Ugo Rondinone's Clockwork Analysis

Pieter Brueghel was a 16th century Netherlandish Renaissance painter who completed “Landscape with the Fall of Icarus” in 1558. His painting was inspired by the ancient Greek myth of Daedalus and Icarus. William Carlos Williams, a Puerto-Rican American poet, wrote a poem inspired by Brueghel’s work in 1960 similarly titled “Landscape with the Fall of Icarus”. There is a common theme displayed in both works which both execute and establish this theme with different visual and literary connotations and strengths using differing amounts of information provided through their artistic mediums. which create an effectiveness with the end-all goal being to explain that time will pass by regardless of what is going on in an individual's world even if they want it all to stop at once.

In Michael Ondaatje’s In the Skin of a Lion, the play of light and shadow are reoccurring motifs that identify and relate to the general themes of remembering and forgetting. H. Porter Abbott has defined motif as “a discrete thing, image, or phrase that is repeated in a narrative”, where in contrast, a theme “is a more generalized…concept that is suggested by… motifs” (237). Abbott emphasizes that “Themes are implicit in motifs, but not the other way around” (95). In In the Skin of a Lion, Ondaatje emphasizes the class struggles endured by the immigrant workers and the internal struggles faced by the central characters. The motif of chiaroscuro, the play of light and shadow, reflects how the characters try to forget their past and personal burdens, and strive to recall joyful memories, which aides them in embracing new beginnings and creating new memories. I will argue that the motif of light relates to the theme of remembering and the motif of shadow identifies with the theme of forgetting. I will show these relationships by analyzing the imagery and context of four central scenes in which light and shadow play a significant role. Firstly, I will discuss the event of the nun falling off the unfinished bridge. Secondly, I will consider the candle-light vigil held for the deceased bridge works. Thirdly, I will discuss the working conditions of the tunnel workers in the section “Palace of Purification”, and lastly, I will analyze the concluding scene in which Patrick and Hana

This knowing that life should have an end reveals the painter’s freedom to the system run by those who wish to live forever. Along with the orderly, the difference of willful ignorance and freedom can be seen through the exchange of Leora Duncan.

Barna da Siena’s Mystic Marriage of Saint Catherine and Other Scenes from 1340 is vastly different in content, composition, and a number of other attributes from Fra Carnevale’s 1467 painting Presentation of the Virgin in the Temple. It is clear between the roughly hundred years between when the two were painted that advancements in realistic painting soared and a further appreciation for realism and humanism developed. The need to portray more than just the holy subjects, and to show how far painting had evolved is evident in the differences between Barna and Fra Carnevale’s works. Although, the emotion behind Barna’s work, and its significance are, in my eyes, far greater than that of Fra Carnevale’s.

The focal point of this report will be on the content of poem 64 and how it, reflects Catullus himself and his relationship with Lesbia. Further, I will examine the mirroring of characters and emotions and ambiguity of the poem as it stands in relation to his other works.

An artist has the ability to connect with one’s audience through their art and the obscure connotations that appear beneath it, not just the image that lies on the surface. Artists Jan Van Eyck and Caravaggio communicate these implications through their work, utilising symbols and motifs. Van Eyck’s The Arnolfini Portrait (1434) explores the social status of the time, along with the issue of marriage between two unequals. Caravaggio’s The Beheading of Saint John the Baptist (1608) reflects the world of his time’s attitude on violence and the insensitivity of a positive resolution. Although, these two paintings showcase incredible technique and attention to detail, the context is what is integral to the audience’s understanding of their world

Thereby, individuals can forget all the stress from the society and free their soul in nature as Macfarlane references to another author’ quote “life great herron-like wings and fly with little effort to other points of view”(293). The most prominent representative of nature’s fantasy is Ravilious’s artwork. Macfarlane comments his artwork by describing “ looking at two overlaid acetate sheets of the same image, imprecisely matched, or of two intercepting paths that never achieve their vertex”(296). Ravilious’s artwork has many different interpretations, and its purpose is to encourage individual to think forward and expand its imagination. Therefore, Macfarlane chooses to reference this artist and to bring out the theme of “ life is created by the onward rush of life over the curved wing of the

Kronos (can also be spelled Cronus), the King of the Titans, the God of time. Like many other Gods or Titans, they have numerous names. His Greek name Κρονος, which ultimately translates to Kronos or Cronus. He also has a Ronan name, being Saturnus or Saturn. This translating to time, in which he is the God of.

The last message that the poet leaves us with is: “I throw many marvel such before, has happened here ere now. To His bliss us bring Who bore the Crown of Thorns on brow! AMEN” (2529-25332). This statement may suggest that if not believe in the court and knightly codes and value, believe in religious values. The idea of time, throughout the poem and emphasized join the opening passage to Part II, suggests that time acts as fate.

The background plot for the painting was borrowed from the Corneille’s play, Horace. The approximate symmetry of the painting becomes more prominent in the case when the viewer knows the story of the Corneille’s play. It is essential to refer to the fact that there is a difference between the right and left sides not only in terms of physical composition, but more than that, various emotional connotations are depicted by each ones.

In the passages Ralph 124C 41+ and “Rappaccini`s Daughter”, the protagonists have analogous interests and goals, while the themes match as well. Both stories are of life, death, love, and nature. In the two passages, the authors use love, specifically to create motives for the protagonists, and also to use the themes of nature and death.

The braided hair and ribbons of one of the grieving woman’s hair, small sprigs of foliage adorning the platform of Patroclus’ bed, the Greek ships silhouetted in the background, and the inclusion of Achilles’ armor all contribute to the Classical theme. It is as if Taillasson is trying to convince the viewer, through these scattered Classical elements, that this is indeed a true Classical painting. Perhaps he thought it was. However, time begs to differ. In the grand scheme of art history it is not a pure of perfect example of a Classical work or a Rococo. The composition and theme of the painting - an apparent use of horizontals and verticals on angular planes and a theme relating to myths of antiquity - are markers of the Classical. The colors, brushstroke, and poses/treatment of the body - soft pastels, loose and fluffy strokes, and relaxed figures - are that of Rococo. Overall, the painting is an example of the space of time between both art periods. Those trained in Rococo, like Taillasson was, were trying to maintain the techniques they were taught. In this work Taillasson is conforming with the newly popular Classical style, but only in intention not result. The subsequent work created still clings to all things

Miro's much work of this period is marked by a reduction of means moving from complexity of Carnival of Harlequin to the magic simplicity of a painting such as Dog Barking at the Moon. Again we find the ladder, for Miro a symbol of transcendence and a bridge to another, unearthly area. Its a underpopulated nocturnal landscape, a dark and forbidden place that resembles a scene from a dream. Near the ladder there is a colorful dog stands on the brown earth, looking at the distorted moon above him. Without bright colours the dark background and the vast emptiness in-between all the objects is producing a feel of mystery and loneliness.

The horrendous death of the trojan priest Laocoön and his sons is a classical event associated with the final days of Troy, inspiring works in literature as well as visual arts. Book 2 of The Aeneid, by the Latin poet Virgil, and the 1st Century CE marble sculpture ‘Laocoön and Sons’ are two famed works that are inspired by the Laocoön Episode. Though both the sculpture and the text are canonical works of their own genre, the latter is more superior in terms of delivering a comprehensive narrative on the Laocoön episode. The Aeneid amplifies movements of Laocoön and the serpents using literary devices and adopts a time frame spanning from the arrival of serpents to the death of Laocoön to deliver a complete narrative, whereas the sculpture, though using dynamic movements and utilizes a single moment within the time frame of the text, fails to contain a general, uninformed viewer within the episode’s context.

Auden is a poet from the XXth century. As such, he has suffered the wars that have stricken the period. The ekphrasis, which is a literary description of a work of art, is used by Auden in his poems “The Shield of Achilles” and “Musée des Beaux Arts”. As part of his great concerns were the political and psychological conflicts that existed then. In the aforementioned poems, Auden uses the ekphrasis to denounce people’s indifference to human misery.