The smile in Kooning's Woman I painting is a reference to Renaissance art, specifically the Monalisa's smile which can be interpreted as either smirking or disgust.
<h3>Who was Willem de Kooning?</h3>
Willem de Kooning (1904 - 1997) was a Dutch American nationalized painter, an exponent in the years after World War II of abstract expressionism and gestural painting.
One of his best-known works is the Woman series. In the case of the first work of this series, the author refers to Renaissance art because the expression of the woman's lips refers to Monalisa's lips, which do not have a clear expression and allow interpretation by those who contemplate her.
Learn more about painting in: brainly.com/question/25795412
Answer:
meaing over form
in poetry a poet is more intrested in what the meaning of there poem is instead of if there are following rules of grammar.
Hope this helps^^
Answer:
Songs went from being performed by one person to many people.
Explanation:
<em>Songs went from being one part to multiple parts</em> – this is not the right answer. This is not what monophonic and polyphonic music means.
<u><em>Songs went from being performed by one person to many peopl</em></u><u>e – this is the right answer.</u> Monophonic songs are sung in one voice and it is only one melody. Polyphonic means there are more voices at the same time or that more melodies are going simultaneously. This Renaissance development to polyphonic changed music a lot compared to the Middle Ages.<u> Many of Renaissance songs were composed as polyphonic compositions for masses sang in Latin in churches.</u>
<em>Songs went from being classical in nature to more electronic </em>– this is not the right answer. This is not the meaning of monophonic and polyphonic, and also there was no electronic music in Renaissance.
<em>There is no difference between monophonic and polyphonic music</em> – this is not the correct answer. There is a difference between monophonic and polyphonic.
Answer:
Limited range and use of musical space
Explanation:
At the time, Miles Davis' music differential was in its unusual conception. Instead of using the complex harmonies, the profusion of notes and the frantic rhythms that guided much of the jazz practiced in the 1950s, Davis decided to regain some of the simplicity that this genre lost with the advent of bebop - the nervous and inventive jazz style ; that musicians like Charlie Parker and Dizzy Gillespie developed in the previous decade.
The new path pointed out by Miles, already outlined in his album “Milestones” (1958), was labeled by critics and scholars as modal jazz. By substituting improvisations based on chord progressions for modes (scales), he found a freer and spontaneous way to develop melodies that opened up previously unheard of possibilities for jazz expression.
