Answer:
Claude Monet
Explanation:
it started in the 1860s when Monet and some artists painted stuff and their paintings featured the absence of idealism. yeah I know the explanation is umph but its definitely Claude Monet. Pierre Renoir and Edgar Degas where two popular impressionist painters and also started the movement but Claude Monet is pretty much the forefront for it.
Answer:
d
Explanation:
that is what the curser in the picture is on
Answer:
Is this your song, its confusing but at the same time i get it!
Explanation:
Altering the harmony underneath the theme are the examples of thematic development. So,the correct answer is option b.
What is Thematic development?
A leitmotif, or theme, is formed by the musical technique known as "thematic transformation," which involves modifying the theme through permutation, augmentation, diminution, and fragmentation.
Franz Liszt and Hector Berlioz were principally responsible for its creation. In essence, the technique is one of variation. In essence, the technique is one of variation. A core theme is repeated repeatedly throughout a musical work, although it constantly changes appearances and takes on several opposing functions.
The architectural function of the sonata form in the classical symphony was to achieve "unity among variety," and this theme will always serve that purpose. Thematic transformation can support the emotionally charged phrases, richly coloured melodies, and atmospheric harmonies used by Romantic composers, which makes a difference in this instance.
To know more about Thematic development visit:
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Manga Ormolu enters the dialogue on contemporary culture, technology, and globalization through a fabricated relationship between ceramic tradition (using the form of Chinese Ming dynasty vessels) and techno-Pop Art. The futuristic update of the Ming vessels in this series recalls 18th century French gilded ormolu, where historic Chinese vessels were transformed into curiosity pieces for aristocrats. But here, robotic prosthetics inspired by anime (Japanese animation) and manga (the beloved comics and picture novels of Japan) subvert elitism with the accessibility of popular culture.
Working with Asian cultural elements highlights the evolving Western experience of the “Orient.” This narrative is personal: the hybridization of cultures mirrors my identity as an ethnically-mixed Asian Canadian. My family history is one of successive generations shedding the markers of ethnic identity in order to succeed in an adopted country – within a few generations this cultural filtration has spanned China, India, Trinidad, Ireland and Canada.
While Manga Ormolu offers multiple points of entry into sociocultural dialogue, manga, by nature, doesn’t take itself too seriously. The futuristic ornamentation can be excessive, self-aggrandizing, even ridiculous. This is a fitting reflection of our human need to envision and translate fantastic ideas into reality; in fact, striving for transcendence is a unifying feature of human cultural history. This characteristic is reflected in the unassuming, yet utterly transformable material of clay. Manga Ormolu, through content, form and material, vividly demonstrates the conflicting and complementary forces that shape our perceptions of Ourselves and the Other.
