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    Mad Shadows Essay

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    The correlation between, love, beauty, and truth are strongly demonstrated through Louise and her daughter Isabelle-Marie. When Louise looks at Isabelle-Marie she sees the truth of her ugliness, yet doesn’t see true beauty nor feel a connection for love. Isabelle-Marie is like her mother on the inside but not on the out. Louise does not care for the inside which is unfortunate for Isabelle-Marie because it is the only thing she had going for her. This leaves Isabelle-Marie to being nothing

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    Coleman Art Museum

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    COLEMAN ART MUSEUM The problem: The problem with Coleman Art Museum is the inability to produce any revenue from the past three years as well as the company had gone into their financial reserves in order to cover costs from losses. Company overview: The Coleman Art Museum (CAM) is a nonprofit corporation located in Universal City, which is a large metropolitan area in the western United States. CAM was founded in 1925, it was originally named Fannel county Museum of Fine Arts. But in 2000

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    which focused on a rugged depiction of nature and people rather than an idealized and artificial one. Most paintings of the time showed wealthy people, whereas Courbet who was politically involved in socialist causes, applied his political beliefs to art. (Crapo: 240-241) Crapo writes that for Courbet “realism posed a direct challenge to the aesthetic of the academic painters. It meant the unadorned depiction of everyday scenes and

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    "Reclining Pan in the St. Louis Art Museum" Reclining Pan (St. Louis Art Museum, 138:1947) also known as Drunken Satyr, a marble sculpture modeled by Giovanni Angelo Montorsoli in early 16th century, is portraying Pan, the god of the woods, fields, and flocks in the reclining position. The sculpture was owned by the powerful Barberini Family in Rome, then purchase by St. Louis Art Museum in1947.1 Reclining Pan at the St. Louis Art Museum under discussion presents a commanding image of the

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    He gave a tiny brushstroke on the side of the train that smeared radiant yellow oil paint across the rusted metal. It was small, but it was bold. Mixing warm colors together, he gave another quick stroke of cadmium red just overlapping the yellow he had laid down. He was never able to afford oil paint before, so on the rare occasion that he could paint with it, he treasured every drop, being meticulous with each application. He didn’t care much for it, but it was necessary to avoid wasting such precious

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    Arika Song 19th c. German Art/Architecture Professor Wood 25 September 2017 Landscape Painting as Per Carus’s Nine Letters Carus’ Nine Letters on Landscape Painting largely expounds upon man’s relationship with nature, and therefore the effects of landscape painting on the human state. Letter III is essential in gaining a conception of Carus’ definition of truth and whether he himself believes this truth is sufficient in landscape painting. In his thesis on landscape painting, Carus claims that

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    Viktor Shklovsky argued in his significant essay, “Art as Technique,” that the nature of our lives separates us from experience. This nature leads to the habituation of our perceptions and, thus, many aspects of our lives might go by unnoticed. Consequently, much of the beauty present in our lives might go overlooked. To combat habituation, Shklovsky believed art could restore our sensations and allow us to see this overlooked beauty. For art to restore our perceptions, however, it must make objects

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    YOUR NAME: Jacob Acton COURSE: ART 100 SECTION #: E56W CRITIQUE #1 DESCRIPTION William Harnett/ A Smoke Backstage /Oil on Canvas William Harnett depicts a tobacco pipe in use, along with a package of tobacco, some matches, and a newspaper, in the backstage of a theater. ANALYSIS Harnett uses a variety of techniques to create this trompe l’oeil painting of a smoke backstage. The lines and implied lines from the tobacco pipe, tobacco package, newspaper, and matches overlap at perpendicular angles

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    Colors can be symbolic of infinite various things. Artists take this truth into attention while selecting the colors they use in their paintings; as these colors are used to generate emotions inside their target market. Identical to an artist, F. Scott Fitzgerald makes use of light and color in his masterpiece to create float and harmony. There is, however, an additional, extensive motive for his use of light and coloration symbolism. Fitzgerald uses lights and hues to focus on the critical battle

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    In Lorenzo Ghiberti’s “Genesis from the ‘Gates of Paradise’” (c.1435)(fig.1), Giacomo Balla’s “Swifts: Paths of Movement and Dynamic Sequences” (c.1913) (fig.2) and Alexander Calder’s “Untitled” (c.1972)(fig.3) there is a theme of movement or more specifically flight. Each artwork portrays flight, however each has their own interpretation, use of medium, and innovation of their time period. Flight is a very broad term that can be defined in various ways. In the piece Swifts: Paths of Movement

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