Answer:
Explanation:
Superposition results in adding the two waves together. Constructive interference is when two waves superimpose and the resulting wave has a higher amplitude than the previous waves. Destructive interference is when two waves superimpose and cancel each other out, leading to a lower amplitude.
Answer:
the quality of being made up of exactly similar parts facing each other or around an axis.
Answer: Imagine that you have been working as a cosmetologist for a few years and are starting a small business in your area of the cosmetology field. Using information from the unit, create a PowerPoint or other slide-based presentation detailing three elements of your marketing plan. If you use images, they should be appropriate for the content. Explain who your target client is and the three ways you would use to both stay in contact with current clients and reach new clients. The examples of these communications should also include a clear message for your client (e.g., grand opening, a particular event, a discount, a new product or service, etc.). Make sure that your slides are easy to read and are free of mechanical errors.
Why do we use different calculations) when figuring out how many permutations there are when repetition is allowed vs. when repetition is not allowed? How are these calculations different from each other?
Explanation:
Explanation:
Vincent van Gogh (Dutch, 1853-1890), The Poplars at Saint-Rémy, 1889. Oil on fabric, 24¼ x 17 15/16 in. The Cleveland Museum of Art; Bequest of Leonard C. Hanna, Jr., 1958.32
A recent trip to south Florida occasioned what has become a routine sojourn for me, a stopover at the Norton Museum of Art.
At the Norton, van Gogh’s The Poplars at Saint-Rémy is overwhelmed twice, first by its ornate antique frame, then by its installation on the third floor. Softly lit, it inhabits its own grey-painted gallery, a pearl in an oversized jewel box. It doesn’t help that the landscape’s colors are relatively sedate for a late van Gogh, relying on white to suggest terrain bleached by sunlight. The central two poplars are enclosed within a diamond-shaped design circumscribed by skyline above and crossing diagonals of rock-strewn land below. It is an inherently unstable composition, harmonized by color, the blue sky repeated in ground plane shadows and the blanched earth tones picked up in clouds. There is perhaps no way to write about van Gogh’s brushwork, idiosyncratic and instantly recognizable, without resorting to banalities; suffice to say that his sense of urgency demanded an entirely novel handling of paint. The Poplars at Saint-Rémy was made in a single session, a feat of compressed intensity.
Sharing a gallery with two other works by the artist, Degas’s Portrait of Mlle. Hortense Valpinçon resides more comfortably in its ground floor setting. The story of its production is no less remarkable than that of the van Gogh; leaving Paris during the barricades of 1871, Degas arrived at the Valpinçon country home without a canvas, and apprehended some mattress ticking upon which to paint his friend’s nine-year-old daughter. She leans into a sideboard and surveys us with unusual self-possession for one so young, holding in her right hand what has been variously described as a slice of fruit or a coin.
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The correct answer on edgen is
<u>B) It was created using stones from the environment in which it is located in.</u>
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