Compare And Contrast The Pillowman And 1900

This essay explores the various types of art used in Oscar Wilde’s The Picture of Dorian Gray. The focus is made on the three types of art: the picture of Dorian Gray, the yellow book and the actress. It examines the way Wilde chooses to develop his novel’s characters’ personalities and destinies by asking: what is the role of art

Art is able to evoke different feelings and emotions to each person that sets their eyes on it. The act of ‘looking’ is simple, but a lot comes from it. Where the eyes are first drawn to, the duration that the eyes are focused on a specific detail, and the thoughts that flood one’s brain when viewing art is all significant. These actions say more than the piece itself, it reveals emotions of both the artist and the audience. Art can be expressed through infinite forms, but the underlying importance is not with the art itself. It represents a place in time, displaying what was noteworthy to an individual in their own life. It serves as a lasting creation representative of human imagination with the ability to bring out a multitude of emotions from whoever views it. When art is created it represents the creativity of the human mind compacted into a physical object. Art has little usage aside from pure observation, yet it has prevailed throughout time, showing its importance to humanity. Art provides a lens into humanity, showcasing the human ability over time. When studied through history, art is a view into the development of humans and their interests. Through something as basic as commonly using symmetry to transitioning to asymmetry, the European’s perspective following the Renaissance is revealed. The making of art is solely up to one individual and their creativity. It is the pinnacle of

Throughout human history people used to capture the reality of their time, express their feelings and share their impressions by copying both literally or figurative the mundane. The so-called artists have had different impacts in society all along the centuries. Only a few are currently taught in school, although the reverberation of their work is still impregnated in XXI Century. Nowadays, the term ‘artist’ can be used in reference of painters, sculptors, writers, singers, choreographers and other professions whose production are considered valuable culturally speaking. One of the main problems is that their work produce such a magnificent impact on the audience the artist is set aside and usually forgotten as a person, so they feel their rights to be violated.

In the paper I would like to focus on a painting that is almost 120 years old, however it appears provocative even today - in the world of contemporary art, where there seems to be no room left for astonishment. What I find so special about this beautiful painting is the technique and the artist’s vision of the scenery. Even though the second half of the 19th century was the time of rebelliousness in the art world, Henri Matisse managed to find his own niche and create his own style of painting. While “Still Life with Oranges II” appears as a primitive piece of work that neglects canonic rules of proportion, shade and volume, it opens doors to the personal world of the artists, where there is a place for imagination and flirting with the audience. Bright colors and swirls of brush strokes celebrate life and create an uplifting mood, which we often under appreciate in a painting.

Whether pride, fear, or peace, art is intended to make the viewer feel an emotion. The visit to the St. Louis Art Museum had me excited to discover a new revelation. Being the second time that I had visited in two semesters, I was looking forward to a new angle to take, writing about some of my favorite pieces I was unable to include in my last paper. This semester we have been focusing on the Renaissance era (1300-1700), also known as the Rebirth. During this time, scholars and artists looked back towards the classical learning. Purposefully looking past the middle-ages, they focused on the classical past of Rome and Greece. During this time period many works of art were created, however, throughout this semester every major artist we studied

When one marvels at a painting it is tempting to take in one section at a time so as to not miss anything. Certain work entices the audience to come forward, into the scene. Yet the whole painting in its entirety is made to be experienced from a distance, a place where the expanse of the scene can be taken in fully for all it was created to be. Certain brushstrokes or movements only come together when viewed from three yards away. An art museum is a sanctuary filled with these temptations. Each illustration depicts a different story that can only be fully understood once one stands at a distance, senses the mood, researches the historical background, and asks the question: “Why did the artist make the choices he/she did?”

Nevertheless, this volume remains an informative and remarkably extensive piece of research on the topic. This work synthesizes historical, psychological, sociological and political aspects. Furthermore, this is one of the few models that pays equal attention to art (i.e. visual images, motion pictures and music) as a powerful tool for

Summary: The book is about the collage-style paintings that were done by Jean-Michel Basquiat that sprouted to fame in the 1980s as a cultural phenomenon. This art was like no other art the world has ever seen in the recent past. The book introduces young children to the powerful message that is sent to the society through art.

Andy Warhol and Tommaso Guidi also known as Masaccio teaches one that art is not just a drawing it’s a connection to something so much bigger. Learning and understanding the message each artist is putting out is such a wonderful thing to encounter. This paper entails two artists who created two unique paintings using different things like silkscreening and photography. Understanding their art, learning about why it was created and their inspiration is a big factor. Through their art they are telling a story. Also to inform you on why the artists drew the paintings, where the painting were created, and what the paintings mean.

The artist has been a mystery to many of us: unexplainably driven in his work; seemingly unconcerned with any other aspects of his life; often oblivious to the world around him. The artists in Nathaniel Hawthorne's "The Artist of the Beautiful," Barbara Pollack's "Stitches in time," and Carl Jung's "The Spirit in Man, Art, and Literature" represent some or all of these characteristics. I decided to base this paper on these readings because I found the ideas presented in them interesting and worth exploring.

For every stroke of brush, for every combination of colors, for every words chosen to be written, and for every character depicted, all of them are done with tremendous importance by artists who wants to convey messages to people. Art, myth, and story are expressions of oneself. People often used them as a tool to express their ideas and emotions. There are times that it is an expression of personality kept deep within. The essential nature of art, myth, and story for human beings is that they are bounded with mysteries. Mysteries that people seek to completely unfold. Arts, myths, and stories’ ultimate function is to bring out lessons, values, and ethics that can be applied to achieve a fulfilling life. Throughout time, their purposes remain

This dissertation is dedicated to all the Artists in the world who believe that the Arts are agents of social development, cooperation, solidarity, and tolerance, even when their lives confront the injustices of the system.

Although art had nothing in common with the popular culture, the interplay of the two was becoming more obvious, while “critics have insistently connected the two, usually by opposition.” Different sources of influence were making people more aware of the ways that some issues can be compared or contrasted, while “In the classic Marxist view, history was a forward-marching dialectical struggle between opposed interests.” The opposite interests of the “fine art” and art of “everyday crap” cannot be compared in their historic value in terms of the ways they were perceived by the contemporary audiences, they still could be compared in terms of their perception. The perception of the “fine art” is still the same as many centuries before this moment, making people appreciate the colours and lines, structures and techniques, while the modern art came into straight opposition to the issues valued in the past. At the same time, the perceptions made “fine art” stand out as opposed to that of “everyday crap,” which could only rely on whether it is favoured by the audiences, sold and bought at galleries, and used in other interdisciplinary

Each generation presents us with the different varieties of artistic expression. The prevalence of art impacting society has always been constant. With the many forms of artistic expression that exist, it is also easy to see how an individual can test out the different options available to them until finding a specific form that suits their tastes. When this happens, the artist and viewer create a special mutually beneficial relationship. This is evident in the article, “Memory, Money and Persistence: Theater Of Social Change in Context” written by Arlene Goldbard. . Goldbard used her article to expose the concept of social awareness and performances that are relevant to and can even change the open world outside of the arts. This is evident

The romantic idea of the auteur is described by film theoretician, André Bazin, observing the film form as an idealistic phenomenon. Through the personal factor in artistic creation as a standard reference, Bazin primarily refers to an essential literary and romantic conception of the artist as central. He considers the relationship between film aesthetics and reality more important than the director itself and places cinema above paintings. He described paintings as a similar ethical creation to film stating a director ‘can be valued according to its measurements and the celebrity of the signature, the objective quality of the work itself was formerly held in much higher esteem.’ (Bazin, 1967: 250). Bazin contemplates the historical and social aspects that indeed hinder a director’s retribution to their own personalised film, thus en-companying their own ideological judgement upon the world ‘more so in cinema where the sociological and historical cross-currents are countless.’ (Bazin, 1967: 256)