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The word also acquired the meaning of 'one who consoles' (cf. Job 16:2, Theodotion's and Aquila's translations; the LXX has the correct word parakletores). It is probably wrong to explain the Johannine parakletos on the basis of only one religious background. The word is filled with a complex meaning: the Spirit replaces Jesus, is an advocate ...
In The Rise if Cubism Daniel Henry Kahnweiler writes of the similarities between African art with Cubist painting and sculpture: In the years 1913 and 1914 Braque and Picasso attempted to eliminate the use of color as chiaroscuro, which had still persisted to some extent in their painting, by amalgamating painting and sculpture.
Proto-Cubism (also referred to as Protocubism, Early Cubism, and Pre-Cubism or Précubisme) is an intermediary transition phase in the history of art chronologically extending from 1906 to 1910. Evidence suggests that the production of proto-Cubist paintings resulted from a wide-ranging series of experiments, circumstances, influences and ...
Pablo Picasso, 1910, Girl with a Mandolin (Fanny Tellier), oil on canvas, 100.3 × 73.6 cm, Museum of Modern Art, New York. Cubism is an early-20th-century avant-garde art movement begun in Paris that revolutionized painting and the visual arts, and influenced artistic innovations in music, ballet, literature, and architecture.
Modern Greek art, after the establishment of the Greek Kingdom, began to be developed around the time of Romanticism. Greek artists absorbed many elements from their European colleagues, resulting in the culmination of the distinctive style of Greek Romantic art, inspired by revolutionary ideals as well as the country's geography and history.
Greek art, especially sculpture, continued to enjoy an enormous reputation, and studying and copying it was a large part of the training of artists, until the downfall of Academic art in the late 19th century. During this period, the actual known corpus of Greek art, and to a lesser extent architecture, has greatly expanded.
Georges Braque, 1908, Maisons et arbre (Houses at l'Estaque), oil on canvas, 40.5 x 32.5 cm, Lille Métropole Museum of Modern, Contemporary and Outsider Art Artists at the forefront of the Parisian art scene at the outset of the 20th century would not fail to notice the tendencies toward abstraction inherent in the work of Cézanne, and ventured still further. [6]
In the case of bronze, the main innovation in their history for Greek sculpture was the development of the lost wax technique but its principles were already masterfully handled in the Severe period, with a diversified application. Therefore, Classicism benefited from the fact that the main sculptural techniques had already been refined enough ...