PATTERN AND TEXTURE

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Questions

Question 1

What term refers to the repetition of a design motif, a concept intrinsic to human thought processes and used to create visual interest on a surface?

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Question 2

What psychological term is used to describe the basic human impulse to fill up empty spaces, often leading to the creation of patterns?

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Question 3

In the detail of Pablo Picasso's 'Harlequin' painting, what creates the 'jazzy rhythm'?

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Question 4

How do highly disciplined patterns, such as those on the Alhambra tiles, achieve their elaborate effects?

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Question 5

What is the essential distinction between texture and pattern, according to the text?

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Question 6

Which statement accurately reflects the relationship between texture and pattern as described in the chapter?

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Question 7

The term 'tactile texture' in painting refers to what specific technique?

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Question 8

What is the term for the technique of using thick pigment to create a rough, three-dimensional paint surface, as seen in the work of Van Gogh?

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Question 9

How does Roy Lichtenstein's print 'Brushstrokes' (1967) demonstrate the concept of implied texture?

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Question 10

What is the artistic technique of creating a design by pasting down bits and pieces of colored and textured papers, cloth, or other materials called?

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Question 11

Mary Bauermeister's collage 'Progressions' (1963) creates a gradation in texture from fine to coarse using what materials?

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Question 12

The neck piece by Anni Albers and Alex Reed (c. 1940) is an example of collage that uses what kind of inventive found materials?

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Question 13

What is the term for the impression of texture on a flat, smooth painted surface, which is purely visual and cannot be felt?

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Question 14

The artistic term 'verisimilitude' refers to an appearance that is what?

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Question 15

Which surrealist artist, mentioned in the chapter, used processes like frottage or rubbings to create eerie landscape textures?

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Question 16

What does the French term 'trompe l'oeil' mean?

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Question 17

Why is textural trompe l'oeil most convincing when the subject depicted is shallow or almost two-dimensional?

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Question 18

The illustration for the Nike advertisement from 1995 employs which technique for expressive effect?

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Question 19

When was the wall covering material made of cotton and cellophane by Anni Albers created?

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Question 20

What is described as a 'dynamic way of capturing visual interest' in the detail from Picasso's 'Harlequin' painting?

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Question 21

In Jean-Léon Gérôme's painting 'The Duel after the Masquerade,' how is the effect of the harlequin pattern diminished?

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Question 22

M.C. Escher's pattern drawings, such as 'Symmetry Drawing E94,' demonstrate a complete unity of what two elements, where every space is also a shape?

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Question 23

In Gustav Klimt's painting 'Hope, II', how does the use of pattern differ from the ordered patterns of the Alhambra or M.C. Escher?

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Question 24

What visual element, no matter how subtle, will visually evoke texture in what might otherwise be seen as a flat pattern?

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Question 25

In Betye Saar's sculpture 'The Time Inbetween' (1974), what does the photocopy of the artist's hand underscore?

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Question 26

According to the chapter, why are 'Do Not Touch' signs a practical necessity in sculpture exhibits?

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Question 27

What is one stated advantage of using collage as an artistic medium, particularly for beginners?

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Question 28

In the context of 'trompe l'oeil', what is meant by the term 'visual color'?

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Question 29

What material did Anni Albers use in her 1929 wall covering that anticipated a modern interest in recycling materials?

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Question 30

The chapter mentions that two categories of artistic texture are tactile and what other type?

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Question 31

When did Harry Clarke create his half-tone engraving 'The Most Beautiful of All'?

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Question 32

In what year was Betye Saar's sculpture 'The Time Inbetween' created?

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Question 33

Roy Lichtenstein's screen print 'Brushstrokes' was created in which year?

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Question 34

In what year did Pieter Claesz paint his still life featuring two lemons and a Roemer?

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Question 35

Ed Ruscha's 'Rancho,' an oil on canvas that exemplifies trompe l'oeil, was painted in what year?

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Question 36

Texture is described as being a primary consideration in which of the following art areas?

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Question 37

What does the text suggest is an irony about the close-up image of pleated silk shown in figure C on page 184?

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Question 38

In the photograph 'Brandywine I' by Elliot Barnathan, what creates sustained interest after the eye is initially drawn to the red details?

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Question 39

What did Leonardo da Vinci observe that relates to the surrealist use of frottage and stains to create implied textures?

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Question 40

What type of balance or order is the result when most patterns are reduced to a grid of some sort?

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Question 41

How is pattern used in Margaret Courtney-Clarke's photograph 'Anna Mahlangu Painting Her Home'?

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Question 42

According to the chapter, which two artists created works with a title containing the word 'Harlequin'?

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Question 43

The technique of creating a 'relief painting' by attaching physical items to a painted surface is described as a step beyond what other technique?

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Question 44

Which artist's work is described as continuing the tradition of 'highly mathematical pattern-making' seen in the Alhambra?

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Question 45

In the black-and-white illustration by Harry Clarke, how are patterns and textures created?

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Question 46

The chapter refers to texture as a 'sensory reaction or sensation of touch' that we can enjoy vicariously through what?

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Question 47

What type of art, often characterized by the inventive use of found materials, is considered one of the oldest forms of collage?

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Question 48

The Broadway Gateway Mural by Jan-Marie Spanard (1999-2000) succeeds in its trompe l'oeil deception partly because its subject is what?

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Question 49

When did Van Gogh paint his 'Portrait of the Artist' that is used as an example of impasto?

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Question 50

Which of these artworks from the chapter was created between 1948 and 1954?

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