Question 1

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.

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Question 2

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.

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Question 3

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.

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Question 4

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.

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Question 5

Consider the differences between "outsider" (naïve or folk) art and the works of professional artists, explaining why you believe that "outsider" art should or should not be accepted by critics, museums and galleries, and the public as "real" art.

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Question 6

Consider the following works, included in this chapter of the text, and discuss each artist's style and treatment of the subject: Utamaro's Hairdressing, from Twelve Types of Women's Handicraft, and Degas's Nude Woman Having Her Hair Combed.

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Question 7

Compare Titian's Assumption and Friedman's Untitled in regard to historical and social context, visual presentation, and audience.

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Question 8

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.

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Question 9

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.

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Question 10

The Amida Nyorai is 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.

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Question 11

At the beginning of the 20^th century, how did the development of photography transform the art of artists who worked in nonphotographic media? Which artist determined that this new process changed the process of representing the observable world and how?

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Question 12

Discuss how Kara Walker's A Subtlety 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.

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Question 13

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 paintings inform directly or indirectly the content of the paintings.

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Question 14

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, and the contemporary meaning of the term art as compared to that of the pre-modern era.

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Question 15

Philosophers determined that the pleasure of art was an intellectual pleasure and was perceived through:
A) physical experience of the art through touch.
B) a special kind of attention called disinterested contemplation.
C) the formal analysis of the work.
D) any emotional response experienced by the viewer.
E) None of these answers are correct.

Accepted Answer

Philosophers determined that the pleasure of art was an intellectual pleasure and was perceived through a special kind of attention called disinterested contemplation. This refers to the ability to appreciate the artwork purely for its own sake, without any personal or emotional attachment or involvement.

Quiz 2: What Is Art