In the foreground is the silhouette of trees and a pointed mountain that reaches almost to the end of the sky. In the background is a village of small buildings. The sky takes up majority of the painting. The stars and moon are swirling. In Van Gogh’s Starry Night, he incorporated symbolic expression, using the visual elements of art, through all of the following actions, except which?

A. The stars appear to interact with nature and the environment below, rather than being above it as they often appear in various other pieces of art.
B. The houses are painted small and seem to almost blend into the ground.
C. The artist has created the piece so that the negative space overpowers the positive space.
D. The cedar trees and mountains seem to be reaching for the sky

The byzantine style introduced what what into the history of art ?

Match these items. match the items in the left column to the items in the right column. 1. aesthetics in art, a technique for defining shape, also used to create a sense of depth 2. composition a perceived line that describes three-dimensional form 3. contour line a method of presenting an illusion of the three-dimensional world on a two-dimensional surface 4. line (pronounced "uhvrr") — a work of art; the sum of the lifework of an artist, writer, or composer 5. oeuvre the way an artist organizes forms (lines, shapes, etc.) in an artwork, either by placing shapes on a flat surface or by arranging forms in space 6. patron the relationship of one part of a person, building, or object to another; for example the size of a statue's head in relationship to the rest of the body 7. personification the study of beauty or good taste; anything related to the study of beauty or good taste 8. perspective giving human characteristics to something that is not human 9. proportion generally a wealthy person who pays an artist to create a work of art; throughout much of history artists could not have survived without "patronage" 10. symbol an object or word or gesture that represents something else

Write an art critique of edvard munch, separation 1986