Courbet The Sleepers Essay

Alice Neel and Egon Schiele were some of the most daring artists of their time. Neel was especially known for her uncaring attitude of what was “in” at the time, while Egon Schiele was similarly known to paint some of the most bold nude figures of his time. Both painted what they wanted, not a thought towards what was socially acceptable. They both focused on painting people around them, or in Neel’s case, random people on the street, and Schiele was often compared to Picasso in his obsession with self-portraits. Either way, while Alice Neel and Egon Schiele were from opposite sides of the planet, they shared a remarkably similar style of painting and rendering of the subjects in those paintings.

Steinberg’s essay, “The Philosophical Brothel,” of 1972 was a new account of Picasso’s masterwork, Les Demoiselles d’Avignion [Fig. 13]. Steinberg roots his analysis of the painting in its relationship to the viewer. Steinberg extends the role of the viewer until it is he who completes the painting as the male solicitor of the women in the painting: “The picture is a tidal wave of female aggression; one either experiences the Demoiselles as an onslaught, or shuts it off. But the assault on the viewer is only half of the action, for the viewer, as the painting conceives him on this side of the picture plane, repays in kind.”98 The horizontality of the flatbed picture plane, and the new content it allows, makes the viewer’s role an active

In the books The Big Sleep and Sir Gawain and the Green Knight, both authors, Raymond Chandler (The Big Sleep) and Simon Armitage (Sir Gawain and the Green Knight), create the protagonist of each story into archetypal knights. The protagonist of The Big Sleep is named Phillip Marlowe and in Sir Gawain and the Green Knight the protagonist is named Sir Gawain. The 3 knightly qualities that we will be focusing on in this essay are self-sacrifice, loyalty and courage. These qualities are displayed throughout each story in different and similar ways throughout each book.

09-09-2012 Day 1: I went to sleep at 1:00 am and woke up at 6:11 am. The dream was that my grandmother passed away and that I had nobody to confide in. It got to a point where I just went

This image of Lucretia is not that of some mythological or religious origin, say, of a venus, for example, part of whose appeal is the depiction of nudity without social repercussion. With respect to the time which bore this painting, it is not unlikely that this inclination to experiment with the female nude was in part sublimated by means of this historical subject matter, however, so say that Lucretia’s nudity is illustrated only on account of what would amount to the privilege of moral impunity is perhaps too simple an explanation. It seems much more reasonable to posit that Lucretia’s own nudity, especially in conjunction with her opulent, indeed, what is surely very expensive clothing (other depictions of Lucretia typically omit the inclusion of clothes altogether), is employed by Cleve to highlight Lucretia’s shame—amid her wealth and regal lifestyle, her clothes have been cleaved open, and she had been irrevocable hurt and humiliated. Whether intended by the artist, this awkward parting of Lucretia’s garments over her left shoulder and down through her abdomen adds greatly to the desolation and pity associated with her historical figure. Ultimately, this compositional decision serves to augment the paintings emotional

“Primitivism” was a cultural attitude that arose in Europe during the late 19th and 20th century in opposition to the increasingly decadent and materialistic European culture. Rather than an artistic movement, “primitivism” is a European conception of foreign civilizations and lands as “simple”, less developed, and naive. This is an important distinction to make, because “primitivism” was defined in the eyes of the Europeans who saw foreign civilizations as unsophisticated, indicating that the concept of “primitivism” is heavily biased in the view of the Europeans. Paul Gauguin and Henri Matisse were two artists that were highly influenced by the concept of “primitivism,” and some similarity can be depicted in their works such as the use of female nudes, vivid colors, and artistic techniques. However, their definition and methods of achieving “primitivism” differ heavily, due to the fact that the vagueness of “primitivism” allows it to be a self-defined concept. These similarities and differences can be seen through the two works of art The Spirit of the Dead Watching by Paul Gauguin, and The Blue Nude by Henri Matisse, and the way they depict women in each of the pieces.

As a prostitute relative to the gender roles of the nineteenth century, Olympia should be reserved and conforming to what a man wants, but her gaze reveals she has equal power in this pointedly sexual, even lascivious, situation. Olympia’s strong, unrelenting gaze into the viewer’s eyes asserts a dominance in her place, challenging the authority of men of the time to be the judge of a woman’s place. Her deliberate stare removes the deceptions men had of women. Instead of the man judging and sizing her up, Olympia is now the evaluator of the man’s worth and importance. This new perception that critics gleaned from Olympia resulted in horrible reviews and refusals. Another critic, Victor de Jankovitz, criticized that, “the expression of Olympia’s face is that of a being prematurely aged and vicious; the body’s putrefying color recalls the horror of the morgue,” (Bernheimer 256). Manet painted Meurent in the style of a still life from his perception, but Bernheimer’s harsh review expresses the refutal from the male society of Manet’s Olympia. The terrible responses to his painting upset Manet. However, some recognized Olympia as a masterpiece. A female critic, Emile Zola, remarked that “when other artists correct nature by painting Venus they lie. Manet asked himself why he should lie. Why not tell the truth?” (qtd. in Chris Jenks). Responses as such paved

The main focus of the painting intended by Titian is a nude woman, Venus, looking straightforwardly at the audience. The young woman’s nipples are erect; with her left hand covers her pubic area, the sexuality of this painting is unquestionable. She is completely naked except for the ring on her little finger and the bracelet around her wrist. It is clear that the intention of this painting is to evoke sensual feelings in its audience.

“The bad sleep well.” This quote is actually the name of a 1960’s Japanese film directed by the world renowned director Akira Kurosawa. There isn’t much to say about the movie, but it has a key role in the 2005 Pulitzer Prize winner for Drama play Doubt: A Parable. Out of all of the places that the author John Patrick Shanley puts this quote is right at the first page before chapter one and after the preface with two other quotes. The location of the quote and what the quotes say give the reader questions and what happened and maybe foreshadowing what will come in the book.

In representing female subjects, both Pablo Picasso’s oil painting Les Demoiselles d’Avignon (1907) and Édouard Manet’s A Bar at the Folies-Bergère (1882) manipulate the formal techniques of composition and perspective to create new ways of seeing their subject, emulating their contemporary society’s shifting views of women and the individual. Les Demoiselles depicts five naked prostitutes, flaunting their bodies, and some wearing tribal masks. In comparison, A Bar at the Folies-Bergère represents a female, who may also be a prostitute, tending a bar. The depiction of previously ‘hidden’ female subjects alone was an innovation of the perception of the artist, however, the formal treatment in representing these subjects was an important break from tradition.

In Chapter 3 of his book, “Ways of Seeing”, John Berger argues that in western nude art and present day media, that women are largely shown and treated as objects upon whom power is asserted by men either as figures in the canvas or as spectators. Berger’s purpose is to make readers aware of how the perception of women in the art so that they will recognize the evolution of western cultured art.

You pulled up to a stoplight and beside you sits a man in a rusted out, beat up junker. You decide that you are going to overtake the junker and it’s time to show that scrap-pile what four-cylinders of fury can do. The light turns green and before your car has even crossed the line the junker is on the other side of the intersection. What you just witnessed was a sleeper in action. A sleeper is a high performance vehicle whose looks gives away none of its athletic personality. Building a sleeper is a rewarding experience that will leave you with a fun and fast car that will blow the doors off most high end sport/super cars. By, following this guide you can turn your car into an ultimate sleeper.

What do the effects of sleep deprivation have on people? When a person does not get enough sleep, he or she is depriving his or her body of something that it needs. A delightful sleep is one of the most satisfying human experiences with a role to play in supporting a good mood and cognitive acuity as well as in promoting physiologic balance and resilience (Chittora, Jain and Suhalka). People think because they get an insufficient number of hours of sleep, they will not have an emotional impact by it. Sleep is a required need for peoples’ day to day life to be able to perform and stay healthy emotionally and physically. The effects of sleep deprivation are an issue because it affects mood, performance, and health.

When comparing erotic material of today from that of the nineteenth century, they are placed at either ends of the spectrum. In today's world, almost everything is sold by sex appeal. Sex is not a clandestine topic anymore, like it was in the nineteenth century. When looking into the subject matter of erotic imagery, the main difference is the erotic material that is for men versus women. In Linda Nochlin's essay, "Eroticism and Female Imagery in Nineteenth-Century Art," she makes many points on how erotic imagery of that time was merely for men's enjoyment, and not for women. This essay not only explains how mostly all of exotic imagery was meant for men, Nochlin takes it a

Each night without fail our eyes grow heavy and our minds tired, and dreaming we drag ourselves to bed and normally fall asleep quickly and peacefully off to dream land we go.