Answer:
(a) Roger Fenton did not show images of death and war in details in his photography works
(b) Matthew Brady's Civil War documentation Business ended him in debt
(c) Edward S Curtis is best known for his documentation of Native American
Explanation:
Roger Fenton showed no scenes of actual death although his letters and diary reveal that he saw plenty of evidence of the horrors of war. On one occasion he came across the body of a dead Russian ‘lying as if he had raised himself upon his elbow, the bare skull sticking up with still enough flesh left in the muscles to prevent it falling from the shoulders’.
Matthew Brady's Civil War documentation Business
At first, the effect of the Civil War on Brady's business was a brisk increase in sales of cartes de visite to departing soldiers. Brady readily marketed to parents the idea of capturing their young soldiers' images before they might be lost to war by running an ad in The New York Daily Tribune that warned, "You cannot tell how soon it may be too late."[4] However, he was soon taken with the idea of documenting the war itself. He first applied to an old friend, General Winfield Scott, for permission to travel to the battle sites, and eventually, he made his application to President Lincoln himself. Lincoln granted permission in 1861, with the proviso that Brady finance the project him
In 1899, Edward S Curtis became the official photographer for the Edward Harriman expedition to Alaska and developed an interest Native American culture. Curtis is best known for his documentation of Native American cultures published as The North American Indian
Composition is the nature of something's ingredients or constituents; the way in which a whole or mixture is made up.
Answer:
i am on the same test or questions these are hard srry for getting points this way
Explanation:
To me, the golden spiral is the proportional basis that makes the most sense. In a landscape painting the views eye is automatically directed to the center of the spiral and can be used by the artist to put their subject in the eye of the viewer.
