Dome.
Pitched brick barrel vault.
Barrel vault.
Groin vaults.
Rib vault.
Fan Vault.
Hyperbolic paraboloids.
1. performing a task unconsciously = H. automatism: it means that you don't think about what you are creating, you just create - like brainstorming 2. Surrealists believed that artists needed to escape the oppressive control of = F. reason: surrealists created art which was not realistic, but something surreal, as their name would suggest3. the first truly public museum = C. the Louvre, opened in 17934. Joan Miro used the poetic technique of = B. Action painting5. Miro’s paintings seem to have no structure; they are = J. a free flow of images6. Gertrude Stein had to flee Paris because she was = A. Jewish: she was a Jew living in Nazi-occupied France7. Perfect modern artifact in Nazi eyes = I. the steel helmet: it was the first movie about war8. Survived the London Blitz = D. Saint Paul's Cathedral: it managed to survive unharmed for the most part9. The purpose of the art exhibition in Munich was to show = G. "degenerate" or inferior art: this art show is actually known as Degenerate art show10. Art approved by Third Reich (Nazi Germany) included idealized images of = L. labor, maternity, and family life11. Miro’s Birth of the World was a precursor to = K. free association 12. Like Pollock, Willem de Kooning was know for his = E. abstract expressionism: it is a movement where art is obviously abstract and expressed as something surreal
He liked Jean Renoir and Orson Welles' work for their use of wide vistas and deep focus photography because he believed that these techniques would give viewers more opportunity to interpret what they saw on film as they would in real life.
<h3>Who was Andre Bazin?</h3>
French film critic and theorist André Bazin (18 April 1918 – 11 November 1958) was well-known and respected. In addition to co-founding the acclaimed film magazine Cahiers du cinéma in 1951 with Jacques Doniol-Valcroze and Joseph-Marie Lo Duca, Bazin began writing about movies in 1943. His claim that reality is the primary purpose of cinema makes him stand out. His demand for objective reality, intense concentration, and the absence of montage are all related to his conviction that the viewer should be free to interpret a movie or scene as they see fit. This put him at odds with film theory from the 1920s and 1930s, which focused on how the movie industry could distort reality.
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