Question: What Italian painter is best known for a 19th-century art movement characterized by relatively small, thin, yet visible brush strokes, open composition, emphasis on accurate depiction of light in its changing qualities,ordinary subject matter, inclusion of "movement" as a crucial element of human perception and experience, and unusual visual angles?

<P0-S0> Military art (French: "L'Art de la Guerre" ) (lit. <P0-S1>  art of war) is a field of theoretical research and training methodology in military science used in the conduct of military operations on land, in the maritime or air environments. <P0-S2>  Military art includes the study and application of the principles of warfare and laws of war that apply equally to the closely interrelated military strategy, operational art and tactics. <P0-S3>  Exercise of military art is highly dependent on the economics and logistics supporting the armed forces, their military technology and equipment, and reflects the social influences on the military organisation exercising military art. <P0-S4>  Often misunderstood due to its 19th-century perception as generally "including the entire subject of war", it is primarily, as the term implies, the expression of creative thinking on the part of the decision-makers in employing their forces, with the map of the area of operations as a veritable canvas, and the movement of forces commonly marked on the map with arrows, as brush strokes. Less imaginatively it was defined in France during the 19th century as <SEP> <P1-S0> Carlo Balestrini (March 24, 1868 – February 10, 1922) was an Italian painter. <P1-S1>  His best-known works are Impressionist landscapes with animals, specially horses. <SEP> <P2-S0> Impressionism is a 19th-century art movement characterized by relatively small, thin, yet visible brush strokes, open composition, emphasis on accurate depiction of light in its changing qualities (often accentuating the effects of the passage of time), ordinary subject matter, inclusion of "movement" as a crucial element of human perception and experience, and unusual visual angles. <P2-S1>  Impressionism originated with a group of Paris-based artists whose independent exhibitions brought them to prominence during the 1870s and 1880s. <SEP> <P3-S0>  “It’s not even electronics. <P3-S1>  Hawkinson tinkers with everyday materials to build surprising mechanical art works. <P3-S2>  I don’t know what it is,” he admits. <P3-S3>  “I guess it comes from early on in childhood, a fascination with moving parts and sort of the magical,” he suggests. <P3-S4>  For a version of the artwork the artists created a score for the organ using old church hymns. <P3-S5>  By the end of the 1980s, Fischli/Weiss had expanded their repertoire to embrace an iconography of the incidental, creating deadpan photographs of kitsch tourist attractions and airports around the world. <P3-S6>  Roberta Smith of "The New York Times" described Colson’s 1990 debut exhibition at Sperone Westwater Gallery: “In nearly all of Mr. Colson’s works, the combination of modesty and grandiosity, of mental exactness and physical imprecision adds up to an odd, sad beauty. <P3-S7>  One of Hawkinson’s largest projects, "Überorgan," is an inflatable installation in a space the size of a football field. <P3-S8>  The diagrams and maps Colson deploys speak to the detached, abstract quality of much human analysis, at the same time smuggling social critique into each work. <P3-S9>  In an early review of Colson’s 1988 “Accidental Non-Un-Intentionalism” exhibition at Angles Gallery, Brian Butler wrote in "New Art Examiner", “The main feeling these works project is one of investigation, not completion. <P3-S10>  For the Skulptur Projekte Münster (1997), Fischli/Weiss planted a flower and vegetable garden conceived with an ecological point of view and documented its periodic growth through photographs. <P3-S11>  Continuing to take from the natural sciences and information systems, amongst other subject matters, the construction of his compositions has transitioned from occupied fields to plaited grids and networks that offer unpredictable images. <P3-S12>  Throughout the 1990s and onward the scale of Winters’ work and its visual complexity has grown considerably. <P3-S13>  Winters reforms his subjects to maintain their resonance and referentiality – what one sees in his compositions is ambiguously familiar – while waxing to an analog for the act of their making. <P3-S14> Accidentalism represents a loosely affiliated art movement related to assemblage, conceptual art and process art during the late 1980s and early 1990s.