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Write in complete sentences your response to the following questions. Your answers to these questions need to be NUMBERED TO COINCIDE WITH THE QUESTION NUMBERS. Your answers also need to demonstrate that your understanding of the literature goes beyond a literal reading of the material. You must include some degree of analysis or interpretation. Short and simple answers are not enough to show your understanding of the work. If you only write short and simple answers, you will not receive full credit for your answers. All of your answers must be written in detail, with examples from the textbook to support your claims. Do not use any outside sources to complete this assignment. This includes using the Internet. All of the answers for these questions can be obtained from the textbook. THIS IS NOT A RESEARCH PROJECT. READ THE ENTIRE CHAPTER. Take your time to explain your answers thoroughly. If you do not answer the questions thoroughly and in complete sentences, you will not receive credit for your answers. Lastly, students should not submit any plagiarized work. Any student submitting plagiarized work will receive a zero on the assignment.

1. Choose five paintings from chapter four, and answer the following questions in detail, and examples to support your answers:

(a) In which painting does color dominate line, or line dominate color?

(b) Which painting has the most balanced space?

(c) Which painting is most symmetrical? Which is most asymmetrical?

(d) Which painting is more pleasing to the eye more: symmetry or asymmetry?

(e) In which painting is the sense of depth perspective the stongest? How does the artist achieve this depth?

(f) Which painting most controls the movement of your eye along set paths?

(g) In which painting is proportion most important?

(h) Which painting pleases you the most? Explain how it’s composition pleases you, and why.

2.Goya used both closed and open line in his May 3, 1808 (Figure 2-3). Locate these lines. Why did Goya use both kinds?

3. Does Frankenthaler use both closed and open lines in The Bay (Figure 4-7)? Locate these lines.

4. Identify outlines in Cezanne’s Mont Sainte-Victoire (Figure 2-4). There seem to be no outlines drawn around the small bushes in the foreground. Yet these bushes are seen as separate objects. How can this be? Discuss in detail.

5.Rothko’s Earth Greens (Figure 4-11) is an exceptional example of timelessness and the sensuous. O’Keeffe’s Ghost Ranch Cliffs (Figure 4-12) also emphasizes the sensuous, especially the rich yellows and greens. Can the timelessness of these paintings be compared? What makes one presumably more timeless?

6. Examine the sensa in the O’keefe. Does the fact that the painting represents real things distract from enjoying the sensa? How crucial are the sensa to full appreciation of the painting?

7.What difference is perceived in Rothko’s and O’keeffe’s treatment of sensa?

8. From the part of the chapter entitled “Comparison of five Impressionist Paintings”, in which of the following paintings is color most dominant over color? How important does line seem to be for the impressionist painter?

9.In terms of composition, which paintings seem to rely on diagonal lines or diagonal groups of objects or images? Explain your answer in detail.

10.What impressions are conveyed by these paintings? To what extent does the impressionists want to share their impression of their subject matter? How successful are they? Explain your answer in detail.

11. Examine the photograph in (Figure 2-5), and the photograph of the mountain with the painting (Figure 2-4), why did Cezanne put the two trees in the foreground at the left and the right edges? why did he have them cut off by the frame? Why did he portray the trees as if trembling? Explain your answer in detail using examples from the text.

12. In the photograph, there is an abrupt gap between the foreground and the middle distance. In the painting, this gap is filled in. Why? Explain your answer in detail, using examples from the text to support your claims.

13. Int he painting, the viaduct has been moved over to the left. Why? Explain your answer in detail, using examples to support your claims.

14. In the painting, the lines of the viaduct lead (with the help of an axis line) to a meeting point with the long road that runs (also with the help of an axis line) toward the left side of the mountain. The fields and buildings within that triangle all seem drawn toward that unseen apex. why did Cezanne organize this middle ground more geometrically than the foreground or the mountain? And why is the apex of the triangle the unifying area for that region?

15. Why is the peak of the mountain in the painting given a slightly concave shape?

16. In viewing Rothko’s work on (Figure 4-11), if the art were viewed upside down. Is the form weakened r strenghened? Does it make a difference? If so, what? If not, why? Explain your answer in detail, using examples.

Chapter 4 Discussion Questions

Write in complete sentences your response to the following questions. Your answers to these questions need to demonstrate that your understanding of the literature goes beyond a literal reading of the material. You must include some degree of analysis or interpretation.You must also use examples from the text, to support your claims. Short and simple answers are not enough to show your understanding of the work. Your answers must be detailed, and you must supply examples to support your claims. Take your time to explain your answers thoroughly. If you do not answer the questions thoroughly and in complete sentences, you will not receive credit for your answers.

1.What does the text refer to as the “all-at-onceness” of painting?

2. Explain the difference of sensory effects of nonrepresentational and representational painting.

3.In what ways are the renditions of textures an important part in the portrayal of the eight nudes (Figures 2-17 to 2-24)?

4.Suppose the ultra-smooth surfaces of Wesselmann’s nude had been used by Neel. How would this have significantly changed the content of her picture?

5. In Pollock’s Autumn Rhythm, the impasto (the protruding paint) lines noticeably on top of a smoothly textured brownish background. Suppose there were no impasto. Would this have made a significant difference? If so, why? Explain your answer in detail.

6. In Frankenthaler’s painting in (Figure 4-7), is this painting abstract or representational? Disregard the title in your response.

7. The title is The Bay. Do you see a bay when you ignore the title? Do you see a bay when you take the title into consideration? Why, or why not?

8. If you do, in fact, see a bay when taking notice of the title, does this make the painting representational? Explain.

9. If you do not see a bay, can the painting still be representational? Explain.

10. In viewing Figure 2-5, and Figure 2-4, in the painting, the ridge of the mountain above the viaduct is brought into much closer proximity to the peak of the mountain. Why?

11. In the painting, the lines ridges, and shapes of the mountain are much more tightly organized than in the photograph. How is this accomplished? Explain.

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