The Snowstorm And The Burning Of The Houses Of Parliament

The story takes place during an epidemic outbreak that spread rapidly as well as vigorously. Steven Johnson begins the book in London during the nineteenth century (1854). The book discusses the contaminated conditions in England. More than two million people were living within a 10 mile radius. In particular, he starts by painting a picture of the lower class. He calls them rag-gatherers, deredgermen, bone-pickers, myud-larks, night soil men, and more. The main character in the story is a man named Dr. John Snow. While everyone is convinced that people are dying because of the terrible smell, Snow spends his time trying to prove that the smell isn’t what’s killed people. He didn’t know it at first, but research and proof supporting his research proved time and time again that it was a bigger deal than smell. In his book, Johnson says,“Great breakthroughs are closer to what happens in a floodplain: a dozen separate tributaries converge, and the rising waters lift the genius high enough that he or she can see around the conceptual obstructions of the age.” (pg. 149). His belief was that cholera, a disease commonly spread through water is what’s causing all the deaths. Johnson gives the reader a view of Snow’s day to day efforts of proving himself. And although, Dr. Snow played a colossal part in this story, Reverend Henry Whitehead, whose expanded knowledge of the

Ted Hughes illustrates a vital view in his poem to describe to his audience that what we perceive may not always be true. Often times, the first impression that nature gives is one that is calm and beautiful. However, as the artist prepares to paint the scene, he’s challenged with trying to fit in the entire view of nature. The artist’s task is to paint the water lily, but is having difficulty as there are many other features that are hard to see. Hughes reveals the speaker’s attitude toward nature as being not only beautiful, but also dark and violent.

In this selection of the book, Gitlin discusses a seventeenth-century Dutch painter by the name of Vermeer. Vermeer was known for being able to”fr[ee]ze instants, but instants that spoke of the relative constancy of the world in which his subjects lived” (Gitlin 558). People collected Vermeer’s paintings for display throughout their homes. Gitlin sees Vermeer as the seventeenth-century version of the media. In that time, the images painted were relative to the people’s era and private world. In today’s world Vermeer would be the equivalent to a celebrity photographer or movie director. If Vermeer, or any other artist of his time, were to see today’s households, they would find that the once private space inside the home is now much more dominated by images of the outside world than what would have been possible in the 1600’s.

Turner 's The Slave Ship, in addition to Monet’s Impression Sunrise, each collectively are a couple of masterpieces of the nineteenth century that examine the interpretation of colors in addition to motion. They may be intricate works that can be both identified as the face of artistic techniques; The Slave Ship is widely seen as a Romantic portrait becoming an outstanding illustration for the Sublime revolution, while on the other hand, Impression Sunrise is the earliest portrait recognized in the Impressionist age. Both styles are revolutionary artworks with approaches that a majority of individuals had never examined before. Although the artworks comprise of numerous things in common, both are specifically different from each other.

The Romantic era, occurring roughly from the early to mid 1800’s, was the period of reformation that shaped the society into one that valued latitude over order; this contrasted from the rigid, legalistic Puritan society that had been prevalent prior to the Romantic era. Through the newfound freedom of expression that was introduced during this period, many literary pieces that reflected these ideas began to surface. Nathaniel Hawthorne’s The Scarlet Letter and James Russell Lowell’s The First Snowfall exemplify the romantic element of reverence for nature through the depiction of a placating snowfall and the isolating outskirts of society; these enhance the themes of romanticism by suggesting that reverence for nature may liberate one from his/her nostalgic griefs and suppressed emotions.

As for the Turner painting technique he would adjusted his watercolor systems to oil depictions, which he developed from establishments of shading to make exceptionally natural shapes and sparkling structures. Turner is using the men at the bottom of the Snowstorm painting as a contrast representing humanity between natures.

In the romantic era, British authors and poets focused on nature and its influence. Two of those poets, Charlotte Smith and William Wordsworth, wrote many pieces on the beauty of nature and their personal experiences with the beaches of England. In “Far on the sands” and “It is a beauteous evening,” Smith and Wordsworth describe their respective experiences on the shore at sunset. Both authors use structure, theme, allusions, and imagery to effectively convey their perceptions of nature. While the sonnets share a setting and the topics of nature and tranquility, Smith’s has a focus on introspection and Wordsworth’s is centered around religion. These have different focuses which achieve different effects on the reader.

William Hogarth is a name well known from the 18th century as one of the best artists for his work A Rake’s Progress. Despite his background that emerged from unsuccessful parents he did not follow that trend for he used his thoughts about society to create works of life-sized paintings that became so popular that he pushed for the Copyright Act of 1735 (“National Gallery Website”). Hogarth created A Rake’s Progress in 1733 that contains the main character, Tom Rakewell, within the borders of Britain and Bedlam, London to reflect the madness of the 18th century. The painting has more than just brilliant craftsmanship but a story behind it that is hidden, but once revealed, obvious.

In the poem, “To Paint a Water Lily,” Ted Hughes creates a speaker who seems to be in a pensive state as he contemplates how he will embark on the task of painting an actual water lily. Nonetheless, it is because of what is to be an intricate task that such speaker seems to diverge from the concept of simply painting the lily, to a state where he instead starts to ponder upon the perception he has on nature and what he makes of it. As a result, it is through Hughes’s usage of literary techniques such as visual and auditory imagery, an observant tone, and disconnected structure that it is conveyed how the speaker finds such task complex in capturing the entire substance of the water lily, considering he realizes that nature as a whole is multi-dimensional

A great artist once wrote, “If you hear a voice within you say 'you cannot paint,' then by all means paint, and that voice will be silenced”. This artist was Vincent van Gogh, soon to be an appraised artist known all around the world for his works, such as Starry Night. He is one of the very first artists of the post-impressionist style than is now adored in every continent. However, there is much more to the man than one painting. Creating a full timeline that stretches beyond Gogh’s life, this paper will discuss the life of Vincent van Gogh and the impression he made on the world.

While the painters after the Impressionism period were collectively called the “Post-Impressionists,” the label is quite reductive. Each artist had their own unique style, from Seurat’s pointillism to Signac’s mosaic-like divisionism, Cezanne, Émile Bernard, and others. These artists were all connected in that they were reacting to the aesthetics of Impressionism. Two of the more influential painters from this movement were Vincent van Gogh and Paul Gauguin, who aimed to connect with viewers on a deeper level by access Nature’s mystery and meaning beyond its superficial, observable level. However, each artist’s approach to achieving this goal was different. In close examination of Vincent van Gogh’s Self-Portrait (Dedicated to Paul Gauguin) and Paul Gauguin’s Self-Portrait with Portrait of Émile Bernard (Les misérables), one may clearly see the two artists’ contrasting styles on display.

Everyone has been created unique and there is no other that is the like anyone else. People think different, dress different and like and dislike certain things. This is similar to the artists of the nineteenth century including Pierre Etienne Theodore Rousseau and Joseph Mallord William Turner. They are both artists during the nineteenth century and were painted at the same time; however, there is a difference between their styles, their point of view, and the scenery. However there are similarities between the two paintings. The paintings that will be compared and contrasted are “Under the Birches, Evening” and “The Campo Santo, Venice.”

Frost’s darker meditation on nature, Browning’s conventional theme of love and the significance of ‘temples’ in Langston Hughes’ poems are some of the themes and issues in this report. Robert Frost is famous for writing poems about nature. His poems revolve around his surrounding such as trees, animals and flowers. A lot of people have misunderstood Robert Frost for writing happy poems that describe nature. In reality, Robert Frost uses nature as a symbolic meaning to something higher than just the

One of Vincent Van Gogh’s most world renowned paintings is his landscape oil painting Starry Night. The painting displays a small town underneath an unusual yet still extremely beautiful night sky. In this night sky, Van Gogh utilizes an array of colors that blend well together in order to enhance the sky as a whole. The town is clearly a small one due to the amount of buildings that are present in the painting itself. In this small town most of the buildings have lights on which symbolize life in a community. Another visual in Starry Night is the mountain like figures that appear in the background of the illustrious painting. Several things contribute to the beauty of Van Gogh’s painting which are the painting’s function, context, style, and design. Van Gogh’s utilization of these elements help bring further emphasis to his work in Starry Night.

Whiteley’s works parallels Van Gogh’s in its deliberate use of symbols in his paintings and while Whiteley observed many of the principles of Symbolism, his had its own unique facility of Surrealist attached. This can be appreciated in Night Café (1972) [refer Appendix 3] where Whiteley depicted Van Gogh’s The Night Café (1888) [refer Appendix 1] and distorted the image and took the lines of the room to a vanishing point, idealising Whiteley’s Surrealist style. Whiteley’s use of symbolism in his works is outstandingly illustrated in Whiteley’s Archibald Prize winning self-portrait Art, Life and the Other Thing (1978) [refer Appendix 4] where Whiteley demonstrates the controversy of the Archibald in his representation of the William Dobell’s controversial winning portrait of Joshua Smith (1943) [refer Appendix 5] and John Bloomfield’s disqualification from the Archibald 1975 because of his portrait that was deemed to be painted from a picture of Tim Burstall. Whiteley represents these two controversies in his triptych self-portrait containing a photograph of how he looks in real life, a mixed media self-portrait, and a depiction of a baboon symbolising the metaphorical “monkey on his back”. Whitely once said “the fundamental reason one paints is in order to see”, describing how he thinks that his art is a method granting means of communication to his audience.