I think the person in the top chose it randomly for points so it probably wrong !
Answer:
In the early years of the cold war, the medium music served as a vehicle of propaganda for the advocates of the atomic bomb. The 1946 song When the Atom Bomb fell by Karl & Harty glorifies the attacks on Hiroshima and Nagasaki as “the answer to our fighting boys’ prayers”, the effects of the atom bombs were trivialised which was typical for the early Cold War popular culture.
A shift came when the possibility of a nuclear strike on the USA increased in the 1950s. Civil Defense films like Duck & Cover were used for educational purposes, explaining the right course of action in case of an attack.
Explanation:
Relief printing is done by outlining an image on a surface, and then carving along the outline. The artist then applies the raised areas with ink, to be pressed on to a surface. Intaglio is sort of the opposite of relief printing, in that the ink is pushed into the lines and pits and wiped off the surface of the plate. The resulting image comes from the ink in the engraved or etched lines. The resulting image is reversed.
Answer:
God is faithful unlike us human beings(even if we try our hardest) so he always finds a way to keep his promises. He can do it in ways that we don't expect or it may take time for the promise to be fulfilled. For example; Abraham and Sarah. They were way too old to have children and God had promised that Abraham will be the father of many nations. Yet Abraham was given a son by Sarah (who was around 90), Isaac. Later on down the line is us, the many nations. God always has a plan for when we go astray. No matter what we do he always wants us back. He will either bring up a conscience or reveal it to you through visions or dreams or send someone to warn you.
Explanation:
Explanation:
Vincent van Gogh (Dutch, 1853-1890), The Poplars at Saint-Rémy, 1889. Oil on fabric, 24¼ x 17 15/16 in. The Cleveland Museum of Art; Bequest of Leonard C. Hanna, Jr., 1958.32
A recent trip to south Florida occasioned what has become a routine sojourn for me, a stopover at the Norton Museum of Art.
At the Norton, van Gogh’s The Poplars at Saint-Rémy is overwhelmed twice, first by its ornate antique frame, then by its installation on the third floor. Softly lit, it inhabits its own grey-painted gallery, a pearl in an oversized jewel box. It doesn’t help that the landscape’s colors are relatively sedate for a late van Gogh, relying on white to suggest terrain bleached by sunlight. The central two poplars are enclosed within a diamond-shaped design circumscribed by skyline above and crossing diagonals of rock-strewn land below. It is an inherently unstable composition, harmonized by color, the blue sky repeated in ground plane shadows and the blanched earth tones picked up in clouds. There is perhaps no way to write about van Gogh’s brushwork, idiosyncratic and instantly recognizable, without resorting to banalities; suffice to say that his sense of urgency demanded an entirely novel handling of paint. The Poplars at Saint-Rémy was made in a single session, a feat of compressed intensity.
Sharing a gallery with two other works by the artist, Degas’s Portrait of Mlle. Hortense Valpinçon resides more comfortably in its ground floor setting. The story of its production is no less remarkable than that of the van Gogh; leaving Paris during the barricades of 1871, Degas arrived at the Valpinçon country home without a canvas, and apprehended some mattress ticking upon which to paint his friend’s nine-year-old daughter. She leans into a sideboard and surveys us with unusual self-possession for one so young, holding in her right hand what has been variously described as a slice of fruit or a coin.
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