Answer: The fear soon gave way to wave upon wave of cheering as the two amigos embraced.
Explanation:
The answer Is drums and piano
The Artist's Mother exhibits a combination of realism and abstraction that was strongly influenced by Gustave Courbet and Japanese prints.
<h3>Who was James Abbott McNeill Whistler's?</h3>
James Abbott McNeill Whistler (July 11, 1834 – July 17, 1903) was an American painter active during the American Gilded Age and based primarily in the United Kingdom. He eschewed sentimentality and moral allusion in painting and was a leading proponent of the credo "art for art's sake". His signature for his paintings took the shape of a stylized butterfly possessing a long stinger for a tail.
The symbol combined both aspects of his personality: his art is marked by a subtle delicacy, while his public persona was combative. He found a parallel between painting and music, and entitled many of his paintings "arrangements", "harmonies", and "nocturnes", emphasizing the primacy of tonal harmony.
His most famous painting, Arrangement in Grey and Black No. 1 (1871), commonly known as Whistler's Mother, is a revered and often parodied portrait of motherhood. Whistler influenced the art world and the broader culture of his time with his theories and his friendships with other leading artists and writers.
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"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.
