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women in china in the 19th century

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Modern times.Silk scroll. Heavy-color on sketch. In ancient China, artists who took music and dance as their career were collectively called Hui. Its mainly engaged in the performance of musical instruments called Yue Hui, mainly engaged in singing and dancing called Wu Ji. Researchers in the dance field of music called the figures in the Dunhuang fresco, mainly playing musical instruments as Dunhuang Yue Ji.
In this picture, Jiyuetian is a god of music in the sky. The band of four in the picture is concentrating on playing the panpipes, drums, neck pipa and small brass cymbals, with their hands moving or swinging deftly to the beat, as if they were still in the beautiful melody. The image is vivid and realistic, giving people a sense of actually hearing the sound.

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Budhisattva in Four Forms with Musical Instruments of Early Tang Dynasty, Zhang Daqian's Copy of Dunhuang Murals - Zhang Daqian - Google Arts & Culture

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Modern times.Silk scroll. Heavy-color on sketch. In ancient China, artists who took music and dance as their career were collectively called Hui. Its mainly engaged in the performance of musical instruments called Yue Hui, mainly engaged in singing and dancing called Wu Ji.

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shows a Japanese women in the Japanese expression era

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Geisha from Both Capitals: Kyo (Kyoto), left scroll - Utagawa Hiroshige - Google Arts & Culture

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This double scroll positions a beautiful woman from Kyoto on one scroll, and one from Edo on the other, arranged so both ladies are facing each other. The ...

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it shows the Eiffel tower around the time it was painted

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Myself: Portrait-Landscape - Henri Rousseau - Google Arts & Culture

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His today greatly renowned Myself: Portrait - Landscape of 1890 depicts the then new way of the artist's perception and reflects the artistic confidence of...

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because it shows the layout of that time period

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Experts have attributed this large krater, a receptacle for mixing wine and water, to the Niobid Painter, an Athenian red-figure artist of the mid-fifth century B.C. As a ceramic artist, the Niobid Painter was interested in depicting specific themes and historical episodes drawn from mythology and epic poetry. The obverse of the Cincinnati krater depicts one such episode, taken from the Homeric cycle on the Trojan War. Here a goddess with a diadem, holding a spear, intervenes in a combat between two warriors. One advances with lance poised, while the other falls backward with sword drawn in self-defense. The most likely contestants in this battle are the Greek hero Achilles and his Trojan adversary Hector. Their duel, described in Book 22 of the "Iliad," was a popular subject among Athenian vase painters. Alternatively the scene may depict Aphrodite protecting her Trojan son Aeneas from the onslaught of the Greek Diomedes. Several details in the warriors' equipment are noteworthy, particularly the crouching lion that forms the shield blazon of the right-hand warrior and the apotropaic, or evil-averting, eye that decorates the leather apron hanging from his opponent's shield.

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Volute Krater with Battle Scene From The Trojan War - The Niobid Painter (Greek, b.Circa 475 BC, d.Circa 450 BC) - Google Arts & Culture

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Experts have attributed this large krater, a receptacle for mixing wine and water, to the Niobid Painter, an Athenian red-figure artist of the mid-fifth century B.C. As a ceramic artist, the Niobid Painter was interested in depicting specific themes and historical episodes drawn from mythology and epic poetry.

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because it was during the German expression

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In Black Spot (1921) Kandinsky gives us a cosmos of colours and forms. The individual elements combine as in a symphony orchestra to create a dynamic 'sound' on the canvas. The black lines - parallel diagonals and rhythmic oscillations - are overlaid like a grid over the cloudy white surface and connect the various zones of the picture to one another. The red, yellow and blue forms provide a counterpoint. As the abstract shapes oscillate with each other, viewers begin to resonate with the vibrations of their own souls, as if listening to music. For Kandinsky, this seems to have been the key to understanding the basic vibrating structure of the universe.
Next to Piet Mondrian, Wassily Kandinsky is the 20th century's leading exponent of the Abstract school. Kandinsky joined the movement in 1910, setting out his reasoning in the theoretical treatise 'Das Geistige in der Kunst' ('Concerning the Spiritual in Art').
Kandinsky's Black Spot is thought to be one of the last pieces he created in his birthplace of Moscow, where he first encountered works by Impressionists while a young legal scholar. Claude Monet's famed Haystacks - of which the Kunsthaus owns a version - perplexed and enraged him in equal measure. According to his thinking at the time, painters did not have the right to represent objects in such a way as to make them unrecognizable. He was as yet unaware that he would go much farther than that in his own artistic expression.

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Black Spot - Wassily Kandinsky - Google Arts & Culture

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In Black Spot (1921) Kandinsky gives us a cosmos of colours and forms. The individual elements combine as in a symphony orchestra to create a dynamic 'sound' on the canvas. The black lines - parallel diagonals and rhythmic oscillations - are overlaid like a grid over the cloudy white surface and connect the various zones of the picture to one another.