Gertude Stein And The Art Of Cubism Essay

Now is the time in this period of changes and revolution to use a revolutionary manner of painting and not to paint like before. - Pablo Picasso, 1935. (Barnes)

In the three parts OBJECTS, FOOD, and ROOM, about every small proem, besides in ROOMS, has a title to accompany it, usually an item which the proem talks about. When looking at these descriptions, however, one can’t help but notice Stein’s word choice and sentence structure and how it strays from proper English syntax. In her proem A PIANO, she writes, “If the speed is open, if the color is careless, if the event is overtaken, if the selection of a strong scent is not awkward…and there is no color, not any color” (Stein 19). We ask, how can a speed be open? How can a color be careless? It shouldn’t grammatically make sense, but we as readers are able recognize these as readable phrases that, with an analysis of the rest of the section, inevitably do

Repetition, although subtle, is evident in the paragraph. The word “window” is repeated three times, and “chewing” is repeated twice. The repetition is not particularly noticeable upon first reading of this paragraph because the words appear in different structural areas

“It is true that we are weak and sick and ugly and quarrelsome but if that is all we ever were, we would millenniums ago have disappeared from the face of the earth.” John Steinbeck said this of all humankind. He thought highly of us as a species, just as Dr. Stockmann did in Henrik Ibsen’s play Enemy of the People. Both men had problems in their societies, Stockmann in his town and Steinbeck in America, and both believed that humans were capable of seeing the problem and fixing it. The rest of the population did not see this as the case. They believed he was an enemy of the people and a threat to their way of life. Because of how Steinbeck expressed his views, people felt threatened by what he wrote and they called him a threat to

“Caroline Sacks” is a chapter from the book “David and Goliath” written by the American writer Malcolm Gladwell. The nonfiction “David and Goliath “ is a collection of stories about making decisions in life and how those decisions play along and finally lead to the result. The Impressionists from the 19th century of Paris and Caroline Sacks from Washington DC had to make a decision about their futures. Gladwell shows the reader the choices they had, the decisions they made, how those decisions played along for them and the result of their decisions accordingly. The chapter describes how important the decision making is and how it affects you future. Gladwell says that although the choices were different,

The convergence of the implied lines forming the river banks with the fading blue mountains on the right produce a left to right movement when viewing the painting. The invisible lines created by the mountain range and the river emphasize direction by moving the viewer from a narrow and cramped foreground to a vastly open background that seems to go on for miles. His use of lines to produce this movement down the river has an effect of taking the viewer on a short ride into the distance towards the open mountains under a clear blue sky with white fluffy clouds. In contrast the buildings in the distance are enveloped in white with much softer lines and less defined outlines. This progression from clearly outlined and defined to less defined and wispy shapes communicates the thought of starting a journey in firm reality and moving down a dreamy river towards the unknown. Carefree clouds, beautiful mountains, and blue water just take the viewer to a more serene place, away from the reality of the

The reader is exposed to dialogue among characters, for the first time, in chapter two, allowing the reader to easily identify Steinbeck’s distinct writing style. The introduction of dialogue allows the reader to notice the varying

Henry Reeds has divided his poem in five six-lined stanzas. Each stanza has followed a particular pattern of alternating. In the stanzas the poet has used imagery and word play as the major poetic devices. His aim which has been achieved quite sufficiently, is to evoke the suggestions made by the instructor and explain the implications of the

“There are days when I feel I have been able to grasp all there is to know in one single gaze, as if invisible branches suddenly spring out of nowhere, weaving together all the disparate strands of my reading-and then suddenly the meaning escapes, the essence evaporates, and no matter how often I reread the same lines, they seem to flee ever further with each subsequent reading, and I see myself as

Non-conformist to traditional art forms, Conceptualism challenges the viewer to delve into the mindset of the artist. It is often seen as multidimensional as it forces the audience to decipher the artists intentions. This art movement has been completely rejecting the standard ideas of art since the mid-1960’s. Since then, many artists have made a name for themselves by self-consciously expanding the boundaries of art. Many of these artists have said they’ve linked their work to artist Marcel Duchamp.

Although there are significant distinctions between Dadaism and Surrealist movement in their focus of interest in exploring the language and the art, they also happen to have similar concept for groundbreaking the norms and sometimes makes it hard for people to differentiate them. Then, here is an artist who manage to cover and is considered to be one of the pioneers for both Dadaism and Surrealism: Max Ernst. Due to the traumatic army experience during the World War 1, Ernst became highly critical of the western culture. His experience of the brutality of the world critically influenced his later works to become quite absurd, yet interesting like those of other Dadaists. In terms of relationship between the word and the image, Ernst created the so-called fatagaga, or Fabrication de Tableaux Gasometriques Garantis, which meant the combination of the artists to create an artwork including imagery and text. These Dadaist collaborative works deemphasized the importance of individual authorship and allowed the artists’ interactions to further development of Dadaism.

The repetition presents the reader with a sense of both order and chaos at once, which in turn illustrates the subject’s mental state.

An Old Master’s painting provides for the viewer the possibility of being part of the space created as an illusion of depth by the painters, and this in itself characterizes how these painters found their own different way of challenging painting compared to what it previously used to be, by breaking the limits of painting defined by the medium. And on the contrary, Modernist paintings focusing on the flatness of the pictorial plane give the viewer the possibility to travel through the painting “only with the eye” (experienced by Manet and Impressionist painters). But, Greenberg insists that being self-critical doesn't suggest that leading painting into the extreme abstraction is the answer to Modernist painting (he gives the example of Kandinsky and Mondrian).

One thought leads to another and then another. In the novel, the reader is provided with a perfect example of fluid thought. On pages 174 and 175 Clarissa is at her own party, one minute she is thinking about how wonderful and enjoyable her party is and then she sees Doris Kilman, another

Despite the separation of each stanza, they are all connected through enjambment. Nearly all the stanzas end with an unfinished sentence or thought, and the first line of the following stanza continues or completes it. This separation informs the reader of a change of subject, either mild or extreme, but provides the knowledge that the subjects are still connected. Simultaneously, the break also provides the emphasis designated to each separate thought.