Answer:
La Horde (The Horde)
Explanation:
Made in 1927, La Horde is a painting from artist Max Ernst. Hope this helps.
Artistic value in a person when they're painting or performing art is an expressive technique for us to understand their contextual upbringings. Like music or other forms of art, composers and artists value their context as being the fundamental and concrete moral when they're doing art. Certain attributes connote to specific timespans and as we grow older to appreciate composers' artistic flair, the more we begin to understand about their past.
An exemplified example is a cinematic example, Metropolis (1927), this film is regarded as the forefront of modernist views, a pioneer that was underrated during its time. The dark ambiance, yet subtle hints at the destruction of the new sparked a new generation of Modernist and Post-Modernist views. Fritz Lang's use of silence in this film was a crucial cinematic technique during the 1920's, and with this being one of the last standing silent films, we know straight away that it is from that generation or that context.
Context also allows us to understand certain morale during the creation of art and we begin to contemplate with a change in perspectives, particularly when watching a film. Understanding context allows us, as responders, to truly be captivated by Da Vinci's The Last Supper or Van Gogh's Starry, Starry Night as we begin to dive into the minds of these people and their upbringings.
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.
