They used horizontal lines and perpendicular lines to create the structure.
Answer:
C) saints associated with healing
Explanation:
The Isenheim Altarpiece is a piece of altar painted for the Monastery of St. Anthony in Isenheim (Colmar, France).
This is Antonine hospital and monastery for Order of St Antony, also called Hospital Brothers of Saint Anthony because of their care for the diseased people who were suffering from ergotism, which was called Saint Anthony's Fire in Medieval period.
Parts of the altarpiece describe scenes of healing or associated with healing and suffering.
- <u>Jesus is painted afflicted with sores that resemble those that became of plague, which was a symbol to people who suffered that Jesus understood them and went through the same pains.</u>
- <u> There is an image of </u><u>St Sebastian</u><u> the Martyr who was tied to a tree and shot with the arrows but survived. He was rescued and healed by St Irene. </u>
- <u>The part paints </u><u>St Antony</u><u> of Padua, who is, as mentioned connected to the healing order. </u>
- <u>The images of these two saints were supposed to help and heal the sick. </u>
I like RM, and the song boy with luv
The style of Southern song painter Ma Yuan is Evocative style of landscapes.
This work has neither signature nor seal of the artist, but has been traditionally attributed to Ma Yuan, who served as a Painter-in-Attendance in the reigns of Emperors Guangzong and Ningzong. He was one of the foremost painters of the evocative style of landscapes in the Southern Song.
Who is Ma Yuan?
Ma Yuan was an influential Chinese landscape painter of the Song dynasty whose work, together with that of Xia Gui, formed the basis of the Ma-Xia School of painting.
Ma Yuan came from a prominent painting family. His grandfather, father, uncles, and son all served in the imperial Painting Academy. His technique, like that of many contemporaries, was at first inspired by Li Tang. Eventually Ma Yuan developed a personal style, with marked decorative elements such as the pine. A characteristic feature of many paintings is the so-called “one-corner” composition, in which the actual subjects of the painting are pushed to a corner or a side. Ma Yuan’s lyrical and romantic interpretation became the model for many later painters.
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