PAINTER’S HELL AND SMUDGER’S GLEE 7/3/93 ‘Twas the great explosion “Big Bang”, That created Earth, where life sang. The tune of peace and prosperity flowed day and night Such was the perfection, that twas heaven’s delight, So full of vitality was mother earth, That there was no place for the word dearth. Three fourth’s life sustaining water rest land Flourished creatures big and small playing their life band Such a flawless creation was indeed painter’s paradise and his glee That Mr. Smudger took to his heels and had to flee. Last of all, came on land, man so tall, who called himself master of them all. was he the ruler or the rogue? who brought a spate of violence in vogue. and he delved into a killing spree, No form on earth was allowed
In the poem “Loch Ard Gorge” by John Foulcher he represents his vision of the world by describing a place called Loch Ard Gorge where there is a constant battle between life and death with death slowly winning. He does this by describing the Gorge in a way that compares life and death with the sea and the land, two places which can not exist without the other yet are difficult to reconcile.
1. “The magical time of childhood stood still, and the pulse of the living earth pressed its mystery into my living blood” (1.1).
William Blake’s 1793 poem “The Tyger” has many interpretations, but its main purpose is to question God as a creator. Its poetic techniques generate a vivid picture that encourages the reader to see the Tyger as a horrifying and terrible being. The speaker addresses the question of whether or not the same God who made the lamb, a gentle creature, could have also formed the Tyger and all its darkness. This issue is addressed through many poetic devices including rhyme, repetition, allusion, and symbolism, all of which show up throughout the poem and are combined to create a strong image of the Tyger and a less than thorough interpretation of its maker.
This composition reads like a fantasy story but it actually arouses the imagination and edifies the human mind to actually value its existence.
The farmhouses looked terrible - the dust was deposited clear up to the window sills in these farmhouses, clear up to the window sills. And even about half of the front door was blocked by this sand. And if people inside wanted to get out, they had to climb out through the window to get out with a shovel to shovel out the front door. And, ah, there was no longer any yard at all there, not a green sprig, not a living thing of any kind, not even a field mouse. Nothing (qtd. in Press 32).
“The image suggests a ruin in a classical landscape painting, a symbol of a broken-down system of belief” (Bloom 61). The “hollow men” do not have the faith to be judged and move on to “death’s other Kingdom.”
"These wonderful narrations inspired me with strange feelings. Was man, indeed, at once so powerful, so virtuous and magnificent, yet so vicious and base? He appeared at one time a mere scion of the evil principle, and at another as all that can be conceived of noble and godlike. To be a great and virtuous man appeared the highest honour that can befall a sensitive being; to be base and vicious, as many on record have been, appeared the lowest degradation, a condition more abject than that of the blind mole or harmless worm.
The paint and paper look as if a boy’s school had used it. It is stripped off- the paper- in great patches all around the head of my bed, about as far as I can reach, and in a great place on the other side of the room low down. I never saw a worse paper in my life. One of those sprawling, flamboyant patterns committing every artistic sin. It is dull enough to confuse the eye in following, pronounced enough to constantly irritate and provoke study, and when you follow the lame uncertain curves for a little distance they suddenly commit suicide- plunge off at outrageous angles, destroy themselves in unheard-of contradictions. The color is repellent, almost revolting: a smouldering unclean yellow, strangely faded by the slow-turning sunlight. It is a dull yet lurid orange in some places, a sickly sulphur tint in others (678).
This artwork comes from Clifford Possum Tjapaltjarriwas who is one of the most innovative artists. This painting refers to the Anmatyerr Warlugulong site 300 km northwest of Alice springs, which Lungkata, blue tongue lizards, started a great forest fire, the forest fire all ancestors, died in his two sons. He lit a fire to punish his son, who ate sacred kangaroo is breaking the law. Clifford possum Tjapaltjarri won his mother and his cousin Kaapa Mbitjana Tjampitjinpa this topic. This painting depicts the forest fires before you begin, it spread to a wider area to the south and the west. Opossum in tier burnt-out prints and orbit shown in charcoal and ashes of kill. Dot eyeball of burnt-out countries said the large dark grey area and the lighter area. Born in Napperby station, northwest of Alice springs, Tjapaltjarri lived in his forefathers Anmatyerr, until the last few decades of his life. He is the tradition of the elders he community. His paintings of his obligations to culture, and his ancestors totem ancestral mapping. He was one of the most accomplished his time in the western desert region of artists. When
The rugged sea of the lawn illuminated the brisk zephyrs dancing. I saw each individual blade of grass flickering in the summer breezes. It was simple to watch specific pieces of grass because each one boasted a unique tint of green, a quintillion shades of green. The sky was as marvelous as ever. Colors that I could never begin to imagine were spattered, splashed, and speckled on the sky as if God himself held the palate in front of the empyrean canvas. It appeared as if the luminous sunset was a minuscule example of what heaven looked like. A mellifluous range of sounds could be heard. Cicadas buzzed, birds sang, and dogs barked.
Smithson’s essay is a great example of the development of visual knowledge throughout the history of art. Smithson ’s writing not only depicted a theoretical visual representation of his work through the form of text, but such text also increased the artistic learning experience of viewers. The narrative format of Smithson’s essay forced a viewer to develop and learn skills necessary to evaluate, apply, and explore the contextual significance of his art through the co-presence of disagreement and mirror of the mind. His essay also explains the disruptive construction process of his piece and how the resulting work exists in perfect harmony with its surroundings. Smithson expresses his acceptance of the notion of entropy throughout nature. Smithson explains the complex concept of entropy as an irreversible trend of disorder and chaos that often leads to the obsolescence of works similar to his jetty earthwork. He documents his
It is only when we are very happy, that we can bear to gaz merrily upon the vast and limitless expanse of water, rolling on and on with such persistent, irritating monotony, to the accompaniment of our thoughts, whether grave or gay. When they are gay, the waves echo with gaiety; but when they are sad, then every breaker, as it rolls, seems to bring additional sadness, and to speak to us of hopelessness and of the pettiness of all our joys,” (Orczy, 208).
It was a gorgeous summer day. the sun was shining, the birds were singing, and the world was at peace on the seemingly carefree sunday afternoon. church had just ended and the children ran fast and free ready to play. They ran two and twelve towards the town’s lake to go swimming, in order to ward off the heat of the noon sun. They stampeded through town bumping over numerous people and even one another to reach the cool blue waves. The menacing multitude took a sharp turn from the street to an old dusty road. The trees shook in the evening breeze and swayed slightly further when the children hurried by. Dust faintly clouded out the light that poured over the path. Finally they reached the dock and began to take off and swap clothes. The boys took off their shirts and pants and swam in their underwear, while the girls chose to go behind some nearby bushes.and exchange out their attire. When everyone was in they started to splash one another while laughing and shouting. A few of them dived under the water to search for fish and other sea life. When they came back, up two of them had seaweed, one held a starfish, and two others had a crab holding it by both sides. It was getting a little later in the day, but the kids were not quite yet ready to leave their fun to rest. They decided to play hide and seek even though the sun was beginning to make its descent behind the green curtains that were the distant hills. One child counted while everyone hid and waited. As he counted out
A slow red sphere, pulsating with light and energy, rose across the hazy horizon; feeding the once dark and bleak island with colours, sound, and life. It was like an artist’s canvass slowly coming to life, as splashed the surface with colours and hues, and carefully put together his masterpiece. The island suddenly lit up as if someone had suddenly twisted the brightness knob on a television set, and flicked on the volume. The dark and mysterious trees and plants suddenly lit up with radiant joy, and I saw the finer detail of my surroundings in the brightness of the morning sun. As I got up I saw a multitude of ants scurrying about on the dark gnarled root, I gazed deeper into the ants world, staring in fascination at the various dark
'Black shapes crouched, lay, sat, between the trees, leaning against the trunks, clinging to the earth, half coming out, half effaced within the dim light, in all the attitudes of pain, abandonment and despair. . . . They were dying slowly . . . These moribund shapes were free as air-- and nearly as thin.' (34-35)