Answer:urgency
Explanation:
B. Edgar Degas.
C. Paul Gauguin.
D. Georges Seurat.
Answer:
B. Edgar Degas, painter of A Ballet Class (between 1871 and 1874)
Explanation:
Edgar Degas (1834-1917) was fascinated by ballet, and more than half of his works are devoted to this theme. Although he also painted ballerinas on stage, he preferred the more informal scenes with the dancers rehearsing or relaxing.
There are parallels between classical ballet and Degas' style and painting techniques that help explain the artist's interest. Classical ballet is an art of great precision and balance, in which perfection is achieved only through repetition and constant practice. Degas's work is also quite accurate.
Even when his paintings together are Impressionists, Degas achieved immediate communication more by his theme and sense of composition than by the spontaneous brushstrokes typical of true Impressionists.
X-ray tests show that Degas has made many changes to this chart. For example, the original idea was that there were two dancers in the foreground, facing the observer. You can still see the face of one of them (detail on the left), between two dancers on their backs, which were painted over the original composition. Another change: At first the instructor was facing the back wall.
The “photographic” quality of Degas's work has been much commented upon. The rapidly receding perspective that makes the two closest dancers appear to be being pulled forward and the group pushed backwards is an effect created by certain camera lenses rather than ordinary human perception. The way pictures are cut at the edges of the frame is also typical of photography. This technique creates a sense of improvisation that seems to belie the artist's talent for detail and the meticulous planning of his compositions.
B. Roy Lichtenstein
C. Louis Sullivan
D. Architect
B) Where light is hitting a piece of artwork
C) Where light is NOT
hitting a piece of artwork
D) The main subject of a piece of art
Answer:
B
Explanation:
highlights brighten a picture and bring certain parts out making them pop
b. the depiction of a narrative subject within an organized, idealized landscape
c. the rejection of Classical Greek and Roman figurative and landscape ideals
d. the nearly photographic recording of figures within a landscape