I chose to write about Jim Germaux’s Parallel Play because it evokes beauty in a unique way using pattern, line, and color Germaux’s Parallel Play exemplifies beauty through eye-catching pattern. Each piece of this collection uses an arrangement of circles in a manner that is organized and yet spontaneous. The location of each circle is unpredictable, but the way the Germaux arranges the circles in his painting, side-by-side in no particular order, creates a sense of movement and playfulness that is attractive to the viewer’s eye. The viewer is drawn in by the mass quantity of these circles and is then challenged to look upon the spontaneity of the arrangement, and to try to find familiar patterns within. Germaux is making the viewer move his or her eyes over the circle pattern in several directions creating a commotion that pulls the viewer into the composition in such an effective way that is beautiful.
In his argumentative essay, Paul Bogard uses literacy diction and allusions to give credibility to his argument. By using words like Van Gogh, “Starry night sky”, and given. These words evoke a feeling of recollection. Also using the words van Gogh, Paul gives his paper further credibility all while persuading the audience to be on his side. Furthermore Paul also uses imagery in his argument to evoke a feeling of both sadness and a feeling of missing out.
Also, imagination is not just for artists, but for all. Seerveld is driving home the point that being human (being made in God’s image) means that one should relish the role of having aesthetic opportunities in life. Recently, works of Calvin Seerveld were collected to create the book, Normative Aesthetics. In a section titled “Ordinary Aesthetic Life: Humor, Tastes and ‘Taking a Break,’” Seerveld brings the tin-can model to readers. The tin-can model is all the essential components of creature-hood for the Christian, which includes the physical, biotic, sensitive, technical, aesthetic, lingual, analytic,
From the content of books to the songs on the radio, art serves to provide a reflection of the world. Behind every design, there are great chains connecting the art to the artist to the artist 's inspirations and so on as far as the eye can see. In Jonathan Lethem 's The Ecstasy of Influence: A Plagiarism, he emphasizes these unseen connections. "My search had led me from a movie, to a book, to a play, to a website, and back to a book." (Lethem 212).
When reading literature, one can find ways to connect what they are reading to other aspects of their life and draw comparisons between the two. For example, literature tends to develop from themes that are relevant in a writer’s personal life that also happen to be occurring in the reader’s life. More specifically, art and literature often go hand in hand and tell similar stories while using different mediums. A city such as Paris with its rich history of artists and lavishly abundant museums lends itself many opportunities to experience these types of similarities. Particularly, Musee d’Orsay’s Mystical Landscapes exhibit highlighted countless pieces that were left open for interpretation.
In Guillermo Vargas art “You are what you read” you see a very thin, unhealthy and scared looking dog, that is tied up in a room. This room is otherwise empty except for the words “Eres lo que less” (you are what you read) written in dog food on the wall. The reaction to this art was not good because a whole lot of people said it was animal cruelty. That people should boycott his art and that charged should be filed against him. People did not like the idea to be looking at something so mean
In this article “ Why literature matters” by Dana Gioia explains that American art has changed. It points out the fact that literary knowledge is declining. Some of the changes that were pointed out is that most people no longer read. His main purpose is to encourage people to begin to read again and that will help them improve their intellectual level. In the article Gioia expresses reasoning and includes evidence of the importance of reading.
Modern art takes the best of artists and their art work and adapts it, adding new techniques and personal styles of each. When one carefully analyzes different pieces of art with openness to emotional impression and introspection it allows appreciation and pleasure towards other artists as well as their works. This paper will provide information on the artist Paul Cézanne and his work The Large Bathers, look into Matisse’s Bonheur de Vivre (Joy of Life) and Picasso’s Les Demoiselles d’Avignon. It will also discuss the influence Paul Cézanne had on the aforementioned artists upon producing their masterpieces. Paul Cézanne, The Large Bathers, 1906, oil on canvas, 210 x 250.8 cm (Philadelphia Museum of Art)
In earlier seminal text he has acknowledged that language is not always the best means to express what we perceive when encountering a work of art. Yet, In a later essay Language and Understanding he defends the import he has placed on linguistic understanding writing: “the claim that all understanding is linguistically in character is admittedly provocative...” Yet, even silent understanding, he argues, rests on a network of previous understandings which rest in language, and any meaning we fix emerges out of “the fabric of a linguistic context.” Crucial to this discussion is the claim that use of language is crucial when inquiring into our experience of art.
Besides the author and the reader, there is the ‘I’ of the lyrical hero or of the fictitious storyteller and the ‘you’ or ‘thou’ of the alleged addressee of dramatic monologues, supplications and epistles. Empson said that: „The machinations of ambiguity are among the very roots of poetry”(Surdulescu, Stefanescu, 30). The ambiguous intellectual attitude deconstructs both the heroic commitement to a cause in tragedy and the didactic confinement to a class in comedy; its unstable allegiance permits Keats’s exemplary poet (the „camelion poet”, more of an ideal projection than a description of Keats actual practice) to derive equal delight conceiving a lago or an Imogen. This perplexing situation is achieved through a histrionic strategy of „showing how”, rather than „telling about it” (Stefanescu, 173 ).
Rather, its is our own familiar routine manner of perceiving things that we assume a connection between the text and the image. Magritte has argued that in relation to a different set of images, neither the painted image nor the words are, in actuality, a pipe. He presents this contradiction in its simplest form, ‘a calligram that Magritte has secretly constructed, then carefully unraveled’ (ibid, pg20) highlighting the difference between the ‘separation of linguistic signs and plastic elements’. Magritte combines verbal signs and plastic elements together but without ‘referring them to prior isotopism’. This is Magritte’s attempt to expose us of our own immediate automaticity that is so deeply
A varied balance between the symbolic and realism has been struck world over by the painting. In the fifteenth century Western painting began to turn from its age- old concern with spiritual realities towards an effort to combine this spiritual expression with as complete an imitation as possible of the outside
Discussing Lewis’ style in the Moths in the Arc Light Photography is one of the key inventions of the humanity. The famous saying “A picture is worth a thousand words” shows how much can be conveyed through a single picture. Yet, it can be ambiguous and be perceived differently by people. There are writers who, however, are able to create meticulous descriptions that are on par with photographs in the sense of imagery. Moreover, there are also authors whose style in general resembles a process of creating, or looking at series of snapshots, who can construct a story based on observing, rather than doing.
Love and relationship between man and woman has been the focal point of countless literary works, music pieces and other art objects since times immemorial. Depending on the personal experience and worldview of the author, the feeling of love has been interpreted in many individual ways. Consequently, to find two masterpieces which depict love similarly seems inconceivable. The texts under analysis – J.L. Borges’ “What can I hold you with?” and the song “Anything for Your Love” by E. Clapton – although written by two contemporary artists and elaborating the image of love, produce an absolutely different effect on the reader.
This text is taken from a lecture that was given by William Morris about the importance of the arts. In this lecture he tries to convince his audience why the arts are beneficial and should be available to not only the wealthy but also ordinary people. He uses personification and imagery in order to make what he is saying more interesting, and also uses inclusive language to appeal to the whole audience. The first paragraph begins with the personification of Science; “And Science - we have loved her well, and followed her diligently, what will she do?”.
