Question

Помогите правильно вставить вот эти слова в текст: cheerful vibrate leaves comprehensible unpleasant discerned vague stored confidence synthetic reflections elements abstract countless “For me a painting must above all be beautiful, loveable and delightful, something really pretty. There are enough …1… things, we don't need to make new ones”, wrote Renoir. Accordingly, he is seen as the painter of the …2… side of life. The play of sunlight and the reproduction of …3…, but particularly the human figure in natural light, form the central content of Renoir's paintings. In the pleasure-garden ‘Moulin de la Galette’, the light shines through the …4… of the trees, and dances over the ground and the figures in …5… little patches of glimmering colour. The people as well as the ground seem to …6… in the play of light between the light and dark patches. Renoir had absolute …7… in the descriptive effect of colour: with short, soft strokes and delicate grades of colour, he produced gentle, vague contours, so that all the picture …8… seem to blend, to blur. Details can no longer be …9… among these veils of colour. Thanks to the so-called ‘synthetic’ process of seeing, however, Renoir's paintings remain …10… to the viewer. With the vague painting on canvas that only hints and describes, the viewer automatically compares ‘typical’ images …11… away in the unconscious, and thus completes it. Renoir – like his friend Monet – deliberately addressed the …12… process of reception, in order to make his paintings appear even more vivid through the viewer's own efforts. He made use of Leonardo’s sfumato technique of …13… contours, and at the same time created one of the bases for the …14… painting of the 20th century.

Answer 1

Ответ:

Вставил, потом отправлю

Объяснение:

Ты подожди короч

Answer 2

"For me, a painting must above all be beautiful, loveable, and delightful, something really pretty. There are enough cheerful things; we don't need to make new ones,” wrote Renoir. Accordingly, he is seen as the painter of the vibrate side of life. The play of sunlight and the reproduction of leaves, but particularly the human figure in natural light, form the central content of Renoir's paintings. In the pleasure-garden ‘Moulin de la Galette’, the light shines through the cheerful elements of the trees and dances over the ground and the figures in abstract little patches of glimmering colour. The people as well as the ground seem to discerned in the play of light between the light and dark patches. Renoir had absolute confidence in the descriptive effect of colour: with short, soft strokes and delicate grades of colour, he produced gentle, vague contours so that all the picture reflections seem to blend, to blur. Details can no longer be unpleasant among these veils of colour.

Thanks to the so-called ‘synthetic’ process of seeing, however, Renoir's paintings remain comprehensible to the viewer. With the vague painting on canvas that only hints and describes, the viewer automatically compares ‘typical’ images stored away in the unconscious and thus completes it. Renoir – like his friend Monet – deliberately addressed the confidence process of reception in order to make his paintings appear even more vivid through the viewer's own efforts. He made use of Leonardo’s sfumato technique of synthetic contours and at the same time created one of the bases for the countess painting of the 20th century."