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1. What did many early American samplers show?
Answer – A. Alphabets
Rationale - Loara Standish is said to have made the earliest known American sampler
around the year 1645. She was from the Plymouth Colony. Early American samplers
seen in the 1700s depicted alphabets.
2. Who usually made early American samplers?
Answer – B. Women
Early American samplers were made by young women. The young women made the samplers as a way of learning simple needlework skills that is needed in the day to day operation of the family.
3. Which statements about early American furniture are true?
Answer – B and C
Rationale – It is true that some decorated pieces of early American furniture were used as cupboard for storage, and it is also true that Pennsylvania Germans, mostly from the mid-eighteenth to the mid-nineteenth centurie, painted Fraktur pictures on furniture.
4. Which statements about limner portraits are true?
Answers – A, C and D
Rationale – It is true that limner portraits were often painted by self-taught (untrained) artists, who generally lived hardscrabble lives; these artists were typically traveling artists, who would travel from place to place to lobby for commissions. The paintings were used by the owners as status symbols; they were commissioned as signs of wealth and importance.
5. TRUE
It is true that the artists who made early American stencils made their designs by dabbing or brushing paint through cutout shapes. This has made the early American stencils to be categorized as “Cut and Use Stencils”
6. Answer – False
It is not true that stenciling was a very expensive way to decorate walls. As a matter of fact, the easiest and least expensive way to decorate walls was by painting them. Stenciling, a method of painting was known to be a simple do-it-yourself method that requires just a few tools.
7. Answers A and C
Many folk art landscapes depict farm scenes and they show the illusion of space. Typically, folk art landscapes show more details in the foreground than in the background. Fine artists are the ones trained in art academies, not folk artists.
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Paul Klee derived his contrapuntal procedures of drawing and painting from the "theory and practice of eighteenth-century polyphony." There is Klee's avowed preference for the music of eighteenth-century Viennese Classical composers and his application of late eighteenth-century musical terminology and techniques to pictorial art.
<h3>The relationship between what Webern and Klee created</h3>
Comparing Webern’s ideas with Klee’s doctrine of forms, very closepath of thoughts can be found. Klee understands the musical structure of the pictorial as linear active polyphony. His goal is to make visible the multidi-mensional simultaneity of the lines of visibility, drawing the drawing of lines, making visible the gerundive structure of the becoming visible. Polyphonic painting is for him “superior” because it makes visible at once, in the instant of a flash, what in music appears serially and sequentially.
Webern is also unfolding polyphony and creating another musical meaning of polyphony, by means of making audible in each sound its harmonic series, making audible in-between sounds and gerundive structure or meanwhileness of the is-sounding. Webern aims to make audible how the flash is itself a polyphony of sounds.
<h3>The difference</h3>
Klee reduces, in the phenomenological sense of this term, linearity to the drawing of the drawing of lines. Webern reduces sequential time to the in-between sounds of a series contracted in each sound. In Klee, the focus is about making visible the making visible as such. In Webern, everything is about making audible the making audible, that is, the sounds of sounding. In both, the claim for a polyphonic thought is the one for revealing the sketch-like, gerundive structure of the appearing as such, that can only appear when appearances, forms, tonalities dis-appear, becoming while in dissolution, showing the absenting way sound and colors become present as thoughts of the eyes and of the ears.
learn more about Klee and Webern: brainly.com/question/5871754
Answer: The characteristics of prehistoric art would vary according to culture, beliefs, and the individual artist.
Explanation:
The characteristics would be in the materials used, it being charcoal, ash, pigment, or carvings in stone or wood.
Hope this helps!
To help the viewers eye travel from one area to another.
