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Here he knew contemporary art innovators such as Filippo Brunelleschi, Donatello and Masaccio, with whom he shared an interest for Renaissance humanism and classical art. Alberti was the first post-classical writer to produce a work of art theory , as opposed to works about the function of religious art or art techniques, and reflected the ...
Example: "From up here on the fourteenth floor, my brother Charley looks like an insect scurrying among other insects." (from "Sweet Potato Pie," Eugenia Collier) (from "Sweet Potato Pie," Eugenia Collier)
Download as PDF; Printable version ... Types of art techniques There is no exact definition of what constitutes art. Artists have explored many styles and have used ...
Imagery is visual symbolism, or figurative language that evokes a mental image or other kinds of sense impressions, especially in a literary work, but also in other activities such as. Imagery in literature can also be instrumental in conveying tone. [1]
Written, western-inspired literary arts developed in Madagascar shortly after colonization, with its initial emergence in the 1906-1938 period, which can be divided into four phases. The first phase is known as miana-mamindra (learning to walk) in Malagasy and extended from 1906-1914. During this time, a first wave of artists began writing ...
Media, or mediums, are the core types of material (or related other tools) used by an artist, composer, designer, etc. to create a work of art. [1] For example, a visual artist may broadly use the media of painting or sculpting, which themselves have more specific media within them, such as watercolor paints or marble.
Name Definition Example Setting as a form of symbolism or allegory: The setting is both the time and geographic location within a narrative or within a work of fiction; sometimes, storytellers use the setting as a way to represent deeper ideas, reflect characters' emotions, or encourage the audience to make certain connections that add complexity to how the story may be interpreted.
A détournement (French: [detuʁnəmɑ̃]), meaning "rerouting, hijacking" in French, is a technique developed in the 1950s by the Letterist International, [1] and later adapted by the Situationist International (SI), [2] [3] that was defined in the SI's inaugural 1958 journal as "[t]he integration of present or past artistic productions into a superior construction of a milieu.