FTCE ART k-12 EXAM PREP QUESTIONS AND
ANSWERS
1. fresco: a technique of mural painting executed upon freshly laid, or wet lime plaster. Water is used
as the vehicle for the pigment to merge with the plaster, and with the setting of the plaster, the painting
becomes an integral part of the wall. The word fresco (Italian: attresco) is derived from the Italian
adjective fresco meaning "fresh", and may thus be contrasted with fresco-secco or secco mural painting
techniques, which are applied to dried plaster, to supplement painting in fresco. The fresco technique
has been employed since antiquity and is closely associated with Italian Renaissance painting
2. wash: visual arts technique resulting in a semi-transparent layer of color. A wash of diluted ink or
watercolor paint applied in combination with drawing is called pen and wash, wash drawing, or ink and
wash.[4] Normally only one or two colours of wash are used; if more colours are used the result is likely
to be classified as a full watercolor painting.
3. impasto: a technique used in painting, where paint is laid on an area of the surface in very thick
layers,[1] usually thick enough that the brush or painting-knife strokes are visible. Paint can also be
mixed right on the canvas. When dry, impasto provides texture; the paint appears to be coming out of
the canvas.
4. dry brush: a painting technique in which a paint brush that is relatively dry, but still holds
paint, is used. Load is applied to a dry support such as paper or primed canvas. The resulting brush
strokes have a characteristic scratchy look that lacks the smooth appearance that washes or blended
paint commonly have.
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, 5. Lost-wax casting: is the process by which a duplicate metal sculpture (often silver, gold, brass
or bronze) is cast from an original sculpture.
6. incising: to engrave a design by cutting or scraping into the clay surface at any stage of drying, from
soft to bone dry. With hard bone-dry clay you will obtain more precise lines, but you have to be very
careful that it does not break.
7. lithography: is a method of printing originally based on the immiscibility of oil and water.
8. intaglio: a design incised or engraved into a material. the incised area holds the ink.
9. High Renaissance: The elongated proportions and exaggerated poses in the late works of
Michelangelo,
Andrea del Sarto and Correggio prefigure so-called Mannerism, as the style of the later
Renaissance is referred to in art history. Many consider 16th century High Renaissance art to be
largely dominated by three individuals:
Michelangelo, Raphael, and Leonardo da Vinci.High Renaissance art is characterized by references to
classical art and delicate application of developments from the Early Renaissance (such as on-point
perspective). Overall, works from the High Renaissance display restrained beauty where all of the parts
are subordinate to the cohesive composition of the whole.
10. impressionism: Picking up on the ideas of Gustave Courbet, the Impressionists aimed
to be painters of the real - they aimed to extend the possible subjects for paintings. Getting away
from depictions of idealized forms and perfect symmetry, but rather concentrating on the world as they saw
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ANSWERS
1. fresco: a technique of mural painting executed upon freshly laid, or wet lime plaster. Water is used
as the vehicle for the pigment to merge with the plaster, and with the setting of the plaster, the painting
becomes an integral part of the wall. The word fresco (Italian: attresco) is derived from the Italian
adjective fresco meaning "fresh", and may thus be contrasted with fresco-secco or secco mural painting
techniques, which are applied to dried plaster, to supplement painting in fresco. The fresco technique
has been employed since antiquity and is closely associated with Italian Renaissance painting
2. wash: visual arts technique resulting in a semi-transparent layer of color. A wash of diluted ink or
watercolor paint applied in combination with drawing is called pen and wash, wash drawing, or ink and
wash.[4] Normally only one or two colours of wash are used; if more colours are used the result is likely
to be classified as a full watercolor painting.
3. impasto: a technique used in painting, where paint is laid on an area of the surface in very thick
layers,[1] usually thick enough that the brush or painting-knife strokes are visible. Paint can also be
mixed right on the canvas. When dry, impasto provides texture; the paint appears to be coming out of
the canvas.
4. dry brush: a painting technique in which a paint brush that is relatively dry, but still holds
paint, is used. Load is applied to a dry support such as paper or primed canvas. The resulting brush
strokes have a characteristic scratchy look that lacks the smooth appearance that washes or blended
paint commonly have.
1/
7
, 5. Lost-wax casting: is the process by which a duplicate metal sculpture (often silver, gold, brass
or bronze) is cast from an original sculpture.
6. incising: to engrave a design by cutting or scraping into the clay surface at any stage of drying, from
soft to bone dry. With hard bone-dry clay you will obtain more precise lines, but you have to be very
careful that it does not break.
7. lithography: is a method of printing originally based on the immiscibility of oil and water.
8. intaglio: a design incised or engraved into a material. the incised area holds the ink.
9. High Renaissance: The elongated proportions and exaggerated poses in the late works of
Michelangelo,
Andrea del Sarto and Correggio prefigure so-called Mannerism, as the style of the later
Renaissance is referred to in art history. Many consider 16th century High Renaissance art to be
largely dominated by three individuals:
Michelangelo, Raphael, and Leonardo da Vinci.High Renaissance art is characterized by references to
classical art and delicate application of developments from the Early Renaissance (such as on-point
perspective). Overall, works from the High Renaissance display restrained beauty where all of the parts
are subordinate to the cohesive composition of the whole.
10. impressionism: Picking up on the ideas of Gustave Courbet, the Impressionists aimed
to be painters of the real - they aimed to extend the possible subjects for paintings. Getting away
from depictions of idealized forms and perfect symmetry, but rather concentrating on the world as they saw
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7
