Analysis Of Bookish Museum Sculptor Rebecca Clark: Saving His Heart Of Stone

True love’s path is paved with every step. Through the assistance of fanciful elements as well as characters Puck and Oberon, the true message of love in William Shakespeare’s A Midsummer Night’s Dream is revealed. The four lovers know the direction in which their hearts are inclined to turn, but when the love potion is administered, the bounds of their rectangle are thrashed without knowledge or consent. The rapid shifts in affection between the play’s “four lovers” is representative of the idea that love isn’t a conscious choice, but a cruel game in which we are the figurines, being controlled by whomever the player may be, relating the characters’ karmic fates.

The characteristics of a “perfect” woman have clearly changed over time, and The Courtier proves this throughout conversations in the third volume. Some desired qualities are common to both the courtier and the court

On September 19, 2015 I visited the Blanton Museum of Art at the University of Texas in Austin, where I observed The Raising of Lazarus by Joachim Wtewael in the European Old Masters gallery. The piece recreates the biblical narrative of Lazarus’ resurrection and demonstrates the exorbitant style of Mannerism popular during the 16th century. Wtewael establishes the significance of the Christ with his application of form through the use of unrealistic contortions of the people, the lines following the exaggerated limbs of the congregation, and the abundant use of the color red on almost every article of clothing.

“Coming, Aphrodite!” by Willa Cather is a story that portrays the elements of a romance. A definition of Romance is a strong, sometimes short-lived attachment, fascination, or enthusiasm for something. This definition describes the relationship between Don Hedger and Eden Bower. Don, who is a painter, was dark and quiet. He rejected fame and didn’t need fortune to be successful, he painted for “painters,--haven’t been born.” (37) Contrastingly, Eden was light and free spirited. She went out into the world to meet new people and to become known. Because the both of them were from totally opposite worlds, their attraction sparked like fireworks. They both were young artists wanting success and wealth out of life, but in different

The wife of bath tells the story of a knight who in quest to answer the question “what do women want most?”. The

Male sexual impotence would seem at first to be an unpromising subject for poetry, especially poetry which could loosely be defined as “neo-Classical” and is based on compositional models from the Classical world of ancient Greece and Rome. Yet scholars such as Richard Quaintance and Claude Rawson have traced the history of a literary sub-genre within the neo-Classical tradition that does deal with male sexual impotence, whether through failure to achieve erection or through premature ejaculation. This literary sub-genre includes Restoration poems like Aphra Behn’s “The Disappointment” and the Earl of Rochester’s “Imperfect Enjoyment,” and Quaintance in fact dubs the genre the neo-Classical “imperfect enjoyment poem” after Rochester’s title. Quaintance situates both Rochester and Behn within French neo-Classical models (Quaintance 190), but actual Latin works were their ultimate models: Rawson notes that Ovid himself had written a poem on the subject in his third book of love elegies, Amores III.vii, and Petronius, the great courtier-satirist of Nero’s Rome, had structured his Satyricon as a parody of Homer’s Odyssey—but where Odysseus is pursued by the wrath of Poseidon, God of the Sea, the protagonist

Leila Aboulela writes “The Museum” in a way that can make the reader feel like they are connected and present with the characters. Held in a prestigious university in Scotland, the University of Aberdeen, “The Museum” highlights many difficult challenges that can be faced in a lifetime, and that makes the story even more relatable. Leila Aboulela really knows how to capture her readers, which makes her story so memorable. Aboulela uses explicit adjectives to describe common things that advance the story even more. For example the reoccuring color blue on page 372 that evokes the sad feeling that Shadia develops throughout the story.

Julie Becker was born in 1972, and passed away in 2016 at the age of 43[i]. Los Angeles was an integral part of her life as she grew up, created, and died in L.A; however she studied briefly at Hochschule der Kunste, Berlin in 1991 and completed a residency in Basel, Switzerland at Stiftlung Laurenz-Haus Foundation. Becker was the daughter of artists[ii], and subsequently grew up in constant travel from one apartment to the next while her parents worked odd jobs to survive. In lieu of finishing her senior year at Santa Monica High School, she became the youngest student ever to attend California Institute of the Arts in 1989 at the age of 16. From CalArts in Valencia, Becker received her BFA in 1993, and her MFA in 1995. Paul Schimmel, curator at the L.A Museum of Contemporary Art, selected Becker’s MFA thesis project, Researchers, Residents, A Place to Rest 1993-96, for the 23rd São Paulo Biennial, where she was the youngest participant.

Hamilton’s sculpture stands as a representation of the Civil War’s many brave and courageous United States colored troops also known as the (USTC) One side of Ed Hamilton’s sculpture has the title “The spirit of freedom,” On the other side there is a text that says “Civil War to Civil rights and beyond.” The memorial honors more than 200,000 who severed In the Union army and navy during the Civil War. The 209,145 names inscribed on the walls the surround the sculpture honors the fighters of freedom. On the highest wall in the memorial there is an 1863 quote by Fredrick Douglas: "Who would be free themselves must strike the blow. Better even die free than to live slaves.” The United States began the organization (USTC) in 1863, the enlistment

When I was younger, my dad and I used to go on dates to the Nelson-Atkins Museum of Art. Although I haven’t been there for over five years now, I still remember one piece of art that took my breath away; not because of the beauty of the artwork, but because of the shiver it sent down my spine, and the uneasy feeling I had when I looked at it. The piece of art that made me so apprehensive was a wax model of a museum security guard. The intricate detail of the figure, including the pores in the skin and the hair on the knuckles, left me wondering if this man were going to suddenly leap forward and yell, “Gotcha!”

Phaedras claims, similarly to modern poets that love will drive one to the brink or even over the edge of death. It is hardly surprising, then, to find a similar image again in the poetry of Theognis, ?Boy, as long as your cheek is smooth, I?ll never / stop praising you, not even if I have to die.? (Theognis, 1327-1334) On the inclusion of women, however, Theognis disagrees with

Barbara Hepworth’s Epic Works In the article, “Jeanette Winterson: Barbara Hepworth’s Epic Works Changed the face of Sculpture," the author introduces us to the woman who interchanged the look of sculpting. Winterson states, “She wanted something that people would actually look at, rather than walk past, a piece where the meaning was inherent, rather than representational or symbolic”. That statement goes to show that Barbara Hepworth wanted to contribute something that was different from other sculptors. Barbara Hepworth’s work was captivating, engaging and she was autonomous. To begin, Barbara Hepworth’s work was quite captivating in various ways.

She is not a proper, submissive wife, but instead uses her traditionally feminine powers to lie and manipulate men. In her tale, a knight rapes a woman and is sent on a quest to find the “thing women most desire”(Chaucer, 172).The ending of the tale, like most Chaucerian fiction, safely returns to a more suitable alignment of the sexes. The rapist not only saves his own life, but earns the promise of a faithful and obedient wife.The hag who granted him the answer, who had all the power, gave it up. Transforming herself into a more ideal woman stating, "If I am not a wife as good and true...then you can deal just as you like with me" (Chaucer, 181). Thus implying the Wife herself lacks confidence in the female's powers of speech.Her struggle is not one of domination in the relationship, as both her Prologue and Tale show. It is a struggle for love. The heroine relinquishes her power and dissolves into literal silence and alleged submission, the archetypal

Jan van Eyck was active since 1422 and died in 1441. He was the most celebrated painter of the fifteen-century in Europe. One of his famous works is “The Last Judgment”. At first sight this work immediately attracted my attention. The painting’s stunning colors and the fact that it reminded me of a previous similar work I have seen, triggered in my mind. The material that is used is oil on canvas, transferred from wood. The size of this work is 22 1/4 *7 2/3 in. (56.5 * 19.7cm).

The Franklin’s Tale, one of the many stories comprising the Canterbury Tales, is one of Chaucer’s most celebrated and most contradictory works. This tale set in medieval Brittany narrates the uncanny marriage of the knight Arveragus and his lady Dorigen. This unlikely union was based on mutual trust, love and truthfulness and knew neither the rule of the lady that was typical of courtly love, nor the domination by the husband that was expected of a traditional marriage. In the controversial scene that will be discussed here, Arveragus orders Dorigen to give herself to a man to whom she had made the reckless promise of giving her love if he could accomplish an impossible deed.