Art movement DADA The phenomenon Dada is notoriously difficult to describe; some critics hesitate even to use the term "movement." Focusing on Dadaists' reflections about the phenomenon itself, we will try to delineate a general image of the Dada in the context of the European avant-gardes of the 20-th century. We will also try to analyze the historical and political context inside which the dada phenomenon occurred. Our main focus will

Rather, the vines and clusters f grapes on the tree give the piece its true softness and roundness. This is mirrored by the effect of the figures' hair. Both faun and children all possess curling flowing ringlets that seem to hang as loosely as do the grapes, emphasizing a sense of liberty in the work. The sense of softness and liberty bestowed upon the piece by the line and texture

C.E.), a large underground chamber with massive capitals supporting a slanting and beamed ceiling. In tombs like this and in many others, the walls were usually covered with paintings in the form of murals, mostly drawn from Greek legends. Most of the time, these murals provide scenes of banquets, feasts and revelry, such as in the Tomb of the Leopards in Tarquinia, Italy. This tomb is decorated with a banquet

Cast in the Khasa Malla Kingdom of the western Himalayas made of gilt copper alloy with inlay and is a superb example of Newar artistry without the elaborate embellishments. The historical Buddha is seated in the lotus or meditation posture (vajrasana) with one hand resting in the lap and the other in a gesture that calls the earth to witness his great resolve. Earrings inlaid with turquoise adorn the

Art India: Unknown artist. Unknown date. This is a painting of Vedic art, depicting Krishna eating lunch with his friends. It was commissioned for an Indian monastery. Culturally, this form of art depicts a story from the life of Krishna. Krishna is usually depicted as an adult, so this is somewhat unusual, but in this case as a child from folklore. The story would probably be well-known to the audience at the

Art History The transition from the Baroque to the Rococo style in sculpture and painting was attended by a concurrent shift in European power relations, as the cultural and political hegemony of the Roman Catholic Church gave way to secular institutions of power. Comparing a work produced during the height of either style demonstrates this shift implicitly, because the Rococo style contains a playfulness in both theme and visual content hinting