Answer:
secondary colors are basically the colors that you can make.
Explanation:
like how red yellow and blue are primary colors you cant make that color but secondary colors are formed when 2 or more primary colors are formed together to make the color red and yellow make orange red and blue make purple and yellow and blue make green i hope this helps!
it is important to have life skills so you can know stuff and some skills will help you in life.
Answer:
what
Explanation:
was that some sort of joke
Answer:
Um artista vivendo sob o mecenato em uma corte, representando o príncipe ou seu mecenas.
Explanation:
Essa representação descrita, poderia ser a de um artista na condição de "servitu particolare" nomenclatura dedicada aos artistas das cortes italianas . Especialmente se falarmos de mecenas e artistas florentinos.
O texto descreve muito bem o que parece ser um pintor retratando o seu mecenas, e como tal gozava de status dentro dos círculos mais próximos da família real.
O artista, em geral um arquiteto, gozava de status, uma espécie de salário, entre outras vantagens e até títulos, e residência dentro da corte, e era um posto desejado entre os outros artistas pois tal posto gerava status. Especialmente, por exemplo na Florença dos Medici do século XVII.
Esse tipo de profissionalização, certamente fez florescer vários progressos na arte e até hoje, de certa forma os artistas procuram uma forma de mecenato.
"Nighthawks," is one of the most appreciated paintings of American art, and certainly the best known of the American painter Edward Hopper (1882-1967).
The painting portrays the alienating presence of large modern cities: several individuals gathered in a luminous spot and surrounded by darkness. The strong coffee lights are barely able to keep the night outside, and there, anything can be happening.
Psychologically speaking, these people are isolated, thrown into a group, but locked within themselves. Hopper was able to capture the dark magic that happens in the cities at night, when everything is empty and the few people who happen to meet there seem infinitely more mysterious than in the light of day.
Hopper said he based the painting on an actual restaurant where he lived in Manhattan, "on Greenwich Avenue where two streets meet," though he admitted having taken certain creative freedoms in the transition from the real to the artistic. Many tried to find the place, but without success.
