Answer:
You are basically moving your hand. Moving your hand muscle.
Explanation:
Answer:
A. It takes the light reflected from a scene and projects it onto the back of the container
Explanation:
A pinhole camera works by capturing light from a scene then passing it through the aperture and projecting an inverted image on the opposite side of the box.
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Elements of Art:
Line: Helps create shapes. Also known as moving point. Vary in thickness, direction, and length. One-dimensional. Abstract, descriptive, implied.
Shape: Flat, enclosed areas (with length and height). Two-dimensional. Geometric or organic.
Color: There are primary colors, secondary colors, etc. (different kinds of color schemes). Hue is the name of a color. Saturated/Intensity-- (ex: dull or faint. bright or strong).
Value: lightness (adding tint) or darkness (adding shade) of a hue. In between/middle is the area of grayness.
Form: Three-dimensional. Height, width, and depth. Can also be free flowing.
Texture: The surface quality (of an object). There is actual texture and implied texture.
Space: Helps give the illusion of depth. Positive and negative areas are defined.
Answer:In my opinion, environmental art is the way artists have found to express their concern for the environment. It must be remembered that ecological art comes from the art of nature and that the artist aimed to promote environmental awareness.
Explanation:
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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