Domestic Arrangements By Susan Lichtman Analysis

The most important trait in defining art is its beauty. As complex as the term “art” can be, the term “beauty” is nearly just as complicated. In order to understand art more clearly it is important to understand beauty. “We label an object beautiful because it promotes an internal harmony or ‘free play’ of our mental faculties; we call something ‘beautiful’ when it elicits this pleasure.” (Freeland 8). As defined above, beauty is not a direct message. It is something that subconsciously allows man to feel good and pleasurable. There is “an internal harmony” when we observe something beautiful that allows us to take away a deeper understanding of a work of art regardless of it being “nice looking” or “ugly”.

St. Lucy’s home is a home for girls to go to when they have been raised by wolves. They go there to gain skills and manners that they weren’t taught growing up. During their visit, they go through five stages to become more human. Some girls change and improve, but others do not and they stay the same. Something happens with Mirabella and she did not improve during her visit.

Through this painting, Marie Louise Elizabeth Vigee-LeBrun is sharing herself with the viewer. The message is easily understood.

In the poem, Home by Pauline Kaldas, upon moving to Boston, the speaker expresses her longing for her hometown. She misses the atmosphere, the crowdedness, and the food that Cairo, her indigenous hometown possesses. The poem conveys that no matter where one goes to, it will never feel as sound and as delightful as home.

Secondly, the light and colors help to enhance the piece. Due to the oil painting,

In her book Marriage a History Stephanie Coontz explains the male breadwinner family model and its dominance in family life during the 40’s, 50’s, and early 60’s. An illustration of the male breadwinner model is composed of a father, mother, and two children; typically a boy and girl close in age. Funded by their father’s well paying middle class salary, the wife and children live a comfortable life in suburbia and participate regularly in consumer trends. Perceived as the head of the household, the father was the sole financial provider. On the other hand the mother was the head of domestic life and was responsible for the children. The popular 1950’s TV show The Adventures of Ozzie and Harriet exemplified this family model. With regard to the male breadwinner family model, imagine having eight other brothers and sisters. Imagine growing up without a mother, and with a father who worked constantly. Then consider living this life alongside your peers who come from the “normal” male breadwinner families Coontz describes… How would your family differ from your peers? What would be your thoughts and feelings towards family life? More importantly, how would these unique circumstances change your perception of the nuclear family?

Heffernan’s paintings express her untamed imagination with majestic fantasy, dream-like subjects, yet she paints with a very classic technique. When I first viewed The Self Portrait as Wunderkabinett, Michelangelo’s Sistine Chapel came to mind. Michelangelo illustrates the desire and describes the oneness that humans anticipate with God through salvation. The artists painting technique is traditional, with the sensible and realistic proportions of the human body, the distinguishing lines, the application of shadow, the intricate detail on every object within the painting, and the use of traditional complementary color pairs.

When I first looked at this painting, I thought to myself, "It's boring. It's boring to look at. Why paint a picture of an empty bedroom?" However, once I started looking at all the elements, my mind changed.

This painting is a portrait of an old woman who is sitting on a chair while facing to the left. She is wearing a yellow flower dress with a beige jacket while sitting in an empty room. Her beauty is illustrated by her curly, gray hair and also her wrinkled face, neck, and hands. These details is what makes her look real and pure. I like how detailed it is because it reminds me of my grandmothers.

Then there are also many psychological lines to be seen in the work. One such line is of the woman and the floor, where she is staring down towards it. Another is from the young child and the store clerk, showing a defiance between the two. Next, light and value are not very contrasting in this painting, with only the basic highlights and the shadows seen. It isn’t completely contrasting or contradicting since the colors blend well together with close to the same value ranges, dark colors seen throughout except for the people’s pale faces. There also seems to be a variety of light sources since the woman’s face along with the shop clerk and the young boy’s is lit up by what seems to be a light bulb since they’re much brighter and highlighted and then the men and women in the back aren’t really as bright, except for the ones who close to the open door, creating a blue tinge from the outside light. The shapes shown through the painting is shown to be either very round or very geometrical. There are organic shapes in things such as the umbrella or even the back of the chair, but mostly it is either straight lines and geometrical shapes. The volume shown in the painting is very much implied, correctly showing the

I remember viewing Portrait of Dr. Heinrich Stadelmann by Otto Dix during an eleventh grade field trip to the Art Gallery of Ontario, and being completely entranced by the painting—unable to look away from it. At the time, I was not fully aware of the world of art and did not have the vocabulary and knowledge to articulate my interest in this particular painting. Now, after returning to the painting three years later, the experience is quite different. Being recently exposed to a fairly wide range of art last semester has allowed me to experience the painting under a more knowledgeable light. During this most recent viewing of the painting I paid more notice to the painter’s decisions regarding the paint application, the textures, the colouration, the lines, the composition, etc. The core of this different experience during this viewing is due to a newfound consciousness of artistic choice.

I have always been intrigued with the Mona Lisa, I don’t know why but there is something about her smile and her eyes that captivates me. The realness of the painting and how ordinary the Mona Lisa is the reason why I can look at this painting with great joy, it doesn’t make me think too much, it doesn’t confuse me, the simplicity and the normalcy of this painting is what I enjoy so much. However, after an analysis you can see that the painting isn’t so ordinary.

In A Portrait of the Artist as a Young Man, Stephen Dedalus defines beauty and the artist's comprehension of his/her own art. Stephen uses his esthetic theory with theories borrowed from St. Thomas Aquinas and Plato. The discourse can be broken down into three main sections: 1) A definitions of beauty and art. 2) The apprehension and qualifications of beauty. 3) The artist's view of his/her own work. I will explain how the first two sections of his esthetic theory relate to Stephen. Furthermore, I will argue that in the last section, Joyce is speaking of Stephen Dedalus and A Portrait of the Artist as a Young Man as his art.

In the University Of Arizona Museum Of Art, the Pfeiffer Gallery is displaying many art pieces of oil on canvas paintings. These paintings are mostly portraits of people, both famous and not. They are painted by a variety of artists of European decent and American decent between the mid 1700’s and the early 1900’s. The painting by Elizabeth Louise Vigee-Lebrun caught my eye and drew me in to look closely at its composition.

They accounted for 10.8 per cent of the population, up from 9.7 per cent in 2001.