Delacroix Liberty Leading The People Analysis

A statue constructed in the name of liberty arose from the expansive Atlantic more than a century ago. The values of equality and justice coupled with the promises of freedom remain immoveable like the cooper medium and the stone foundation of which the statue arises. An icon ingrained it the spirit of the United States, the Statue of Liberty is the physical representation of American ideals. It is the “light of liberty” that illuminates the path for the “tired,” and the “poor,” seeking shelter from the shadows of tyranny and persecution. The statue has been symbol of hope in a better future and a new beginning to immigrants seeking a fresh start. Ideals, along with the symbols that represent them, however are merely man made. And like the

Hello my French brothers and sisters! Dark times have befallen our precious land, and pure chaos has ensued. I write to the people in France in hopes of establishing a new land. A land that can be looked upon proudly with eyes of great virtue. In order to achieve our wildest dreams we must sort through the rubbish that has landed us here in the first place. How will we as a society react to the many things that have been dealt to the people of France? Perhaps our great fight ends in bloodshed, and broken promises. Or perhaps we could take heed of the laws and policies our fellow Europeans across the Sea. I had the pleasure of visiting one of the cities in America that the citizens take so much pride in: Boston, Massachusetts. A port town on the North-Eastern coast that was a large part of the American Revolution. It was also home to the Notorious Boston Massacre. There are a number of things that I enjoyed about my trip, but pointing out the differences between Boston and France had to be the most delectable part of my trip. The way in which they practice religion is something to behold. Their new Constitution is also no laughing matter, and lastly the many things Americans find fun is mesmerizing, and also repulsive. America is a tremendous place and I cannot wait to guide you through my journey and inferences.

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 late 19th century Paris, cafés-concerts (best described as “glorified beer halls” (Clark 206)) were a very popular destination for the people of Paris. Cafés-concerts became an integral part of Parisian social life, as they were visited by hundreds of people each night, regardless of class. A bar at the Folies Bergère became the topic of Edouard Manet’s last painting, as Manet tried to portray the new, “modern” Paris, and the introduction of mass production during this time. A Marxist art historian, T.J. Clark finds this particular painting important because it revealed a lot about the new, modern Paris, and Manet’s intentions with the painting. Clark focuses more on the emergence of the new social class during this time, and how this affected the role of women in Paris. The painting, A bar at Folies Bergère, has historical significance because of how it depicts modernity in the context of the emergence of a new social class (the petite bourgeoisie), the introduction of mass production, and the changing role of women.

Many attribute the evolution of the French revolution as the catalyst for redirection of the style of artwork from Baroque and Rococo to Neoclassical and Romanticism. Two leading masterpieces that support this aspect are respectively: Jacques-Louis David, Oath of the Horatii, (c. 1784) and Eugène Delacroix, Liberty Leading the People, (c. 1830). As commented in Essential Humanities (2016), the French revolution “in all its heroic glory and grisly destruction” (par. 10) is masterfully portrayed in Delacroix 's personification of liberty. In addition, the summons for commitment to the cause of freedom is classically rendered in David 's vow of victory or death. Within this essay both of these paintings are examined in regards to their connection to the French revolution.

In The Declaration of Independence Thomas Jefferson, uses ethos, pathos, and logos to persuade the world leaders to let the United States be a free country to break away from the power of the king. In this essay we will see how he used the three from logos stating fact of what the king has done wrong, pathos appealing to the world's emotions with life, liberty and the pursuit of happiness, and ethos letting the world know that they have the right to question anything about government or whatever they feel like they should question.

The Declaration of Independence, created by a group of Americans tired of British tyranny on July 4, 1776, was riddled with rhetorical devices. It was created with the intention of freeing citizens underneath the heel of Britain’s monarchy. Along with that, the writers used differing methods of rhetorical devices to deeply convey and convince the citizens on freedom. Throughout the text, it’s evident that metaphors were used to make easier understood comparisons of the British, to show how terrible their rule over America was. It is also understood that logos was chosen to provide specific evidence, which in return, allowed citizens to realize that they needed to defend their rights. Lastly, they used alliteration, which heavily expressed the

At first it may be easy to side with Mencken and assume that any dignified artist cannot hold the same views as his or her country. This is an understandable belief due to the fact that almost everyone finds something unsettling or wrong with their country. Contrary to the idea that only artists who rebel are artist of dignity, a countless number of dignified artist have been those who have supported their country and society by displaying an abundance of nationalism and pride in their works. Although some artists fall into Mencken’s category of rebellion, supporting his claim, there is and has been a majority of artists who have proven his claim faulty. Being an artist of dignity does not correlate with being one who rebels harshly against

The Statue of Liberty is one of the most well know symbols of the United States, across the world. For this reason I chose to analyze the dramatic effect it creates, and what methods it implores to invent this "universal" meaning. It is one of the strongest visual representations of the ideals which our country is founded upon. I intend to defend the argument that the Statue of Liberty posses the power of persuading human thought using the terms encompassed in Kenneth Burke's Pentad, shaping the definition of "America" for people through out the world.

Have you ever looked at a piece of art and wondered how it could be based on real life, because it was just so beautiful? Well Elisabeth Vigee Le Brun was able to paint in such new and exciting ways; people were left wondering just this. Elisabeth Vigee Le Brun was a woman of many talents. In her life time she came up with new ways of painting, revolutionized fashion in France, and overcame any prejudice thinking because she was a woman. Before dying at the age of eighty-seven, she had gained the respect of women and men all across the world. Being a female artist in the eighteenth century was not easy, especially when you had to keep a career and your life together during the

There are few objects that can be compared to the significance of the figure known as the Statue of Liberty. It is one of the greatest works of its time and still stands today as a meaningful entity of independence to the world. The statue is a great tribute to the concept of global freedom that had its roots in America. It was created to display the worldwide objective of peace and tranquility. The fact that another model of this icon stands today in a world capital shows the effect that this figure has inscribed upon the world. In addition, it represents the ideas that the United States was built upon and those that the people have lived by to this very day. Its most paramount features in its role through American history are its

It seems quaint to a viewer in 2012 to consider that François Boucher's paintings were, by some of the artist's contemporary critics, viewed as pornographic. For those of us who live in the era of internet pornography, nothing could seem more quaintly innocent than Boucher's eroticized rococo. The twenty-first century viewer faces Boucher quizzically: we are left wondering how Boucher's work could have defined an artistic school and moment so completely, and also earned such opprobrium not only from his contemporaries but from subsequent generations. The simple answer although it would hardly appear obvious from Boucher's work is politics. Contemporary and subsequent response to Boucher's work is defined by a response to his powerful patrons. Melissa Hyde sees Boucher's work almost as a collaboration with that of his powerful patroness, and notes that Boucher would serve as tutor to Madame de Pompadour, and eventually received the highest honors that a painter could attain in his time, by becoming officially "premier peintre du roi" (the king's first painter) and the director of the French Academy. This paper suggests that we may look in Boucher's use of classical motifs through his repeated depictions of the goddess Venus and understand an implicitly political ideology even in so unlikely a place as the eroticized frippery of the rococo. What may seem like vaguely classical decorative art in Boucher may be understood as implicitly offering an ideological stance: in some

Bonheur was an important figure in women’s right; she herself reflects the social movement for women. She was a women that didn’t let society’s standards keep her down; she worked hard to build her career. Bonheur was the first woman in France to get a permit to wear pants.1 The police’s reasoning for allowing Rosa this permit was because of health, and her doctor co-signed the permit.1 The slaughterhouses and fairgrounds would dirty her dresses thus it was impractical for her to wear a dress. Bonheur was smart she knew what wearing pants would do to her career.1 She knew buyers would not purchase paintings that came from a woman who wore pants, so Bonheur would wear dresses to social events.

Eugene Delacroix was born on April 26th, 1798 in Saint Maurice, France. At the time of his conception Eugene’s “father” was suspected to be infertile thus shifting the paternal title over to Talleyrand, a family friend. While Delacroix was young he received and education at the Lycee Louis-le-Grand and in 1815 he began artistic training. At the age of 17 Eugene Delacroix began his training under Pierre Narcisse Guerin. Delacroix was trained in the Neoclassical style, which is shown in his extreme attention to detail and precision in his works. Four of Delacroix's most well know pieces are, Women of Algiers, Massacre at Chios, Liberty Leading the People, and The Death of Sardanapalus.

The end of World War II and the start of the Algerian War of Independence defined France during the mid 1900s. Many black intellectuals, including poet Léopold Sédar Senghor and writer William Gardner Smith grappled with the war, colonialism and racism that permeated French culture, whether overtly or subtly. Despite the similar imagery within their prose, the authors showcase two distinct points of view. Both authors describe ugly, inhuman visages, but in Senghor’s work, these twisted faces are merely masks, as removable as the humanly-constructed horror of the era, whereas Smith sees the twistedness as fully ingrained in the human countenance.