Answer:
the broadway character Eliza Doolittle
Explanation:
1) Italian Futurists were fascinated with politics.
2) Boccioni was interested not in construction of the body but construction of the action of the body.
3) The work of the Futurists was a manifestation of authoritarian politics.
4) Marinetti, the founder of Futurism, hated the past.
5) One of their major themes was movement and speed.
6) White on White was the pinnacle of the suprematist movement.7) Kasimir Malevich’s famous 1915 painting of a square was the color black. Black Square is considered to be the iconic work of Kasimir Malevich.
8) Malevich believed his colored shapes could convey the awe of religious experience.
9) Malevich said that the War was not important in art. Even though the suprematist movement as introduced during the First World War, Makevich thought that war affects people in bad ways while art can affect people only in good ways.
10) Malevich believed that the only thing that mattered was object feeling.
Computer art you could only use a mouse now you can use a iPad a pincel for your computer
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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