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den301095 [7]
2 years ago
10

Which of the following statements is NOT true about "playing companies" in Shakespeare's time?

Arts
1 answer:
liberstina [14]2 years ago
6 0

Answer:

b

Explanation:

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Which of the following characterizes a monsoon area
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Monsoon areas generally have a season of strong winds and heavy rains every year. Hope this helps! 
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What is the loud house.<br><br> 1. A series<br> 2. comedy.<br> 3. movie.<br> 4. TV Show
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a tv show

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50 points: What are similarities and difference between the art of Gaugin and VanGogh?
Rudik [331]
Aloha!
Before you read this, this is a bunch to read, so be ready! :)

Arles 1888: Vincent van Gogh paints sunflowers. He is obsessed with the colour yellow, seeing it as uplifting. Over and over he produces still lives of sunflowers, all in an attempt to lure Paul Gauguin into coming to Arles. Van Gogh dreams of an artistic colony, a place where artists could paint without any restrictions from bourgeois Paris, and sees Gaugin as the perfect partner.Paul Gauguin is not keen on moving in with the socially awkward and shy Van Gogh. He finally reluctantly agrees only because of a deal he makes with Theo van Gogh, Vincent’s brother. Theo would finance their entire livelihood, including Gauguin’s journey down to Arles, for an exchange of one painting per month. Gauguin goes, never with the intention of staying for a long time, though certainly not anticipating a fight that would mark one of the biggest myths of the History of Art.

Tahiti 1901: Gauguin has exiled himself to French Polynesia and now paints sunflowers himself. Vincent has been dead for 11 years, yet Gauguin cannot seem to bring himself to forget him. He mentions him over and over in his autobiography “Avant et Après”. Though he is condescending in his appraisal of van Gogh’s artistic talent, claiming that it was he who had first started experimenting with the colour yellow, there is an element of melancholy in the description of his peer. Gauguin mentions that thinking of van Gogh helps him in times of depression, as he knows no matter how much he is suffering, van Gogh suffered double.

Van Gogh and Gauguin are an odd pair in the History of Art. They share so many similarities and were still the complete opposite in character; their friendship seems one of the most ill-matched and yet most perfect in the way they stimulated each other’s creativity.

Both were self-taught, who had turned to art at a relatively late age- Vincent at the age of 27, Paul at the age of 33. Both were disgusted with Paris Bourgeois society and their taste in art and were united in their interest in the exotic and their wish to travel. They were both fascinated by Japanese prints, incorporating elements of them into their art.

Despite all this, they could not have been more different. Paul Gauguin was born into a privileged family, raised in Lima, Peru, by a wealthy uncle and having travelled the world as a young man due to his joining the Navy. He had been a very successful stockbroker before becoming an artist, was married and had 5 children. The exchange from a settled bourgeois life for a bohemian artistic one had been deliberate.

Vincent van Gogh, on the other hand, had been born into a deeply religious Dutch family, perhaps not poor, but certainly not as well off as Gauguin’s family. Just like Gauguin, van Gogh worked in other professions first, first as a bookseller, then as a pastor. However, he had never been successful with either.

Character wise, Paul Gauguin seemed to be the funny, charismatic, aggressive and masculine one, whom the ladies adored and who had no problems finding models to paint. Van Gogh was the odd one, shy, direct, a mixture between socially awkward and extremely stubborn. It had happened more than once that van Gogh had lost an employment or been asked to leave a place because he made its inhabitants uncomfortable.

Artistically, though interested in similar things, they were always at odds with one another. While van Gogh loved painting out of doors and capturing the light, taking landscape artists like Jean-François Millet as his role model, Gauguin preferred painting from memory and inside his studio, twisting his works into what he wanted them to be, and adoring the straight lines of Jean-Dominique Ingres and being fascinated by Raffael. Their mutual stubbornness and unwillingness to compromise made it very difficult to find common grounds. Accounts remain from both sides telling in detail about the arguments they were having, the most famous being the last one on the night of 23 December 1888, which caused Vincent to slice his ear off and Paul to hastily get back to Paris

 Adios! :)

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What is Battleship Potemkin?
podryga [215]

The Russian navy in the year of the abortive revolution of 1905 still preserved the harsh conditions and brutal punishments of an earlier age. The Potemkin was a new battleship of the Black Sea fleet, commissioned in 1903, with a crew of 800. It was not a happy ship and some of the crew harboured revolutionary sympathies, in particular a forceful young non-commissioned officer named Matyushenko, who took a leading part in what followed. At sea on June 14th (June 27th, Old Style), the cooks complained that the meat for the men’s borscht was riddled with maggots. The ship’s doctor took a look and decided that the maggots were only flies’ eggs and the meat was perfectly fit to eat. Later a deputation went and complained to the captain and his executive officer, Commander Giliarovsky, about worms in their soup. Their spokesman was a seaman named Valenchuk, who expressed himself in such plain language that  Giliarovsky flew into a violent rage, pulled out a gun and shot him dead on the spot. The others seized Giliarovsky and threw him overboard. As he floundered in the water he was shot and killed.

Others of the crew joined in. The captain, the doctor and several other officers were killed and the rest of the officers were shut away in one of the cabins. The Potemkin hoisted the red flag and a ‘people’s committee’ was chosen to take charge. The chairman was Matyushenko.

The ship made for the port of Odessa, where disturbances and strikes had already been going on for two weeks, with clashes between demonstrators, Cossacks and police. The trains and trams had stopped running and most of the shops had closed. People began to gather at the waterfront after the Potemkin arrived in the harbour at 6 am on the 15th. Valenchuk’s body was brought ashore by an honour guard and placed on a bier close to a flight of steps which twenty years afterwards would play an immortal and immensely magnified role in the famous ‘Odessa steps’ sequence of Sergei Eisenstein’s film. A paper pinned on the corpse’s chest said, ‘This is the body of Valenchuk, killed by the commander for having told the truth. Retribution has been meted out to the commander.’  

Citizens brought food for the seamen and flowers for the bier. As the day wore on and word spread, the crowd steadily swelled, listening to inflammatory speeches, joining in revolutionary songs and some of them sinking considerable quantities of vodka. People began looting the warehouses and setting fires until much of the harbour area was in flames.

Meanwhile, martial law had been declared and the governor had been instructed by telegram from Tsar Nicholas II to take firm action. Troops were sent to the harbour in the evening, took up commanding positions and at about midnight opened fire on the packed crowd, which had no escape route. Some people were shot and some jumped or fell into the water and drowned. The sailors on the <span>Potemkin </span>did nothing. The casualties were put at 2,000 dead and 3,000 seriously wounded.

Calm was quickly restored and Valenchuk was allowed a decent burial by the authorities, but the sailors’ demand for an amnesty was turned down and on June 18th the <span>Potemkin </span>set out to sea. The crew were hoping to provoke mutinies in other ships of the Black Sea fleet, but there were only a few minor disturbances, easily put down. The mutineers sailed west to the Romanian port of Constanza for badly needed fresh water and coal, but the Romanians demanded that they surrender the ship. They refused and sailed back eastwards to Feodosia in the Crimea, where a party landed to seize supplies, but was driven off. The <span>Potemkin </span>sailed disconsolately back to Constanza again, and on June 25th surrendered to the Romanian authorities, who handed the ship over to Russian naval officers.

The incident had petered out, though it caused the regime serious alarm about the extent of revolutionary feeling in the armed forces. Its most lasting legacy was Eisenstein’s film, The Battleship Potemkin, (1925) and a riveting essay in propaganda rather than history.

More by Richard Cavendish

<span>- See more at: http://www.historytoday.com/richard-cavendish/mutiny-potemkin#sthash.4pshxeIk.dpuf</span>

I am not taking credit for this passage pleas don't report.

<span />
7 0
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