Harvesters Vase

This piece represents the World War I unit and the impacts of the war on the individual soldiers fighting in the war. When thinking of what to represent the soldiers lives, a flower came to mind since everyone’s lives on the battlefield is very delicate, one wrong move and there is a chance that something will happen. This is also the reason why I chose a dandelion as the type of flower as well as the fact that they symbolize hope and healing. As a child we always make a wish when playing with dandelions, similar to how the soldiers have lots of hope in them that they are going to get through the war. There is broken glass around the dandelion because that demonstrates the battlefield in the way that the soldiers are always surrounded by constant war that they do not want to be at, and is very chaotic. Everything around the soldiers are getting bad that the soldiers themselves start to question what is the reason to live anymore on the field knowing that death is so close. They are not sure of themselves, which is the reason why the dandelion seeds are flying away. Even after the war, the soldiers may have mental illnesses such as PTSD, or are severely injured, which further questions what they have done with their lives. When we learned about the World War I unit and looked into the lives of the soldiers, it put a huge impact on me and how they are just like everyone else and is serving their country, and not

Beside the pile of straw which has a wheel leaning against it, a farmer is stooping to collect timbers. Before a thatched cottage in the middle of the painting, several farmers carrying farm tools and riding horses silhouetted in the shadows. They form in groups as if they were discussing some deliberate issues. On the other pile which sits in the other side of the sandy road, a slightly stout farmer with a straw hat is sitting on straws to have a rest. Beside him, an older villager leaning on his stick and a comparatively shorter man who is carrying a basket are talking to him as if they were pleading him for some reason. The trees extend along the sandy road in a diagonal line, creating a spatial demarcation. In the far end of the road, there is a vague tall building with pinnacle roof. The sky above, which takes up nearly half of the painting, is pale and dusty, suggesting the end of the day in a hot arid climate.

The vase is used in the short story as an object that is used for hiding the photograph. The vase is referenced throughout the story. Not only does Murayama hide the photograph initially in the vase, but when the woman hears her husband come home, she laid down “The photograph face up so that its darker hue might blend with the color of the vase’s interior” (434). The vase symbolizes the nature of hiding, in this case she is hiding the photograph in the vase, because she does not

Holloway incorporates a lot of the figural objects into his sculptures. Small crudely formed faces created with sculptamould which is a material similar to plaster, are often found in his work. Usually adhered to steel rods or peering out from the side of the boxes. Each face is painted to highlight the eyes and mouth, therefore each expresses a certain degree of personality. For the work of 58, this face motif appears repeating itself fifty eight times. The work is part of an ambitious series of one hundred total works that presents a numbered sculpture with the corresponding amount of sculptamould faces easily balanced on steel rods. Based on doomsday theories about population growth, this sculpture is at once calculated and rigorous but also playful and amusing to look at.

The scene on the vase shows only a part of the woman present on the far right. Additionally, this woman is wearing a crown. The person who is holding the hammer seems to be moving his arm towards the woman. The person left of center is facing the man on the far left and it looks like they are conversing. On the basis of Hesiod’s text people depicted on this vase, from right to left, are Pandora, Hephaestus, Hermes and Zeus. There are numerous attributes that allow the identification of these characters. Pandora in Hesiod’s text is being made using mud, which might answer why only a part of the woman is shown on the vase. Furthermore, the woman depicted on the vase is wearing a crown and Hesiod’s text mentions “crowned her (Pandora) head with spring flowers,” (Hesiod) these two things allow me to identify this woman as

The painting appeared only on front and back side. It is also red-figure, but it has a subtle yellow undertone. There is only two color on this vase black and brown. It looks much smoother and shinier than the krater. The amphora looks elongated and elegant.

The small size and spherical shape of A18 suggests that it is an aryballos, the standard name for small rounded vases, that were often used to store perfume or oil (B. A. Sparkes, 1991). The aryballoi shape was most common in Corinth, and while Athenian examples also exist (University of Oxford, 2011a), the light colour of the clay suggests this particular example is Corinthian. This one has no foot, a single handle and a narrow neck with a wide, flat mouth that is suitable for pouring oil in small quantities. They were mostly worn as accessories by young men like athletes (Neer, 2012).

A very rare appearance is the inscription on the front that consists of the signature of the potter, Nikias, additionally allowing the dating of the precise year of their manufacture. It was highly uncommon for the signature of the potter to appear on a pot of this shape. The inscription allows for a more official designation of the vase to be given as a prize of the Panathenaic games. The figural decoration that is displayed on the amphora is that it is set in panels. On the obverse of this vase is a typical frieze of alternating red and black tongues, with Athena striding to the left between the two narrow pillars surmounted by cocks. She is wearing a helmet and is armed with her lance and shield as she is prepared for combat. This is where an inscription lies. This technique was eventually replaced by an expensive red figure technique, in which there was an attempt to create more realistic pottery, opposite to this, as realism was not a focus in this

Apple Harvest is a painting created by a French artist named Camille Pissarro in 1888. The artwork is derived from the European culture focusing on the style of neo-impressionism or pointillism. The painting is made with the use of oil on canvas and currently located inside the Dallas Museum of Art in second floor in the section of European art. It depicts a lively image of farmers engaging in their daily activities where they are picking apples on a sunny day. The background of the landscape consists of a huge ranch with additional apple trees that gives a vibration of harvesting season. Similarly, it is a form of a representational artwork portraying physical labor by the farmers during that period. Camille Pissarro seemed to support the farmers of low social status and believed in hard work as some of his artworks are the representations of lives of these social groups (Dallas Museum of Art 2017). In the painting “Apple Harvest”, he tries to picture working peasants in an apple farm in the French Countryside (Dallas Museum of Art 2017). This paper is an integration of the analysis of formal elements and principles relevant to the art work “Apple Harvest” and my experience of observation of this piece of art at the Dallas Museum of Art including a reflection upon the visit.

To begin, the context of this art work is from Ancient Greece. At first glance there is no specific purpose to this artwork, common people would just look at it and notice a vase; however, the amphora was very typical to the archaic period and existed regularity within Greek society. An amphora is a two handle pot that was typically used to store dry or wet goods, mostly stored wine. Such amphora’s and other storage vases date back to the Neolithic period, but the unique style of this artwork directly relates

The amphora has a figural scene on each of its two faces. These scenes are supplemented by floral patterns above the figural scenes and around the lip of the vase, which are identical on both sides. In this period the vegetation decorating painted vases is becoming stylised and symbolic.

The Palette of Narmer, dates from the Early Dynastic Period, c. 2950 BCE, and was found in the Horus at Hierakonpolis. While the Uruk /Warka Vase was found in the temple complex of Inanna, it dates to the Mesopotamia Period c. 3300BCE. As like other items found depicting our ancient past, these two object tell a story. However, words were not used, instead both of these items include bands—called registers—that describe a story horizontally on the piece. In most cases, the registers begin at the bottom which represent the lowest member of social order and works itself up to the top register that represents the most important character in the story; though, this is the case for the Uruk / Warak Vase, it is not this way on the Palette of Narmer. He is included on all three registers, being only twenty-five inches tall, the Palette of Narmer incorporates a story on both sides. On one side, it shows many forms of the king such as, as a bull in the lower register, a mythical animal in another, Namer wearing the Red Crown of Lower Egypt and his name on the top register. The other side, which portrays Namer as the tallest figure of the piece in the middle register, gives evidence of the importance of Narmer. Equally as impressive, the thirty six inche tall Uruk / Warak Vase also tells a story in three registers. Made from a white alabaster stone, it tells a

In the bottom-right corner of the artwork, one can see a broken shabti lying on the ground. “Shabti dolls (also known as shawbti and ushabti) were funerary figures in ancient Egypt who accompanied the deceased to the after-life.” (Mark, "Shabti Dolls: The Workforce in the Afterlife", 2012). One can assume the broken shabti doll can symbolize how the parents of the child feel broken and defeated after the death of their child. The use of historical content helps give the artwork a sense of realisticness and it enhances the work’s overall mood of sadness and grief.

It shows that these people are more important than those around them, therefore we should pay attention to them. All three of them, however, are looking in different directions. One is looking back, perhaps at the town. In the right of the painting, another is looking down at a man who is tying up a package, pointing, and probably ordering him how to tie it. The other man is dressed in a salmon colored jacket.

The designs on the vase are created using the black-figure technique all throughout the structure. Starting at the mouth of the Oinoche, it is overall colored with a dark black pigment, which also is the color for the arm of the vase. There is a little flower, lightly transferred or painted on by the spout. Moving onto the neck, the same dark pigment is present and smaller flower-like designs are evenly spaced out all the way around. The minor floral motifs add a feeling of nature to the piece because the addition of wildlife and plant life is thriving in this particular piece. The body of the vase has a dark cream-colored pigment that covers all of the free space in the background of the overall composition. Five portions of the body are separated by lines of different thickness that seem to get thicker by the belly and then get thinner as they reach the base. In the first layer from the top, a deer-like figure, a lion and a peacock-like figure are present. The animals have minor details with minimal line work to distinguish the composition of their bodies. The second layer consists of another lion, a bull and/or an ox. They are again made using the minimal details, which is also used throughout the black-figure design of