler and less distinct
c) warmer and less distinct
d) cooler and more detailed
8. Nikolai Buglaj’s “Race”ing Sideways is a commentary on the Western convention
of_________.
a) associating blackness with negative qualities
b) associating whiteness with positive qualities
c) associating blackness with positive qualities
d) a & b
9. By the 19th century, the type of perspective used in paintings such as J. M. W.
Turner’s Rain, Steam, and Speed—The Great Western Railway (p. 96) had come to
dominate the thinking of landscape painters. What type is it?
a) luminous perspective
b) aerial or atmospheric perspective
c) two-point linear perspective
d) axonometric projection
10. Michelangelo’s Head of a Satyr (p. 100) shows the use of:
a) linear perspective.
b) cross-hatching.
c) axonometric projection.
d) achromatism.
11. The author describes Chuck Close’s painting Stanley (p. 119) as:
a) “layered pointillism.”
b) “lusterless” and “murky.”
c) “polychromism as its best.”
d) All of the above.
12. One of the chief tools employed by artists of the Renaissance to show the effects of
light (p. 97) is:
a) chiaroscuro.
b) perspective.
c) key.
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d) perceptual key.
13. A color’s brightness or dullness (p. 107) is called:
a) relative key.
b) tint or shade.
c) intensity or saturation.
d) hue.
14. On the color wheel, blues and greens (p. 109) are usually thought of as:
a) opposite each other.
b) complementary colors.
c) intermediate colors.
d) cool colors.
15. On Newton’s color wheel, colors that lie directly between a secondary and primary
(p. 107) are called:
a) intermediate colors.
b) complementary colors.
c) secondary colors.
d) primary colors.
16. The range of colors that an artist has preferred to use in a work is referred to as the:
a) composition.
b) style.
c) palette.
d) spectrum.
17. Artists sometimes choose to paint objects using colors that are not “true” to their
optical or local colors (p. 117). This is an example of the expressive use of:
a) arbitrary color.
b) artistic color.
c) secondary color.
d) oblique color.
18. Which of these elements helps to create space in art?
a) perspective
b) light
c) color
d) all of the above
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19. What is the chosen medium of the sculptor Dan Flavin?
a) oil paint
b) human ashes
c) fluorescent lighting
d) dirt
20. What is the primary subject matter of sculptor Dan Flavin?
a) light and color
b) stories from the bible
c) surrealistic landscapes
d) nude figures
21. DaVinci is largely responsible for formulating the rules of the effects of light and air
in the landscape, called________________.
a) linear perspective
b) stacked perspective
c) hieratic perspective
d) atmospheric perspective
22. The background mountains in DaVinci’s Madonna of the Rocks provide a perfect
example of ___________.
a) linear perspective
b) stacked perspective
c) hieratic perspective
d) atmospheric perspective
23. In the history of art, the association of good with light and evil with dark was first
fully-developed by ________.
a) Leonardo DaVinci
b) Michelangelo
c) Artemesia Gentileschi
d) Johann Wolfgang von Goethe
24. In the 1660s, who discovered that color is a direct function of light by passing
sunlight through a prism and observing the bands of spectrum of colors?
a) Rembrandt van Rijn
b) Isaac Newton
c) Gianlorenzo Bernini
d) Jacob van Ruisdael
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25. Would you consider Jane Hammond’s Fallen to be an overall warm or cool
“composition”?
a) warm
b) cool
c) both
d) neither
26. Jane Hammond’s Fallen is made of many pieces, sewn together as a whole. What is
it made of?
a) fallen autumn leaves
b) cut-out paintings of leaves
c) a digitally scanned and printed image of a leaf with the name of soldiers killed in
the Iraq War inscribed on each
d) fabric made to look like leaves
27. What is yellow’s complementary color?
a) blue
b) red
c) orange
d) violet
Short Answer Questions
28. What are the three basic areas of shadow?
29. The act of painting outdoors, often practiced by Claude Monet and other
30. What happens when all the different spectrum colors of light are mixed together?
31. How can an artist decrease a hue’s intensity or saturation?
32. Name the three primary colors.
33. Give an example of complementary colors.
34. What is the content of Jane Hammond’s Fallen?
Essay Questions
35. How has the restoration of the Sistine Chapel changed our understanding of
Michelangelo’s palette? Do you think Michelangelo used color to help define form?
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36. Discuss the emotional effects of warm and cool colors by citing examples from the
chapter.
37. Explain Artemisia Gentileschi’s use of tenebrism and modeling in her painting, Judith
and Maidservant with the Head of Holofernes, and discuss the effects these techniques
produce.
