I’m sure this is a preference question but here’s how I would answer “I would visit and John Cage from Los Angles and I would simply want to visit him and ask him about his composition of 4’33 because this just a rest note for a long time and it’s funny because it’s still consider a compostion”
true
because to create unity, an artist adujsts elements of the artwork to make them work together and add to the wholeness of the work.
The Constitution states that a government should have all the powers to carry out its duties, and the national bank was necessary."
Answer:
Although the styles are quite different, there are a couple similarities in shape and overall composition. For starters, they both use a similar pallet of muted tones, both containing mostly shades of brown and red. Although Picasso's piece here is abstract and Hopper's is modernism, they both convey a similar tone of comfort and closeness. The musician piece conveys three musical artists most likely composing music together which, combined with the soft colors, makes the viewer feel a sense of peace with them as they talk. Similarly, Nighthawks also lets you "pear" into the lives of others at an almost deserted local shop. Like being in your own local store or restaurant, you feel peaceful and relaxed looking at the piece. Again, this feeling of calm is intensified by the soft colors. As for shapes, both utilize squares and rectangles, Picasso in his figure's bodies and Hopper in the buildings.
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Explanation:
Surrealism, 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.
