Outline of Movements in Art

Outline of Movements in Art Introduction Art has given generations complex lessons in exquisiteness, horror, and respect. Art has inspired some to delve further into their minds than they ever have. Art evokes many emotions; it terrifies and pleasures, calms and arouses, and can serve to bring light on the inner mechanisms of politics and inspirations. Art is, was, and will always be an outlet that provides insight into the mind and soul. Renaissance (1300 1600 C.E.) The Renaissance period was considered a growing concern with the natural world, the individual, and humanitys worldly existence (Kleiner, 2014, p. 406). The translation of Renaissance means rebirth, so this era was described as a rebirth of the fascination in the classical periods of Greece and Rome, symbolized by medieval disquiet of the previous era. The Renaissance period encompassed the belief of humanism, or a code of civil conduct, a theory of education, and a scholarly discipline [rather] than a philosophical system (Kleiner, 2014, p. 407). Commercialization also began in the Renaissance, as feudalistic period ended and expansion started to begin. The importance of religion also began to decline due to the world changing views. The more people learned and endured, the less they relied on religion to comprehend their world. This era was characterized by a more true-to-life approach on the subject matter, techniques using perspective and foreshortening gave the illusion of being three dimensional. New oil paint blends were created, which let the artist use oil on canvas, which was considerably easier to work with than coloring on wet plaster. Individualism (showing singular people), secularism (less church-related), classicism (a revert back to the techniques of ancient Greece and Rome), nature (outdoor and rustic scenes), anatomy (defined and specific human forms), linear perspective (how things seemed to the onlooker with relation to the other), realism (visual precision of the piece), depth (light and shading used to give the illusion of three dimensional art), blue backgrounds (helped create depth), and symmetry (balancing proportions) were all obvious during the Renaissance period. Artwork iconic to the Renaissance Tiziano Vecellio (1488-1576). Boy with a Bird [Oil on Canvas; 34.9 cm x 48.9 cm]. Not on Display Raphael (Raffaello Santi) (1483-1520). An Allegory (Vision of a Knight) [oil on poplar; 17.1 cm x 17.3 cm]. The National Gallery Baroque (1600 1750 C.E) The Baroque era developed as a direct revolt against the rigidity of classicism. The Baroque era was emboldened by the Catholic Church in order to link themes to religious righteousness and to appeal to newly changing societies. This era gave the Church optimism it could stay immersed within its residents. The wealthy viewed the Baroque style as a means of amazing visitors, as well as a means to express their personal power, wealth and achievements. Baroque art is characterized by its richness, extravagant subjects and the attention to detail that showed emotionalism. Exuberance and opulence were commonly connected to the Baroque style, with a focused intention to appeal to all the senses. The chiaroscuro technique is also a significant style of the Baroque period, this method relates to the interaction between light and shadow to create very intense and differed atmospheres. In architecture, spiral columns, towering domes, and massiveness and monumentality were hallmarks of the Baroque period. Artwork iconic to the Baroque period Meindert Hobbema. (1662). The Watermill with the Great Red Roof [oil on canvas; 81.3 cm x 110 cm]. Art Institute Chicago. Adriaen van der Spelt (1658). Tromp-lOeil Still Life with a Flower Garland and a Curtain [oil on panel; 46.5 cm x 63.9 cm]. Art Institute Chicago Romanticism (1750 1870 C.E.) Like its name, the era of Romanticism leaned more toward the whimsical, the discovery of the emotional side of the human psyche, a direct revolt against the rigid nature of the Renaissance or the ostentatious Baroque periods. Romanticism also evolved as a reaction to the Industrial revolution and the Age of Enlightenment, in which science began to justify and classify nature. To be free of conventional life lead to more emphasis on the individual. The retreat from the here and now lead to a bigger interest in landscapes, the emotional expression and imagination, and the splendor that could be found in past. This period was the inlet for artwork that expressed human emotion; wonder, shock, and horror. According to Isaiah Berlin (1999), this era represented a new and restless spirit, seeking violently to burst through old and cramping forms, a nervous preoccupation with perpetually changing inner states of consciousness a search after means of expressing and unappeasable yearning for unattainable goals (p. 92). Usually characterized by bright and vibrant colors, or paler and darker colors that are that are blended to make the image softer to draw focus to nature, instead of man-made objects. Mistiness is also used, to give a more dream-like feel to the piece, through the use of more pensive brushstrokes. Moods, heroes, brilliance, obscurity, passion, the exotic, and even the satanic were all part of the Romantic era. Artwork iconic to the Romantic era Thà ©odore Gà ©ricault (1819). La Radeau de la Medusa [oil on canvas; 491.5 cm x 716.5 cm]. Musà ©e du Louvre, Paris. Thà ©odore Gericault (1818). Evening: Landscape with an Aqueduct [oil on canvas; 250.2 cm x 219.7 cm]. The Metropolitan Museum of Art Impressionism (1870 1900 C.E.) Impressionism can be considered the first distinctly modern movement in painting, and was often done outdoors. It was a movement about painting to capture the momentary, sensory effect of a scene, and often portrayed things in nature that could not have been painted in a traditional setting. The goal of Impressionism was to create original works of art that was based on the subject matter and the natural setting. Impressionism is characterized by loosened brushstrokes that use pure, intense color that gave the piece an unfinished appearance, which was seen as almost amateurish the prominence of changing light conditions, and basic subject matter. Rather than neutral white, grays, and blacks, Impressionists often rendered shadows and highlights in color. The artists loose brushwork gives an effect of spontaneity and effortlessness (Samu, 2004). Artwork iconic to Impressionism Claude Monet (1891) Haystacks (Effects if snow and sun) [Oil on canvas; 65.4 x 92.1 cm]. The Metropolitan Museum of Art Claude Monet. (1891). The Four Trees [oil on canvas; 91.9 cm x 81.6 cm]. The Metropolitan Museum of Art. Modernism (1900 1945 C.E.) Modernism was the complete rejection of the Victorian Era, giving in to a search for new ways to express oneself. Encouraged by the progressively realistic influence of industrialization and urbanization, including the influence of World War I and its results, Modernism strived to reach reclamation and renewal after the destruction that shattered lives and broke nations. Modernism is characterized by vivid colors and intangible concepts, repeatedly creating artwork with a broken or slanted appearance. Similar to Impressionism, Modernist artists used what they saw to paint the spirit of the subject, often with very loose foundation in reality. Sometimes the art consisted of color splashed onto a canvas. Artwork iconic to Modernism JoAnn Verburg (1991). Still Life with Serial Killers [Chromogenic color print; 49.7 cm x 70.4 cm]. Museum of Modern Art, New York. Richard Lindner (1966). Checkmate [Cut-and-pasted papers, watercolor, pencil, crayon, and ink on paper; 60.6 cm x 45. cm]. San Francisco Museum of Modern Art, San Francisco. Conclusion Art is life, the expression of the intimate, the soul given life. Art is a living, breathing, progressing work, frequently seeking new possibilities of being born. From the Renaissance to the current day, art has changed with times, given voice to the voiceless, and hope to those who lost hope. References Berlin, I. (1999). The roots of romanticism. London: Chatto and Windus. Kleiner, F. S. (2014). Gardners art through the ages: The western perspective (14th ed., Vol. II). Boston, MA: Wadsworth, Cengage Learning. Samu, M. (2004). Impressionism: Art and modernity. The Metropolitan Museum, New York. Retrieved July 3, 2016 from http://www.metmuseum.org/toah/hd/imml/hd_imml.htm.

Assault Written Assessment

Priyanka Thirumurti Mrs. Harris Language A HL 1 – Written Assessment 2/25/13 Question: How is the incident on page five a metaphor for Anton’s quest throughout the novel? In the prologue of the Assault, Harry Mulisch broadly foreshadows the entirety of the novel through an underlying, quintessential theme that provides great insight into human nature.The image of the solitary man depicted in the opening scene reveals the generalized theme of an unchanging continuity between the past, present, and future that in the protagonist’s case, can only be broken by the will and/or desire to endure pain by dealing with and forgetting the past; an ordeal that serves as a comparison to Anton’s quest of self discovery thoughout the novel. Tying this universal theme with the characterization of Anton, Mulisch portrays how the protagonist’s identity is significantly based on his[Anton] childhood experiences, which reveals his[Anton] curious and innocent nature.Ant on’s innocence is revealed through his thought process: â€Å"Anton used to think that Carefree meant a place where cares entered freely, not a place free from cares†(3). Only a child would note nuances in words to give them more meaning. Anton’s inclination to make literal, child-like observations about his surroundings factors his approaches to situations in his later life, including his outward display of defiance to accept his own mistakes when confronted with the truth. In addition, in the aftermath of World War II Anton speculates on retrieving a capsule replete with knowledge: â€Å"Inside the capsule. . be of interest long before then? †(11)Anton’s curiosity reflects his potential because of his thirst for knowledge. The protagonist’s thirst for knowledge and child-like naivety remain with him, setting the stage for hardships and adversity in his future. For example, after the heart wrenching incident in which Anton is separated from his parents, his child-like curiosity leads him to discover his own weakness; â€Å"It was much more painful. . . wrists crossed under his chin†(28).Unable to defend his family, Anton puts much blame on his inability to take care of his family without fully realizing his duty as a child. As Anton grows he encounters many more hardships that he is unable to handle without fully realizing his duty as a child and with the maturity his age implies. For instance, when Mrs. Beumer invites him his attention drifts to his surroundings and he avoids many of the questions through a tangential thought process that is his undoing. Making his life much more difficult than it should be, Anton shares a likeness with the man on the barge in the prologue of the novel.Similar to the way the man â€Å"planted the stick sideways in the bottom of the canal, grasped it firmly, and walked backwards†(5) Anton uses an equally difficult means of handling situations— deliberate evasion. By taking the path less traveled by, Anton finds himself living in stasis though recurring episodes of past memories that hinder his psychological development. The death of his brother, Peter Steenwijk, and that of his father and mother caused him great suffering as he made transitions from childhood to adolescence and finally to adulthood.When Anton returns to Harlem, his home and the general setting remind him of the painful past, which he leaves behind without any semblance of peace, but only of disturbance and uncertainty:â€Å"Care, care†¦It was wartime, one big disaster, my family was murdered, and I stayed alive†(117). His perceived ignorance reflects on his complex characterization. The actual events diminish in impact, but they still remain in his memory and affect him to such an extent that he decides to become an anesthesiologist, an irony in and of itself.This pattern of stasis can be directly related to the motion of the man on the barge because he stays in the same place as barge moves through the water as Anton’s development remains stagnant although he changes physically. Similar to the stage of denial portrayed by the Kubler Ross theory, Anton lives in denial, exemplifying the â€Å"action† of staying in one place and not moving forward, without directly showing or accepting, even to himself, any signs of stagnant behavior.To comfort himself, Anton blames his surroundings for his problems: â€Å"The cypresses were flames of black fre. . . Something was wrong with the world, not with him†(156). This type of erratic behavior suggests that Anton is stymied from moving forward because of physiological symptoms of events in his past that causes him suffering, which is also connected to his perception of the world around him. The use of strong diction such as â€Å"flames† and â€Å"black fire† evoke an ominous tone that can be related to Anton’s fear of his own health, which only worsens as time progresses.For instance, when Anton goes to the beach with his family, after having successfully attained his position as an assistant anesthesiologist he goes into a lengthy daze during which he loses his sense of time: â€Å"He himself was floating like a dot at its center, in an empty, rose-colored space that was rapidly receding from the world†(127). The â€Å"floating dot†(127) and the â€Å"solitary man on the barge†(5) are similar in that they emulate the sense of strangeness that the prologue indicates: â€Å"There was something very strange about it but it was his secret that he didn’t mention to anyone. The secret is revealed through Mulisch’s use of metaphor and diction, with words such as floating and receding, to indicate a lapse in Anton’s thought process that takes him back to his simple, carefree lifestyle, but simultaneously urges the reader to think about Anton’s position and how the past, present and future are al l tied together to make a cohesive whole that is Anton’s life up to the climax of his psychological development.As time progresses, Anton’s perception of time becomes skewed as his mental health gradually deteriorates and as his patience decreases. For example, when given the antidote for his troubles Anton angrily refuses: â€Å"The doctor also left a prescription. . . but Anton tore it at once†(156).In addition, â€Å"He felt tired and depressed, nightmares troubled his sleep, and the minute he woke up he was plagued with worries and anxieties† The repercussions of the traumatic events of his childhood continue to cause Anton pain, a motif that plays a big role in his characterization as someone who reminisces too much for his/her own good, and so the action of grasping a stick firmly, as stated in the incident in the prologue, can be related to Anton’s method of dealing with the past by holding on to memories steadfastly such as the memory of Tr uus Coster ingrained in his brain.Finally, as Anton reaches self-acceptance by letting people into his life he is able to see the light in the midst of the dark which Mulisch reveals through the use of characterization and theme. As Anton learns to listen to other people like Cor Takes and Karin he learns to appreciate the people, things and places that hold true meaning and value. For example, Anton and Cor Takes, two grown men, start crying after a funeral: â€Å"When Anton saw Take’s tears he begun to weep himself. . . They must have been surprised to see two grown men so much affected by the death of a friend†(120). The emotional climax between Cor Takes and Anton reveals the extent to which memories of people, specifically that of Truus Coster, can affect the stability of two grown men. It also reveals the universal theme that emotion speaks across differences, including age, experience, and maturity. Karin, by far had the greatest impact on Anton’s return to normal life because she revealed the most important truth behind Anton’s past: ‘Tonny, there’s something I have to tell you†¦My God the lizards! ’†(181).The contradiction between the complicated repercussions of such a simple accident portrays the shocking truth, which serves as a comparison to the incident in the prologue. Anton describes the solitary man’s primitive means of travel by saying, â€Å"Only in movies about Africa or Asia could one still see such things† which juxtaposes the complicated V shaped ripples caused by the more modern motorboats, representing the ease of travel. The metaphor indicates a very important aspect of the characterization of Anton – someone who took the hard path in life rather than the easier path, which ultimately depends on perspective.In essence, Anton and the solitary man on the barge share specific characteristics that give the novel meaning and substance, including Anton’s determination to evade his past without any destination and the solitary man’s invariable consistent approach to travel. Despite their differences, including Anton’s inability to see past his own perspective and the traveler’s primitive ways, both individuals portray the theme of continuity and self-centered nature that any reader could relate to, giving the novel itself much more depth and value. Word Count: 1463 Works Cited Mulisch, Harry. The Assault. New York: Pantheon, 1985. Print.

1984 – a dystopian novel

1984 is a dystopian novel about the society of the future. Writing in 1948, he images Britain forty years in the future as a totalitarian dictatorship which combines elements of both Communism and Fascism in a powerful, omniscient police-state, based on terror. The story takes place in a totalitarian state called Oceania. The world has been divided up by Oceania and two other states, Eastasia and Eurasia. The post-war world is governed by power groups alternatively at war with one another. After the revolution, the establishment has been replaced by a dictatorship, whose leader is BB. In his features and look, BB clearly recalls Stalin, and the fact that his face is depicted everywhere is a denunciation of the cult of personality, typical in all dictatorships. Trying to control the thoughts of every citizen, the authorities rewrite history, changing events. The hero, Winston Smith, is an intellectual and rebels against this world and begins to dream of destroying the system. The description of London, capital of Oceania, in the first chapter of the book, is similar to wartime London. The environment recalls bomb-damaged London in 1948. The influence of WW2 is clearly evident; it is a nightmare that still haunts the population. Personal freedom is restricted because Oceania is in a permanent state of war and everyone is potentially a traitor. The only chance of survival is by showing obedience to the Party's orthodoxy and complete devotion to the cult of BB. Everybody is constantly watched and the use of language modified to try and crush independent, individual, autonomous thought, so that the Party will at last be in control of the whole inner being of every man. Winston Smith (whose name is a symbol: Winston stands for Churchill, and Smith is a common surname, making him a stereotype of every man) works for the Ministry of Truth, but he doesn't accept its fanatic attitude so he keeps a diary and falls in love with a girl called Julia. He makes friend with O'Brien, his superior in the Ministry of Truth, because he believes he is against the system as well. However, O'Brien turns out to be a party man who has Winston captured. Winston is the last man in BB's dictatorship who tries to keep control of his inner self, but he is arrested because his love story to Julia is illegal and mentally and physically tortured until he loses his mental integrity. When he is rehabilitated and finally released he has been turned into a robot just like all the others. He has not only understood and accepted party doctrine, he has even come to love Big Brother. The structure of the novel recalls a tragedy because it is divided into three parts: in Part 1, Winsto n tries to be free, in Part 2, when he is about to fulfil his dream, his hopes are crushed, and in Part 3, he surrenders to the system and loses his humanity. Orwell gives a description of the political system of totalitarianism. In 1984 he described the methods used to control thought, to invade privacy and break down personal resistance. The totalitarian state tries to control the thoughts of citizens through language to limit the danger of independent thought. The use of language in 1984 is especially important because Orwell shows how every concept is turned into its exact opposite by the Party, bringing out a satiric effect and tragic irony. So the Ministry of Truth only tells lies, the Ministry of Peace is concerned with war and the language is contracted, taking out all creativity from its use, much as it happens today with mobile phones. The three irrational slogans of the Party are particularly meaningful because they reveal the ideals the party is based on, thought control and reversal of concepts. Orwell is concerned with the function of political language and shows that in Oceania words are so corrupted that they now mean their opposite. This implies that once language is controlled anything that the Party doesn't approve is impossible. Thus reality is distorted and these distortions alter the human perception of the truth. This is similarly the danger hidden in mass media, whose power pervades modern society. Mass media control communication and impose a global view on all aspects of everyday life. That is why the control of mass media is important for the political party in power, because through mass media they can create consensus and alters thought so that everybody comes to think and desire what the Party wants them to think and desire. Therefore communication becomes manipulation and creates fear, as the dominant faces of BB in posters seem to say. BB IS WATCHING YOU means that everybody is controlled and can't escape. People are alienated, deprived of desires, individuality and interpersonal relationship, so that they can't but be obedient to the ruling party. So the media in the world created by Orwell in 1984 have a double function: to control human thought so that it comes to comply with the Party's wish and keep watch on people everywhere and at any time. Subject to constant surveillance, citizens never try to rebel or escape. Terror is used to monitor and control people's thoughts, feelings and actions. Orwell was politically committed and 1984 shows how precious and fragile human freedom is. In a period of social unrest, unemployment, economic depression and Nazi expansion, he turned to left-wing ideals and he went to fight for the Republican forces in the Spanish war. The experience in Spain made him aware of the political threats that could destroy left-wing ideals; he was horrified of the result of Realpolitik. He was particularly concerned with the tragic development of communist ideals through Stalin's dictatorship in the USSR. Orwell was disappointed by Socialism and believed that the writer should be independent. As a matter of fact, though he was a socialist, he was very critical of a Socialism which was detached from the reality and the needs of the working class it is supposed to represent. One of the most outstanding features is the close connection between his political views and his writing. Orwell believed that the writer was a spokesman for the moral conscience of society and his duty was to denounce social evils. The influence of Dickens is shown in his choice of social themes and the use of realistic language because he used a simple, direct style. He believed in tolerance and justice and warned against the dangers of totalitarianism and thought control. He criticized totalitarianism, warning against the violation of personal freedom. 1984 shows a prophetic picture of the dangers caused by totalitarian dictatorships which annihilate individuality and justice. He wanted to warn readers against tyranny. The world described in 1984 is a nightmare. The party has absolute control, rebellion is punished with prison and torture. He showed his concern for the quality of life, human dignity and creativity; in his opinion, these qualities are threatened by the prevailing trend in modern society, where mass media control human actions, tastes and choices. He had a pessimistic view of the masses, because he believed they could be easily manipulated through language. BB's dictatorship controlled thought, invaded personal privacy through microphones and tele-screens and broke down all attempts at resisting by brain-washing people. Moreover the strategies of the Party control not only the present and the future but also the past, by re-writing history. Winston's job in the Ministry of Truth is to alter historical records to eliminate all memories of past events and adapt them to party policy when they are inconsistent with party doctrine. Orwell's assumption is that a totalitarian state controls the thought of citizens through language to limit the dangers of independent thought. This is still true today because mass media are potentially dangerous, as they break down individuality and independent ideas by crushing imagination with conformity. 1984 is a picture of how the political system can suppress individuality and make man inhuman. Through science fiction he depicts a future world in such a realistic way as to make it very credible. The main character's will and body are broken into total submission, leaving no hope in the future of freedom, non-conformism and use of individual reason. Orwell's final conclusion of 1984's nightmarish plot is that totalitarian powers destroy human nature and men are hopelessly overwhelmed by oppressive political forces.

F. Scott Fitzgerald’s The Great Gatsby and the American Dream

The Great Gatsby and the American Dream Websters dictionary describes the American dream as the widespread aspiration of Americans to live better than their parents did. F. Scott Fitzgeralds novel The Great Gatsby is a literary masterpiece that takes a fascinating look at the nature of the American dream that made its fiery inception during the American War of Independence 1776-83 when it became the central theme of the American Declaration of Independence. In short, it stated, we hold these truths to be self-evident, that all men are created equal, that they are endowed by God, Creator, with certain inalienable Rights, that among these are Life, Liberty, and the pursuit of Happiness (Dream 1). Through the voice of the†¦show more content†¦The American society was largely composed of white, Anglo Saxons who wished to uphold their dominant race (17), and thus they sought to subdue others who were ethnically different. Toms statement Its up to us who are the dominant race to watch out or these other races will have control (17) contrasted sharply with the vision of the American dream that the founding fathers of America foresaw. The founding principles of the America dream guaranteed all people freedom from oppression and all were seen as equal before God. The Declaration of Independence does not declare some men, it says all men (Dream 1) have the right to wealth and happiness. In contrast, the poor, like Gatsby, who seek wealth and happiness, are beaten down (18) by the dominant white society. Fitzgerald refers to the wealthy as a careless people (188) who smashed up things and creatures and then retreated back into their money...and let other people clean up the mess they had made (188). As a result, the unfortunate were despised and trodden under the gilded feet of the rich. Fitzgeralds The Great Gatsby becomes a strong critic of the abuse of wealth in American society. 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