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Pablo Picasso's "Guitar, Sheet Music and ine Glass" is a paper collage with ink. The 1912 work is from his Cubist period, but is far less formal than many of his Cubist paintings. Rather, than pure geometric patterns there is some definition of shape, but also incorporations of curves and circles. This informality is echoed in the background of the artwork which is a pattern of diamond-shaped tiles with flowers in the center. The effect is of some wallpaper in someone's living room as opposed to cutting-edge, modern art. The guitar is only represented in the painting by figures but is the emphasis of the piece. There are two curved segments with a heavy-grain wood pattern which indicate the left side of the guitar. In addition there is a blue rectangular shape at the top of this segment which functions as the fret bar of the instrument. A…
Lewis, Norman. "Harlem Jazz Jamboree." 1943.
Picasso, Pablo. "Guitar, Sheet Music, Glass." 18 Nov. 1912.
The Romanticism of Goya's work is shown in the way that it is openly partisan and emotional -- it lacks the clean lines of David's painting and thus make the figures seem more worthy of pathos, more real as subjects to the viewer, even though the rendering of the subject may be less realistic on the surface. Goya's intent was to make a clear, partisan point that would move the viewer to judge war harshly, as well as see the French soldiers as butchers. Its Romanticism is also evident in the way that it is intended to move the heart about the individuality of often unrecognized citizens, rather than to inspire the viewer to noble ideals of self-sacrifice of any soldier. "ith Goya we do not think of the studio or even of the artist at work," as we do when seeing in David's work, for while David openly recalls…
Clark, Kenneth. "The Shootings of May Third 1808." From Looking at Pictures.
Excerpted on the web 8 Jul 2007 at http://www.artchive.com/artchive/G/goya/may_3rd.jpg.html
Stokstad, Marilyn. 2005. Art History. New York: Harry N. Abrams, Inc.
" 2009. Pious Fabrications. March 2013. .
Sharma, S. "as Middle Ages in Europe a Dark Age?" December 2004. The Education Forum. March 2013. .
"The Meaning of Sacred Symbols." 2005. Historyofpainter.com. March 2013. .
"The Middle Ages." 2010. Middle-Ages.org. February 2013. .
Marriage at Cana (Giotto)
Classical Pottery, more like Greek Urns.
alls painted in classical style
The Roman Arch
Balcony with more Islamic Flavor
Requisite halos above religious figures
More realistic, less idolized characters
Classical dress, Greco- Roman togas
The Roman Arch
Figure 2 -- Ascension of St. John (Giotto)
Figure 3 - Typical Gothic
Expansion of Roman arch, multiplied
Figure 4 - Typical Gothic Shape
Figure 5 -- St. Denis' Cathedral
Expansion of Roman arch, multiplied
Classical Decorations on Columns
Figure 7 -- Skeleton and exterior of Brunelleschi's Arch
Figure 6 -- Linear Perspective
Craven, J. "What is a "Corinthian Column"?" 2012. About.com Architecture. March 2013. .
Derbes and Sandona, eds. The Cambridge Compaion to Giotto. New York: Cambridge University Press, 2007.
"Feudal Life." March 2011. Learner.otg. February 2013. .
Fitchen, J. The Construction of Gothic Cathedrals. Chicago, IL: University of Chicago Press, 1997.
The Narrative Tradition in Art: Evidence and Examples from the Neolithic and the Hellenistic Periods
Artists have existed since long before the dawn of civilization and the beginnings of recorded history, and the subject matter chosen for depiction in paintings has at once been highly varied and remarkably similar as civilization progressed and societies same and went. Wildly disparate styles have led some to emphasize color and the abstract while others attempted to paint exactly what was seen, and buildings dominate some paintings while landscapes dominate others; at the same time, there have been similarities in that paintings always represent the world as seen by the civilization producing the art, and thus people and certain other elements are almost always well represented. Art is a way of mirroring life, and of displaying features of importance to a given people, and representations of men and women and the objects…
Cartldge, P. & Millett, P. (1998). Kosmos: Essays in Order, Conflict and Community in Classical Athens. New York: Cambridge University Press.
Hamblin, W. (2006). Warfare in the ancient near east. New York: Routledge.
Kleiner, F. (2010). Gardner's art through the ages. Mason, OH: Cengage.
Snodgrass, A. (2000). The dark ages of Greece. New York: Routledge.
The perspective might seem extreme. In this sense, it is important to understand that Van Gogh was trying to break free from the limitations of the perspective frame which imposed realistic perspectives and proportions. Moreover, towards the end of his life, at the peak of his artistic maturity, he rebelled against the muted colors that Dutch painters were using at the time.
tylistically, the task of understanding Van Gogh's paintings cannot be undertaken without a proper look at what Post-Impressionism meant. Post-Impressionism took Impressionism to another level. However, Post-Impressionists continued to use vivid colors and real-life subject matter, as well as thick layering of paint. In addition, nonetheless, Post-Impressionists rejected the confines of Impressionism which upheld natural colors and traditional forms. From this point-of-view, Van Gogh along with other Post-Impressionists such as Cezanne, Gaugain and Bonnard, blurred the limitations of conventional form, and distorted it in order to increase the…
Neo-Impressionism." Accessed November 8, 2008. http://www.impressionniste.net/neo-impressionism.htm
Paul Signac Biography." Paul Signac Online. Accessed November 8, 2008. http://www.paul-signac.com/
Post-Impressionism." Art Movements. Accessed November 8, 2008. http://www.artmovements.co.uk/postimpressionism.htm
Vincent Van Gogh Paintings." Vincent Van Gogh Gallery. Accessed November 8, 2008. http://www.vangoghgallery.com/
Comparing Actual Sculpture to Theory about Sculpture
Krauss begins her piece "Sculpture in the Expanded Field" by questioning what is sculpture and what is sculpture now? She recounts the ideas of other theorists and historians who claim that because anything can pass for sculpture, sculpture as a distinct artform, no longer exists. Krauss adamantly argues the opposite. She claims that the world and the artistic community is very much aware of what sculpture is explaining that sculpture has its own logic. (Krauss, 1979) She also describes sculpture as it relates to monument, as they are both commemorative representations (Krauss, 1979)
As the concept of sculpture expands, Krauss contends that most sculpture diverges between the logic and permanence of a monument and a homelessness, loss of place, or how she characterizes sculpture's entrance into modernism. (Krauss, 1979) She further describes another kind of sculpture -- sculpture that is both landscape…
Krauss, R. (1979) Sculpture in the Expanded Field. October, 8, 30 -- 44.
There is also little doubt that viewing the original works is a very different experience to viewing a reproduction. There is as sense of presence and intimacy in viewing the original works that is not evident when viewing a reproduction. There is something tangible and direct that comes across when looking at the original that is lost in viewing reproductions. With the original paining one is allowed to view the actual brush strikes and paint build-up in a way that cannot be achieved with a reproduction.
"Early Renaissance, 1400-1500." Accessed September 10,
"Guilliano ugiardini Madonna and Child with Saint John." Accessed September 10,
"Italian vs. Northern Renaissance." Accessed September 10, 2011.
"Religious Themed Paintings inside Houston's MFA." Accessed September 10, 2011.
http://peggy-w.hubpages.com/hub/Religious-Themed-Paintings-inside-Houstons-MFAaissance Art and Architecture
"Renaissance Art and Architecture." Accessed September 10,
"Guilliano ugiardini Madonna and Child with Saint John," accessed September 10,…
"Early Renaissance, 1400-1500." Accessed September 10,
"Guilliano Bugiardini Madonna and Child with Saint John." Accessed September 10,
Ancient Art / Comparing Two Works
Two ancient works of art were viewed for discussion in this paper. The first is called "Vessel Terminating in the Forepart of a Stag" at the Metropolitan Museum of Art. The second is an Etruscan engraved mirror, which can be viewed at the Louvre. Although the objects are from different time periods and cultures and depict different images, they have in common the fact that they are both utilitarian objects made beautiful with adornment.
The stag vessel [http://www.metmuseum.org / Collections/search-the-collections/30006086] was discovered in Central Anatolia (a region of Turkey) and is attributed to the Hittite Empire, circa the 14th -- 13th centuries BCE. It is a drinking vessel made of silver with gold inlay. It is a representational piece that stands eighteen centimeters tall. According to the Museum's website, the stag's front legs and torso, which opens into a cup, was hammered from a…
Astier, M.B. (n.d.) Greek, Etruscan, and Roman antiquities. Louvre. Retrieved from http://www.louvre.fr/en/oeuvre-notices/mirror-0
Etruscan engraved mirror (ca. 4th century BCE). [Cast bronze]. The Louvre, Paris.
As a result, both works of art share this similarity, as they want to instill the audience with a sense of awe and respect for this person. (Stokstad, 2011)
When you step back and analyze both statues, it is clear that Donatello as well as Michael Angelo is trying to impress upon the audience a sense of: strength and respect for their statues. This is illustrated by the way they are using his physique, to underscore his physical strength and sexual prowess. However, both artists have different interpretations about what this character should look like. As far as Donatello is concerned, he is highlighting these momentous changes that are occurring (through a graphic depiction of the aftermath of the battle). Where, he shows David posed victoriously, with his foot on top of Goliath' severed head. This is important, because Donatello is trying to instill in the audience a sense of…
Donatello's David. (n.d.). Oneonta. Retrieved from: http://employees.oneonta.edu/farberas/arth/arth213/donatello_david.html
Michael Angelo's David. (n.d.). Italy Guides. Retrieved from: http://www.italyguides.it/us/florence/michelangelo_david.htm
Stokstad, M. (2011). Art History. Upper Saddle River, NJ: Pearson Education
The author of this report has been asked to answer two distinct questions as it pertains to some pieces that are in the Art Institute of Chicago. There are a total of three questions from which the author will select two. The selected question from the optional pair will be about the Aesthetic Movement pieces offered by Herter and Godwin. The other question will center on a compare and contrast between two pieces that are in certain galleries from both the American and European Decorative Art sections. The two works selected for the second question are to fall under the "related but different" paradigm such as two vases, two chairs or something else common. While the pieces of art in the European and American art galleries are quite different, they tend to be related in many ways as well including the motive behind the designs and how they…
AIC. (2016). Cabinet -- The Art Institute of Chicago. Artic.edu. Retrieved 23 February 2016, from http://www.artic.edu/aic/collections/artwork/105105?search_no=1&index=1
Three examples come to mind: the aboriginal art of the indigenous peoples of Australia, the native art of Central and West Africa, and some of the cave paintings from Lascaux. Like Anderson, each produced colorful, realistic, yet unique depictions of nature and animals. Shown here from left to right are Australian Aboriginal Art, Folk Art from Tanzania, and a poster of one of the Cave Paintings from 10-15,000 BC in Lascaux, France. Note the similarity in texture and line to Anderson, the fact that the animals almost curve, and that we have an anatomical element within each of the three interpretations.
Anderson, however, is far more enveloping than many other primitivists. One can almost sense the hours he spent observing these creatures. And, the sense of movement that is communicated in the flatness by the oscillation of the circles from crab to crab, as if they were imitating sonar back…
The Life of Walter Inglis Anderson. (2009, April). Citied October 2010, from Walterandersonmuseum.org: http://www.walterandersonmuseum.org/frameset3.htm
Hansen, L. (September 28, 2003). "The Art of Walter Inglis Anderson." National
Public Radio. Cited October 2010, from:
Both Duccio di Buoninsegna and Fra Filippo Lippi paint the Christian Madonna and child scene. Lippi's "Madonna and Child Enthroned with Two Angels" is rendered on wood with tempera and gold leaf. It is rounded at the top, and was the center part of a triptych that was completed in about the year 1440.[footnoteRef:1] Also in tempera and gold leaf on wood is di Buoninsegna's "Madonna and Child." Candle damage at the bottom of the wood panel suggests that the painting was "used for private devotion."[footnoteRef:2] Buoninsegna's painting was completed in the year 1300, almost one hundred and fifty years prior to Lippi's "Madonna and Child Enthroned with Two Angels." The two depictions of mother Mary and baby Jesus share similar themes, and in both the mother is holding the child. However, the composition of the two paintings is strikingly different and symbolizes their respective religious histories. [1: "Fra…
"Duccio di Buoninsegna: Madonna and Child (2004.442)." In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000 -- . http://www.metmuseum.org /toah/works-of-art/2004.442 (September 2010)
"Fra Filippo Lippi: Madonna and Child Enthroned with Two Angels (49.7.9)." In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000 -- .
Art Analysis: Art21
After reviewing the artists from Art21, the artists chosen are Pierre Huyghe and AI Weiwei as the subjects of this paper. The pieces the paper will be "This is not a time for dreaming" by Huyghe and "Forever" by Weiwei. Both pieces are installation pieces although the artists are not classified under the same grouping on the Art21 website. Weiwei is listed as "Featured in Change" and Huyghe is listed as "Featured in omance." Though they are not featured or classified in the same group, their respective groups are related. There are several different kinds of people in the world for whom change is romantic. Weiwei is a renowned activist as well as renowned artists. Artists typically have a deep passion within that they express via their art. Therefore, Weiwei could see the connection between romance and change. For the native Parisian Huyghe, romance may very well…
Art21, Inc. (2012) Explore Artists. Available from: http://www.pbs.org/art21/artists . 2012 July 10.
European Graduate School. (2012) Pierre Huyghe -- Biography. Available from: http://www.egs.edu/faculty/pierre-huyghe/biography/ . 2012 July 11.
Wines, Michael. (2009) Ai Weiwei, China's Impolitic Artist. The New York Times, Available from: http://www.nytimes.com/2009/11/28/world/asia/28weiwei.html?pagewanted=all . 2012 July 12.
Pierre Huyghe, "This is not a time for dreaming," 2004.
Along with Georges Braque, Fernand Leger and Pablo Picasso were firmly at the forefront of the cubist movement in modern art. Cubism sprouted from Picasso's experimentations with collage, along with Braque, but later morphed into an interpretive and expressive style of painting that heralded many related movements in abstract modern art including futurism. As Fitz puts it, Picasso used the cubist style to express the things he could not see, but which he knew were there; the things that everybody is "certain of seeing," but which are not depicted on a traditional canvas (228). As a result, Picasso reinvented painting, and reinterpreted what the function of painting was. Leger deserves credit also, for he too pursued the " quest for a means by which to accurately describe three-dimensional objects on a two-dimensional canvas," (Spector). Leger and Picasso developed totally unique and distinct brands of cubism, even if their formative…
Dickerman, Leah. Inventing Abstraction. New York: The Museum of Modern Art, 2013.
Fitz, L.T. "Gertrude Stein and Picasso: The Language of Surfaces." American Literature. Vol. 45, No. 2. May 1973.
Lanchner, Carolyn, Leger, Fernand, Hauptman, Jody, Afron, Matthew, and Erikson, Kristen. Fernand Leger. New York: The Museum of Modern Art. 1998.
Spector, Nancy. "Fernand Leger." Guggenheim. Retrieved online: http://www.guggenheim.org/new-york/collections/collection-online/show-full/piece/?search=Nude%20Model%20in%20the%20Studio&page=&f=Title&object=49.1193
Art Culture: Public Space Art
Public art like that of Koon's Train (2011), Serra's Tilted Arc (1981), Lin's Vietnam Veterans Memorial (1981), and James' Sea Flower (1978), ignite discussion to the point of its modification, re-arrangement, or removal. The reason for this controversial treatment of public art is its ability to embrace a variety of aesthetic practices. The adoption of different aesthetic values like poster art, outdoor sculpture, earthworks, multimedia projections, and community-based projects among others, breaks the public's traditional understanding of art (Glahn, 2000). This critique finds that the public's totalizing classification of public sphere brings about controversy and dialogue over public art displays. By reviewing the famous public art "Tilted Arc" (1981) by Richard Serra, this analysis will show that there are distinct differences between public understanding and professional understanding of public art.
The government with the intention of exhibiting, protecting, and edifying art, commissions public art in…
"REVIEW & OUTLOOK (Editorial, b) -- Asides: Tilting with the Arc." Wall Street Journal: 1. Sep 04, 1987. ABI/INFORM Complete. Web. 21 Feb. 2013.
Doss, Erika. "Public Art Controversy: Cultural Expression and Civic Debate," Americans for the Arts, October 2006. Web. 20 Feb. 2013.
Drescher, Timothy. "The Harsh Reality: Billboard Subversion and Graffiti," Wall Power, Philadelphia: Institute of Contemporary Art, University of Pennsylvania, 2000.
Fleming, Ronald Lee. "Public Art for the Public." Public Interest.159 (2005): 55-76. ABI/INFORM Complete. Web. 21 Feb. 2013.
Art of classical antiquity, in the ancient cultures of Greece and ome, has been much revered, admired, and imitated. In fact, the arts of ancient Greece and ome can be considered the first self-conscious and cohesive art movements in Europe. Style, form, execution, and media were standardized and honed to the point where aesthetic ideals were created and sustained over time. The art of classical antiquity in Greece and ome reverberated throughout history, impacting the art of subsequent eras in Europe. In fact, there can be no absolute "neoclassical" era in art history because of the way neoclassicism evolved throughout the centuries since the fall of the oman Empire. The arts of the enaissance borrowed heavily from classical antiquity, as can be seen in enaissance icons such as Michelangelo's David. Some suggest that medieval art pays homage to classical antiquity, even if the quotations from classical Greek and ome are…
Castelijn, D. (2012). The Influence of Classical Antiquity on the Renaissance. Oxford Department for Continuing Education. Retrieved online: http://www.conted.ox.ac.uk/courses/details.php?id=V350-130#pagetop
"Classical Antiquity in the Middle Ages," (n.d.). The Metropolitan Museum of Art. Retrieved online: http://www.metmuseum.org /toah/hd/anti/hd_anti.htm' target='_blank' REL='NOFOLLOW'>
If they are a couple, they have no children together. Whereas Morisot focuses on the child in "The Basket Chair," Caillebotte accomplishes the opposite. Caillebotte's painting lacks emotional intensity, because his palette is far more retrained than that of Morisot. Morisot's garden is rendered in vivid greens and intensely saturated hues. Caillebotte's, on the other hand, is a more staid palette. Furthermore, unlike Morisot's fenced-off garden, Caillebotte's is a public park. Yet there are no other people in the park: which suggests that there are a disproportionate number of wealthy elite in Paris at the time of painting. In their own ways, the two Impressionists suggest that the bourgeois live in a world apart from the working class society. Beyond the boundaries of their respective gardens, scores of working class French men and women toil to feed the burgeoning capitalist enterprise that characterizes urbanization and industrialization. However, the subjects in…
Caillebotte, Gustave. "The Orange Trees." 1878.
Duret, Theodore. Manet and the French Impressionists. London: Grant Richards, 1910.
Fell, Derek. The Impressionist Garden. London: Frances Lincoln, 1994.
Harrison, Charles. Painting the Difference: Sex and Spectator in Modern Art. Chicago: University of Chicago Press, 2005.
Impressionism in art developed in the 19th century. Impressionist paintings were characterized by visible brush strokes, and subject was drawn from ordinary life and outdoors, rather than being confined to still life, or portraits and landscapes drawn in studios. Emphasis was laid on the effect of light changing its qualities as well as movement. These characteristics of impression can be well observed in the works of art by Gustave Caillebotte, Edgar Degas and Edouard Manet in their paintings Paris: A ainy Day, The Absinthe Drinker and The Bar at the Folies Bergere respectively.
Paris: A ainy Day is an oil painting drawn in 1877 encompasses the Impressionist use of landscape scene. The curator of the Art Institute of Chicago was quoted describing the painting by Hedy Weiss in the Chicago Sun-Times (December 12, 1995) as "the great picture of urban life in the late 19th century." The masterpiece gives…
1. Gaustave Caillebotte, Paris Street: A Rainy Day, retrieved on July 9, 2012 from http://sites.google.com/site/beautyandterror/Home/bourgeoisie-and-proletariat
2. L' Absinthe-Degas, retrieved on July 9, 2012 from http://labsinthedegas.blogspot.com/
3. Edouard Manet, A Bar at the Folies-Bergere, retrieved on July 9, 2012 from http://sites.google.com/site/beautyandterror/Home/capitalism-and-the-death
French omantic painter, Eugene Delacroix, is well-known from this period. Delacroix often took his subjects from literature but added much more by using color to create an effect of pure energy and emotion that he compared to music. He also showed that paintings can be done about present-day historical events, not just those in the past (Wood, 217). He was at home with styles such as pen, watercolor, pastel, and oil. He was also skillful in lithography, a new graphic process popular with the omantics. His illustrations of a French edition of Goethe's "Faust" and Shakespeare's "Hamlet" still stand as the finest examples in that medium.
Delacroix' painting "Massacre at Chios" is precisely detailed, but the action is so violent and the composition so dynamic that the effect is very disturbing (Janson, 678). With great vividness of color and strong emotion he pictured an incident in which 20,000 Greeks were…
Art: A World History. New York: DK Publishing, 1997.
Eysteinsson, Astradur. The Concept of Modernism. Ithaca, NY: Cornell UP, 1992
Gardner, Helen. Art through the Ages. New York: Harcourt, Brace: 1959.
Hoving, Thomas. Art. Foster City, CA: IDG, 1999.
Art Practice in the Past and Present
A skill or mastery that stimulates the process of thought, amusement, and emotions is called an art. It is also defined as a special quality used by many people to express their feelings, approach and position. Dating back to 50,000 years ago, art has various forms that ground itself from sculptures, rock paintings, wall craving to modern paintings. Countries like Egypt, Persia, India, Europe and America have great foundations of ancient civilizations that developed their own way of expressing their work and teaching it to their future generations. These teachings started with simple body signs for expressing there need to using brushes, knifes and other tools to explain there work. As a result of these teachings, the art present today expresses an urbanized form of historic art.
Similarities and difference of past and present art
Artists today are very similar in…
Bolin, Paul E (2009). Studies in Art Education: A Journal of Issues and Research in Art Education, 50(2): 110-123.
Comunian, Roberta (2009). Journal of Arts Management, Law & Society, 39(3): 200-220.
Gaiger, Jason (2011). Art Bulletin, 93(2): 178-194, 17p.
Keizer, Joost (2011). Art Bulletin, 93(3): 304-324, 21p.
Please take a close look at two paintings of storms: Watteau's the Storm
Watteau's the Storm and Delacroix's the Sea of Galilee
The two paintings in question refer to different time periods in art history and more importantly, to different views about art and life. These views are also reflected in the style and the technique of the two paintings. Art is often a reflection of the times in which it is created. The social values and perceptions as well as the dominant religious and philosophical ideas of the time tend to be represented in art during a certain period. The following two paintings will be compared and contrasted in terms of their unique qualities, as well as in terms of the way they reflect the era and the dominant ethos of the time period in which they were created.
Comparison of Two Paintings
The development in…
Introduction to the Romantic Era in English Poetry. Retrieved from http://records.viu.ca/~johnstoi/introser/romantic.htm
Neoclassicism. Retrieved from http://www.metmuseum.org /toah/hd/neoc_1/hd_neoc_1.htm' target='_blank' REL='NOFOLLOW'>
Period/date- enaissance 1501- 1504
Location or origin- Florence Italy
Medium and size- Sculpture
Period/date- Baroque 1610
Location or origin- ome
Medium and size- Painting
The story of David and Goliath is one that transcends time. In particular, the story appeals to a wide array of diverse individuals, each with its own views on religion, culture and values. Through the universal appeal of David, many different interpretations have arisen throughout time. These interpretations, although distinct, often convey a fundamental truth prevailing during the period of its creation. Aspects such as war, political policies, civil unrest, and culture values often matriculate into the interpretation of the David of Goliath. Art is no different in this regard. Both the Baroque and enaissance periods gave rise to new and distinct forms of belief and expression. These concepts ultimately matriculated into many of the more commonly know masterpieces of today's time. The…
1) Hartt, Frederick, Michelangelo: the complete sculpture, New York: Abrams,1982
2) Howard Hibbard, Michelangelo, New York: Harper & Row, 1974, 59-61; Anthony Hughes, Michelangelo, London: Phaidon, 1997, 74
In this regard, Nead notes that because she was an art lover, Richardson experienced a moral dilemma in her decision to attack "The Rokeby Venus," but she felt compelled to do so anyway based on her perception that the government was failing to act responsibility towards women in general and the suffragettes in particular. "In her statement during her trial, Richardson appears calm and articulate and nothing is said explicitly about any objections that she might have had to a female nude. Indeed, it was not until an interview given in 1952 that Richardson gave an additional reason for choosing the Velazquez: 'I didn't like the way men visitors to the gallery gaped at it all day'" (emphasis added) (Nead 36).
Figure 1. Velazquez, The Rokeby Venus.
Source: The Social Construction of Gender, 2006.
According to Mann (2002), functionalism could help explain the attack by Richardson on "The Rokeby…
Bartley, Paula. (2003). "Emmeline Pankhurst: Paula Bartley Reappraises the Role of the Leader of the Suffragettes." History Review, 41.
Damon-Moore, Helen. Magazines for the Millions: Gender and Commerce in the Ladies' Home Journal and the Saturday Evening Post, 1880-1910. Albany, NY: State University of New York Press, 1994.
Harris-Frankfort, Enriqueta. "Velazquez, Diego." Encyclopedia Britannica. 2006. Encyclopedia Britannica Premium Service. 31 May 2006 http://www.britannica.com/eb/article-222892 .
Mallory, Nina Ayala. El Greco to Murillo: Spanish Painting in the Golden Age, 1556-1700. New York: HarperCollins, 1990.
La Berceuse (Woman Rocking
Pellicot Roulin, 1851-1930), 1889.
incent van Gogh
Dutch, 1853-1890). Oil on canvas. The Walter H. And Leonore Annenberg Collection,
Partial Gift of Walter H. And Leonore Annenberg, 1996
The world of art is diverse and rich coming together for appreciation overcoming all cultural barriers. The story of an Gogh and his astounding genius while creating canvases has captivated the interest and attention of millions around the world. Even when people cannot afford art they appreciated the creativity and charm that each of his pictures brings forth. Each of his strokes has a life of its own and the lifelike creation gives an illusion of perfection that is hard to imitate.
The Metropolitan Museum boasts one of his best creative efforts done late in his artistic life. ery near the time of his breakdown at Arles.
La Berceuse or a Woman Rocking a Cradle…
Van Gogh, V. 1958. The complete letters of Vincent van Gogh. Vol.
3. London: Thames and Hudson.
Fry, R. 1998. Cezanne. Chicago: University of Chicago Press.
On the other hand there is another side to the vision of human life. There is the experience of human joy and happiness that also has to be taken into account. We find this side in works that resonate with color, joy conviviality and friendship. In this exhibition works by Renoir and Picasso have been selected to show this side of the human condition. In this context the famous painting by Renoir entitled, the Luncheon of the Boating Party portrays a very different sense of the human condition compared to that of Bacon. We also this sense of the gentleness and beauty of human life in Picasso's the Bathers.
Another artist who has much to say about the human condition is Giacometti. This famous sculptor portrays human being in terms existential searching and mystery. His sculptures refuse to comment directly on the human condition but leave us with a sense…
6. Picasso; "The bathers" ( 1918). Oil on canvas.
7. Giacometti: Standing Woman, bronze, 1959.
The figures of people, carriages, etc. are "washed-out," they are as small as ants are. The method of reflecting motion and dynamics of routine life by "washed-out effect" was borrowed "from a new invention of photography" (Schapiro 81). Photographic cameras of that epoch were not sensitive for picturing motion, so all objects in motion were "washed-out."
Some impressionists, for example Edgar Degas (1834-1917), were influenced by ethnic painting techniques such as Chinese and Japanese graphics, characterized by striking representation of shape and figures. Degas continued Monet's experiments with light and reflection of motion. Many of his paintings were influenced by other methods similar to photography: uncommon visual angles and asymmetric perspectives, which can be observed in such paintings as a Carriage at the aces (1872), Ballet ehearsal (1876) characterized by unusual visual solution and geometric interpretation.
Auguste enoir (1841-19191), father of Impressionism, became famous for his mass portraits. enoir's Impressionism…
Sayre, Henry M.A world of art Prentice Hall; 4 thedition 2004
Schapiro, M. 1997.Impressionism: Reflections and Perceptions. George Braziller
The Impressionists, Article from web resource: http://www.biography.com/impressionists/artists_morisot.html
Pool, Phoebe Complete Paintings of Monet. New York: Abrams,1967
It would have been as ridiculous for a working class man or woman to make art as it would have for that same person to become an accountant. Still, artists throughout time have snuck in their personal values in their paintings. Hieronymous Bosch is one of the artists I believe to have inserted personal values into Church-commissioned art.
Even in the modern era, art is still entwined with money. The artist needs to live, sure. But that is not the only connection between art and money. Art galleries exist because art has become big money. Art symbolizes wealth. No ordinary person can afford "real" art. Ordinary people purchase prints and reproductions, not original pieces by known or up-and-coming artists.
Art is like any other commodity now, for better or for worse. Artists have a greater chance than ever of making a viable living, given the plethora of opportunities in graphic…
The "self-portraits" might perhaps be viewed in terms of the artist's own past illnesses: At 37, Taylor-Woods, having already survived both colon cancer and breast cancer, likely understands, on personal level, the state of "suspense" between sickness and health, life and death. he may, then, have been "bound" to breast cancer (the invisible ropes may symbolize the disease), cured of it, and her body "released to freedom." In my opinion, however, an artistic weakness of these pictures is that their esthetics and size make them look less like serious art than fashion advertisements for bras and panties! For me, "elf-Portrait uspended" is the least effective of the three exhibition subjects. The tension in the subject's body also appears to be that of someone hanging from ropes (which she in fact was); the tautness of her body kept me from "suspending my disbelief" (so to speak) that she was hanging in…
Sam Taylor-Wood: New Work: 29 October - 4 December 2004. Retrieved January 5, 2005 from http:www.artshole.co.uk/exhibitions/Oct%2005/Sam%TaylorWood htm>.
Sam Taylor-Wood: 'New Work' Art Exhibition at White Cube." Ballet-Dance
Magazine. Retrieved January 4, 2005 from http://www.ballet-dance.com/200412/articles/TaylorWood20041100.html
Brunelleschi has been one of the early fathers of the Renaissance, and, the first architect to build a building with reference to classical antiquity. The architect succeeded in proving his value through various building which came in disagreement with the laws that architects had had until the time.
One of the greatest sculptors of all times, Michelangelo, became famous at the time that the public reviewed his first works of art. Despite of the fact that he had been certain that he was best fit for being a sculptor, Michelangelo accepted to paint the ceiling of the Sistine Chapel. Even with his hesitation, the painting on the ceiling still stands as one of his greatest works and one of the greatest master pieces that the Renaissance period has given birth to.
The Marriage of the Virgin is a painting appreciated worldwide for its perception of depth and for its great…
1. Prager, Frank D. Scaglia, Gustina. (2004). "Brunelleschi." Courier Dover Publications. (2005).
2. "Niccolo Machiavelli." Retrieved July 07, 2009, from the Stanford Encyclopedia of Philosophy Web site: http://plato.stanford.edu/entries/machiavelli/
3. "MICHELANGELO Buonarroti." Retrieved July 07, 2009, from the Web Gallery of Art Web site: http://www.wga.hu/frames-e.html?/bio/m/michelan/biograph.html
4. "Renaissance: (1400-1600)." Retrieved July 7, 2009, from the World Wide Arts Resources Web site: http://wwar.com/masters/movements/renaissance.html .
The basis of collage with is associated with humor and entertainment forms its captivating content, an element for passing its information. Materials that are used for collage are normally readily available old objects that have been disregarded. Use of new materials in the art is not restricted but again not considered to add value to the collage work. It is thus a considerably less expensive process as compared to other artistic communications avenues such as painting that requires newly acquired materials that consequently calls for extensive financial commitment. Its relative affordability together with its captivating elements makes collage a good avenue for communication especially in social campaigns. This becomes specifically effective if the entire society is integrated in the collage representation (Learning, 10).
Other collage artists
There are a number of collage artists that have also been significantly felt because of their contribution in collage. Apart from Michael Anderson, Oliver…
Anderson Michael. (2006). Monthly statements; Retrieved from: http://www.accumulationproject.org/anderson/index.html
Bemstein Mark. (2003). Collage, composite, construction; Retrieved from: http://www.ht03.org/papers/pdfs/18.pdf
Endtorture. (2010). Well-known collage artists. Retrieved from:
A good example of this can be seen with Sistine Chapel in the Last Supper. In this piece, he is using color and his imagination to understand what is happening. The use of bright and dark colors added to the sense of realism by giving the appearance as if these events were happening at the moment. In the future, this technique would be utilized by artists to create a sense of appreciation and underscore the emotions of the work itself.
Furthermore, the article that was written by Oremaland (1980), is discussing how pieta has often been used throughout many different building projects in the world (with the original at St. Peter's Cathedral). Since that time, various churches have used this dome like structure to create designs that mirror those of Michael Angelo. These different elements are important, because they are showing how this technique was continually embraced by various contractors…
Eknoyan, Garabed. "Michael Angelo," Kidney International, no. 57 (2000): 1190 -- 1201.
Lavoy, Michael. "The Digital Michael Angelo Project," Modern Art, no. 10 (1999): 2 -11.
Oremaland, Jerome. "Mourning and its Effect on Michael Angelo," Annual of Psychoanalysis, no. 8 (1980): 317 -- 351.
Chicago Format. http://owl.english.purdue.edu/owl/resource/717/01/
Art as Political tatement
It is almost impossible to completely separate art from the social and political context in which it originates. When considering art works from a variety of contexts and situations, it is clear that artist as often as not ignored and embraced politics as either inspiration for their work, or indeed treated it as a force to be shunned for its destruction of the creative spirit. Both acceptance and defiance of the political arena, it will be shown below, constitute a form of political statement in terms of art.
Expressionism began its evolution during the early part of the 20th century. This movement contrasted with impressionism in that it did not aim to reproduce, but rather to impose its views of objects in the world. When taken from a political context then, the political agenda is not always clear, as the artist is attempting to represent…
Andre Derain." 2004. http://psych.fullerton.edu/psych466/psantiago/derbio.html
Hughes, Robert. "Henri Matisse." 2004. http://www.artchive.com/artchive/M/matisse.html
Pioch, Nicolas. "Expressionism." 2002. http://www.ibiblio.org/wm/paint/glo/expressionism/
Pioch, Nicolas. "Henri Matisse." 2004.
Grabbing onto the hand of her partner, she make a sweeping gesture denoting dance and movement. The lines created by her arms allow the eye to move freely across the canvas. The right-hand dancer turns her torso around fully, and doing so she encourages us to gaze where she is, back at the center of the composition. Rhythm pervades Derain's piece because of his selection of dance as a subject, but also because of the use of curvilinear forms that keep the eye flowing. Moreover, colors repeat themselves enthusiastically, spread out across the canvas and avoiding stagnation.
At first glance, Edward Hooper's Early Sunday Morning exudes stillness and with its straight lines is nothing like Derain's Dance. The town is asleep, businesses closed for the day and not a person is in sight. Yet it is precisely the lack of people that makes Hooper's composition so compelling and full of…
Palmer C. Hayden and Laura Wheeler Waring were two of the painters of the Harlem Renaissance, and they focused on painting stylized portraits of prominent African-Americans and scenes of black life from a variety of perspectives.
The dynamism of the machine age is exhibited not only in the engineered workings of inventions like automobiles and early airplanes, but also in the Futuristic paintings of the period. There is a blend of very strong geometry and straight lines that combine to create larger images of fluidity and movement that almost seems impossible when the smaller constituent elements of the painting are focused on. It is as though magic and passion are meeting science and cool logic, which is a way of describing things like the combustion engine as well. This period was a time when the world seemed to be moving in two directions, at once looking forward to the…
The subject of Ingres's Princess de Broglie is looking at us as we gaze up from a slightly lower viewpoint. This elevates her figure, which suited her station. She knows we are there, but her eyes look as if her mind may be elsewhere. The jewelry she wears is obviously high quality and there is an abundance of lace and satin in her dress and head ornament. The furniture is richly upholstered and the scarf on the chair appears to be embroidered in gold. This lady was ot poor.
The color balance of warm and cool is very pleasant, and the peach flesh tones give the subject a lovely glow. The portrait appears bright, even showing the wall panel slightly illuminated behind her, and showing an interesting ornament that appears to be a crowned lion, perhaps a royal crest. Still the subject dominates the canvas vertically, and is centered horizontally.…
Art and Politics
"Light being the very essence of our existence, a work of art that is not concerned with light has no right to exist." (Rosso 23)
The eye takes in and processes a world of information all at once. We do not even fully recognize all of the inputs that the brain processes. In fact, the brain is still more sophisticated than the world's most powerful computer. These facts have deep implications for art and art appreciation since the "impression" of the art is important in the sense that it attempts to recreate a reality. For an artist to try to recreate reality they must pay particular attention to light and color. However, all of this assumes an artist wants to "recreate" something natural and the feeling that accompanies it during the first impression. This is not always the case.
Other artists and architects have focused more on…
Houses are being bought and sold on an ongoing daily basis, and there is also a strong market for collectors of artwork that could lead to offering more title services to those people as well. A drawback to the career could be, if the person seeking such a career would put all the eggs in the artwork basket. There currently does not seem to be a high enough demand for artwork title services that would allow for individuals to easily or quickly find employment in this field. Rather the same individual would probably be more likely to find employment in the real estate area and have it grow from there.
One area touted by AXA Fine Art Services is that of educating art dealers and collectors to the various dangers and pitfalls of owning and protecting fine art. Each year, this insurance company sponsors an exhibition of fine art that…
AXA Art at Tefaf Maastricht: Leading Fine Art Insurance Company Warns of Water Damage, (2006)
http://www.axa-art.co.uk/nws/nws005.pdf, Accessed June 25, 2007
Chubb Group Insurance, (2007)
http://www.chubb.com/personal/collector_services.jsp , Accessed June 25, 2007
The function of the work of art would be to stand before the city, and to show the city as wisdom personified, and by implication show that the wisdom came from the works and power of the Medici. It would make an analogy between the city-state of Florence and the ancient city-state of Athens. Because Athens was a genuine republic, it might even deflect some criticism from the Medicis, who were technically supposed to be residents of a republic, even though they ruled from behind the scenes. The setting of the sculpture, next to David, outside the city gates would act as a powerful warning of the city's power (with the violence of the anvil and David's shotgun) as well as strike a balance between Classical representations of learning and the still-important tenants of the Catholic faith that must be honored in a world still dominated by the clergy.
Essak, Shelly. "Art History 101 - Early Renaissance Art." 2007. 20 Apr 2007. http://arthistory.about.com/cs/arthistory10one/a/early_ren.htm
Medici: Godfathers of the Renaissance." PBS.com. 2007. 20 Apr 2007. http://www.pbs.org/empires/medici/medici/snapshots.html
Pioch, Nicolas. "La Renaissance: Italy." Web Museum Paris. 2002. 20 Apr 2007. http://www.ibiblio.org/wm/paint/glo/renaissance/it.html
Renaissance Masterworks from the National Gallery of Art." National Gallery: Washington, D.C. 20 Apr 2007. http://www.nga.gov/press/2003/exhibitions/211/background.shtm
ather, the vines and clusters f grapes on the tree give the piece its true softness and roundness. This is mirrored by the effect of the figures' hair. Both faun and children all possess curling flowing ringlets that seem to hang as loosely as do the grapes, emphasizing a sense of liberty in the work.
The sense of softness and liberty bestowed upon the piece by the line and texture is oddly juxtaposed with the impressions created by other elements of Bacchanal: A Faun Teased by Children. Most obviously, the piece is composed in a way that makes the faun's posture seem unnaturally contorted, as if the scene has moved beyond teasing and into torment. The extreme angle of the head and neck, especially with the backwards-arcing back, evince more of a struggle to get away than the softer elements of the sculpture suggest. The same is true of the…
Delbeke, M., Levy, E., and Ostrow, S. Bernini's Biographies. University Park, PA: Pennsylvania State University Press, 2006.
Metropolitan Museum of Art Works of Art Index. "Bacchanal: A Faun Teased by Children," Metropolitan Museum of Art. http://www.metmuseum.org /toah/ho/09/eusts/ho_1976.92.htm
Montagu, J. Roman Baroque Sculpture. Hong Kong: Yale University Press, 1989.
Metropolitan Museum of Art Works of Art Index, "Bacchanal: A Faun Teased by Children," Metropolitan Museum of Art.
Selection is based on the uniqueness and irreducible message portrayed by each particular art. In addition, the art determines operational functions and effects exclusive in it. Through this self-explanation of the art, the latter defines a concrete area of competence and sense of possession.
According to modernistic paintings, today's phase of art carries with it the representation of principle objects. Similarly, the recognizable elements in the art are depicted to exist as a three-dimensional space. Consequentially, unprincipled entities are omitted. These entities prove to be non-figurative and do not count in the self-criticism of the art work. Modernist painting, as compared to the sculptural art firmly depict the tradition beyond the contours of paintings in the art. The disparity between the two forms of art, paintings and sculpture is how they represent the advent of modernism. Sculptures, especially those made in ancient times were way before the dawn of modernism…
The artworks prevalent during the early Middle Ages in many ways stand between these two extremes. The art of this period was one that was both religiously inclined but also celebrated the human form and human nature that was to become so prominent in the enaissance. In many ways much of early Medieval art was similar to the abstract and decorative art that we find in Islamic examples. An example that has been chosen to represent this early period of European art is the Gerona Bible Master from Bologna, Italy,
This decorative example displays intricate artwork that emphasizes and enhances the Biblical context. The text or lyrics on the page refers to hymnal and religious phrases of praise, such as "Let us rejoice" (Art: Middle Ages). Note the way that the decorative images add depth to the aesthetics of the script and the manuscript as a…
Art and architecture of the Early Middle Ages. Retrieved from http://www.artandpopularculture.com/Middle_Ages
Art: Middle Ages. Retrieved from http://www.artlex.com/ArtLex/m/middleages.html
Middle Ages. Retrieved from http://www.answers.com/topic/middle-ages
Roman art. Retrieved from http://www.artchive.com/artchive/R/roman.html Siddiqui E.
According to Henry a. Millon, the sparkling gaiety of this style "was cultivated by a new age associated with the regency that followed upon the death of Louis XIV and then with the reign of Louis XV," meaning that these two French kings and their opulent lifestyles highly influenced the art that came about during the beginning and middle years of the 18th century in Europe (156).
Essentially, the Rococo is an interior style or, in other words, pertains mostly to the decoration of objects designed for the interior of palaces and royal residencies. As compared to the art of the aroque Era, that of the Rococo style is far removed from religious and national influences. Architecturally, one of the best examples of the Rococo style can be found in the Rococo room of the Salon de la Princesse at the Hotel de Soubise in Paris, decorated by Germain offrand…
Millon, Henry a. Baroque and Rococo Architecture and Art. New York: Doubleday, 1975.
Tapie, Victor L. The Age of Grandeur: Baroque Art and Architecture. New York: Phadeon Books, 1966.
William Blake's works included writings and illustrations, some of which were a bit moody and gothic, which also characterized this era. It was a time of modernization, when the opulence of the past simply did not seem relevant or even desirable any more, and it again illustrates just how different eras and ideas about society and money can alter art and artists' works. Art mirrors society and society's interests, which is why it has always changed through time, and will continue to do so.
2007). The restored hall of mirrors revealed to the public. etrieved from the Chateau Versailles Web site: http://www.chateauversailles.fr/fr/Panoramiques/Pano_GG_b1500.htm27 July 2007.
Blake, W. (2007). Infant joy (From Songs of Innocence). etrieved from the Mark Harden Artchive Web site: http://www.artchive.com/artchive/B/blake/blake_songs_25.jpg.html27 July 2007.
Fuseli, H. (2007). Satan starting from the touch of Ithuriel's spear. etrieved from the Tate Britain Museum Web site: http://www.tate.org.uk/britain/exhibitions/gothicnightmares/infocus/satanspear.htm#t27 July 2007.
Harden, M. ococo.…
2007). The restored hall of mirrors revealed to the public. Retrieved from the Chateau Versailles Web site: http://www.chateauversailles.fr/fr/Panoramiques/Pano_GG_b1500.htm27 July 2007.
Blake, W. (2007). Infant joy (From Songs of Innocence). Retrieved from the Mark Harden Artchive Web site: http://www.artchive.com/artchive/B/blake/blake_songs_25.jpg.html27 July 2007.
Fuseli, H. (2007). Satan starting from the touch of Ithuriel's spear. Retrieved from the Tate Britain Museum Web site: http://www.tate.org.uk/britain/exhibitions/gothicnightmares/infocus/satanspear.htm#t27 July 2007.
Harden, M. Rococo. Retrieved from the Mark Harden Artchive Web site: http://www.artchive.com/artchive/rococo.html27 July 2007.
Kate is said to have escaped the romance with Albert Sampite by fleeing Cloutierville to go and live with her mother in St. Louis. Marianne also refuses to be dependent of any man after "having been someone else's other for so long" and, as such, "she now rejects any realm of patriarchal dominance and chooses, instead, herself." (Martin 73-74). It is possible that Chopin would have wanted the same thing. However, we know she sold her home in Cloutierville only many years after she moved with her mother, so chances are she might have gone back to meet with Sampite throughout the years. But there really is no conclusive evidence to support such a fact.
hat we can observe is that Kate Chopin's characters often seem to resemble her own desire for personal freedom anticipated in a journey that starts right from the moment when women are able to set…
Chopin, Kate. Kate Chopin's Private Papers. Ed. Emily Toth. Bloomington, Indiana: Indiana University Press, 1998. Print.
Green, Suzanne Disheroon, and David J. Caudle. Kate Chopin: An Annotated Bibliography of Critical Works. Westport: Greenwood Press, 1999. Print.
Martin Wesson, Jana. Never Too Late to Be: Women's Yearnings for Self -- realization. Dissertation, Capella University. Ann Arbor: ProQuest/UMI, 2008. (Publication No. 3297018.). Print.
There is something scary about this garden, and it is not pleasant to look at, and yet, it is hard not to look at it.
A compare with his "Reflection," a self-portrait. Really, this painting looks very much like Freud's etchings, only it is in color. He uses very thick coat of paint, so it builds up on the canvas and makes texture, and he creates shadows and drama with this technique. In etchings, he creates texture with big lines and tiny details, which he also does here. The painting is just as sad looking as the etchings, so they are common there, too. There is something scary about this painting too, and it is not easy to look at, just like the etching of garden. I think his reputation is because of this darkness and strangeness in his works. He makes things look normal and also abnormal somehow, and…
Leonid Afremov: Artist & Inspiration
The paper explores and analyzes two images. The paper describes how they are related and how they are distinguished. The paper interprets the images as art and representations of cultural ideas of the respective locations and artists.
The Border and the Hug
"The Peak of Hong Kong" is a digital photograph. It is taken at night, and as the title implies, the content is mainly the skyline of the city, Hong Kong. This is a realistic image of the actual skyline. The skyscrapers in the foreground make a curved shaped, an arc, a piece of a circle. The skyline looks like it could be a wall that keeps out intruders, invaders, or outsiders. The skyline of buildings additionally resembles a sort of hug that encloses the city, keeping it warm and safe.
Whether the buildings are a hug or a border, there are many…
Afremov, Leonid. "Leonid Afremov -- Biography." Afremov.com, 2014, Web, Available from: http://afremov.com/pages.php?pageid=2 . Accessed 2014 April 06.
Draw as Maniac. "Leonid Afremov -- Painter." Drawasmanic.com, 2012, Web, Available from: http://drawasamaniac.com/2012/12/leonid-afremov-painter.html . Accessed 2014 April 03.
Art Cinema and Theatre of Absurd
In "The Art of Cinema as a Mode of Film Practice," David Bordwell provides a definition of what he believes constitutes art cinema in order to define the style as an artistic movement. In "The Theatre of the Absurd," Martin Esslin provides similar arguments about theatre as Bordwell does about film. Bordwell and Esslin both provide an analysis of the elements that distinguish art cinema and art theatre from their mainstream counterparts.
There are several factors that contributed to the rise of art cinema in the post-orld ar II era. Art cinema became to be recognized as an acceptable and appropriate vehicle of expression given the gravity of historical developments of post-II Europe.
In "The Art of Cinema as a Mode of Film Practice," Bordwell explains art cinema "as a distinct mode appears after orld ar II when the dominance of the Hollywood cinema…
Bordwell, David. "The Art Cinema as a Mode of Film Practice." Film Theory and Criticism:
Introductory Readings. Eds. Leo Baudy and Marshall Cohen. New York: Oxford
University Press, 2009. Print.
Esslin, Martin. "The Theatre of the Absurd." The Tulane Drama Review. The MIT Press: Vol. 4,
Ever since fashion has evolved, we have an observed a significant relationship with art and fashion. It is seen that both the disciplines encourages, inspires and somewhat competes with each other. (Duggan, 2001) It is observed that artists and fashion designers creativity is exchangeable and their main objective is somewhat the same. Duggan (2001) also emphasized on the role of media and education in blurring up the boundaries between art and fashion. As we observe, just like art changes throughout the time, fashion change with time as well. Just as the atmosphere around a certain place changes, so does the fashion of that time. With technology becoming really prevalent these days, techno Fashion has emerged out as the new thing.
Fashion designers are therefore looking into the possibility of Techno fashion. This is basically the ability to incorporate tech item into the clothes a person is wearing. The…
Anderson, Benedict. Imagined Communities: Reflections on the Origin and Spread of Nationalism. London: Verso, 1983.
Bhabha, Homi. "DissemiNation: Time, Narrative, and the Margins of the Modern Nation." Nation and Narration: 291-322. 1990.
Bhabha, Homi. The location of culture. London: Routledge Press, 1994.
Craik, Jenny. "The face of fashion: Cultural studies in fashion." London: Routledge, 1993.
Not surprisingly, Caspar David riedrich's "Morning Mist in the Mountains" from 1808 is a markedly different work of art. His approach is definitely more realistic, and any symbolism in the painting is found strictly in the eye of the beholder. There is also no overt use of line in this painting, but rather the entire image is softened and blurred by the mists covering the mountain. The mountain, too, is seen from a much closer perspective, which actually serves to make it less dominating and forthright as its boundaries cannot be seen -- the mountain forms the entire background, rather than being the most prominent feature of it. In addition, the Western use of perspective and foreshortening is definitely visible in this painting whereas it is decidedly lacking in Kuan's landscape. The most prominent formal aspect of riedrich's "Morning Mist in the Mountains" is the contrast between the trees and…
Fan Kuan's "Travelers among the Mountains and Streams," painted sometime in the early eleventh century CE, is a classic example of a Chinese landscape. The title is somewhat ironic, as the travelers that are the supposed subject of the painting are incredibly overshadowed by the mountains themselves. There is an extreme use of vertical line in the painting, with the mountain appearing as a pillar of rock that takes up most of the painting. Near the mountain's base, the horizontal lines of the mist layer and the path beneath both serve to break up the painting to some degree, but the overall effect is the dominance of nature over the rather insignificant and seemingly futile efforts of mankind. Kuan's use of shadow is used to create the illusion of three-dimensionality, but the lack of color and the regularity of the lines make the painting more symbolic and representational than it is realistic.
Not surprisingly, Caspar David Friedrich's "Morning Mist in the Mountains" from 1808 is a markedly different work of art. His approach is definitely more realistic, and any symbolism in the painting is found strictly in the eye of the beholder. There is also no overt use of line in this painting, but rather the entire image is softened and blurred by the mists covering the mountain. The mountain, too, is seen from a much closer perspective, which actually serves to make it less dominating and forthright as its boundaries cannot be seen -- the mountain forms the entire background, rather than being the most prominent feature of it. In addition, the Western use of perspective and foreshortening is definitely visible in this painting whereas it is decidedly lacking in Kuan's landscape. The most prominent formal aspect of Friedrich's "Morning Mist in the Mountains" is the contrast between the trees and the mist that enshrouds them; these trees represent the only dark valued objects and are also the only parts of the painting that make use of definite lines, making them stand out quite prominently among the white mists and the blurred swathe of mountain and air the fills the painting.
Despite the differences in these two paintings, however, there are also some notable similarities. Though there are no human figures in Friedrich's paintings, the sheer scope of nature depicted could be see as a comment on human insignificance. Kuan's "Travelers among the Mountains and Streams" is much more explicit in delivering this message, but it can be seen in both paintings. Likewise, the verticality is much more subdued in Friedrich's painting, but it is interesting to note that both landscapes place their emphasis on vertical line, rather than on the horizontal of the horizon.
Both the statues serve the purpose of transmitting the idea that Virgin Mary and Christ the baby are the owners of absolute wisdom. One however is highly majestic and monumental while the other is simpler. Both of them communicate fundamental Christian values. They both have a similar dark colour which suggests the dark ages in which they were created. In both cases the virgin is depicted as protective. In one case the interaction is very strong between the child and the virgin, while in the other one both figures interact with the viewer through their frontal position.
In both cases virgin Mary acts as a supportive element, whether she is the one who holds the desired answer or the very throne for her son. Both of the statues are conceived in a manner which allows them to be cult objects, subject to processes of devotion.
All in all it can…
The painting is shocking because of its dramatic perspective. First and foremost the table is not situated in the centre of the painting, nor is Jesus. In a symbolical manner this transmits the idea that God is no longer in the centre of man's world and this accounts for the chaos that seems to be omnipresent. The lower side of the painting is dominated by human figures and an atmosphere of panic and confusion seems to be dominating. The upper side of the painting is filled with angels. There is a clear separation lien between the scared world of the divine and the one of the people. The dark colours, as well as the composition succeeded into transmitting the desired message, managing to appeal to the viewer's emotions.
As opposed to the simplicity that the Protestants supported, a new style emerges, that is the aroque. This new artistic…
Feast in the house of Levi. http://www.law.harvard.edu/faculty/martin/art_law/feast_in_the_house_of_levi.htm (Accessed November 19, 2008)
Friedlaender, Walter, the anti-mannerist style. http://witcombe.sbc.edu/art-theory-baroque-Fall-2008/style3.html (Accessed November 18, 2008)
Mannerism. Wikipedia, the free encyclopaedia. http://en.wikipedia.org/wiki/Mannerism (Accessed November 19, 2008)
Nosotro, Rit. Art of the reformation and the counter reformation. Hyperhistory. http://www.hyperhistory.net/apwh/essays/comp/cw20reformationart.htm (Accessed November 19, 2008)
In this story, we find this terror, especially at the end of the story when Fortunato sobers up. Montresor tells us that the cry he hears as he places the final bricks in the wall is "not the cry of a drunk man" (Poe 94). The drunk man and the crazy man are pitted against once another in this tale and there is nothing Fortunato can do when he realizes what has happened. The real terror emerges as Montresor follows through on his plan to the last detail without any hesitation.
Edgar Allan Poe allows us to realize how close to life terror actually becomes. His life was no ideal life but rather a playground for terror and death of all sorts. A young boy abandoned by both parents becomes an adult to witness death take his loved ones at much too early an age. By taking his life experiences…
Magistrale, Tony. American Writers. Parini, Jay. et al.New York: Charles Scribner's Sons. 2003.
Poe, Edgar Allan. "The Cask of Amontillado." The Complete Tales of Mystery and Imagination. Minneapolis: Amaranth Press. 1981.
The Masque of the Red Death." The Complete Tales of Mystery and Imagination. Minneapolis: Amaranth Press. 1981.
The Tell-tale Heart." The Complete Tales of Mystery and Imagination. Minneapolis: Amaranth Press. 1981.
Eisenstein also mentions the "higher nervous activity" that accompanies perception of motion pictures (p. 225). The physical impact of visual imagery is poignant, according to Eisentstein. Motion pictures are visceral.
Interestingly, Deleuze mentions the ability of film to create what the author calls "false continuity," (p. 207). As Deleuze notes, "It is not quite right to say that the cinematographic image is in the present," and therefore it should not be "confused with what it represents," (p. 207). In painting and other static forms of visual art, symbols are not as easily confused with what they represent because of the added dimension of motion. Whereas Eisenstein is concerned with relationships of dominance and subordination, Deleuze focuses on relationships between past, present, and future. Eisenstein uses montage to illustrate his ideas about how the brain interprets a moving canvas of images, and Deleuze discusses film in a more general sense. Yet…
Deleuze, Gilles. "Thought and Cinema: The Time-Image"
Eisenstein, Sergei. "On Montage and the Filmic Fourth Dimension."
Art vs. Science in Education
Teachers and other educators have been debating what makes an effective teacher for as long as the profession has been recognized. Certainly in the last century, the topic of what makes a good teacher, and what comprises good teaching, has been an important topic in colleges of education. ecause the role of a teacher is so important, the topic of what constituted good teaching has been looked at philosophically, from the viewpoint of pedagogy, and through empirical research. The result has been a large supply of books and articles written about how to teach, how students learn, what techniques teachers should use and what makes for the best teaching materials.
Into this mix must be included the personal qualities an individual must possess if he or she is to be an effective and compassionate teacher (anner & Cannon, 1997). On top of everything else, teachers…
Ayres, Lynn. 2000. "Marriage in the Middle: The Art and Craft of Teaching Early Adolescents." Childhood Education, June 22.
Banner, James. M. Jr., and Cannon, Harold C. The Elements of Teaching. New Haven: Yale University Press, 1997. 142 pp.
Bellanca, James. 1998. "Teaching for intelligence: in search of best practices." Phi Delta Kappan, May.
Jimerson, Shane R.; Ferguson, Phillip; Whipple, Angela D.; Anderson, Gabrielle E.; and Dalton, Michael J. 2002. "Exploring the Association Between Grade Retention and Dropout: A Longitudinal Study Examining Socio-Emotional, Behavioral, and Achievement Characteristics of Retained Students." The California School Psychologist, Vol. 7.
Colin owe and Fred Koetter argued in Collage City that the designer should intervene in the existing city by adding to and adjusting what is already there, a process more like collage than any other art form. (Barnett, 1996, p. 185)
The city as "collage" is possibly the finest metaphor for the urban world. Nowhere else do so many different people and purposes come together as in the city. No other place cries out so much for art, and is itself, an inspiration to create art. The realization that cities are living entities has initiated a renewed interest in the preservation and development of their respective parts. So much of Modernist Theory favored the abandonment of the past. It was as if we were all residents of some totally new age that bore virtually no relation to any past era. Were we born long ago and teleported to our present…
http://www.questia.com /PM.qst?a=o&d=98904517' target='_blank' REL='NOFOLLOW'>
However, it is possible to write in a way that reveals an understanding of what a person reads or what they hear during lecture. Lecture in the classroom provides an ideal opportunity for learners to reflect on what they have learned in previous sessions and to decide how they will use that knowledge to further their understanding, or to help them make decisions related to the content they have learned.
As I plan to become a history teacher I now realize how important reading and writing skills are to the student's comprehension of the content covered in lecture and in class. Students learn in many different ways. One reason that Nathan may not be doing well in both reading and in writing is because he simply does not understand the content or the context in which information is presented in the classroom. While he may not understand much from lectures,…
Freeman, F., Ghiso, M.P. & Hamayan, E. (2006). Authentic Accountability for ELL's Reading and Writing Development. Available: http://www.ncela.gwu.edu/resabout/research/ira06_freeman.pdf
Perhaps she realized her husband did not really love her. or, she may have realized that her married her simply to convert her, and she chafed at giving up her own culture and roots. Probably, she followed him willfully as his wife (and as a woman's duty), but she could have found that marriage without love is not nearly as satisfying as a loving relationship, and she may have been disappointed and disillusioned, something that clearly shows in her proud features. Whatever the painting explores, it shows a rigid and seemingly unhappy woman, and this seems to mirror many women's lives at the time. They were subservient to men, and even more, they played little role in most of society, and so, they were not masters of their own fates or well being. They could not own property, they could not vote, they could not hold office, and most of…
Bjelajac, David. American Art, a Cultural History. Upper Saddle River, NJ: Peterson Education, 2003.
Art of Nursing According to Virginia Henderson
Virginia Henderson has tremendously helped to bring a new perspective of the art of nursing. For this reason, her biographical sketch together with educational and professional details earned her the name the Modern-day Mother of nursing and the Nightingale of modern nursing. Virginia Henderson's theory was a major stride in the field of nursing and in the art of nursing. The theory has also been used by the theorist to come up with another definition of nursing. The art of nursing according to Virginia Henderson has had major implication on nursing and is of relevance to the current nursing practices. This paper will give a biographical sketch of Virginia Henderson. In addition to this her educational and professional overview will be analyzed also. Henderson's theory and its applications will then be reviewed where the four major concepts constituting it will be looked at.…
Henderson, V. (1955). Harmer and Henderson's Textbook of the principles and practice of nursing. New York: Macmillan
Henderson, V. (1956). Research in nursing practice: when? Nursing research, 4 (3), 99
Henderson, V. (1960). International council of nurses basic principles of nursing care ICN,
This number would then be compared to the number of people who worry about having their privacy violated. Since it is presumed that more than 16% of the population worry about such items as government intervention into their daily lives, and their concern about how to keep their private information to themselves. One study stated, "protests from certain quarters prompt public-sector officials to think long and hard about how to balance open government and the right to privacy" (Douglas 2006-page 1). ith this information in mind, the study would have to lean towards the better good for most people being when their privacy is respected rather than catching individuals who are using drugs.
Other questions such as smoking after hours, and having unprotected sex can also be categorized as a right to privacy issue rather than a cost issue and as such should be left alone by employers as well.…
Douglas M, (2006) Privacy Concerns. Government Technology, January 2, 2006, http://www.govtech.net/magazine/story.php?id=97730, Accessed July 10, 2006
Gledhill-Hoyt J, Lee H, Strote J, and Wechsler H., (2000) Increased use of Marijuana and Other Illicit Drugs at U.S. Colleges in the 1990's: Results of Three National Surveys. Addiction, Vol 95 Issue 11, pp. 1655-67
Beyond this, however, the manner of data collection and analysis is not so much designed as describing what must necessarily be described, namely how the tax operates in reality.
The author found that the tax compares favorably to other taxes both in not proving overly onerous to business and in providing sufficient revenue streams to the state. The tax provided approximately one fifth of state income during the period studied, and did not show any propensity towards damaging business growth or profitability.
Due to the evidence of the actual impact of the tax, which suggests that it is effective and fair at both ends of the revenue flow, the author concludes that a value-added tax can be a useful complementary tax along with other more traditional and familiar taxes as long as it is not overly relied upon.