The Thinker, portraying a nude man hunched over with his head on his fist deep in thought, is one of the most widely recognized pieces of art in the world. Created by Auguste Rodin in 1880, it was first widely cast in bronze in 1904, and was immediately desired thanks to its rough hewn texture, vivid portrayal of a man, and the emotion it displays. Thanks to being a bronze cast, there are about twenty-eight versions of the sculpture in existence around the world.

Auguste Rodin largely reinvented modern sculpture in the late nineteenth century, largely through his ability to capture human forms honestly and present motion in a still sculpture. The success of Rodin was attributable to his use of bronze casting for his sculptures. This both allowed him to mold in clay his radical forms before setting a mold and then allowed that mold to be recast multiple times to produce many copies of his most famous works.

Auguste Rodin (1840-1917) was a revolutionary sculptor who helped develop modern art, but he actually saw himself as a traditional craftsman. Rodin would use clay to create bronze molds, and used models. In contrast to his predecessors, Rodin asked models to move so he could capture natural movement and a dark psychological perspective. Rodin also refused to use traditional classical and mythological themes in his work.

Degas frequently used dancers as his subject, often in every day poses, such as this dancer examining her foot.

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Chicago aims at elevating female achievements in this work, honoring traditional female roles and celebrating the strength, inventiveness, creativity, and independence of women throughout history. Its feminist themes touch on sexuality, traditional gender roles, concepts of achievement, and more.

While it may bear some similar principles to movements like Surrealism and Cubism, the sculpture's emphasis on the energy of a body in motion is a prime example of Futurism, of which Boccioni was a leading artist. Fauvism is not applicable to sculpture, dealing instead with the color palette of paintings, and Abstract Expressionism largely did away with representational figures, even somewhat abstracted ones like the sculpture in question.

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The answer is "defining lines," of which there are none in this sculpture. All of the other answers are key features of both Futurism and this sculpture.

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The figure demonstrates momentum and speed in the way Boccioni has conveyed his forward movement. Impetuosity is an emotional quality we can infer from the speed and momentum. Though it lacks defined muscles in a naturalistic way, the sculpture also conveys a sense of muscularity through the unique rendering of his body parts. Of all these qualities, and in spite of this being a bronze sculpture, weight is not a fitting description for a figure that has muscularity but also a significant lightness to it.

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The Prairie School was an architectural movement that grew around the turn of the nineteenth to the twentieth century in the American midwest. The Prairie School architects wished for a uniquely American form of architecture that could fit in with the natural landscape of America. Among the leading figures of the Prairie School was the famous architect Frank Lloyd Wright, whose early houses were all largely in the Prairie style.

"Found object" can be considered an umbrella term, as it can apply to sculpture, installations, and many other media. The main concept behind "found object" art is that any object can be presented as or included in fine art. The first use of such art was by Marcel Duchamp with his "readymades," which were literally just regular objects Duchamp gave titles to and placed in galleries. The earliest form of the movement was seen as a subset of Dadaism.