Answer:
no bueno
Explanation:
I trying to type my answer in Spanish, but brainly says its a bad word.
It would produce a lower pitch
Answer:
The examples that describes the use of technology in science are the following;
- A scientific discovery leading to the creation of a brand-new cellphone line
- A scientist opens a notebook to write down a detailed laboratory procedure
- A microscope that helps resolve a scientific problem about animal behavior
It is because science and technology is being defined as a collection of knowledge that is for the purpose of being able to explain and predict a particular thing that is related to nature and the universe itself.
Explanation:
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Answer:
Painting
Explanation:
<u>In Japan, the art of painting is one of the oldest, with the richest tradition, and most highly regarded out of all art techniques. </u><u>Japanese paintings have a wide array of styles in which they can be expressed that vary in genre and aesthetics. </u>
It started to develop in the prehistoric period, <u>and it was developed during the whole of Japanese history.</u> During this time, there were influences of China, as well as European countries, on the art. It remained very distinctive from all the other styles of art, and highly valued in Japan as well as globally.
Explanation:
Vincent van Gogh (Dutch, 1853-1890), The Poplars at Saint-Rémy, 1889. Oil on fabric, 24¼ x 17 15/16 in. The Cleveland Museum of Art; Bequest of Leonard C. Hanna, Jr., 1958.32
A recent trip to south Florida occasioned what has become a routine sojourn for me, a stopover at the Norton Museum of Art.
At the Norton, van Gogh’s The Poplars at Saint-Rémy is overwhelmed twice, first by its ornate antique frame, then by its installation on the third floor. Softly lit, it inhabits its own grey-painted gallery, a pearl in an oversized jewel box. It doesn’t help that the landscape’s colors are relatively sedate for a late van Gogh, relying on white to suggest terrain bleached by sunlight. The central two poplars are enclosed within a diamond-shaped design circumscribed by skyline above and crossing diagonals of rock-strewn land below. It is an inherently unstable composition, harmonized by color, the blue sky repeated in ground plane shadows and the blanched earth tones picked up in clouds. There is perhaps no way to write about van Gogh’s brushwork, idiosyncratic and instantly recognizable, without resorting to banalities; suffice to say that his sense of urgency demanded an entirely novel handling of paint. The Poplars at Saint-Rémy was made in a single session, a feat of compressed intensity.
Sharing a gallery with two other works by the artist, Degas’s Portrait of Mlle. Hortense Valpinçon resides more comfortably in its ground floor setting. The story of its production is no less remarkable than that of the van Gogh; leaving Paris during the barricades of 1871, Degas arrived at the Valpinçon country home without a canvas, and apprehended some mattress ticking upon which to paint his friend’s nine-year-old daughter. She leans into a sideboard and surveys us with unusual self-possession for one so young, holding in her right hand what has been variously described as a slice of fruit or a coin.
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