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Sinteza ( greqisht σύνθεσις, sintesis - bashkimi, ndërlidhja) paraqet një term i cili përmbledh ose lidh dy ose më shumë elemente (pjesë përbërëse) në një njësi të re. Koncepti në shkencat natyrore është futur nga Hermann Kolbe në vitin 1845. Shpesh, termi sintezë nënkupton vetë produktin, d.m.th. rezultatin e aktivitetit sintetik.
Synthetism is a term used by post-Impressionist artists like Paul Gauguin, Émile Bernard and Louis Anquetin to distinguish their work from Impressionism. Earlier, Synthetism has been connected to the term Cloisonnism, and later to Symbolism.
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Syntheism is the belief that the classic division between theism and atheism in theology has become redundant and must be overcome to fulfill contemporary and future spiritual needs. This requires the acknowledgement that all metaphysical beliefs center on a divinity or focal point which is man-made.
Synthetism, in art, method of painting evolved by Paul Gauguin, Émile Bernard, Louis Anquetin, and others in the 1880s to emphasize two-dimensional flat patterns, thus breaking with Impressionist art and theory. The style shows a conscious effort to work less directly from nature and to rely more.
- The Editors of Encyclopaedia Britannica
Sintaksa ka për objekt ligjërimin e lidhur. Fjalët, në procesin e ligjërimit, duke u bashkuar për të shprehur e transmetuar mendimin, hyjnë ne lidhje e në marrëdhënje të ndryshme kuptimore e formale gramatikore. Ndërmjet këtyre lidhjeve e raporteve krijohen njësi të ndryshme sintaksore.
The Decadent movement (from the French décadence, lit. 'decay') was a late-19th-century artistic and literary movement, centered in Western Europe, that followed an aesthetic ideology of excess and artificiality. The Decadent movement first flourished in France and then spread throughout Europe and to the United States. [1]
Post-Impressionism (also spelled Postimpressionism) was a predominantly French art movement that developed roughly between 1886 and 1905, from the last Impressionist exhibition to the birth of Fauvism. Post-Impressionism emerged as a reaction against Impressionists' concern for the naturalistic depiction of light and colour.