Answer:
A. order and composition.
Explanation:
<u>Paul Cézanne</u> was a French post-impressionist painter who was mostly active at the end of the 19th century. He is often taken to be the one who made the basis for cubism and was its early influence. This is because his work is <u>regularly exploring shapes, objects, and their relationship</u>. Through his art, he dealt with the subject of the analysis of the form and its order. He was very concerned with the <u>composition</u>, often relying on the classic, <u>geometrical </u>and <u>proportioned </u>solutions, as well as symmetry.
Each image was made through a process whereby Hokusai's drawing on paper was glued to a woodblock to guide the carving. So I think woodcut
Answer:
Marie-Antoine Carême introduced ___the royalty in Europe______, a fashionable style of French cooking.
Explanation:
The name of the statue is Augustus of Prima Porta and is a <span>high marble statue of </span>Augustus Caesar. A staff, like the one he is holding, symbolized leadership in Roman culture. T<span>he child holding onto his skirt could be interpreted as the symbolism of his responsibilities holding him back. Also, t</span>he hand raised might be a symbolism for pride and honor. I hope that this is the answer that you were looking for and it has helped you.
Answer:
movement in visual art and literature, flourishing in Europe between World Wars I and II. Surrealism grew principally out of the earlier Dada movement, which before World War I produced works of anti-art that deliberately defied reason; but Surrealism’s emphasis was not on negation but on positive expression. The movement represented a reaction against what its members saw as the destruction wrought by the “rationalism” that had guided European culture and politics in the past and that had culminated in the horrors of World War I. According to the major spokesman of the movement, the poet and critic André Breton, who published The Surrealist Manifesto in 1924, Surrealism was a means of reuniting conscious and unconscious realms of experience so completely that the world of dream and fantasy would be joined to the everyday rational world in “an absolute reality, a surreality.” Drawing heavily on theories adapted from Sigmund Freud, Breton saw the unconscious as the wellspring of the imagination. He defined genius in terms of accessibility to this normally untapped realm, which, he believed, could be attained by poets and painters alike.
