The first example of modernism in painting was impressionism, a school of painting that initially focused on work done, not in studios, but outdoors (en plein air). Impressionist paintings demonstrated that human beings do not see objects, but instead see light itself. The school gathered adherents despite internal divisions among its leading practitioners, and became increasingly influential. Initially rejected from the most important commercial show of the time, the government-sponsored Paris Salon, the Impressionists organized yearly group exhibitions in commercial venues during the 1870s and 1880s, timing them to coincide with the official Salon. A significant event of 1863 was the Salon des Refusés, created by Emperor Napoleon III to display all of the paintings rejected by the Paris Salon.
... the keyword starting the line that heads a block draws a lot of attention to it. This is true for "if", "while", "for", "try", "def" and "class". But the "using" keyword (or any other keyword in its place) doesn't deserve that attention; the emphasis should be on the decorator or decorators inside the suite, since those are the important modifiers to the function definition that follows. ...
The primary objection to this form is that it requires "peeking inside" the method body to determine the decorators. In addition, even though the code is inside the method body, it is not executed when the method is run. Guido felt that docstrings were not a good counter-example, and that it was quite possible that a 'docstring' decorator could help move the docstring to outside the function body.
There have been a number of objections raised to this location -- the primary one is that it's the first real Python case where a line of code has an effect on a following line. The syntax available in 2.4a3 requires one decorator per line (in a2, multiple decorators could be specified on the same line), and the final decision for 2.4 final stayed one decorator per line.
In 1890, the Parisian painter Maurice Denis famously asserted: "Remember that a painting—before being a warhorse, a naked woman or some story or other—is essentially a flat surface covered with colors assembled in a certain order."[16] Thus, many 20th-century developments in painting, such as Cubism, were reflections on the means of painting rather than on the external world—nature—which had previously been its core subject. Recent contributions to thinking about painting have been offered by the painter and writer Julian Bell. In his book What is Painting?, Bell discusses the development, through history, of the notion that paintings can express feelings and ideas.[17] In Mirror of The World, Bell writes:

A painter and decorator works with homeowners and commercial business managers to design and create a color/decoration scheme for homes and businesses. This usually means talking with a client to determine particular likes and dislikes in regard to interior design and decoration, making suggestions, and creating an overall project plan that meets the needs of the client. Some clients have clear ideas for their project, while others may want the painter to take the lead and be responsible for developing overall themes and designs. Either way, the position requires considerable experience with interior design, excellent decoration and aesthetic skills, and knowledge of materials and techniques.
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The term outsider art was coined by art critic Roger Cardinal in 1972 as an English synonym for art brut (French: [aʁ bʁyt], "raw art" or "rough art"), a label created by French artist Jean Dubuffet to describe art created outside the boundaries of official culture; Dubuffet focused particularly on art by insane-asylum inmates.[33] Outsider art has emerged as a successful art marketing category (an annual Outsider Art Fair has taken place in New York since 1992). The term is sometimes misapplied as a catch-all marketing label for art created by people outside the mainstream "art world," regardless of their circumstances or the content of their work.
Water miscible oil paints (also called "water soluble" or "water-mixable") is a modern variety of oil paint engineered to be thinned and cleaned up with water, rather than having to use chemicals such as turpentine. It can be mixed and applied using the same techniques as traditional oil-based paint, but while still wet it can be effectively removed from brushes, palettes, and rags with ordinary soap and water. Its water solubility comes from the use of an oil medium in which one end of the molecule has been altered to bind loosely to water molecules, as in a solution.
The oldest known paintings are at the Grotte Chauvet in France, which some historians believe are about 32,000 years old. They are engraved and painted using red ochre and black pigment, and they show horses, rhinoceros, lions, buffalo, mammoth, abstract designs and what are possibly partial human figures. However, the earliest evidence of the act of painting has been discovered in two rock-shelters in Arnhem Land, in northern Australia. In the lowest layer of material at these sites, there are used pieces of ochre estimated to be 60,000 years old. Archaeologists have also found a fragment of rock painting preserved in a limestone rock-shelter in the Kimberley region of North-Western Australia, that is dated 40,000 years old.[7] There are examples of cave paintings all over the world—in Italy, France, Spain, Portugal, China, Australia, Mexico,[8] etc. In Western cultures, oil painting and watercolor painting have rich and complex traditions in style and subject matter. In the East, ink and color ink historically predominated the choice of media, with equally rich and complex traditions.
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