Balance sheet is a financial statement that lists all the assets, liabilities, and owner's equity.
Assets = Liabilities + Owner's Equity
Liabilities = Assets - Owner's Equity
Owner's Equity = Assets - Liabilities
Explanation:
The Frida on the left wears a Victorian styled laced wedding dress, the right wears the traditional dress of the Oaxaca women of Mexico. She Explains that the Freda on the right is the one her husband used to love( the got a divorce, this painting was done after). The one in the white wedding dress is the one he no longer loves (they do end up remarriages). Holding hands the loved and unloved Freda are distinct entities but united of the cultures of Europe in Mexico. Freda is also quoted speaking about the peace as “ Nothing but the representation of my loneliness. What I mean to say is, I resorted to myself; I sought my own help.” The dramatic stormy sky behind them gives a feeling of dread and uneasiness. Expose hearts have been said represent her divorce from her husband. This is all cited from the Art Assignments video I would watch I if you need a better understanding or just because it’s a great video.
Very good shading!! good job love them!!
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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