Donatellos David Essay

Paul Revere was a man of many talents, a “Jack Of All Trades” if you will. Patriot, silversmith, engraver, and republican, he was destined to be a hero. Born to parents Apollos De Rivoire, a French Huguenot, and Deborah Hitchbourn, Paul Revere came into the world on January 1, 1735 in Boston Massachusetts. Clark’s Wharf is where the Reveres resided now. The third born of eight children Revere learned early the lesson of perseverance, a lesson that would be an important in his later life, Revere would need to keep on going no mater what obstacles appeared in his way. Revere attended school in Boston where he got a sufficient education as well as in the shop with his father and the wharves of where he lived. As Revere grows

The overall all renditions are block-like and sculpted with geometric reduction of details. The anatomy is made up of planes, completely symmetrical. The hair, ears, and eyes have been reduced to simple shapes – again, all identically symmetrical. Kouros is depicted nude, symbolic of Archaic Greece's emphasis on the ideal individual male and autonomous Greek citizen. In contrast, Aphrodite is a considerably large female (7 feet tall and substantially wider than the Kouros). Given the larger than real-life scale, this statue probably served as a cult image in a temple. The statue's excellent state of conservation also suggests that it was kept indoors. It is free standing but also in an anatomical, not just mechanical sense. The pose is full and rounded, not solely frontal. You get a sense of the body being relaxed, with one hand extended in a gesture that gives a sense of it moving forward.

What happens when a person's places his whole-hearted trust in someone he has been completely wrong about? A good example of this, in Arthur Miller's four-act play The Crucible, happens when Reverend John Hale finds himself in a community entwined with lies, deceit, and betrayal. The play starts out in Salem, Massachusetts when a group of girls are discovered dancing in the woods at night. The girls' actions lead the local town's people of Salem in a suspicion of witch-craft when Betty Parris, the daughter of the local minister Reverend Parris, lay in bed one morning not being able to wake. Caught up in the whole talk and suspicion of witch-craft, Reverend Parris sends for help

Anthony Petrello is easily recognized as the CEO, President and Chairman of Board of Nabors Industries ltd. According to an overview published on Zoomifo.com, the company runs the largest fleet of drilling rig in the US. Petrello was appointed as board member of the company in 1991. He was later named Nabors Industries President and Chief Executive Officer in October 2011. Petrello holds a Juris Doctor Degree from Harvard Law School as well as Master and Bachelor degree in Mathematics from the prestigious Yale University. Anthony Petrello holds board memberships in various companies and organizations including; Nabors Industries Ltd, MediaOnDemand Inc, Texas Children’s Hospital, Houston Museum of Fine Arts and Stewart & Stevenson LLC. He is also a member of National Petroleum Council and Council on Foreign Relations.

When thinking of New York City, more often than not, the first things one visualizes is the beautiful skyline, the bright lights, and Times Square. But without a second glance, one might miss one of the important things about the city. New York is the most heavily Dominican populated city in the United States. It’s ironic that the first non-native American to migrate to and reside on what is today New York City, was from Santo Domingo, the capital city of the Dominican Republic. Throughout history, Dominicans have migrated to the US in search of economic opportunity. This is the factor that influences nearly every immigrant group that migrates to the US in history. In the early 1900s, The United States and the Dominican Republic had a very close diplomatic relationship, to the point where the President considered annexation. At one point, the United States completely controlled the Sugar industry, one of the country’s most profitable markets.

The statues, Heyl Aphrodite and Capitoline Gaul, both contain human-like features, but only one shows the ideal woman figure. By observing Heyl Aphrodite, viewers notice her soft, curvaceous figure. Her body is proportional creating balance and harmony. Fabric hugs the goddess’s body, draping over her right breast, while exposing the left, conveying a sense of sexuality. Her lack of eye contact expresses weakness, while her body posture, with the aid of the fabric, shows movement. Merker compares the artwork in her book, when she writes, “The raised right shoulder gives a sense of movement; although there is no torsion, one feels there ought to be and is reminded of the unstable, twisting movement of the Heyl Aphrodite in

Liang Heng and Judith Shapiro's "Son of the Revolution" is a comprehensive story of Liang Heng's life on growing up during the chaotic times of the Chinese revolution. The purpose of this novel was to depict the horrors and hardships of life during the revolution period in china during Mao Zedong's reign. In the beginning of the book, the author portrays that news and ideologies always stated that the government was working for the good of the people of the country. However, as the book unfolds the author reveals that the government is actually exploiting the people through misuse of people's trust. The book also provides insights into the Chinese life during the period of 1954-1978. This 24 year period saw major

The Statue of Asklepios is a classic Greek sculpture that portrays a person of the most perfect and athletic form. The piece is of a man standing beautifully while draped in a toga. The toga is draped over his left shoulder and cuts across to the right side of his body near his lower abdomen and then continues to cover his legs until his ankle. The toga also is draped over the pieces entire back. The piece is missing his head, his left arm and both his right foot and almost its entire right arm. The piece has a smooth, but not glossy, exterior in all of the areas except for the parts that have been broken off. Asklepios is portrayed as an incredible fit and beautiful being. The abdomen is extremely muscular and shows off the miraculous fitness of the model. The toga has many wrinkles, creating a lot of shadow and darks and lights. It also is wrapped in a way that is both loose and tight in different areas of the sculpture. It is tied right next to the left pectoral and the left armpit. This piece emphasizes the muscular body of this man while at the same time portraying him standing in such a nonchalant way through the curvature and relaxed look of the figure. And unlike the Torso of a God, this piece clearly shows movement through the shape of the body and the folds of the toga because

The body of Adam, fully nude with the exception of a leaf, is very realistic and accurate, greatly detailed from his tightly curled hair to the creases in his knuckles. Without even touching the work I can “see” the purity of its marble and the smoothness of its carving. The muscle and facial expression of Adam are remarkably convincing qualities, showing the overall tense feeling of Adam’s pose. He stands on a flat base, and it is seen there that he is leaning forward because both feet are slightly lifted off the ground. He seems to be moving in a forward direction. That encouraged me to explore the back of the sculpture, where I found the same remarkable realism through muscles depiction and perfected proportion.

Finally, the last important observation that can be made is the details, but they are not ostentatious details. Typical of a Classical Greek sculpture (and of Polykleitos), this figure has many humanistic details. His hair is curled delicately and there is not a stray out of place, even with the fillet or band around his head. This alludes to a sense of youthfulness, handsomeness, and perhaps elegance. As previously mentioned, one can see the muscles in his torso and arms. You can also see his collar bones, his ribs, and his elbow bones. Upon close inspection, one can also notice his toenails and the tiny wrinkles in his belly button. However, most of the details are from his face. This statue does not have abstract features or the Archaic smile. His facial features are more pronounced: plump lips, high bridged nose, and lidded eyes. The emphasis on his features gives off a calm, loss-in-thought expression. Also emphasized by the slight tilt of his head, Diadoumenos is also looking away from the viewer; he seems to be staring at the cloth of the fillet he used to tie his head (the ends of the fillet band are not shown in the sculpture, because it is fragmented). However, he does not look too

Bernini's David represents the Baroque time shift in art. The shift towards the baroque art period seemed to have a change within the overall narrative of the sculptures. Prior to Bernini’s version of David there existed David’s sculpted by Donatello and Michelangelo. Donatello’s David was sculpted during the time of humanism, where a large influence came from the ancient Greco-Roman culture. The overall emotion of the sculpture is soft and youthful and creates the image of David after he had beaten Goliath. There really is no distinct emotion within David himself in this sculpture. In the high renaissance period Michelangelo sculpted his version of David. This sculpture began to form some energy which was seen in David’s tensed facial expression,

Donatello’s David, the sculpture was the first life-size nude statue since the classical period. The very powerful Medici family commissioned Donatello to create a bronze statue of David to celebrate the triumph of Florence over the larger, more powerful neighbor Milan. Donatello actually sculpted David twice. Donatello was interested in the psychology of his figures and interested in

There have been many staues of David sculpted by famous artists like Donatello, Verrocchio, and Michelangelo. Bernini’s version of David and is about to begin his attack on Goliath, as he appears posing. The statue seems to be moving through space and the action suggests that the action of flinging the stone requires a lot of room around David. The statue forces the observer to look past the actual subject and focus more on the surroundings. He seems to have very muscular legs, and appears to be ready to turn and throw a stone from his sling. This is the most dramatic pose that Bernini could have picked and was chosen because it shows a sudden burst of energy and a moment of suspense as well. Bernini’s David is different from that of

Michelangelo created a 17 foot statue, David (1504) that Bernini studied to make his own depiction of the scene. The most noticeable difference between the two is that Michelangelo’s sculpture is nude while Bernini’s is clothed to an extent. Bernini utilizes the contapposto technique in his story of David, a technique taken straight from Michelangelo. Bernini plays with the immediacy of the scene, something that he does frequently, by depicting the moment right before the climax hits, when David kills Goliath. The movement in the sculpture, the moment before the release of the rock from the sling engages with Michelangelo’s sculpture of David. Michelangelo decided to show David before he

MAIN NAME SHEET David Carson was born in Texas in the United States. Many of his design influences have come from his early childhood while travelling around America, Puerto Rico and the West Indies. His first significant exposure to graphic design education came as part of a three-week workshop in Switzerland, where the Swiss graphic designer Hans-Rudolph Lutz influenced him. He then worked in a high school near San Diego from 1982 to 1987. During this time he also carried highly experimental graphic design as the art director of the magazine Transworld Skateboarding. Among his abilities of art directing, graphic designing and film directing, he was also a professional surfer. His immense interest in the surfing culture