Des beaux arts

or a part of it” (R.O.E. and T.V.F.B. 1281). In other words, the theme is simply the focus of one’s work or discussion. The two poems, “Musée des Beaux Arts” and “Waiting for Icarus,” contain similar themes. In “Musée des Beaux Arts” and “Waiting for Icarus” there is a strong theme of abandonment found throughout both of the poems. In “Musée des Beaux Arts” it is Icarus, the subject of Breughel’s painting, who is being abandoned while drowning in the sea. Auden clearly portrays this when he writes

Sexism and the star system in architecture In her article, Denise Scott Brown brings to light her personal experience as being a female architect and the sexism that she had come across. Brown describes how sexism is not outright, as she states that many young female architects do not understand the need for the feminist movement as they had never experienced such sexism in school. Rather, sexism appeared through the words of architecture critics, in meetings, and architectural magazines. Despite

and fell to his death. This story has been interpreted several different ways; these include: Landscape with the Fall of Icarus, a painting by Pieter Bruegel; “Landscape with the Fall of Icarus”, a poem by William Carlos Williams; and “Musee des Beaux Arts”, a poem by W. H. Auden. The texts use different elements to portray Icarus’ death, which symbolizes man’s failure. One

views of the Académie des Beaux-Arts. The Academy believed that mythological and historical scenes for painting was vastly superior to that of still life and landscape scenes. The Académie des Beaux-Arts would run an art show, the Salon de Paris, which was the only way for an artist during that time to gain prestige, commissions, and of course money. The Salon would only accept paintings which were in their approved style, which was based on the art of the old masters. Since the art of these young painters

while Manet “heralded the most radical change in the history of art since the Renaissance.” The Salon was the official art exhibition of the Academie des Beaux-Arts in Paris, in the nineteenth century.

I chose to compare two poems that we did not have a chance to discuss in class; “Musee des Beaux Arts,” by W.H. Auden and “Theology,” by Ted Hughes. Both of these works are deeply profound poems about the complexity and collective connection of life. They question what the modernized, ego fueled, life experiences truly is and draw focus to the disconnections we suffer through the artificial society built around us. What Hughes managed to create with “Theology,” is absolutely astounding! In three

INTRODUCTION The New York Public Library is one of the most revered institutions of a city with many competing interests. To stand out of the crowd is a tough and serious task. Embodied in the Beaux Art building on the corner of Fifth Avenue and Forty-Second Street in Manhattan, the flagship building is synonymous with everything that makes New York City, a world-class metropolis, known the world over. It is big, imposing spacious, and an architectural wonder. The majestic lions, Patience and Fortitude

wanted him to pursue an occupation in the military, Laban chose to undertake a profession in the fine arts, or more specifically, dance (Preston-Dunlop). Laban started professionally studying the body as an art form when he was a student at Ècoles des Beaux Arts, a college located in Paris, France, where his main educational focus was architecture (Preston-Dunlop). While at Ècoles des Beaux Arts, Laban began to deeply analyze and seek the purpose behind many dancers’ movements, and did so by taking

saltwater will make the wings to heavy. However, things take a turn when Icarus ignores the trick his father told him about the wings. Pieter Bruegel the Elder’s painting called Landscape with the fall of Icarus and the W.H. Auden’s poem called Musee des Beaux Arts both speak to the reality that an unavoidable aspect of life is death through their use of word choice and color. The use of word choice in W.H. Auden’s poem and Pieter Bruegel’s painting focus the attention on the same

Signac’s “From Delacroix to Neo-Impressionism”. Matisse began to move further away from the techniques and style of Impressionism.      The famous summer of 1905 was spent in Collioure with Derain and Maurice de Vlaminck. This summer marked the most important turning point in Matisse’s art career. During the summer, they experimented with the pointillism techniques of Seurat, but towards the end of the summer, the three artists had moved in a very different direction. The paintings produced in