I'm pretty sure that it is C but i'm not sure it might be B
This is an ambiguous question: if you meant with what medium and implements he painted, it would probably be animal hair brushes and fresco (paint applied to damp plaster).
He stood (not lying down, as is popularly believed) while painting on wooden boards hanging by the building scaffolding by ropes, so that he was close to the ceiling.
Answer:
In the United States, such art gained the name Regionalism. Regionalism was an American art movement that developed in the late 1920s and became popular through the 1930s. Centered around artists working in the Midwest in states like Kansas and Missouri, it was art that focused on rural life in America.
Explanation:
Regionalism developed in America at at challenging time. The Great Depression was increasingly making life difficult for people across the country. Several artists working in the Midwest began painting the people, work atmosphere and life around them, predominantly rural and agricultural in nature. These artists were consciously pursuing a style different than the art then in fashion in urban art centers like New York City and Paris.
The work of the Regionalists was a search for distinctly American art. It was also a rejection of abstraction. Abstraction was art that didn't portray images or scenes found in the real world, and it was the major movement dominating European art at the time. Unlike abstraction, Regionalism was based on the real world of a specific place and time. In fact, some Regionalist artists described their work as having a goal of creating 'scenes of America.' While many artists working in the Midwest became known as Regionalists, three artists in particular became very associated with the style.
Andy Yoder, sculptor: “Many people take great comfort in the bathroom towels being the same color as the soap, toilet paper, and tiles. It means there is a connection between them, and an environment of order. Home is a place not only of comfort, but of control. This sense of order, in whatever form it takes, acts as a shield against the unpredictability and lurking chaos of the outside world.
My work is an examination of the different forms this shield takes, and the thinking that lies behind it. I use domestic objects as the common denominators of our personal environment. Altering them is a way of questioning the attitudes, fears and unwritten rules which have formed that environment and our behavior within it.”
Nancy McIntyre, silk screen artist: “I like it when a place has been around long enough that there is a kind of tension between the way it was originally designed to look and the way it looks now, as well as a tension between the way it looks to whoever is caring for it and the way it looks to me. Trouble is, the kinds of places I find most appealing keep getting closed or torn down.
What do I want to say with my art?
Celebrate the human, the marks people make on the world. Treasure the local, the small-scale, the eccentric, the ordinary: whatever is made out of caring. Respect what people have built for themselves. Find the beauty in some battered old porch or cluttered, human-scale storefront, while it still stands.”
No she doesn’t make any friends
