Essay on Relationship between Art and Life in Death in Venice

When Baron Haussaman sought to brighten, clear, and clean the crowded streets by knocking down countless buildings, the new ‘modernised’ Paris became mainly bourgeois. This is depicted in Rainy Day as the fashionable couple, who will be referred to as Mr. & Ms. Pluvieux for convenience, take up a large portion of the piece’s foreground; middle class folk walk about with their large, black hats while only two working class figures can be distinguished—the decorator that shoulders a ladder (above Mr. Pluvieux’s left shoulder) and the maid (above Ms. Pluvieux’s left shoulder). They are all “clothed in the costume of their own period”(67) while the stark lack of working class highlights this moment of Parisian history and the effects of the class division. The modern Paris street was seen as divided in fashion and form of figures, but more so in Rainy Day’s “gait, glance, and

In the time of the Renaissance there were many artists but one really stood out to me, he was Michelangelo. He stood out the most to me because he had some of the most beautiful work I have ever seen. He painted some of the most beautiful building that is still around today. One of the most that I enjoyed looking at was the Sistine Chapel in the Vatican. It took him a lot of time to paint the entire building. I feel this was his best piece of art ever. He had many accomplishments that were outstanding.

extremes at once,”(103), Raoul tells, without knowing of the ugliness of the character from which

At first glance, Giovanni Paolo Pannini’s Picture Gallery with Views of Modern Rome (1757) reveals very little past the outsider-looking-in perspective we are given from Pannini’s perspective. In the center is the Duc de Choiseul surrounded by detailed views of Roman architecture including buildings, fountains, and monuments and several infamous sculptures from the 17th and 18th centuries. While looking at the painting, it is hard to pinpoint one focal point within the composition when the walls of the gallery are filled with paintings from the floor to the ceiling. The focus becomes about the space Pannini has created and it does not focus on one specific object or figure. Each view of Rome seen in the imagined gallery adds to the illusion of Rome as an ideal city and to the idea of its beauty. By showing a space that reflects this beauty through the numerous paintings, sculptures, and architecture Pannini’s painting transforms into an allegory. Even though this painting was commissioned to commemorate Rome, he is able to portray the city and its architecture through a well respected and scholarly environment uncharacteristic of any known space or time. These characteristics cause the which allows it by creating a fictitious These allegorical characteristics do not become known unless you take a closer look at Picture Gallery with Views of Modern Rome (1757).

Eugène Delacroix, Death of Sardanapalus, 1827, taking its Orientalist subject from a play by Lord Byron.

Although Eichendorff’s story displays religious elements, the pious facets take on a different form than in Psyche. In “The Marble Statue”, Sunday remains a holy day where evil subsides. God and Satan manifest into the metaphysical through characters, settings, and motifs. Fortunato is a pure character directing Florio towards the path of the righteous man while Donati is a sinister man leading the boy into temptation. The seductress is the embodiment of evil while Bianca is the good. The aspect of religion is demonstrated in a more direct manner in Psyche. The artist abandons a life of art to become a brethren of the covenant where it is proclaimed the Goddess of Art is “a witch who carries towards vanity, towards earthly pleasure”. The

The relations between art and life is explored throughout Martin McDonagh’s play, The Pillowman and Muriel Spark’s Loitering With Intent. They explore these relations through discussing the stylistic features of their characters and how these characters are perceived in real life. Both authors explore how the preconceived ideas of what a character should be is dismantled and the line which distinguishes between art and life is becoming less clear. Another way in which these authors explore the link between art and life is through the act of storytelling. This suggests that life is a form of art. Both texts deal with the argument of whether it is life that influences art or art that influences life. Some literary critics such as Henry James

While Italy was experiencing an influx of creativity and a rebirth of forgotten culture, Northern Europe was suffering from the effects of the Hundred Years War and the Black Plaque. The poverty caused from these devastating events is captured by Pieter Bruegel’s “Haymaking,” where he paints a clear picture of the day to day peasant life concerning rigorous work and simplicity. This specific scene exhibits the typical daily life of a lower classman while working in the fields and carrying barrels on the tops of their heads. However, Italy’s attention was directed toward the wealthy and privileged, demonstrated in works such as Raphael’s “Baldassare Castiglione Portrait,” which represented the humanist gentleman, a man of refinement and self-control. Baldassare Castiglione is painted as an individual wearing tasteful, sophisticated clothing, even appearing to have a fur coat draped about his lower half. The lower and middle class in this age would most likely not have been able to afford such clothing. The reason for the rich having more attention brought to them was because of the significantly wealthy merchants and bankers who ended up taking over most of Italy, such as the Medici family. In their eyes, money could buy anything, including happiness. There was a strong use of prominent

Two weeks after arriving in Florence, while walking home from dinner across the river, stumbled upon Piazza della Signoria, for the first time. With the sound of a street performer’s violin in the crisp night air, I sat on the edge of the open-air gallery of statues. I still do not know why the piazza affected me the way it did, but with tears in my eyes, I knew I had found a place in Florence where I could be bitter sweetly happy.

The setting in this fresco where philosophers gather and communicate can give us some cultural reflection. Such a reflection which functions like lens through which we grasp some glimpses of Raphael’s thought, we can have a valid analysis. An obstacle, as it turns out, is that many aspects in the fresco and visual messages, due to ambiguity, remained completely unanswered. This is especially true when it comes to unknown figures and why some philosophers look distracted whereas others immersed in their dialogue with their

This leads into a quartet involving Marzelline, Fidelio, Rocco, and Jaquino. The plot thickens as Marzelline thinks to herself of her imagined love and future happiness with Fidelio. Fidelio thinks of the danger of Marzelline’s crush on her

The inspiration for the painting was to poke fun at the supposedly lavish lifestyle of the disliked monarch. Within the painting there are many items that serve an ulterior motive than simply being decoration to fill the scene. Starting on the right side of the illustration there is a plethora of medicinal remedies, and while it is not directly written this implies that he was of “poor” health in the eyes of the common, which is not to say that he was physically ill and he was disliked for that reason, it was more to show that he is frail and weak of the mind. Next to him is a chamber pot that we presume to be his, and underneath the pot there are bills, which implies that he has no regard for the economic status of his country. The photograph above his head is that of the religious figure head Luigi Cornaro who guided the monarch in religious affairs, which could also indicate a lower position to the church. Luigi Cornaro also lived for 102 years as he developed an effective diet which may also correlate to his inclusion in the illustration. Some of the smaller items present in the painting were the dice on the floor, which represents his “compulsive gambling habits”, excess food upon the lavish table, which furthered the argument that he lived an immensely comfortable life, and the fork in his mouth is a rude gesture for a proper

To this effect, I shall explore this text’s connections to Nietzsche's key intellectual influences. First, I shall address the impact of the Schopenhauerian view of the world on The Birth of Tragedy, in particular as regards the opposition between Apollo and Dionysus and the nature and goal of tragic art. Subsequently, I shall refer to the influence of Richard Wagner's thought in order to explore the relationship between metaphysics and art as humanity's "true metaphysical

When the new upper class movement, Renaissance, occurred in Italy around the 14th century, a revival of the classical forms originally developed by the ancient Greeks and Romans, an intensified concern with secular life, and interest in humanism and assertion of the importance of the individual began. Thus, artists such as Mosaccio and Giotto depicted art that unlike the Middle Ages, showed emotions, feelings, and bright colors, thus demonstrating the deep concern for naturalism in the society. Other artists during the Italian Renaissance period such as Giovanni Bellini began to express their art through secular and religious themes and ideas that were exhibited through landscapes and portraits. As new styles of