ENGLISH TEST ART HISTORY L1 V.MORISSON
MAI 2005
Multiple Choice Questions (1 answer for each question)
1 The woman had almond-shaped blue eyes with long …
¦ eyelids ¦ eyebrow ¦ sockets ¦ eyelashes
2 The man, in his late sixties had a double chin and a …face.
¦ foggy ¦ fluffy ¦ wrinkled ¦ jaw
3 A strand of ginger hair was gently falling on her large …
¦ nape ¦ bow tie ¦ apron ¦ forehead
4 The young chap was smiling earnestly and looked quite …
¦ stubborn ¦ boastful ¦ low-spirited ¦ cheerful
5 William Hogarth was … a keen sense of humour.
¦ fraught with ¦ involved in ¦ disclosed by ¦ endowed with
6 William Hogarth was born in …
¦ 1589 ¦ 1608 ¦ 1697 ¦ 1852
7 William Hogarth was very famous for his …
¦ Italianate seascapes ¦ official portraits ¦ satirical works
8 William Hogarth made many …that could be bought at a very low price.
¦ frescoes ¦ sketches ¦ engravings ¦ canvases
9 Hogarth was influenced by physognomics as well as by the…
¦ semi opera ¦ theatre ¦ academy ¦ De Piles
10 Most of William Hogarth’s works can be described as …
¦ charicaturings ¦ comedies of manners ¦ laughing stocks
11 What Hogarth wanted to expose was the aristocracy’s…
¦ make-believe ¦ hypocrisy ¦ powerfulness ¦ deception
12 Which of these genres was at the top of the academy’s hierarchy ?
¦ seascapes ¦ historical painting ¦ portraits ¦ nudes
13 William Hogarth’s art was new because he portrayed people …
¦ life-size ¦ full-length ¦ as they were ¦ with a fault
14 According to Hogarth, the line of beauty was … line.
¦ the serpentine ¦ curvilinear ¦ the straight ¦ the geometrical
15 Hogarth contributing to making art more …
¦ popular ¦ spectacular ¦ noble ¦ intellectual
16 Before Hogarth, portrait painters would mainly represent the …of the sitter.
¦ psychology ¦ social status ¦ features ¦ patron
17 Hogarth did not seek royal patronage nor did he recognize the primacy of…
¦ low art ¦ fine arts ¦ high art ¦ picturesque
18 In Gin Lane, People fight with …to get a drop of gin, regardless of their health.
¦ themselves ¦ one anothers ¦ the other’s ¦ each other
19 The artist was so desperate after the failure of his show that he killed…
¦ hisself ¦ him ¦ himself ¦ itself
20 In Gin Lane, people pour … some alcohol, get drunk and fight …
¦ them / them ¦ themselves / 0 ¦ themselves / each others ¦ theirs / them
21In Gin Lane, there’s a brewery, a distillery and some dying people …
¦ nearby ¦ close to ¦ next to ¦ above
22 In Constable’s landscape there’s a rivulet and a stone bridge …the river.
¦ beyond ¦ at ¦ underneath ¦ over
23 One of the characters in the foreground is leaning …a red brick wall, waiting for someone.
¦ between ¦ backwards ¦ off ¦ against
24 Thomas Gainsborough was a well-known painter who founded the …
¦ St Martin’s school ¦ Pall Mall ¦ Royal Academy ¦ Turner Prize
25 Gainsborough was first and foremost a …painter like Reynolds.
¦ landscape ¦ seascape ¦ portrait ¦ miniature
26 Gainsbourough was born in …
¦ 1516 ¦ 1727 ¦ 1842 ¦ 1903
27 Gainsborough painted at a time when … was extremely popular in England.
¦ Claude’s work ¦ Dutch painting ¦ Illuminated books ¦ sketches
28 Gainsborough was influenced by …
¦ Van Dyck ¦ Poussin ¦ Hogarth ¦ Turner
29 Most of Gainsborough’s works can be described as …pieces in natural sceneries.
¦ conversation ¦ countrylife ¦ genre ¦ staged
30 In the end of his career Gainsbourough experimented with …
¦ acrylics ¦ artificial lighting ¦ engraving ¦ rococo patterns
31 Gainsborough was a countryman and therefore was highly interested in …
¦ the church steeple ¦ the background ¦ the stage ¦ ruins
32 What Gainsborough wanted to depict was the …of the sitter.
¦ standing ¦ face ¦ state of mind ¦ pose
33 Gainsborough used a rich palette and a large range of …
¦ impastos ¦ glaze ¦ shades ¦ gradation
34 He often applies several …of thin paint to suggest the modelling.
¦ lawyers ¦ blenders ¦ layers ¦ lenders
35 To give a general impression of subtle elegance, he used some …colours.
¦ garish ¦ brightness ¦ subdued ¦ jarring
36 The …contours of the figures were quite modern at the time.
¦ clear-cut ¦ enhance ¦ blurred ¦ sparkling
37 The painter added some white …on the dress to make it brighter and lighter.
¦ gazes ¦ sketches ¦ highlights ¦ frames
38 The lady doesn’t look straight at us but …down thoughtfully.
¦ grins ¦ brimmed ¦ gazes ¦ slows
39 The foliage of the tree is rendered with some brisk …to suggest movement.
¦ dabs ¦ brushstrokes ¦ tints ¦ chalks
40 The lady was dressed in a tight fitting blouse with …sleeves.
¦ hole ¦ flounced ¦ apron ¦ wig
41 This topographical drawing represents a humble …with peasants in the fields.
¦ mansion ¦ cottage ¦ thatched ¦ haystack
42 Constable lived in the Stour valley where he could enjoy natural …
¦ set ¦ sceneries ¦ stages ¦ surroundings
43 The … of the river was crowded with people staring at the steamship.
¦ cliffs ¦ barren ¦ harvest ¦ shores
44 John Constable was the son of a …
¦ royal painter ¦ sailor ¦ mill owner ¦ patron
45 Picturesque landscapes often feature small villages with their church …
¦ nestle ¦ hedges ¦ steeple ¦ beetle
46 Constable paid much attention to the ….that he painted very minutely.
¦ tree trunks ¦ cattle ¦ mansions ¦ atmospheric changes
47 Constable made some …, which was quite unusual at that time.
¦ topographical inks ¦ photographs ¦ dabs ¦ oil sketches
48 Constable painted skies and storms very …thus heightening the sense of place.
¦ mastering ¦ masterful ¦ mastered ¦ masterfully
49 The preciseness of …detail and density of substance related to the reality of the present.
¦ lighting ¦ colourful ¦ thickness ¦ foreground
50 Unlike most painters, who worked in their studios, Constable would sketch …
¦ at the RA ¦ sun drenched ¦ glowingly ¦ outdoors
51 During the …books were delicately illuminated.
¦ Mid Ages ¦ medieval time ¦ Middle era ¦ Middle Ages
52 Illuminated books were often made by …who lived in a monastery far away from the city.
¦ nuns ¦ nannies ¦ nurses ¦ monks
53 Books were ….treasured because they were lavishly decorated.
¦ understanding ¦ misunderstood ¦ understandable ¦ understandably
54 Illuminated manuscripts were commissioned by wealthy …only.
¦ meceens ¦ royals ¦ merchants ¦ patrons
55 ….their rich and costly decoration Books of Hours were considered as treasures.
¦ despite of ¦ so much ¦ given that ¦ on account of
56 The invention of printing …dramatic changes in book making.
¦ entailed ¦ enforced ¦ conducted ¦ boosting
57 Some Celtic illuminated manuscripts include intricate patterns and …lines.
¦ interwoven ¦ curving ¦ smooth ¦ tiny
58 In Constable’s works much space is …to the sky.
¦ consecrated ¦ devoted ¦ spent ¦ taken with
59 Turner is the exponent of the …in landscape painting.
¦ painterly ¦ sublime ¦ beauty ¦ caricature
60 Turner was said to be a very …man.
¦ busy ¦ solitary ¦ stubborn ¦ scornful
61 Duane Hanson would cast a …of his characters, hence the verisimilitude of his figures.
¦ eye ¦ row ¦ mould ¦ pediment
62 Most sculptors use chisels to …the block of stone.
¦ cut out ¦ chip ¦ carve ¦ strike
63 Many contemporary sculptures have no …and are meant to be place outdoors.
¦ frieze ¦ pediment ¦ pedestal ¦ shaft
64 Henry Moore was greatly influenced by a book by Roger Fry on …
¦ resin and fiberglass¦ the blitz ¦ Negro sculpture ¦ Greek busts
65 Henry Moore made a series of …just after the war.
¦ tombs ¦ memorials ¦ helmets ¦ assemblages
TRANSLATE THE FOLLOWING PASSAGE INTO FRENCH :
“Legend has it that during an Olympian competition to determine who could paint the most realistic picture, Zeuxis, one of the best-known draughtsman of ancient Greece, rendered a bunch of grapes with such an authenticity and precision that the birds flew to the painting to peck at it. With his remarkably lifelike, life-size sculptures of human beings, Duane Hanson created an equally convincing illusion.”
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