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Mama L [17]
3 years ago
12

social documentation is a from a photography that documents social situations in an attempt to influence people's thoughts and a

ctions which of the following is not considered a great photographer of social documentation of the Great Depression​
Arts
1 answer:
Tresset [83]3 years ago
7 0

Margaret Bourke White

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There is a fishing trawler with a ladder leaning against a wall in the harbour. There are 5oars and two fishing nets in the traw
Natali [406]

Answer:

The trawler rises with the waves so no step will go under water.

Explanation:

8 0
2 years ago
The main motive in this excerpt from the first movement of Glass's Symphony No. 4 is inspired by a song composed by which of the
exis [7]

The main motive in this excerpt from the first movement of Glass's Symphony No. 4 is inspired by a song composed by <u>David Bowie.</u>

<u></u>

<h3><u>David Bowie: who is he?</u></h3>

English singer-songwriter David Bowie was well known for both his innovative songs and striking stage presence. He was a well-known musical artist for more than five decades and was renowned for the originality he injected into his compositions. In addition to being a gifted multi-instrumentalist, arranger, painter, and actor, he had a flexible personality.

He was raised in the south London neighborhood of Brixton and developed an early interest in music, notably Elvis Presley. He quickly started playing the ukulele, tea-chest bass, and piano at the neighborhood Wolf Cub group and started singing to Presley's songs. Soon, he was certain that becoming a singer was what he was meant to accomplish. However, he did not suddenly become famous.

Learn more about David Bowie with the help of the given link:

brainly.com/question/2566730

#SPJ4

4 0
1 year ago
Look at the merode altarpiece by Robert Campin. in what way did this painting make art history
spin [16.1K]

Answer:

The Merode Altarpiece (1427-1432) consists of a triptych that narrates the Virgin Mary’s Assumption when the Archangel Gabriel announces that she’ll carry the son of God, which is depicted in the middle painting. The painting on the left shows two donors, a man and his servant, which critics believe were part of Merode elite. And the painting on the right depicts Saint John working in his workshop, surrounded by carpenter’s tools.

This painting is important by virtue of its realism and naturalism, which were elements of the Renaissance, but this painting is dated many years before the Italian movement apex. There’re also many unconcluded findings of this triptych, which some experts believe weren’t performed by Robert Campin himself, but by a pupil.

Explanation:

Robert Campin (1375-1444) is considered by some art critics as the father of the Flemish Pre-Renaissantist Painting, which some titled to the Van Eyck brothers. In fact, the three personalities were contemporary, but some researchers found that Campin production preceded Jan Van Eyck.

He was influenced by many illumination masters, Robert Campin has reached a naturalism level that would be noticed in Italy Renaissance.  

The Merode Altarpiece is marked by its verisimilitude, which we can note in there scene, and also by its naturalism. It narrates the Virgin Mary’s Assumption, who’s reading and hasn’t noticed the presence of Archangel Gabriel. He’s about to tell her that she’ll give birth to God’s son, depicted as a small image of Jesus entering through the window.

There are also donors coming through the door, probably the figures commissioned the triptych. Saint John is depicted in the third part of the artwork, working in his workshop. There’s a lot of mystery behind the triptych that’s now part of the Metropolitan Museum collection. Some believe that’s a copy of another painting located in Brussels, that has the Assumption as the theme, and Mary is positioned in a different way, looking at the angel instead of reading.

The two donors are still unknown, as the triptych passed to many owners' hands, until being acquired by the museum. Mary is painted as a wise woman and John as a craftsman, something that would be returned by the Italian painters only a few years ahead.  

7 0
3 years ago
What is Battleship Potemkin?
podryga [215]

The Russian navy in the year of the abortive revolution of 1905 still preserved the harsh conditions and brutal punishments of an earlier age. The Potemkin was a new battleship of the Black Sea fleet, commissioned in 1903, with a crew of 800. It was not a happy ship and some of the crew harboured revolutionary sympathies, in particular a forceful young non-commissioned officer named Matyushenko, who took a leading part in what followed. At sea on June 14th (June 27th, Old Style), the cooks complained that the meat for the men’s borscht was riddled with maggots. The ship’s doctor took a look and decided that the maggots were only flies’ eggs and the meat was perfectly fit to eat. Later a deputation went and complained to the captain and his executive officer, Commander Giliarovsky, about worms in their soup. Their spokesman was a seaman named Valenchuk, who expressed himself in such plain language that  Giliarovsky flew into a violent rage, pulled out a gun and shot him dead on the spot. The others seized Giliarovsky and threw him overboard. As he floundered in the water he was shot and killed.

Others of the crew joined in. The captain, the doctor and several other officers were killed and the rest of the officers were shut away in one of the cabins. The Potemkin hoisted the red flag and a ‘people’s committee’ was chosen to take charge. The chairman was Matyushenko.

The ship made for the port of Odessa, where disturbances and strikes had already been going on for two weeks, with clashes between demonstrators, Cossacks and police. The trains and trams had stopped running and most of the shops had closed. People began to gather at the waterfront after the Potemkin arrived in the harbour at 6 am on the 15th. Valenchuk’s body was brought ashore by an honour guard and placed on a bier close to a flight of steps which twenty years afterwards would play an immortal and immensely magnified role in the famous ‘Odessa steps’ sequence of Sergei Eisenstein’s film. A paper pinned on the corpse’s chest said, ‘This is the body of Valenchuk, killed by the commander for having told the truth. Retribution has been meted out to the commander.’  

Citizens brought food for the seamen and flowers for the bier. As the day wore on and word spread, the crowd steadily swelled, listening to inflammatory speeches, joining in revolutionary songs and some of them sinking considerable quantities of vodka. People began looting the warehouses and setting fires until much of the harbour area was in flames.

Meanwhile, martial law had been declared and the governor had been instructed by telegram from Tsar Nicholas II to take firm action. Troops were sent to the harbour in the evening, took up commanding positions and at about midnight opened fire on the packed crowd, which had no escape route. Some people were shot and some jumped or fell into the water and drowned. The sailors on the <span>Potemkin </span>did nothing. The casualties were put at 2,000 dead and 3,000 seriously wounded.

Calm was quickly restored and Valenchuk was allowed a decent burial by the authorities, but the sailors’ demand for an amnesty was turned down and on June 18th the <span>Potemkin </span>set out to sea. The crew were hoping to provoke mutinies in other ships of the Black Sea fleet, but there were only a few minor disturbances, easily put down. The mutineers sailed west to the Romanian port of Constanza for badly needed fresh water and coal, but the Romanians demanded that they surrender the ship. They refused and sailed back eastwards to Feodosia in the Crimea, where a party landed to seize supplies, but was driven off. The <span>Potemkin </span>sailed disconsolately back to Constanza again, and on June 25th surrendered to the Romanian authorities, who handed the ship over to Russian naval officers.

The incident had petered out, though it caused the regime serious alarm about the extent of revolutionary feeling in the armed forces. Its most lasting legacy was Eisenstein’s film, The Battleship Potemkin, (1925) and a riveting essay in propaganda rather than history.

More by Richard Cavendish

<span>- See more at: http://www.historytoday.com/richard-cavendish/mutiny-potemkin#sthash.4pshxeIk.dpuf</span>

I am not taking credit for this passage pleas don't report.

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7 0
3 years ago
Johannas Vermeer used glazing and underpainting in order to
nlexa [21]

Answer:

paint

Explanation:

5 0
3 years ago
Read 2 more answers
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