In all three mediums, the authors and presenters are all averse to the ideas of minors being tried as adults, death row and solitary confinement. I agree in all three cases. Minors should not be tried as adults because they are not adults. While there should be some level of culpability for their actions, it should never reach the point where they are tried as anything other than a juvenile. Many youth, for no other reason than biological constraints, lack the psychological maturity to make logical and well-reasoned choices.
Meredith Liu Professor Ila Sheren TA: Heather Read (Section K) 28 April 2017 Paper #3 The Transformed Dream: Elusive Realities The most fascinating art is often the most perplexing. In the case of Giorgio de Chirico, his repressed consciousness manifests itself in the surreal concoction of oil paint on canvas known as The Transformed Dream. At first glance, the viewer might simply see an odd collection of objects composed into an oblong still life.
When he talks about the hardships of having to go through the grocery after work, the little things that make life tougher, you can feel the store around you. The hard concrete floors with the damp light roughly illuminating the isle. “...the ADHD kids who all block the aisle and you have to grit your teeth and try to be polite as you ask them to let you by, and eventually, finally, you get all your supper supplies, except now it turns out there aren't enough checkout lanes open even though it's the end-of-the-day-rush…” Is a great quote to represent the vivid imagery used in this piece. The way that he writes about more than just the image
Lastly, Lobbecke’s uses the defacing of iconic sculpture to symbolise his idea of the downfall of society and its traditions. The pressure the reader into a feeling of fear and to agree Lobbecke’s with an urgent want for
Ruttmann uses these organic structures to construct his impression of the city. Unlike Fritz Lang’s Metropolis, which is overtly directed by a perpetual ten-hour work cycle clock, Berlin in contrast can be viewed through the juxtaposition of the old and the new worlds. The symbolic editing of the compilation of the shots depicting the crowd of labour’s marching to work, initially contrasted with the herd of cattle, then against the shot of the marching infantry, is an allegorical representation of the interconnectedness between the natural rhythms of life and the constellation of social modernity in the city. In other words, the city maybe dominant, but its urban rhythm is underwritten by the natural and inescapable tempo of
“Even as a child, his gift for combining poetry and reality is a rarity in English art, and it enable him to intercept classical myth and legend in a quite extraordinarily convincing way” (Wood 244). His paintings of classical and mythical scenes show a true mix between Neoclassical themes and Romantic style. His art and style will help inspire and develop other artists throughout the 19th century. “Warehouse is a brilliant dramatist of subjects and narratives. He’ll find a composition for a complex narrative subject that gives this powerful interpretation at a glance, even if it’s an unfamiliar story.”
The artist Vincent Van Gogh show depth in “The Artist Bedroom” piece, by using a little atmosphere perspective in the walls of the bedroom near the window. He does this with the light and dark blue colors in the crease of the walls. The table illustrates the illusion of depth, by using the overlapping method. The table is not covering the painting on the wall, but sits in front of it causing the painting and the window to look far away. The artists used the change in size method a few times with the locations of both chair, as well as the head and foot of the bed.
The flow is still there from the time of day and seasons, but also the shape of the pieces are not rigid" (Hartland-Row, 2014). Like the wind which is free blowing, the bus can be rode by anyone as long as they pay the small fee. As on the mural you can see people freely engaging with their lives and interacting. Hartland-Row shows freedom in a constricted place and shows people's emotions and habits in a contour-like fashion. Many of the people see themselves as one of the folks on these panels, and can only really see them while they are getting off or on the
He used planes of colour and small brushstrokes that build up to form complicated fields, without delay each a direct expression of the sensations of the looking at eye and an abstraction from discovered nature. The paintings convey Cezanne 's severe study of his topics, a looking gaze and a dogged conflict to deal with the complexity of human visual belief.
During the Renaissance Italian artist's developed the linear perspective, which was a system that allowed artist to represent three dimensions on two dimensional surfaces. This technique was constructed through finding a horizon and extending all lines from the vanishing point. Before the Renaissance paintings and pieces were heavily influenced through religious systems and practices, and there truly wasn’t much to offer as far as extension went, so the most we saw in a background were a gold plate. However, as we enter the Renaissance perspectives begin to grow in nearly every aspect of life including how we make and see art. It only made sense for this practice to become a common usage in art.
Auden's narrative walks us through the events in the painting one by one highlighting whom is suffering and whom is not. The ordinary everyday people going about their daily lives appear oblivious to what is going on around them. It is accentuated with this line "While someone else is eating or opening a window or just walking dully along;"[Auden 4]. The ordinary
Even the woman’s frame and posture seem to follow the lines created by the railings of the viewing box. The railings are also implied lines, the first thing our eyes go to is the woman, and then we follow the railings to the man who has his gaze set on the woman. The man’s gaze gives us implied lines that lead us back to the main focus of the painting, the woman. The artist also uses light and dark to guide our eyes to the important parts of the artwork. Most of the artwork is dark, while the woman and the man looking at her are in the light.
This painting illustrates emotions, background information, conflicts, and actions of the French Revolution. The French Revolution basically started because of the royal family, the king and queen’s fault in particular, which led to leaders rising and encouraging the third estate to rebel. This painting is a great depiction of the mobs raiding the bakeries and markets looking for food. The emotions in the painting reflect anger, terror, and fear causing some sort of chaotic mood. The women in the picture appears to reflect the emotion of terror from watching the third estate men beat the soldiers.
As Bela Lugosi once said, “People, chained by monotony, afraid to think, clinging to certainties…they live like ants”. The painting Over London by Rail, by Gustave Dore portrays a side of the Industrial Revolution that was disregarded by many during the time. The upper class often neglected the harsh working conditions in which most of the people lived in. This mechanism of change that the revolution had become drastically transformed people’s traditional lives that were once in a close to perfect harmony with nature. The fast moving industrialization of the world made individuality negligible as huge amounts of goods were made and thousands were made to work for the machines.
The artists and artwork chosen to be analyzed in this essay are The Stonebreakers by Gustave Courbet, The Gleaners by Jean-Francois Millet and Third Class Carriage by Honore Daumier. These artists are all French and are known for their inspiring works of art made during The Nineteenth Century pertaining to Realism. Gustave Courbet was best known as an innovator in Realism. He painted figurative compositions, landscapes and seascapes. He also addressed social issues, peasantry and the grave working conditions of the poor.
