Answer:
They both focused on religion. The Byzantine Empire and the Western Empire were the part of the Roman Empire, their painting reflected on their believes in Christianity. Though they followed different customs, depicted God in Churches such as Hagia Sophia.
Explanation:
C) Brussels down handle up because after washing it all the water has to be dryer off before storing back to a dry place or else all the clean paintbrushes will get wet and possibly dirty.
Roger Fry, in full Roger Eliot Fry, (born December 14, 1866, London, England—died September 9, 1934, London), English art critic and artist, best known as the champion of the movement he termed Post-Impressionism. Fry was born into a Quaker family and was educated at the University of Cambridge for a career in science.
Manga Ormolu enters the dialogue on contemporary culture, technology, and globalization through a fabricated relationship between ceramic tradition (using the form of Chinese Ming dynasty vessels) and techno-Pop Art. The futuristic update of the Ming vessels in this series recalls 18th century French gilded ormolu, where historic Chinese vessels were transformed into curiosity pieces for aristocrats. But here, robotic prosthetics inspired by anime (Japanese animation) and manga (the beloved comics and picture novels of Japan) subvert elitism with the accessibility of popular culture.
Working with Asian cultural elements highlights the evolving Western experience of the “Orient.” This narrative is personal: the hybridization of cultures mirrors my identity as an ethnically-mixed Asian Canadian. My family history is one of successive generations shedding the markers of ethnic identity in order to succeed in an adopted country – within a few generations this cultural filtration has spanned China, India, Trinidad, Ireland and Canada.
While Manga Ormolu offers multiple points of entry into sociocultural dialogue, manga, by nature, doesn’t take itself too seriously. The futuristic ornamentation can be excessive, self-aggrandizing, even ridiculous. This is a fitting reflection of our human need to envision and translate fantastic ideas into reality; in fact, striving for transcendence is a unifying feature of human cultural history. This characteristic is reflected in the unassuming, yet utterly transformable material of clay. Manga Ormolu, through content, form and material, vividly demonstrates the conflicting and complementary forces that shape our perceptions of Ourselves and the Other.
