Underlying Messages in the Works of Muntean and Rosenblum

According to the oil paintings of Muntean and Rosenblum, the painting itself conveys hopeless information through shape and color, so its portrait is seen for the second time and there is a feeling that it is necessary for the audience to understand. It seems that almost every picture tells its own story, and it has its own title which has to be determined and explained by the observer of it. Indeed, the story to convey is entirely dependent on those who have personal experiences that may be related to the work by looking at the paintings.

• Look at the specific message that seems to be the focus of the underlying message and text and consider the particular message associated with the context of the first recipient community, whether the message is generic (situation-specific, not individual or context) I will investigate. People have established many levels in the value / message hierarchy within the hierarchy over 1400 years. And beyond the texts of the Quran and the dominance that may be developed under the name of the Quran. Today, when Muslims talk about 'Islamic law' they refer mainly to 'Islamic law'. They rarely see the actual text they need to check the Quran back. More importantly, Quurâžn's reading is in line with decisions and rulings by classical methods, and not the other way round.

Just as FN 10 Rosenblum pointed out in the article's first introductory note, Janson died in 1982 for incomplete manuscripts and his former student, June Hargrove, undertook the work of editing his contributions. Probably because of this, Rosenblum's voice dominates. Rosenblum himself died at the end of last year. In January 2007, they changed their names to the Department of Art History at New York University. FN 11. The exhibition was held from 1999 to 2000 at the Royal College of Art in London and the Guggenheim Museum in New York. Comments to the exhibition are Richard Schiff, "1900: The Art of Intersection", Artforum 39, No. 2 (October 2000): pages 138 to 39 and Richard Thomson, "1900", Burlington Maganage 142, No. 1167 (June 2000): 391 - 94. It should be noted that Rosenblum was not the only way to adopt this revisionism in the 1980s: the Musée d'Orsay also not only works of the 19th century "avant-garde" artist but also "official" or " Hanging academic "works. Work is done experimentally. "painter