The question is incomplete and the full version can be found online.
Answer: Art Theory
Explanation:
Leon Battista Alberti, (1404 - 1472) was an Italian architect whose treatises De Pictura (1535), De Re Aedificatoria (ca. 1450), and De Statua (ca. 1462) contributed to the development of art theory about painting, architecture, and sculpture, and established him as the father of Renaissance art theory.
Alberti´s work was considered a key element of the Florentine Renaissance, as it presented the rules of scientific and mathematical balance of a new art theory.
Answer:Japan began producing animation in 1917—still the age of silent films—through trial-and-error drawing and cutout animation techniques, based on animated shorts from France and the United States. People started talking about the high quality of Japanese “manga films.” But Japanese anime were costlier to produce than Western animations and were overshadowed by the popularity of Disney cartoons. They faced an uphill battle from the start.
One of the things that helped them find their niche was anime production for public relations and publicity campaigns by public institutions. Domestic anime production was beginning to develop a small but solid foundation when Tokyo and the surrounding area suffered catastrophic damage in the Great Kantō Earthquake in 1923. The anime industry was forced to start over from scratch.
The industry continued to struggle, unable to respond adequately to successive innovations, including the appearance of the first talkies in 1929 and color film in 1932. During this period, Ōfuji Noburō won international acclaim for Bagudajō no tōzoku (The Thief of Baguda Castle), which he made by cutting and pasting chiyogami (Japanese colored paper). His film is remembered as the first to make its presence felt outside Japan.
Many other promising anime artists appeared one after another, but with war approaching, goods were in extremely short supply as the national mood turned militaristic. Even film was not easy to get hold of. It was in this context that the first full-length theatrical film in the history of Japanese anime was released. Momotarō: Umi no shinpei (Momotarō’s Divine Sea Warriors, B&W, 74 minutes), produced by the navy, came out just before the end of the war. This was a propagandistic film designed to lift morale and commitment to the war effort.
Soon after the war ended, the General Headquarters of the Allied occupation (GHQ) brought together 100 anime artists in the bombed-out ruins of Tokyo to form the Shin Nihon Dōgasha, or New Japan Animation Company. The aim was to make it easier to spread occupation policies by having the artists produce anime in praise of democracy. However, many of the artists were fiercely independent and territorial, and the company was riven by disagreements from the outset. The project strayed off course, and eventually disbanded. Even GHQ threw in the towel. It seemed the switch from militarism to democracy was not going to be so easy.
Explanation:
Does our culture consider cooks and carpenters to be as high in their status as lawyers or doctors (remember I'm not asking what we think, but what value our culture generally gives to those professions)? Our culture creates a distinction that we sometimes refer to as "blue collar" work versus "white collar" work.
In the Middle Ages and even for much of the Renaissance, the artist was seen as someone who worked with his hands—they were considered skilled laborers, craftsmen, or artisans. This was something that Renaissance artists fought fiercely against. They wanted, understandably, to be considered as thinkers and innovators. And during the Renaissance the status of the artist does change dramatically, but it would take centuries for successful artists to gain the extremely high status we grant to "art stars" today (for example, Pablo Picasso, Andy Warhol, Jeff Koons, or Damien Hirst).
