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Ghella [55]
3 years ago
12

Which is a feature of a static visual?

Arts
1 answer:
zmey [24]3 years ago
6 0

The feature of static visual is that they are used to grab your audience's attention.

Static visuals, similar to photos, are more compelling at staying in the watcher's mind, since they are not continually evolving. Visuals ought to have restricted content, except if showing insights, as an excessive number of words debilitate the effect of your message.

Static visuals ought to be utilized while exhibiting measurements. At the point when information is displayed in a video, data is excessively brief for the mind, making it impossible to process. Like promotions, static visuals go about as data sheets that show prove or convey a philosophy. Not at all like static visuals, moving visuals are eye catching. Short clasps and activitys have the ability to be more provocative than static visuals.

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Which of the following describes the work of Picasso's Blue Period?
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A and C are both correct to a degree. He is well known for his peculiar geometric forms in his paintings, which were not at all realism, but rather a style called cubism. During his Blue Period, his paintings were literally painted in blues, and were true to the answer in C. One particular painting depicts an elderly man playing a guitar with a frown on his face looking incredibly sad and upset. I would probably select C because it describes his Blue Period in contrast to his typical style, which is described in A.
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ANSWER: Africans associate this type of surface with: Cultivated refinement. The nature of African art grows from the theme of religious symbolism, functionalism, utilitarianism. African Art reflects images of ancestral spirits and pantheons of gods and goddess.

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According to art historian, Linda Nochlin, in her essay, "Why Have There Been No
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Answer:

the anwser is E

Explanation:

Linda Nochlin’s “Why Have There Been No Great Women Artists?” (1971) is generally considered the first major work of feminist art history. Maura Reilly, a curator, writer, and collaborator of Nochlin’s, described the work as “a dramatic feminist rallying cry.” “This canonical essay precipitated a paradigm shift within the discipline of art history,” Reilly states in her preface to Women Artists: The Linda Nochlin Reader (2015), “and as such her name became inseparable from the phrase, ‘feminist art,’ on a global scale.” A dryly humored analysis of the values by which artists are historicized and discussed, “Why Have There Been No Great Women Artists?” posited the first methodological approach for the discipline: that instead of bolstering the reputations of critically neglected or forgotten women artists, the feminist art historian should pick apart, analyze, and question the social and institutional structures that underpin artistic production, the art world, and art history.

In her own words, Nochlin grew up in “a secular, leftist, intellectual Jewish family” in Crown Heights, Brooklyn. In 1951, she graduated with a BA in philosophy and a minor in Greek and art history at Vassar College. Vassar is one of the so-called “Seven Sisters,” a group of historic women’s colleges along the Northeastern US (it became coeducational in 1969). “The good thing about a women’s college…was that women had a chance to do everything,” Nochlin stated in a 2015 interview with Reilly. “We were not pushed to the margins because there were no gendered margins…we were all there was.” In 1952, Nochlin obtained a masters in English literature at Columbia before undertaking her PhD in art history at the Institute of Fine Arts, New York University, where she wrote her doctorate on the work of Gustave Courbet. Aside from “Why Have There Been No Great Women Artists?,” Nochlin is perhaps best known for her 1971 book, Realism, a landmark study on the 19th-century movement.

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