A Burial at Ornans
<em>Gustave Courbet</em>
This painting depicts the burial of Courbet’s great uncle in the small French town of Ornans, and it is considered to be one of the turning points in French art. The painting depicted the scene with an unflattering air, and it did not romanticize the depictions of grief and mourning, as in traditional Romantic paintings. Critics of the piece decried both the style of the painting as well as the size. At 10 feet tall by 22 feet wide, the size of the canvas was typically reserved for religious or heroic scenes, and the painting critics said was intentionally ugly and harsh. For the subjects in the painting, Courbet also used the real people who had actually been at the burial, rather than actors used as models for the art. As it had such a deleterious effect on the Romantic style of painting, it could also be easily called “The Burial of Romanticism,” as Courbet himself said: “The Burial at Ornans was in reality the burial of Romanticism.”
This 22 foot long canvas situated in a main room at the Musee d'Orsay buries the viewer as if he or she were in a cave. In a decidedly non-classical composition, figures mill about in the darkness, unfocused on ceremony. As a prime example of Realism, the painting sticks to the facts of a real burial and avoids amplified spiritual connotations. Emphasizing the temporal nature of life, Courbet intentionally did not let the light in the painting express the eternal. While sunset could have expressed the great transition of the soul from the temporal to the eternal, Courbet covered the evening sky with clouds so the passage of day into night is just a simple echo of the coffin passing from light into the dark of the ground. Some critics saw the adherence to the strict facts of death as slighting religion and criticized it as a shabbily composed structure with worn-faced working folk raised up to life-size in a gigantic work as if they had some kind of noble importance. Other critics such as Proudhon loved the inference of equality and virtue of all people and recognized how such a painting could help turn the course of Western art and politics.
I can't see the rest of the answers but I assume that there is a answer saying he basically wings it. hope this helps
Answer: Even English-speakers with a modicum of German can hear the difference between the lilting, almost musical tones of Austrian German versus the less lilting, more crisp sound of standard German (Hochdeutsch). Bavarian, on the other hand, is very similar to Austrian.
Both nations historically spoke the same language (German), so in that sense sometimes an Austrian (in many cases, a Viennese) composer might be regarded as German. The German nation we know today and who fought France and England in both world wars was originally Prussia and several other small German-speaking states located in northern European east of France. Austria was another German speaking confederation of lands that later became the Austro-Hungarian Empire and basically controlled the southern half of central/eastern Europe, extending from Prague and Cracow in the North to the Adriatic Sea in the South. The Hapsburgs controlled it for the most part. The term 'German' when used to describe music likely refers to the language, regardless of whether it was a composer working in Berlin (Germany) or Vienna (Austria).
Explanation:
The best answer is A) Establishing pay, rewards, and incentives would not be part of a mentor managers job.
C. Thomas Eakins
This painting is called “The gross clinic”
