Category: Art 2722

Since the second half of the nineteenth century, the art of painting has evolved from photographic-like depictions of objects and people to complex representation of a more abstract nature. Explaining the new art forms, many painters set down their artistic concepts and principles in treatises and essays, among the most renowned of which are Wassily Kandinskys Concerning the Spiritual in the Art and Henry Matisses Notes of a Painter. Kandinskys and Matisses key ideas on the expressive role of color and composition, the elitism of art, and the painting as reinterpretation of reality by the artist, are reflected in such paintings as Gustav Klimts Portrait of Adele Bloch-Bauer I (1907) and Paul Klees The Sick Heart (1939).

Both Kandinsky and Matisse pay special attention to the color issue in their writings. Kandinsky develops a whole theory, categorizing the color effect into two stages: the physical and the psychological effects of color (92). While the physical effects of color show themselves in a transient sensation which ceases its action as soon as one stops looking at the color, psychological effects render a far deeper impact on the onlooker since they engage a whole complex of senses including those of smell, sound, and touch (Kandinsky 9293).

Thus the physical effect of the Portrait of Adele Bloch-Bauer I according to Kandinskys color theory is harsh and tiring effect of the dominating bright yellow-golden color: the eye instinctively seeks repose in the calmer tints of the face (Klimt). The longer-lasting psychological effect of the portrait is quite the opposite: instead of focusing on the womans face, ones minds eye recalls the warm glittering color of the dress and background and experiences a sensation of posh elegance characterizing the portrayed lady. As for Matisses vision of color, he observes that not only harmony but also dissonance of colors can produce pleasurable effects on the viewer (132).

And indeed, the palette of The Sick Heart is saturated with contrasting cold and warm tints that make various objects stand out against the homogeneous background and allow grouping those objects into semantic categories according to their color (Klee).

Klees The Sick Heart reflects yet another two key ideas of the writings. Kandinsky emphasizes the dissociation of true art from general plebs, the difficulty of perception of unique creations of non-understood artist, and Klee supports this artistic credo (Kandinsky 88; Düchting 75). Such attitude becomes obvious in The Sick Heart, which together with the heart itself contains a whole arrangement of mysteriously-shaped objects unintelligible to the general public (Klee). On the other hand, Matisse in his writings promotes is the importance of balanced composition for the overall success of the painting (132). This well-considered balance attracts the viewer in The Sick Heart, the proportionate composition of which builds up around the two central images: the wounded heart and the human head observing it (Klee).

Last but not least, one of Matisses key points is that the painter should not merely copy the nature, but must interpret the nature and submit to the spirit of picture (134). This principle of personal interpretation is embodied in the Portrait of Adele Bloch-Bauer I: the figure of the lady is installed into a background which resembles a typical home interior with an armchair but does not necessarily copy it (Klimt). Here Matisses artistic credo of not copying life but creating a full illusion of it reveals itself (Néret 60).

Though possessing bright individualities, the outstanding painters of the period reveal certain likeness in the principles underlying their creative work. The way Klimt and Klee interpret color and composition, the way their paintings reflect in practice Kandinskys and Matisses ideas on the nature and essence of painting prove without doubt that theory and practice of art are inseparable from each other. This interconnection of theory and practice, of reflective aesthetics and its application demonstrates the high professionalism of the artists discussed and makes their works the more valuable for deeper understanding of the art by the eager public.

Works Cited

Düchting, Hajo. Wassily Kandinsky, 18661944: A Revolution in Painting. 2nd ed. Köln: Benedikt Taschen Verlag GmbH, 2000. Print.

Kandinsky, Wassily. Concerning the Spiritual in Art. Art in Theory, 1900  1990: An Anthology of Changing Ideas. Eds. Charles Harrison and Paul Wood. Cambridge, MA: Blackwell Publishers, 1993. 8694. Print.

Klee, Paul. The Sick Heart. 1939. Serge Sabarsky Collection, New York.

Klimt, Gustav. Portrait of Adele Bloch-Bauer I. 1907. Neue Galerie, New York.

Matisse, Henry. Notes of a Painter. Theories of Modern Art: A Source Book by Artists and Critics. Ed. Herschel B. Chipp. Los Angeles, CA: University of California Press, 1970. 130137. Print.

Néret, Gilles. Gustav Klimt: 18621918. Köln: Benedikt Taschen Verlag GmbH, 2005. Print.

Introduction

Marvin Gaye was born in Washington, D.C., on April 2, 1939 and he died on April 1, 1984 he used to sing as a child in church (Turner S, 1998 p.12). His father was a Pentecostal church minister and hence Marvin Gaye grew up listening to the music of American blues singer Ray Charles, which became a major influence on Gayes work. Marvin Gaye is popularly known as the American singer and songwriter, a recording artist for Motown Records, and a very popular singer of rhythm-and-blues (R&B) of the 60s and the 70s (Posner G, 2002 p.24).

Main Body

Gaye was a very successful and creative recording artist for Motown Records, L.P record company of Detroit, Michigan. This company brought black performers and black music to the mainstream popular music charts and became the largest black-owned business in the United States (Dyson M. 2004 p.32). He started his career tat Motown in 1961 where he became a very popular top solo male artist with various hits in the 60s among them, the Stubborn Kind of Fellow, How Sweet It Is to be loved you, I heard It through the grapevine and several hit duets with Tammi Terrell, such as aint no mountain high enough as well as youre all I need to get By among others (Posner G, 2002 p.27)

After signing on a recording contract at Motown he changed his name from Marvin Gay to Marvin Gaye, and several of his hits for Motown were duets with female artists including Kim Weston and Mary Wells (Gaye F & Basten F, 2003 p. 39). This group produced the first Gaye/Wells album, 1964s together, was Gayes first charting album (Gaye F & Basten F, 2003 p. 39). It was Marvins work with Tammi Terrell that became the mainly popular and memorable.

Terrell and Gaye had an excellent rapport and their first album together; in 1967s produced the hit aint no mountain high enough. Unfortunately Tammi Terrell passed away of a brain tumor on March 16, 1970 of which devastated Gaye very much which drove him into isolation refusing to perform for two years and he had even contemplated venturing into other career like football and quitting music for good (Turner S, 1998 p.12). Marvin Gaye failed to perform well in these fields hence he returned back to music. In 1970 he recorded the tracks including whats going on, God is love and sad tomorrows which was the earlier fashion of the song flying high in the friendly sky among others (Dyson M, 2004 p.30).

In this period Gaye wanted to release the song, Whats Going On, however, when Motown head Berry Gordy heard that he refused, calling the single uncommercial he refused to record any more tracks until Gordy gave in (Dyson M, 2004 p.32). The song was eventually released in January 1971 becoming an instant hit and so Gordy eventually requested a whole album of similar tracks from Gaye (Gaye F & Basten F, 2003 p. 39).

The hit Whats Going On was composed with jazz tune and it greatly addressed the political and social problems of the world and black, the Vietnam War and the blacks pitiable crime rate (Turner S, 1998 p. 67). The song emanated from a notion by four tops member Renaldo Obie Benson, who, witnessing stressful conditions while on tour in Europe, began writing a song to express his feelings (Turner S, 1998 p. 67). The song Whats Going On is popular for its heavy use of major seventh and minor seventh chords, a fairly rare occurrence in popular music of that era (Turner S, 1998 p. 67).

Further, particularly for this record, Marvin Gaye sings both lead and background vocals himself. The process had been used for many years to give parts of a recording extra strength, however, Gaye took it a step further and sung each of his vocal passes in various harmony parts, creating an ethereal sound that became one of his trademarks (Gaye F & Basten F, 2003 p. 39).

In Marvin Gaye songs there is an ordinary theme, not merely lyrically, however, musically. The syncopated djembe percussion in conjunction with major 7th chords, floating strings and Marvins trademark multi-tracked vocals throughout give it an immediate identifiable timbre (Dyson M, 2004 p.32). The Beatles effect is tangible, as the songs effortlessly run into each other, enforcing the suggestion of a concept album whereby the opening theme is reprised in the last song (Dyson M, 2004 p.32).

Lyrically, from the plain yet soulful social consciousness of the opener to the final song, a funky critique of contemporary establishment, Marvin Gayes words are both poetic and philosophical (Turner S, 1998 p. 67). There is a real disaffection and cynicism with the Vietnam War with the plight of contemporary American values, drug abuse and with the environment. Moreover, save the children, sounds schmaltzy in the modern context, however, is not out of place on this album, just for its pure optimism and passion, passed in the strength of Marvins vocals (Turner S, 1998 p. 67).

He preaches love and peace, which is easy to sneer at Inner city blues deals with the fraction between a disillusioned US suffering from a hippy hangover, and the ruthless opposition from its out-of-touch organization (Turner S, 1998 p. 67). Its bass line and falsetto vocals evoke Curtis Mayfield; however, the style is obviously Marvins (Turner S, 1998 p. 67). It was his initially conscious venture into funky territory as well as the funk brothers clearly relished playing it. These social and political concerns are general, however are also evidently very personal to Marvin as is the music. Singing about war was not a new theme, but connecting it to the war of daily life in urban US had not been done like this before (Turner S, 1998 p. 67).

Whats Going On is a protest that depicts how US was torn apart by the Vietnam War, civil unrest, poverty as well as racism in the early 1970s (Dyson M, 2004 p.41). In radical contrast to other protest songs of Marvin Gayes contemporaries, such as James Brown or Sly, it has a laidback, warm and even concerned feel to it with jazz-influenced rhythms and soulful saxophone breaks (Dyson M, 2004 p.41).

The song applies the family both literally and metaphorically, for instance, the lyrics father, father/we do not need to escalate could be a reference to Gayes strained relationship with his own father, or equally a plea to God (Gaye F & Basten F, 2003 p. 39). Similarly, the lyrics brother, brother, brother/theres far too many of you dying could be a message to his own brother Frankie or the brotherhood of all humankind (Gaye F & Basten F, 2003 p. 39). Moreover, Gaye also provides an answer to his own entreaty that reoccurs throughout the song only love can conquer hate (Gaye F & Basten F, 2003 p. 39).

Whats Happening Brother can be considered as part 2 of what is going on and involves a confused war veteran who returns home from one hell to find that home is not much different in that there is unemployment, depression and poverty (Gaye F & Basten F, 2003 p. 42).

Utilizing lush strings and vocals with congas and relaxed bass lines this is a song full of emotion. Flying High (In A Friendly Sky) is concerned is about heroin addiction and the pain and suffering it brings (Gaye F & Basten F, 2003 p. 42). Beginning with cymbals, drums, bass and Gayes own falsetto it strikes a very ominous tone (Gaye F & Basten F, 2003 p. 42). Save the Children offers a plain message for Americans to create a world worth living in for future generations. This song can be considered as Gayes overdubbing technique on this album.

Begging with Gaye speaking the lyrics over strings, percussion and bass, he then adds a pained vocal repeating the lyrics after his speaking (Gaye F & Basten F, 2003 p. 42). In this song as the vocal gets filled with emotion, and as the percussion and bass build, it takes over from the speaking until the song reaches an emotional agitation (Gaye F & Basten F, 2003 p. 42). The song eventually returns to a melancholy mid-tempo that closes the track (Gaye F & Basten F, 2003 p. 42).

God Is Love which was originally recorded as the B-side of the song Whats Going On, the album version is much shorter and has a much heavier and more relaxed feel, enabling it to fits in excellently with the rest of the album (Dyson M, 2004 p.43). Additionally, this song reassures us that God will forgive sinners and that all he asks of us is that we give each other love (Dyson M, 2004 p.43).The song Mercy, Mercy Me brings us back down to tell of another human wrong that is the destruction of the environment (Dyson M, 2004 p.43). In the same vein, Right On is concerned about a man trying to find his place in the world and about love. With jazzy interludes between the laid back vocals and saxophone and flute solos, the track flows smoothly over the seven minutes (Dyson M, 2004 p.43).

The song Wholly, Holy can said to be unearthly hit that connects the end of Right On, about love and peace, onto the focus of individuals got to come together (Turner S, 1998 p. 67). The Inner city blues, that is make me wanna holler is the final hit and brings us penetratingly back down to earth with a jerk (Turner S, 1998 p. 67). The hit passes Gayes fury and desolation about poverty and corruption in the inner city areas (Turner S, 1998 p. 67).

Conclusion

The song, whats going on immediately established critical and commercial success on its release in early 1971 and by the end of 1972 it had sold over two million copies (Posner G, 2002 p.31). In the subsequent years various artists enclosed songs from this album and in 2001 a cover of Whats Going On featured an all-star line-up of artists from a range of genres, all the proceeds went to the Artists Against AIDS Worldwide campaign (Dyson M, 2004 p.43).

Overall, the saddest thing about the track whats going on is that none of the tracks have dated at all over the last 30 years (Dyson M, 2004 p.43).The concerns that Marvin Gaye wrote about are still as relevant to this date as they were in the early 1970s. The expression of his dissatisfaction and concern over these difficulties still leaves an astonishing impression today and the songs still sound exceptionally fresh (Dyson M, 2004 p.65).

Works cited

Gaye, Frankie& Basten, Fred E. (2003). Marvin Gaye: My Brother. Backbeat Books.

Dyson, Michael Eric (2004). Mercy, Mercy Me: The Art, Loves, and Demons of Marvin Gaye. New York/Philadelphia: Basic Civitas.

Posner, Gerald (2002). Motown: Music, Money, Sex, and Power. New York: Random House.

Turner, Steve (1998). Trouble Man: The Life and Death of Marvin Gaye. London: Michael Joseph. ISBN 0-7181-4112.

Introduction

The Japanese artwork comprises of very many interesting features. Their products have been produced in a range of materials, which includes wood, clay, and paints. These have to give rises to outstanding art articles of national and international interests. These articles are careful and prudently made so as to have the beautiful authentic look and touch as per intend purpose of the work. Generally, art in Japan is characterized by unique art forms such as paper folding.

People from the outside world including the Chinese culture influenced the early development of this art. One of the earliest art articles that were products from Japan was ceramic clay products. The japans porcelain which is some of the ceramic products were in high demand to the west during the 17^th century. The process of making started at the time of the Japanese uprising against the Koreans. This product is considered to have been originated from a Korean artisan who was captured by the Japanese.

The place of origin is suggested to be the southern parts of Kyushu island. The other early artwork from the Japanese includes traditional Japanese theater which comes in two forms as kabuki theater and noh- theater, Japanese tea ceremony, and Japanese art prints which are referred to as ukiyo-e. This kind of art commenced in the 16^th century and became most popular, leading to the introduction of multi-color woodblock prints.

The great wave is one of the famous artwork. This was Hokusais work inauguration, which placed the common man into woodblocks. This form of artwork date back to 1831. it creates the general extraordinary impression of picture work. Its size is fairly small measuring 10by 15 in or 25.4 by 37.1 centimeters color woodcut.

History of the artist

Hokusai was born in Edo and grew to be a Japanese painter and wood engraver. He did a lot of artworks hence by the time of his departure from this world, he had left more than 30,000 works. His prudence and prowess in this field lead him to be considered as one of the outstanding figures of the ukiyo-e and school of printmaking. He is also observed as a pioneer as he introduced direct observation of nature and human subjects. Most of his distinctive woodblock works and other artworks can clearly be traced as done between the 1830s and 1840s.

The wave history

The picture of the Great Wave consists of three boats among the turbulent, broken waves. These boats are mold into the shapes of the engulfing waves. Usually, tiny humans are portrayed as if they are being tossed around under giant waves, while there is the sacred, enormous, snow-capped mountain at a distance. This wave is moderately humorous; it disperses itself into the wind. Without the boats and the width of the other print, this work is not as dramatic. The tension of the sea is drawn out through lines up the side of the wave.

Interpretation of the picture of the great wave

This great wave being Hokusais most famous picture and easily Japans most famous image is a seascape with Mt. Fuji, which is a distant hill. The waves form a frame through which observes Mt. Fuji is observed at a distance. it depicts water in motion which forms a wave that foams and breaks into claws that grasp for the fishermen. The large waveforms a massive ebb tide to the yang of empty space under it. There is the impending crash of the wave bringing tension into the painting.

In the foreground, tiny-peaked waveforms a small Mt. Fuji, which is repeated hundreds of miles away in the enormous Mt. Fuji seem to shrink through perspective. The wavelet is larger than the mountain. Instead of shoguns and nobility, we see tiny fishermen huddled into their silky crafts as they slide down a seamount and submerge directly into the wave to make it to the other side. The yin violence of Nature is counterbalanced by the yang-relaxed confidence of expert fishermen. Unusually, though it is a sea storm, the sun is immaculate. The rapid boats are called Oshiokuribune in Japanese. They transported fresh fish and the like early in the morning from fishing villages on the Boho Peninsula to fish marketplace off the Tokyo Bay,

Most people in the west have a different perception of the picture. Often, many Westerners think of this woodblock as the classical Japanese image. However, it is in no articulated to belong to them. The reason is that traditional Japanese would have never highlighted lower-class fishermen. During that day the Japanese highly despised fishermen and considered them to be of the lowest class.

Japanese perception toward the great wave

This picture surprised most of the Japanese. They had greatly overlooked nature and also they could not use perspective. They did not pay much concentration to the delicate shading of the sky. Historically Japanese says that they liked the woodblock print because it was recognizable to them.

Origin

This Japanese great wave painting originated in Western art of landscape, long-distance perspective, nature, and ordinary humans. The gigantic Wave is essentially a Western painting but vividly seen through Japanese eyes.

Importance of the great wave

Through the working of the great wave, Hokusai was able to more innovation to both western art and the Japanese. He changed the Dutch l paintings by adding the Japanese style of flattening and the use of color surfaces as an element. The innovation made was one to be used in culture enhancement in the westerners. During those early times, such prints became popular to the west where they embraced them as a new form of their culture. Due to the introduction of these new products, a young artists from all over European countries go ca challenge to learning the technique of making them.

Lesson from the great wave

One I like to identify the brilliant picture which shows the eminent nature power. If someone has proper interpretation and observation of drawing and printing, he can learn that the appearance of the large waves than the mount is an indication of the relative higher power that vanquished the natural visible power. This shows that invisible powers are more pronounced than visible ones. The head of the crew is as small as the speckle of the foam while there relatively small man. This model would create good in the power hierarchy.

Many people will appreciate that the most powerful thing is unseen. It is clear that unpredictable power may cause more chaos than expected. The splashing power created chaotic light foam, which is dispersed by the wind

The picture shows that man is so courageous. He can even dare to go through the turbulent storm of the which much greater in high than him. There are many eminent things that man is faced with, but it is not reasonable good to decide to fear nature instead of facing it boldly. He has the stamina to get into risky activities and venture to know the truth of the matter.

Conclusion

The Japanese artwork is a wide array of articles, which range from wood- products, ceramics as well as painting and printing works. These products have attracted global interest and hence they are in international demand. This prominent requirement has been attached to them due to their uniqueness in their cultural and expressional ability to passed impeccable information both of nature and human interest. The great wave is not a Japanese art by origin. But it originated partially from the westerners. The full implement to come up with the great wave was done as an improvement of some facts from the westerners by Hokusai.

In the 18th and 19th centuries, art began to serve as a tool for reflecting the political and social processes that took place in society. This paper will consider five works in neoclassicism, English painting, romanticism, and realism, which had a powerful social message and had a significant, and sometimes revolutionary, impact on contemporaries. Today these paintings still affect the audience, although they are viewed from a new point of view.

Hogarth, Breakfast Scene, 1745

William Hogarth transformed satire into visual art. Breakfast Scene is the second in a series of paintings under Marriage à la Mode (Kleiner, 2021). The artist ridicules the immorality and licentiousness of society. A man and a woman seated at a table seem entirely uninterested in each other. The picture over the heads of a young couple accurately comments on the situation: among the ruins. Hogarths satire reflects his goal of improving society and educating morality through artistic creation.

David, Death of Marat, 1793

David was a leading neoclassicist in France and was interested in ancient and biblical fine art, whose techniques he used in his painting. In 1789, when the Revolution broke out, David joined the Jacobins, a radical, revolutionary fraction. The Death of Marat captured the death of Davids associate Jean-Paul Marat, who was murdered in his bathtub (Kleiner, 2021). This event made a huge impression, and as a reaction, David created a modern, secular icon. The position of Marats hand and head references the themes of the removal of Jesus from the cross (Mazower, 2021). Like the biblical heroes, Marat suffered and died in torment, but for the faith and the Revolution.

Delacroix, Liberty Leading the People

Liberty Leading the People has become a symbol of the struggle for freedom and justice in France and throughout the world. This work is a visualization of the slogan Freedom, Equality, Brotherhood. Against the background of the recognizable landscape of Paris, Liberty is walking over the corpses (Kleiner, 2021). Her visual image combines a woman from the people and an ancient warrior goddess. Bare chest demonstrates the courage and willingness to defend their ideals, even at the cost of living. Behind her, the viewer sees representatives of all classes: aristocrats, workers, and boys.

Goya, Third of May, 1808

The Third of May, 1808 depicts the tragic moment of the execution of Spanish civilians by Napoleons soldiers. The punitive operation occurred in 1808 after the Spaniards attacked the French units stationed in Spain (Kleiner, 2019). On a mans face, the viewer sees a mixture of emotions: courage, patriotism, and anger. He froze in a pose reminiscent of Jesus on the cross, but the execution will not stop. A black sky emphasizes the gloominess and inevitability of reprisals. Goya intentionally uses a balanced perspective, hinting at medieval artists biblical subjects.

Courbet, The Stone Breakers, 1849

The Stone Breakers is painted in realism and reflects completely new themes for art: industrialization, technological progress, and labor rights (Kleiner, 2019). The artist does not try to reinforce the impression with the help of artistic techniques. On the contrary, muted colors should make viewers see the life of poor people for what it is. This work became famous and had a great resonance in French society. In 1848, the workers rebelled against the bourgeoisie, and labor issues were among the most pressing when the picture appeared.

The Meaning of Paintings to Audiences Today

The works of artists of the 18th and 19th centuries are now perceived from the point of view of contemporary problems and issues. For instance, the moral values of modern families may differ significantly from the ideas of William Hogarth. The art of Delacroix, Goya, and David was used as a form of propaganda (Mazower, 2021). For contemporary viewers, these works remained of the price for freedom and the mistakes that were made on the path to democracy.

References

Kleiner, F. P. (2021). Gardners art through the ages: The western perspective, volume II (16th ed.).

Kleiner, F. P. (2019). Gardners art through the ages: A global history (16th ed.). Cengage. ISBN: 9781337630702.

Mazower, M. (2021). The Greek Revolution: 1821 and the making of modern Europe. Penguin UK.

Introduction

History knows hundreds of gifted people who contributed to the development of theater. One of the famous ones is Arthur Lessac, a legend among those who do not see voice as a regular tool to deliver information. Arthur is a renowned voice teacher, movement instructor, speech therapist, creator of specific and well-recognized methods of voice manipulation, and author of two books for a bio-dynamic approach to the vocal. This essay will prove the significance of Arthur Lessacs movement contribution in relation to theater. To support the claim, the examination of the mentors background, reasons for his interest in movement, exercises used in his method, and his philosophy will be provided.

Discussion of The Work of Arthur Lessac

Background of Arthur Lessac

Like many other famous persons, Arthur Lessac had a specific life path that brought him to the development of his work. Arthur was born in Israel on September 9th, 1909 (The remarkable story of Arthur Lessac, the renowned vocal coach, 2010). Two years later, his family moved to the United States, but his parents marriage fell apart, and Arthur was left in an orphanage where he grew up until the Lessac family adopted him when he was twelve years old. Soon, the remarkable gift of the young boy was noticed, and he won a scholarship to the Eastman School of Music in Rochester, New York (The remarkable story of Arthur Lessac, the renowned vocal coach, 2010). Intended to create a career, Arthur earned Bachelors and Masters degrees in speech from New York University. This stage of his life can be considered one of the most significant ones, as this experience and knowledge were a base for his further work development.

In the next part of his life Arthur was a renowned vocal coach on Broadway. He was teaching students of Stella Adler Theater Studio and rabbis from the Jewish Theological Seminary (The remarkable story of Arthur Lessac, the renowned vocal coach, 2010). As a coach, Arthur attended, many venues across the U.S., Canada, Mexico, Germany, and others. Then, he had experience working with actors at theaters and institutes. Later, Arthur issued two books, which are The Use and Training of the Human Voice and Body Wisdom: The Use and Training of the Human Body (The remarkable story of Arthur Lessac, the renowned vocal coach, 2010). The stages of this coachs work development indicate that the growth was started a New York and contributed by a multicultural approach.

Reasons for Arthur Lessacs Interest in the Movement

There were reasons Arthur Lessac became interested in movement for voice and body training and decided to grow his gift and help others to maser their voice usage. He had always been curious about how the human body and voice can function naturally and instinctively. Arthur had noticed that organic development and following the instinctive motions are crucial for the perfection of voice and body use in tandem. Started from traditional voice training, he began experimenting with innovative techniques named organic instruction. Arthur was interested in how external and internal environments can impact each other and contribute to voice (Lessac, n.d.). He incorporated the knowledge of outer factors, such as ecologies, mysteries, energy powers, and patterning, and tied it to humans personal qualities and harmonic sensing. Therefore, it was a natural gift that made Arthur interested in his voice mastering and unique mindset that enabled the coach not to join the movement but became one of most noticeable representatives of it and the promoter of vocal techniques.

Exercises Used in Arthur Lessacs Work

Arthur Lessacs described hundreds of techniques that are recommended to be utilized for particular goals achieving and different voice users. For instance, Lessac Kinesensic Training is intended for dancers focused on the development of the voice and body in a holistic way through the sensation of movements. It consists of two exercises, the first of which is a breathing technique. It helps dancers to switch their regular method to breath with tightly held abdominal muscles to an optimal body placement with a naturally expanded chest (Humphrey, 2016). The second exercise of the training is Y Buzz intended to facilitate natural relaxation and reduce the stress of the body. The breathing, in this exercise, and humming on Y on a descending scale make vocal folds vibrate. The training assists a dancer in being comfortable with their streams of the natural breath.

Arthur Lessacs Philosophy

Arthur Lessac possesses specific philosophy that fascinates those that are willing to reach the new levels of their voice usage. This famous coach claims that Voice is so much more than tone or timbre, vowels or consonants (Who is Arthur Lessac, n.d. para. 1). This theory makes Arthurs students deepen in how voice is meant to influence listeners, rather than apparent features their apparatuses have. The coach makes it clear that for my meaning of voice, I chose visionarysomeone who lights the way for others (Who is Arthur Lessac, n.d., para. 1). Therefore, the essential thought in Arthurs philosophy is that the voice is not a set of characteristics, not a tool for routine use, but an instrument for enlightening ones who require it the most. Potentially, this philosophy is a reason why Arthur Lessacs movement does not train students to be great actors or orators but rather be influencers.

Benefits of Arthur Lessacs Work and its Relation to Theatre

Arthur Lessacs movement work significantly contributed to the contemporary perception of voice, the way it is used, and the philosophy around it. As a vocal coach, he taught hundreds of young actors, orators, dancers how to master their body movements and voice to influence auditory. Arthur is a founder of the National Academy of Vocal Arts (Nava), which was a laboratory for the further establishment of Lessac Kinesensic Training adopted by hundreds of universities preparing future theater actors. The two mentioned books, written by Arthur, can be considered guides for body training and body wisdom, which is also significantly impacted the growth of many specialists that comprise contemporary theater. Arthur Lessacs Movement Work is a valuable contribution to the entire concept of artists, and other masters of voice preparation, which contributed to theater as well as to other spheres as dancing and moviemaking.

Conclusion

Arthur Lessac is a man with a difficult childhood and an outstanding talent. He is a coach for thousands of actors, dancers, orators, and others. Arthur has a unique philosophy that represents voice as an instrument of influencing, while his teaching incorporates body movements as a vital part of vocal techniques, which was a new approach. Some of Arthurs training exercises implement breathing to make motion and speaking be natural, relaxed, and instinctive. Therefore, Arthur Lessac is one of the most famous coaches in the world because of his substantial contribution to the establishment of the contemporary way of vocal development and the impact on the History of theater.

References

Humphrey, J. (2016). The Ultimate 10-Minute Vocal Warm Up for Dancers. NewMusicalTheatre.

Lessac, A. (n.d.). A quest for the original voice. AmericanTheatre.

The remarkable story of Arthur Lessac, the renowned vocal coach. (2010).

Who is Arthur Lessac? (n.d.).

Louis Spohr was a prolific German composer, violinist, and conductor at the beginning of the early nineteenth century (Weyer M, 1980). He was born in Brunswick in 1784 in Germany. Louis Spohr was considered to be one of the finest composers of his time. His parents were also musicians; his mother was a pianist while his father played a flute. Louis Spohr was introduced to violin by Dufour who had recognized his musical talent 1790s where he composed his first composition (Longyear R, 1988). Violin Concerto was Spohrs first notable compositions, which was successful tour in Northern Germany in 1804(Longyear R, 1988).

Louis Spohr produced more than 150 works with opus numbers, in addition to a number of works without such numbers. He wrote music in all genres (Brown C, 1984). Spohr wrote 16 violin concertos, more than any other composer of his time. Spohr was a noted violinist, and invented the violin chinrest, about 1820 (Weyer M, 1980).

He was also a significant conductor, being one of the first to use a baton a practice unusual at the time and one that alarmed orchestral players in London, who anticipated aggressive intentions (Weyer M, 1980). A baton is usually held in the right hand though some left-handed conductors hold it in the left. The usual way of holding the baton is between the thumb and the first two fingers with the grip in against the palm of the hand.

He also invented rehearsal letters, which are placed periodically throughout a piece of sheet music so that a conductor may save time by asking the orchestra or singers to start playing from letter C (Brown C, 1984). This is a boldface letter of the alphabet in an orchestral score, and its corresponding parts, provides a convenient spot from which to resume rehearsal after a break. Rehearsal letters are most often used in scores of the Romantic era (Brown C, 1984).

Louis Spohr had a chamber music that is a form of classical music, written for a small group of instruments that is performed by a small number of performers and the music can be performed in a small room (Longyear R, 1988). This a series of no fewer than 36 string quartets, as well as four interesting double quartets for two string quartets (Longyear R, 1988).

He also wrote an assortment of other quartets, duos, trios, quintets and sextets, an octet and a nonet, works for solo violin and for solo harp, and works for violin and harp to be played by him and his wife together (Longyear R, 1988).

From the above discussion regarded the works of Louis Spohr who was a recognized conductor of at the beginning of the early nineteenth century it is evident one of significant role of at that time was to compose works which were to be conducted. This in essence gave the conductors a moral authority to dictate how the details of the performance would be executed.

From the discussion above it can be seen that the role of conductor at the beginning of the early nineteenth century was also to play instruments and writing the works.

The role of the conductor has changed change over time. The genesis of this change can be attributed to the need for a central figure to coordinate the performances of ensembles too large or performing music too complex as well as functioning as self-directing entities (Longyear R, 1988). For much of the history of ensemble music, reveals that a conductor was a member of the ensemble, where in most cases was the leader of the first violin section or the keyboard continuo player (Weyer M, 1980).

As the time went on these ensembles became larger and less homogeneous, and as opera became more prevalent, the role of coordinator became separated from that of instrumentalist (Weyer M, 1980). However, it is worth noting that there are a number of modern-day soloists who also handle the conductors role during concertos (Longyear R, 1988).

References

Brown, Clive (1984). Louis Spohr: A Critical Biography. Cambridge University Press.

Weyer, M (1980). Spohr, Louis, The New Grove Dictionary of Music & Musicians, Macmillan Publishers Limited.

Longyear, R (1988). Nineteenth-Century Romanticism in Music. Prentice Hall.

The object selected for analysis is Pair of Jeweled Bracelets, 500-700. The object belongs to Byzantine art and probably was made in Constantinople. It is displayed in the Metropolitan Museum of Art. In general, the character of this art and the ideas underlying it are entirely opposed to the classical, though as it travels westward it becomes inextricably mixed with the classical, which was itself traveling eastward. Its role in the formation of Byzantine art is very considerable, ranking only after the Greek or idealist and the Syrian or realist tendencies.

The objects are two gold bracelets decorated with pearl, amethyst, sapphire, glass, quartz, and emerald plasma. The diameter of bracelets is. 3 1/4 in (8.2 cm). The bracelets are well designed and original in form: beads of harmoniously alternating colors are combined in numerous and varied patterns. They display the great technical mastery of the craftsmen in working the typical materials of jewelry at this period. The first bracelet is made up of several small plaques. The plaques decrease in size from the center to the two ends and are made alternately of gold and sapphire, creating a sophisticated chromatic contrast. Each plaque is pierced with two transverse holes to allow threads to be inserted which are then fixed to a triangular gold element at each end.

The second bracelet consists of rows of beads joined at four points, including the two ends, so as to form three sections. On either side of the central section are two groups of three beads in gold, pearl, amethyst, sapphire, glass, quartz, and emerald plasma at either side. The beads of the central section of the bracelet are larger than the others but are arranged in the same rigid sequence. In the center is a tapering, ridged bead of pearls and, sapphire and at either side are three beads (the central one of gold. The bracelet is fastened by a small gold button inserted between two rings placed at either end.

The royal jewelers of Byzantine relied primarily on a few materials to achieve their creations: gold, faience, amethyst, lapis lazuli, carnelian, turquoise, feldspar, and occasionally silver. Intricate inlays were created by cutting laps, carnelian, turquoise, and feldspar into tiny, beautifully shaped pieces, which were then inserted into cells formed by gold strips attached to a gold base plate. The resulting works combine lustrous arrangements of deep, shining colors with superb technical mastery.

Individual elements were also created from single materials such as gold and amethyst, usually embellished with chased or incised decoration. These components were then assembled into finished pieces of jewelry, with the addition of a variety of beads, some minute, also made from semiprecious stones. In rare instances, gold objects with granulation have been found, but such pieces are believed to have been imported into Byzantine from areas in the northern Mediterranean (Obolensky 87).

Taking into account the historical context, it is possible to say that early in the Christian era a rapid elaboration took place, and numerous roof and wall mosaics of large proportions are already to be found in the Roman and early Byzantine art of the third and following centuries. By the fifth century, they have become general, and they remain so in Byzantine lands until the Empire becomes impoverished and patrons are no longer able to sustain the immense expense of furnishing a mosaic decoration for a whole building. The fundamentally religious character of Byzantine art is not reflected in these bracelets (Haldon 76).

Compared to other pieces of jewelry, these bracelets are a typical example of the Byzantine era and art. Finger-rings of gold, silver, copper, and bronze, with engraved inscriptions or with stones or pastes set in the bezel, are common throughout the whole period. Constantinople was the main center, but they were doubtless also produced in every large town. They usually bear monograms or symbols of a religious character, such as fish, or occasionally figures of saints.

Ear-rings, brooches, and necklaces sometimes show very excellent workmanship, but only very few examples have come down to us since such objects were not usually placed in the tombs as in the pagan world and, being of valuable material, they were probably in most cases melted down at the sack of Constantinople by the crusaders ( 1204). Goldwork, filigree, and especially orfèvrerie cloisonné, where gems or pastes are set in little frames or clasps on the main background, were types of work favored by the rich. Cameos were again essentially a luxury product, and they appear only in the first period. (Obolensky 87).

In general, historians know far less about Byzantine jewelry in early times than we do of pagan, and at a later date, purely ornamental jewelry was much more of a Gothic than Byzantine art. In the Byzantine world, in fact, only objects of a religious character seem to have been universally popular, and these were more in the nature of talismans than adornments, so that each person would only possess a single specimen. Most important of these were pendant crosses of gold, silver, copper, or enamel. They usually open so as to contain the relics of some saint. A famous example is the Beresford Hope cross in the Victoria and Albert Museum (Pl. 39, a). Crucifixes, as in the western world, were never made (Whittow 01).

During all this period Constantinople was, without doubt, the most important center of production, for the royal looms were situated there, and the larger stuffs, especially those bearing eagles, are definitely imperial. But certain other places were noted for the manufacture of textiles, the most important being Cyprus and the towns of Thebes and Corinth in Greece (Phillips 34). It was from these towns that weavers were deported to Sicily in the twelfth century, and they founded a flourishing industry in the island, which was responsible for some first-class work both for Christian and for Islamic patrons.

As time goes on the line drawing and the incised techniques tend to combine, and we see as well an elaboration of the design by the addition of colored glazes, green and brown being most usual, though manganese also occurs. As a result of excavations on Christian sites which have been undertaken since the War, most notably at Constantinople and in Bulgaria, certain new aspects of Byzantine art are being opened up before us. Among the most important of these may be classed the technique of incrustation. The most elaborate example that we know so far is the standing figure of St. Eudoxia of the tenth or eleventh century, now in the Stambul Museum, made up of stones of various colors set in an incised marble slab. Numerous fragments of similar technique came from the same site, the church of St. Mary Panachrantos at Constantinople; others of the ninth or tenth century, which are less elaborate, have appeared at Preslav in Bulgaria.

Appendix

Works Cited

Haldon, J.F. State, Army and Society in Byzantium. Approaches to Military, Social and Adminitrative History. Aldershot: Variorum, 1005.

Obolensky, D. The Byzantine Commonwealth. Eastern Europe 500-1453. London: Weidenfeld & Nicholson, 2001.

Phillips, Clare, Jewelry: From Antiquity of Present. NY: Thames and Hudson, 1996.

Whittow, M. The Making of Orthodox Byzantium, 600-1025. London: Macmillan, 1996.

The motet Hui main/Hec dies represents the early medieval music and shows a unique combination of the musical; a palette of the period and the text. It is important to note that in this motet each voice has its own sharply marked characteristics. In the motet, the tenor melody is repeated five times, but with vitiation composed above it each time. It is possible to say that this rhythmic repletion adds color to melodic capacity. This repletion coincides with syntagma in the text and can be seen as a logical ending of the sentence. The author describes how he meets the maiden in an orchard in the month of May.

Each line of the text logically fits the musical phrase. These five lines combine the freedom of expansive melismatic lines with the precision of an almost pure counterpoint. Dissonances on longer notes are avoided; as a consequence, the intervals between the upper voices. The length and shape of the phrases are predictable, almost rational. There are no constant rhythmic ebb and flow. The cadence formulas are carefully differentiated, although there is a certain preference for the fall of a third into the penultimate note (Apel, 953, p. 272).

In this motet, there is an inappropriateness between the two parts. This structure reflects the textual meaning and rhythmic structure of the text (7-11 lines of the text). The juxtaposition of f -b in the top voice and some more or less hidden tritone intervals produce a sound reminiscent of music; this can also be said of the passage, which may be intended as word-painting. The words are set with almost no regard for spoken word accents (which in Latin are hypothetical anyway); most syllables are extended melismatically, and in different ways in the two top voices. Despite the amazing variety of detail, the large-scale structure is worked out with arithmetic precision. On the condition that the last chord,) is excluded from the calculation. (Apel, 953, p. 274).

Simple arithmetic proportions are a characteristic of this motet. It is possible to say that this technique helps the composer to follow the rhythm of the text and its musical structure. The motet has several consonances which underline tactual meaning and pity of the narrator (speaker) The addition of a single semibreve at the end of the middle section, which would increase its length, would make the section relate to b +c in the ratio 5:6 (Hoppin, 2002, p. 6).

In this motet, special attention should be paid to the counterpoint. The basic tune was treated like a leading mode in notes of equal length; each note corresponding to one step. The notation in which they are written does not permit an easy interpretation in the regular rhythm found in the motet. The text discloses that the piece is a witty message to a musician colleague. He is being challenged to harmonize the piece, i.e. to put the parts together (Hoppin, 2002, p. 6).

There is a contrast of unison and harmony used as commonplace with choirs. In this motet, the antiphony is passed back and forth from the main motet. In this part, the repetition is exact, both in melody and in rhythm. A mode is repeated in a different rhythm, Intervalic structure adds emotional coloring and emotional tension. The rhythmical patterns are maintained, but the melody is broken up into different parts (Apel,1953, p. 274).

In sum, the composer avoids all strict repetition or sequential patterns; while all the material appears as if it had grown from the mother-antiphon, it is also continuously transformed. The motet has a rather instrumental character, although it might be performed by one good singer alone. The motet shows a unique and successful combination of textual meaning with musical rhymes and patterns which imitate the textual rhythm and literary meaning of the text.

References

Apel, W. (1953). The Notation of Polyphonic Music, 900-1600. Mediaeval Academy of America.

Hoppin, R. H. (2002). Anthology of Medieval Music. W. W. Norton & Company.

Celebrities have much influence over their fans and the general public. As a result, all their actions, associations, and utterances are constantly under public scrutiny. Celebrities have a responsibility to use the power they hold over the public in a morally appropriate manner. However, some celebs often convey messages that hurt other peoples feelings resulting in huge controversies. Ye, formerly known as Kanye Omari West or Kanye West, is one of the most controversial celebrities in the world today. In recent years, the 45-year-old rapper has been in the limelight for the wrong reasons.

His comments and erratic tendencies have attracted much criticism from the public resulting in negative repercussions for his brand. Even though Ye has made significant contributions to the fashion and music industries, drawing a large fan base, a section of the public finds his recent actions extremely disappointing. Yes anti-Jewish comments sparked a new wave of antisemitism across the United States and led to the loss of his lucrative deals.

Yes Anti-Semitic Comments Scandal

Recently, Ye has attracted much public criticism following his anti-Semitic remarks. His anti-Jewish rants began early in October 2022, following intense backlash on his White Lives Matter t-shirt that he wore during the Paris Fashion Week (Sen Gupta). One of the critics was rapper Sean Diddy Combs, who posted a video on Instagram stating he did not support the singers t-shirt, advising the public against purchasing it.

In response, Ye posted a screenshot of his text conversations with Diddy on Instagram, alleging that Combs was being influenced by the Jewish. Ye also threatened to use Diddy as an example to show the Jews that no one could intimidate him. Following the remarks, Meta pulled down Yes post and enforced a restriction on his Instagram account. However, the same evening, Ye returned to Twitter after two years, posting some offensive anti-Jewish comments. One of his posts which was later pulled down, partly read that he would go death con 3 on Jewish people. In the same tweet, he accused the Jews of trying to blackball him and anyone opposing their agenda (Sen Gupta). These remarks triggered much blowback for the rapper.

Yes anti-Semitic comments stirred much condemnation from the public and several groups. In this case, the remarks were criticized by several celebrities, anti-hate groups, and the American-Jewish Committee (Sen Gupta). The Anti-Defamation League also bashed Yes remarks as troubling and dangerous (Sen Gupta). In addition, Kim Kardashian condemned hateful remarks against the Jews and called for an end to the hate speech. Similarly, other celebrities, including Reese Witherspoon, Josh Gad, Amy Schumer, Kylie Jenner, and Florence Pugh, also criticized the rappers comments (Thompson). This proves that many individuals were concerned about the effects of Yes remarks on the public.

The Repercussions of Yes Anti-Semitic Remarks

Yes anti-Jewish comments sparked a new wave of antisemitism among different hate groups in the United States. In this case, several Californian political leaders, including Congresswoman Karen Bass and Los Angeles Mayoral Candidate Scott Weiner, bashed the rapper for anti-Semitic incidents in Los Angeles (Anguiano). Following the artists anti-Jewish comments, members of the Goyim Defense League, an American White Supremacist and anti-Jewish hate group, held protests on the 405 Freeway overpass, where they were recorded giving Nazi salutes (Rector). They also placed a banner on the flyover which read, Kanye is right about the Jews.

In addition, the group has also been linked with disseminating anti-Semitic flyers at the doorsteps of houses in Los Angeles. The leaflets contained statements relating the Covid agendas to the Jewish, while others alleged that the LGBTQ groups and President Bidens administration were controlled by the Jews (Rector). The leaflets were also distributed to neighborhoods in Beverly Hills, with some accusing the Jews of the gun control strategies (Rector). This triggered much fear for the Jewish families living in the affected neighborhoods.

Yes anti-Semitic remarks triggered a series of adverse effects which have critically affected his brand. The musicians Instagram and Twitter accounts were suspended because his statements breached community guidelines. In this case, Meta suspended his Instagram account for 30 days while his Twitter account was locked for an unspecified time (Van Boom and Oscar). This was a big blow to the rapper, who has over 30 million followers on Twitter and about 18 million on Instagram (Van Boom and Oscar). The big following has previously enabled Ye to connect with his fans and promote his music and designs. Nevertheless, after the suspension on the social media platforms, the fashion designer bought Parler, a social media platform popularly associated with the conservatives (Browne). This has left the public speculating whether temporary or permanent bans on social media can limit the spread of hate speech among celebrities such as Ye.

Yes anti-Jewish comments have led to the termination of his working relations with major companies. In this case, Balenciaga, a Paris fashion house, and Kering, its parent company, cut off ties with the designer on 21 October 2022. In a statement to the Womens Wear Daily, the company indicated that it no longer had any relations nor plans to work with Ye (Sen Gupta). However, Kering did not specify the reason behind the termination. In addition, Vogue magazine and its editor-in-chief, Anna Wintour, ended their ties with the rapper after the controversy surrounding his White Lives Matter and anti-Jewish statements (Sen Gupta). The editor and Ye have had long professional ties since 2009.

Similarly, the Creative Artists Agency (CAA), one of the largest talent agencies in Hollywood, severed its connections with the rapper after his anti-Semitic comments (Sen Gupta). Additionally, Jeremy Zimmer, the head of the United Talent Agency (UTA), the rappers former agency before moving to CAA, issued a company memo rallying for the boycott of the artist (Sen Gupta). This shows the intense fallout triggered by the rappers offensive comments.

Following the anti-Jewish remarks, the MRC, a production house, shelved a finished documentary on Ye. The production studio distanced itself from the rapper, citing that supporting the musicians content would amplify his platform (Sen Gupta). Equally, Ye and his G.O.O.D Music label ceased to be part of Def Jam Recording (Van Boom and Oscar). Although, it is essential to note that Kanye Wests Essentials playlist was removed from the Apple Music platform (Van Boom and Oscar).

Moreover, Adidas also severed its ties with Ye, an incident that resulted in a loss of approximately $250 million for the company (Sen Gupta). Adidas statement on 28 October 2022 indicated that the company is intolerant to hate speech or antisemitism. It is presumed that Yes deal with Adidas was worth $1.5 billion, implying that the rappers current net worth is around $400 million (Sen Gupta). Following Adidas termination of its working relations with Ye, the rapper appeared at their Los Angeles office unannounced, forcing the executives to escort him out of the premises. This proves that his anti-Jewish comments adversely affected his businesses resulting in massive losses.

In another case, JP Morgan Chase severed its ties with the rapper. Nevertheless, some reports indicate that the bank ended its association with Yes Yeezy label on September 20, 2022, even though the news was publicized ten days prior (Sen Gupta). Furthermore, the Gap, which terminated its partnership with Ye in September 2022, has announced its plan to eliminate all Yeezy products from all its stores (Sen Gupta). The company has also closed the YeezyGap.com website following the controversy (Sen Gupta). All these companies severed their ties with the singer due to his offensive remarks and erratic behavior.

Yes non-music activities have suffered a significant blowback from his anti-Jewish comments. In this case, Donda Sports, the artists sports organization, lost two key players after the controversy. Jaylen Brown, a player from Boston Celtics, and Aaron Donald, a Los Angeles Rams defensive tackle, quit the agency (Sen Gupta). In addition, Donda Academy, a Christian private school established by Ye and situated in California, was closed on 27 October 2022, affecting the academic calendar (Van Boom and Oscar). Therefore, Yes anti-Semitic remarks greatly triggered a series of adverse and unintended consequences, particularly for him.

Historical Overview of Other Celebrities Involved in Anti-Semitic Comments

Apart from Ye, several other celebrities have triggered a backlash from anti-hate groups, Jewish organizations, and a section of the public due to their offensive remarks targeting the Jewish people. In this case, Mel Gibson, an American actor, producer, and film director, is renowned for his anti-Semitic comments. For instance, in 1996, during a party, Gibson is alleged to have asked actress Winona Ryder, who is a Jew, whether she was an oven-dodger (Grisar).

The phrase is a derogatory term used to describe individuals of Jewish heritage, presumably in reference to the practice of being burned alive in ovens during the Holocaust. Similarly, in 2006, Gibson was pulled over for drunk driving on the Pacific Coast Highway, where he made derogatory remarks about the Jews and claimed that they were responsible for all the wars globally (Grisar). Nevertheless, Gibson later issued an apology claiming that he did not believe in his offensive comments.

Nick Cannon has also received backlash due to anti-Semitic remarks. Cannon, a musician, television show host, and actor, was criticized for supporting antisemitism on his podcast dubbed Cannons Class (Carter). In the episode aired in 2020, he interviewed Richard Griffin, popularly known as Professor Griff, who is renowned for his belief that Jews cause most of the wickedness that occurs across the world (Carter). During the interview, Cannon asked why people give much power to the theys. In this context, the theys included the Rothschilds, Illuminati, and the Zionists; he also added other anti-Semitic tropes (Carter).

Cannons anti-Jewish comments led to his dismissal from his comedy show Wild N Out by ViacomCBS, the parent company; he was later rehired (Carter). John Galliano is another celebrity who attracted criticism for anti-Semitic remarks. In 2011, Galliano, a House of Dior designer, received blowback for his anti-Jewish verbal assault on a couple at a bar in Paris (Carter). In another scenario, a video of the designer announcing his love for Hitler surfaced, prompting Dior to dismiss him (Carter). Galliano later apologized for his utterances, hoping his atonement would grant him a second chance.

Similarly, Felix Kjellberg, popularly known as PewDiePie, suffered a significant backlash for posting extreme anti-Semitic content (Carter). According to the Wall Street Journal, in 2017, within six months, the gaming vloggers YouTube channel posted nine videos containing Nazi imagery and anti-Semitic humor (Carter). In one of the videos, paid performers held a sign with the inscription Death to all Jews (Carter). In addition, PewDiePie also filmed himself performing a Nazi heil salute. Although the YouTuber defended his content as being satirical rather than anti-Semitic, Disney terminated its working relationships with him (Carter). He later apologized for his Death to all Jews sketch admitting that his joke had far-reaching negative implications.

In conclusion, Ye has become one of the most controversial celebrities worldwide in recent years. From changing his name to posting offensive racial remarks, the rapper has gained a reputation for triggering public debates. However, his growing erratic behavior and constant anti-Semitic remarks have left many concerned that his sentiments may embolden the White Supremacist and other hate groups. Yes anti-Jewish comments have sparked a massive backlash resulting in the loss of several lucrative deals, adversely affecting his businesses. In this case, numerous brands, including Adidas, the Gap, and Balenciaga, have terminated their ties with the rapper. In addition, several agencies, including CAA and MRC, have also severed relations with the controversial artist.

Similarly, his non-music activities, such as Donda Sports and the Donda Academy, have also been adversely affected.

Nevertheless, Ye is not the only celebrity to comment negatively against the Jews. Public figures, including Mel Gibson, Nick Cannon, and John Galliano, have also been linked to anti-Semitic remarks. Therefore, it is yet to be established whether the ban on social media and the loss of his business deals will help the rapper reform and amend his ways.

Works Cited

Anguiano, Dani. Chorus of Outrage Against Kanye West Grows as Antisemitic Incidents Rattle LA. The Guardian, 2022. Web.

Browne, Ryan. Kanye West, Who Now Goes by Ye, Agrees to Buy Conservative Social Media Platform Parler, Company Says. CNBC, 2022. Web.

Carter, Simone. Celebs Besides Kanye Who Faced Backlash Over Antisemitic Comments. Newsweek, 2022. Web.

Grisar, PJ. Absolutely Every Anti-Semitic Thing Mel Gibson Has Ever Said. Forward, 2020. Web.

Rector, Kelvin. More Antisemitic Hate Seen in L.A. After Kanye Wests Hateful Rants. Los Angeles Times, 2022. Web.

Sen Gupta, Manas. A Complete Timeline of the Kanye West Controversy and His Fallout with Brands. Augustman, 2022. Web.

Thompson, Eliza. Reese Witherspoon, Florence Pugh and More Stand Against Anti-Semitism After Kanye West Controversy. US Magazine, 2022. Web.

Van Boom, Daniel and Oscar Gonzalez. Why Ye Has Been Locked Out of Instagram Again. CNET, 2022. Web.

It is important to note that many art movements and their corresponding styles are responses to the previous artistic approaches. While some of these movements were taking and adopting the ideas from the preceding ones, others were focused on integrating completely opposing frameworks. The given analysis will primarily focus on impressionism and post-impressionism, which was a response to the former movement. Both styles heavily rely on utilizing visible brushstrokes, color saturations, and form impressions, but post-impressionists rejected the idea of pointillism and naturalism in impressionism.

Figure 1 above showcases the post-impressionist art by Vincent van Gogh, whereas Figure 2 below is an example of impressionist art by Claude Monet. Firstly, the most critical difference is the use of color, specifically color contrast. Impressionists were most concerned with naturalistic approaches and realistic depictions of light, which is evident in Monets work. However, post-impressionists did not want to sacrifice the color contrast availability for natural light depiction, which is why van Goghs painting is more saturated as if it was a photo taken in a brightly lit room (Pollitt, 2015). Secondly, both artworks still remain truthful to the essence of impressionist design, style, and principles of using visible brushstrokes. Figures 1 and 2 demonstrate a clearly patterned media of footprints left by brushes, and the content of the painting is centered around impressing the forms through colors.

In conclusion, both impressionism and post-impressionism styles heavily rely on utilizing visible brushstrokes, color saturations, and form impressions, but post-impressionists rejected the idea of pointillism and naturalism in impressionism. It should be noted that post-impressionists did not want to sacrifice the color contrast availability for natural light depiction. However, both movements still remain truthful to the essence of impressionist design, style, and principles of using visible brushstrokes.

Reference

Pollitt, B. (2015). Vincent van Gogh, self-portrait with bandaged ear. Smart History. Web.