Question

1. What is the canon of proportion? (pages 4-5)
2. How can you determine whether the figures in John Singer Sargent's painting are rendered
in realistic proportions? (pages 4-5)
3. How does Robert Longo create a realistic, dynamic work? (pages 4-5)
4. How does Leonardo da Vinci create realistic works like Lady With an Ermine? (pages 6-7)
5. How can you tell that Vincent van Gogh's self-portrait is in realistic proportion? (pages 6-7)
6. How does Kehind
e Wiley use highlights and shadows along with the canon of proportion
to create a realistic portrait? (pages 6-7)
7. In what ways does the face in Girl in a Sailor's Blouse have a masklike quality (pages 8-9]
8. Whet techniques does Henri Matisse use to draw the viewer's attention to the woman's clothing
In The Romanian Blouse? (pages 8-9)
9. How does Hannah Hoch play with shape, size, and color in The Journalists? (pages 8-9)
10. How does Pablo Picasso draw attention to the guitar player's elongated fingers
In his work on page 10?
10 TEACHER

Answer 1

Answer:

Explanation:

This morning I woke up to find that my screen wasn't up

If you're not lucky my friend who swims in the sea

Wasn't very nice

Tonight everything's great

And I don't know if it's for real

I've been waiting waiting waiting wishing on a fool

Chorus

Maybe I'm just an apologist

I was waiting waiting waiting hoping on a fool

You don't have to be anything in order to get hurt

You don't have to be anything in order to get hurt

Verse 2

There is nothing wrong with someone telling you to feel it

You don't have to be anything in order to be great

You don't have to be anything in order to be great

You don't have to be anything in order to be great

You don't have to be anything in order to be great

You don't have to be anything in order to be great

Chorus

Maybe I'm just an apologist

I was waiting waiting waiting hoping on a fool

You don't have to be anything in order to get hurt

You don't have to be anything in order to get hurt