Category: Art 2722

Art is one of the unique forms which reflect the personal, social, and cultural values of society. Art, in different forms and genres, can be seen as a philosophy of life reflecting the values, traditions, and feelings of people. The philosophy of art can be seen as individual opinion buttressed by rhetorical skills that contain truth. Different art forms are more properly regarded as the systematic and critical assessment of the grounds for belief. It characteristically aspires to something motivated than the rhetorical and political, and presumes to be focused on things more substantial than mere assertion (Singer, 2009). Since ancient times, love has been an important and topical theme in art reflecting unique feelings and relations between people, between God and a person, and between a person and nature (Buchholz et al 2007). Different art forms and genres interpret art as a strong feeling experienced by humans only.

Since ancient times, love has been the main theme in lyrics, painting, and music. For instance, in ancient Greece, love scenes were depicted in pottery and sculpture including such works as Man and boy about to make love Attic red-figure plate 530-430 BCE., Theseus and Amphitrite Attic Red Figure Vase Painting  Greek Pottery 5th BCE. In ancient Greece and Rome, love was perceived as a sexual feeling (love between men and women, and love between men), and as a uniquely authentic and emotional feeling. Ancient painters and artists try to penetrate more and more deeply into human nature, always keeping hold of the total experience by seeing the analyzed elements of love in the whole, distinguished but not separated from one another (Singer, 2009). Analysis of love relations was not understood after a model of an operation necessarily involving a division of parts from a whole which then has to be put back together again-as if our task were similar to dissecting a specimen in the laboratory. In Ancient Rome, special attention was paid to homosexual relations and true love between men.

The most well-known work of this period is Young man and teenager engaging in sex, a fragment of a black-figure Attic cup, 550 BCE525 BCE There is no need to fear that the achievement of love relations about human psychic life has to lead to separate the parts in that way. Ancient art is thus founded in the human need to make sense of the world and our place in it. These themes of love reflected general social norms and principles based on free love relations and the increasing role of freedom in this sphere. What distinguishes it from mere individual viewpoint and naïveté is its rejection of passionate convictions as adequate grounds for belief and action and its commitment to careful examination of cultural values and principles (Buchholz et al 2007).

In contrast to the previous period, the authentic perception of love was changed greatly. During the Middle Ages in Europe, the theme of love was influenced by the increasing role of church and religion in the life of citizens. The theme of love was not depicted openly but artists gave some hints to viewers that romantic relations take place between two people. The Canterbury Tales by J. Chaucer vividly portray love relations between low and middle-class townspeople. This example allows us to say that since a person is not a simple being, only two courses are open: to advocate darkness as a method or to analyze by distinguishing within unity-for there is no need to join up what is distinguished but never separated. It is only a matter of seeing the love and with precision what is first seen as a blurred and haphazard whole. It is a manifestation of conscious experience in order to see each part as a part, which means to see it within the whole, with all the other parts (Singer, 2009).

During the Middle Ages, love for God was the main and the core theme of paintings.

For instance, while experiencing divine love, a common man may also be experiencing the warmth of God, the sweetness of the wind, the glory of light, and movement in nature. These can be distractions from attending to and loving another person. Love can also be integrated into the religious experience. The paintings depicted holy figures and people important to Church. It was a period of symbolism in a painting depicting divine love to God and the submission of a human. The most prominent painters of this period were the Florentine Giotto di Bondone (1266/761337) and the Roman Pietro Cavallini (ca. 1240after ca. 1330). They depicted the glory of God and his power as a symbol of the loved one or something to rejoice in for the sake of the loved one (Singer, 2009). For every religious person, love was accepted as a gift and depicted in frescos. So also hunger and tiredness were merely concurrent experiences, distracting from and so in disagreement with the experience of Gods love. These painters took into the full experience of Gods love, as when they are with cognizant freedom chosen and gladly endured in serving the loved one. (Buchholz et al 2007).

Similar to the previous interpretation of art, the style of Byzantine Art was based on formal expressions and symbolic descriptions of events and people. Though, to distinguish the parts requires focusing attention now on one and now on another and now on the interaction between these as, for instance, one may in ordinary observation note the color and the contour of the divine face, the arch of the eyebrows, the curve of the lips, and the relation between these. For instance, the image of the Virgin with a child reflects the mothers love and true internal feelings and emotions. This does not require isolating the parts of love and emotions. Rather, each element is attended to precisely as a part within a whole which viewers desire to apprehend, the human face (Singer, 2009).

In contrast to the previous historical and cultural period of time, the period of Renaissance portrayed love as a unique feeling typical for all social classes and nations. The most prominent artists of this period were Michelangelo, Alberti, Raphael, Donatello, etc. The unique feature of this period was realism reflected in all genres and styles. These psychic and somatic elements of love insofar as they form a unity in consciousness were called love in the sense of the total concrete experience of love. All the views of love the artists had seen in the dialectical way of opinions found some justifying evidence within this total experience-at least in the experience as it typically arises. For instance, the painting, Creation of Adam by Michelangelo depicts the love relations and nude bodies of Adam and young nymphs. This period depicts that what that fundamental or core part of the total experience remains obscure in unreflected experience. There was some undefined insight that enables artists up to a certain point to generally agree on what it was not. Here artists all find themselves in a position similar to that of the philosopher whom critics describe as having that first basic instinct (Singer, 2009). The artist could not communicate it positively, and could not even grasp it in reflection. It showed itself in its negative power (Stokstad, 2004).

The sculpture was one of the main art forms in Italy during the Renaissance. The famous sculpture of David by Michelangelo describes a beautiful human body loved and appraised by Italians. During this period, artists have not yet formulated it for themselves and do not quite know what it is until they give it expression. But they know when they have not been faithful to it. So with the experience of love. Viewers know very well up to a point what within the total experience is not the vivifying root that makes the experience of love (Buchholz et al 2007).

The period of Romanticism and in painting, music, literature, and architecture reflected a love of man to nature and the surrounding. Romanticism in literature was marked by a trend that determined a conceptually new vision of reality and the spiritual world. In Ireland, no native literature evolved amongst an overwhelmingly Catholic populace ruled and penalized by an Anglo-Irish hierarchy. But the countrys attachment to Rome gave it its own cultural links with the Continent via the Irish Colleges in France and those native Irishmen who attended French or Italian military academies or became engaged in business overseas. The Lake poets included Robert Southey, Wordsworth, Coleridge, William Cobbett, William Blake, etc.

During this period, what was brought to light by this mode of reflection on experience was not brought into the light of consciousness for the first time. It was in consciousness but usually escaped clear awareness because attention was focused elsewhere. As far as any clear and discriminating awareness goes, most of what was in artistic consciousness was as unknown as what was in the unconscious, and sometimes much harder to get into the focus of discriminating attention than it was to bring into consciousness the content of the lifeless. British Romanticism was represented by William Hogarth, Thomas Gainsborough, ir Joshua Reynolds, Joseph Wright of Derby, George Stubbs, and John Constable. The French Romantic movement was represented by Eugene Delacroix, Theodore Gericault, Jacques-Louis David, Anne-Louis Girodet-Trioson, Antoine-Jean Gros, Adelaide Labelle-Guiard. The theme of love was free in interpretation but it was influenced by the theme of nature and love to the environment. Romantic love dominated in relations between people portrayed by these artists (Buchholz et al 2007).

The principal effort was not to suggest what experience might imply nor what it demanded its intelligibility but brought the obscure because of profound elements of conscious experience into the light of attention. Love was more accurate to say the effort was to bring the light of methodically moving attention to bear on the obscure depths of the knowledge of love. When the conceptual analysis was used, it was ordinarily to suggest directions for the movement of attention or to confirm what was discerned by showing that what viewers have seen was what they should have expected to see since the intelligibility of what they started with would not allow it to be otherwise (Buchholz et al 2007).

During the Romantic period, the feeling of love referred to a sensation of touch or to an experience of pain or pleasure, as well as to what the audience called emotion or passion. In painting, love was sometimes limited in meaning to a response at the sensuous rather than at the spiritual level. Passion was limited to mean only a very strong emotion or even only sexual emotion (Sternberg and Weis 20090. On the other hand, love was broadened to mean any reception of influence from reality, the opposite of action. Affection was not as liable to these ambiguities; its meaning was broad enough to include the experiences of happiness and sorrow, love and hate, desire, fear, etc., both mild as well as intense, spiritual as well as sumptuous; but it was not commonly broadened out into a meaning such as that which obsession had in its broadest sense. Another description of love was the sentiment: this referred to an opinion charged with affection rather than to the affection itself and easily connoted to artificial or exaggerated affection (Singer, 2009).

The modern period defines art as sexual desire and the ideal of freedom and liberty so important for a modern man. The main genres of art include impressionism, expressionism, Fauvism, Cubism, Dadaism, and Surrealism. The main element of these trends are freedom of love which means the power of self-determination by choice which is not stipulated by any condition or cause whether extrinsic to the artist or intrinsic to the artist but extrinsic to the act of choosing. It was the power by which the artist responsibly approved or disapproved social relations and morals about love and sexuality affirmed or negated social morals of love, my spontaneous affective responses. All these had some unity in as much as they were all responses of this one personal subject (Buchholz et al 2007).

They did not form anything approaching unity in the sense of being harmoniously integrated. Rather, there were usually tensions and collisions and confusions among the love scene in painting (Sternberg and Weis 20090. Limited in what artists could sense or understanding of the object at any one moment and apprehending the object of love under one aspect and under another; reacting with ambivalent affections to the; loved object under different aspects; influenced in our perception, understanding, and affections, by our temperament and by the effects of education, environment, personal romantic experiences, and past decisions; drawn one way by the spirit and another way by sensuality, one way in spirit by kind aspirations and another by selfishness-caught in all these conflicts, artists has to bring into play the act of freedom of love by which people (more or less in possession of their lovers, depending on the degree of effective freedom at the moment) accepted one of the conflicting alternatives and affirmed it as the chosen expression of our free and responsible selves (Janson 2004).

One of the prominent and unique artists of the period was the Mexican painter, Frida Kahlo. In her works, she describes bodily reactions and refers to those elements in the experience such as accelerated heartbeat, blushing and tears, constriction of the throat, sexual (that is, physical vs. emotional) excitement, sighs, gestures, smiles (Janson 2004). These appear most visibly in very intense experiences, but some of them are readily noticeable to some degree in any experience of love. The free choice of Frida changes impulsive love from a merely necessary response into a chosen love and so renders it a fully human, individuality responsible, self-possessed, act of person. For Frida, love is not itself the free choice nor in essence freely chosen. If it were, people would not find themselves making a free decision in opposition to impulsive love. But this is a very common experience for Frida and her surrounding (Stokstad, 2004). This way of proceeding gives her understanding of the experience and makes intelligent discussion about love difficult or impossible. Her paintings depict that if love is fundamentally a freely chosen act, the question remains, what is the act which is generously chosen? Is it freely chosen wish or delight or compassion? The fundamental question is answered by each viewer individually (Janson 2004).

The standard art-historical method of understanding surrealism and the dada movement is to see it as representing the legacy of French artists such as Gauguin, Seurat, Van Gogh, and Cézanne, alongside a general shift of sensibility that had been affected by European Symbolism in the 1880s and 1890s. In the paintings of Cézanne and Gauguin, for example, love was flattened out and color distorted in a radical departure from naturalism. Such elements of love relations paved the way for the abandonment of Renaissance pictorial principles, such as linear perspective, in Picassos watershed painting of 1907, the proto-Cubist Les Demoiselles dAvignon. At the same time, German Expressionism and French Fauvism experimented further with expressive uses of color. For these artists, love is a free choice but not a cognitive act or a physiological reaction (Stokstad, 2004). By the above process of removal, viewers and artists have readily arrived at the conclusion that the fundamental element among all those elements noted in the concrete experience of love is to be found in the emotional acts (Janson 2004).

In sum, during all historical periods of time, the visualizations of art also have significant affinities with sociology and social theory. Different interpretations of love and romantic relations were a direct result of social and cultural traditions of a nation or historical period. As a matter, of fact, the main reason for attending to the other elements of the concrete experience is to enable artists from different periods to keep the affections in a concrete perspective and also to set up the structure within which the audience can work out a coherent picture of loves interpretation with the other elements within the totality Some of them do make love scenes ontological energy running through reality; when other describes love symbolically as love to nature or God; some artists speak of love as it appears in conscious human experience, others speak of affection, whether passion or joy or concern or benevolence, etc. Many artists speak of love as union, presence, co-existence. But such prefer to depict it as vague and of little help in understanding human relations unless the act which constitutes the love to divine power is identified. Art and love as its main theme inextricable cultural environment, its deep involvement in shaping and maintaining social relations, and the profound extent to which its meanings are socially mediated and developed are each pivotal concerns for contemporary artists and audiences.

References

Buchholz, E. L., Kaeppele, S., Hille, K., Stotland, I. 2007, Art: A World History. Abrams Books.

Janson, A. F. 2004, History of Art. Prentice Hall; 6th edition.

Singer, J. 2009, Philosophy of Love: A Partial Summing-Up (Irving Singer Library). MIT Press.

Sternberg, R.J., Weis, K. 2009, The New Psychology of Love. Yale University Press; Reprint edition.

Stokstad, M. 2004, Art History. Prentice Hall; 2 edition.

Purpose, Question at Issue, and Assumptions

The live concert I viewed is the Queens show at Live Aid in 1985 (Queen  Live at LIVE). I will analyze the event and one of the songs, in particular, Bohemian Rhapsody. The songs author is Freddie Mercury, the lead vocalist of Queen. I have chosen Bohemian Rhapsody as it is an artwork of value; it can be considered one of the greatest works by Mercury.

The song is notable as it does not convey a clearly outlined message but allows the listeners to find the meaning themselves and reflect on the artists life. I viewed the video of the live performance on February 10 at a local movie theatre. The concert was screened in relation to the British Academy of Film and Theatre Award (BAFTA), where the movie Bohemian Rhapsody was nominated for several awards (The Full List of Winners). By completing this analysis, I want to stress the significance of Mercurys and Queens works and explain the meaning of one of the most famous of them.

Bohemian Rhapsody is a song that has caused many questions and assumptions because its author did not provide much information about it. Mercury could have created Bohemian Rhapsody for various reasons. One of the possible ones is that the singer wanted to produce a piece of music that would make a revolution in its time. The song is outstanding as it combines classical and rock music; its lyrics can be interpreted differently. Mercury could have wanted to gain public interest in Queens and propel its works to the next level.

Information

Queens music was not particularly influenced by historical conditions but was linked to societal ones. Mercurys works reflected the changes in his socio-economic status when he moved to Great Britain from Zanzibar. The artist changed his name to establish a sense of belonging with the society and match with his inner self. In addition, his songs showed his thoughts on sexuality and personal relationships. Although many of them do not have a clear meaning, it is possible to see that the artist uses his works to reflect on his feelings and struggles. Mercury did not want to adhere to the societal norms and roles, which was also shown in his music and flamboyant appearance on stage.

Points of View

To many people, Mercurys and Queens works are outstanding, brilliant, and controversial at the same time. Mercury had a unique and recognizable voice, which contributed to the bands success. At the same time, his performances on stage were memorable for his energy, costumes, and ability to communicate with the crowd. For some people, however, Mercurys stage image and works were difficult to comprehend.

Bohemian Rhapsody received both appreciation and criticism as it was a unique piece of art that many people could not understand. It was listed both in all-time best and in worst singles (Gilmore). Mercury refused to discuss the meaning of the song in detail, which also made it unpopular among some fans. However, Bohemian Rhapsody is a commercial success; currently, it is the most-streamed song from the 20th century (Beaumont-Thomas). Thus, it is possible to say that public opinion on the song is positive.

Implications and Consequences

As the meaning of the song is obscure, it is only possible to guess whether it was related to a particular cause. However, the concert I viewed supported the relief of famine-stricken Africans and aimed to raise money for the cause. The song was probably included in the setlist because of its high popularity among the public, which allowed attracting viewers attention to the issue. Queens performance contributed to raising more than $38 million for the cause (1985: Live Aid Makes).

Conclusions and Interpretations

Considering the success of the song and the fact that its mystique still attracts public attention, it is possible to say that Mercury achieved his goal of creating an outstanding piece of music. The artist produced a truly revolutionary song that showed the public that Queen was not only a notable rock band but a group of talented musicians who could work in various genres. In addition, although the song is longer than the ones typically broadcasted on the radio, it quickly became one of the most popular singles.

Core Values

The core values of the class involve the evolvement of all individuals minds, bodies, and spirits, which will lead to a balanced life. This paper aligns with this value as it allows one to reflect on the work of art, its background, goals, and meaning. Moreover, the report provides a discussion of the artists thoughts and opinions, which individuals can use for personal development.

Works Cited

1985: Live Aid Makes Millions for Africa. BBC Home. Web.

Queen  Live at LIVE AID 1985/07/13. YouTube, uploaded by Simon Christensen. 2014. Web.

The Full List of Winners at the 2019 Bafta Film Awards. The Guardian. 2019. Web.

Beaumont-Thomas, Ben. Queens Bohemian Rhapsody Becomes Most Streamed Song From 20th Century. The Guardian. 2018. Web.

Gilmore, Mikal. Queens Tragic Rhapsody. Rolling Stone, 2014. Web.

The creative activity of Jackson Pollock raised much criticism and doubts concerning its significance in the world of art and the level of professionalism and artistic talent included in it even at the time of Pollocks life. The reason for such prejudice can be seen in the unique, individual style of his paintings that he produced with the subconscious motives, pouring and dripping the paint chaotically on the canvas; but at the same time, the reasons for such antipathy towards him can be found much deeper, in the public perception of abstract impressionism on the whole, which Pollock represented throughout his life.

The matter for such misunderstanding and refusal to accept the artistic tendency by the critics is in the ideology of overall accessibility of art by people around the world and the easiness with which the works of art can be created. Pollock argues that every person in the world can paint his or her own works without any significant effort, as he did, and declared art as the tool for communicating the subconscious in reality so that it found its exit to the world. The style of Pollock, thoughtlessly moving around the canvas and pouring oil paint on the canvas so that the lines of his movements were fixed on it in the multi-dimensional, rich and deep form, giving the viewer the full understanding of emotions, personal feelings of the author, yielded him many followers and made the style popular  this technique can be seen in Convergence, one of the most famous works of Pollock created in color.

Looking at Convergence painted by the artist in 1952, it is hard to say whether Pollock really had a talent or simply publicized his life and gained his reputation and fame due to his scandal life (Jackson Pollock, 2009). But one thing is surely clear  Pollock and his contemporaries have managed to create a new trend, a new dimension of abstract impressionism, which is clearly a contribution to world art and an innovation in the sphere of perceiving art by fans and appreciators of artistic talents. Pollock dedicated his creative activity to prove the fact that he was no genius and had no talent, so he conducted that activity to find salvation for his soul, to find the refuge for his worries and personal drama. He was a personality with many paradoxes, much worry and change troubled his soul and he looked for solutions. It is no secret that there is a huge number of people who cannot find harmony with themselves in the fussy and problematic world concealing challenges at each step the human does. People have become the slaves inside their bodies and heads and have no refuge from the horror that often exists in the seemingly normal average citizen. There is a personal drama in everyone, but the thing is whether everyone has learned how to get rid of it, how to transform it into some constructive, beautiful thing that will relieve him or her and will bring joy and pleasure to others. Pollock managed to find that salvation, and the theory he propagated in his lifetime was that everyone could (Gurney, 2009).

His famous work Convergence is a living example of such sublimation of inner paradoxes, feelings, and emotions into a material work. Pollocks main idea was that the painter has to subdue to the subconscious and only this way he would be able to follow the artistic path. Thus, Convergence proves this point  looking at the gentle lines mixed with energetic color splashes it is possible to see Pollocks soul, contradictory, unstable, fierce, and sensitive at the same moment (Gurney, 2009). The individual and highly personal touch with which Pollock created each of his works taken alone already prove the significant place of his art in the world of painting  there are hardly many works of painters that were created with such passion and enthusiasm, opening so much sacred and passionate as Pollock did every time he came up to the clean canvas. So, it is possible to say that this painter together with his contemporaries opened a new era of public art which has become not a subject of admiration but a tool for self-realization that can be used by everyone, which is undoubtedly an artistic breakthrough of the 20^th century.

References

Gurney, T. (2009). Convergence Jackson Pollock Painting. Web.

Jackson Pollock. (2009). In Encyclopædia Britannica. Web.

Studying the meanings that emerge at the intersection of the authorial intent and the choice of medium and stylistic tools used to convey the key ideas is one of the most exciting aspects of analyzing artworks. Therefore, the described process of studying the connections between the content and context, form and function, as well as the techniques that can be used with different visual media to convey a particular idea, is the focus of the curatorial interest described in this paper.

The exploration of the links between the content and context requires a profound knowledge of the visual components that are characteristic of art, in general, and art pieces, in particular. The models of expression that define art are highly varied and mostly restricted only by the extent of authors creativity, which makes the analysis of art pieces a particularly inspiring process. Moreover, given the diversity of tools for artistic expression, it is particularly curious to see how similar ideas are reexamined with the help of different artistic media. If peeling down the layers of any artwork from any era, one will realize that, behind the layers of culture-specific characteristics and ideas pertaining to a particular cultural movement, the emotions are still the same.

Appealing to the audiences willingness to see excitement, joy, anger, and surprise in their purest form, artists have managed to introduce people to new aesthetics and interpretation tools. Ocvirk et al. add that the evolution of style and purpose results in artwork that pushes the boundaries of public acceptability (7). Indeed, the tendency to create new forms that could explore the depth of a specific idea has been known to challenge viewers perception of reality. As a curator, one needs to understand that the idea of artistic expression transcends cultural boundaries, yet culture-specific ideas and philosophies define the unique properties of art pieces.

Herein lies the need to connect art and history when exploring the hidden layers of meanings in art pieces. It could be argued that artwork needs to stand on its own without the context in which it was created to stand the test of time and become a truly valuable element of art to which every viewer can relate. However, understanding the context of an art pieces creation encourages a viewer to embrace the notion of multiculturalism and accept the perception of an author, even if for a moment, to examine the intrinsic value of an artistic piece. As a curator, one has to realize the significance of both the historical perspective and the personal interpretation of the meaning of an artwork, both encouraging visitors to appreciate art for its emotional impact and learn more about the content in which it was created.

The form and the visual representation of artwork are, perhaps, the easiest characteristics to notice, yet interpreting them and placing them in the context of a specific period or movement are challenging tasks. The study of the subject matter will allow delving into the history of art, as well as understanding how the choice of an artistic medium affects the further process and the result. For instance, the analysis of variety and proportion in an art piece will inform one about the emotional impact that an artist intended to produce. Comparing the extent of personal impression with the emotional impact that the picture produced on its contemporaries, one may infer the changes that have been observed over time in the interpretation and perception of art, as well as the extent of cultural differences that have facilitated a shift in the understanding of the artwork.

The analysis of the form of an art piece will also entail further discussion about the change in the understanding of the correlation between form and function as intrinsic characteristics of an art piece. The interplay between form and function becomes particularly interesting when considering the phenomena such as chiaroscuro in painting (Ocvirk et al. 49). In the provided example, the use of light and shadow allows placing the emphasis on particular aspects of a drawing, managing the focus of a viewer and, thus, creating the required impression to convey the expected emotion (Huntsman 122). Similarly, the daring approaches toward representing reality used by impressionists and representatives of other movements expanded and perfected the idea challenging the perception of reality.

While the described curatorial interest applies directly to paintings and especially the art pieces belonging to the eras of Impressionism, Cubism, and Post-Modernism, it also allows scrutinizing contemporary art pieces as the representations of the Metamodernism (Navas 194). The analysis of how form and function change in transformative works of contemporary artists will provide an insight into the changes in the principles of the art organization. Although the key traditional elements of artwork, such as line, shape, value, texture, and color, will remain objective characteristics of art, the way of interpreting them from a curatorial perspective may alter depending on the content in which they are placed and the emotions that they are expected to elicit.

Overall, the understanding of harmony as the foundational principle of creating art will have to be established to continue the curatorial work and assist people in developing a solid understanding of art. In addition, building in-depth knowledge of how meaning can be conveyed in art through the interplay between form and function will help to catalog key information about artworks and arrange them in a way that allows amplifying the unique characteristics of an art piece or a collection.

Exploring the concept of harmony as one of the essential concepts in art is also connected to the curatorial interest in the question, particularly, the analysis of the form and function in art pieces. Ocvirk et al. define harmony quite vaguely as a pleasing relationship between different sections of a composition (52). However, focusing on harmony as one of the critical constituents of the art analysis will entail a more perceptive view of art and a better understanding of the artwork.

The concept of repetition as an integral part of the form in art is another important subject worth covering from a curatorial perspective. The understanding of form as one of the main methods of establishing the theme and the general mood of an art piece is critical to the ability to render the meaning of the work and place it into a particular context. While repetition as an artistic device is used vastly across different styles and movements to amplify a particular emotion or impression left by a piece of art, the purpose thereof may vary and hinge on the type of art, the era to which it belongs, and other unique properties of the art piece in question. Consequently, as a curator, one has to explore the use of repetition across different art movements and in different eras to establish its purpose in a specific artwork and place it into the appropriate context. The use of repetition as a stylistic choice defined by the trends in a particular movement to which an art piece belongs will allow placing it into a specific category when arranging an exhibition or cataloging them.

Patterns as another element that constitutes artistic form should be listed among the aspects of curatorial interest that one should develop to embrace the emotional weight of art, as well as gain meaningful insight into the authorial intent and the hidden layers of its meaning. A pattern might seem synonymous with repetition since t also implies reiterations of a specific form (Ocvirk et al. 29). However, by definition, a pattern suggests an organized repetition of elements, which introduces harmony into a piece of art. Therefore, introducing a pattern into an art piece can be used as the method of imbuing it with additional meaning and conveying the intended message to a viewer in a new and unique way. Therefore, the study of how the use of patterns in shaping the form of an art object defines its purpose, function, and interpretation, should be regarded as another important subject of a curators focus. The analysis of the subject matter will inform the arrangement and planning of exhibitions, the choice of information that will be presented to the audience, and other activities in which a curator has to be involved.

In addition, as a curator, one has to be aware of the key examples of the specified notions applied in the art to leave a unique impact and produce a memorable impression on audiences. For example, a curator may need to help the audience to study the use of repetition as an artistic tool in the art pieces created by Andy Warhol. Rendering the elements of pop culture in a countless number of reiterations to the point where they lose all of their original meanings and become the epitome of a cultural staple, Warhol managed to construct a unique philosophy of art with the help of repetition and the use of a pattern as the main tool for his artistic expression (Ocvirk et al. 56). The described case can be seen as an accurate, if somewhat overused, an example of repetitions and patterns combined into a single entity to produce an inimitable artistic style that has left a large mark on the evolution of pop art as a genre.

From the curatorial perspective, the use of snippets of information such as the one represented above will help to make the phenomenon of art closer to the intended audiences and allow viewers to recognize the subject matter as a method of expression that can be available to and understood by anyone. After being equipped with a minimum of cultural baggage needed to pout a specific image in perspective, a viewer can explore an art piece from a both analytical and emotional perspective, evaluating the effect that an artwork produces and appreciating it both for its ideas and the visual impression that it makes. As a curator, one should assist the audience in understanding this and building the confidence needed for individual exploration of art. As a result, one will be able to arrange items in a way that helps to manage them and make them valuable to visitors. Thus, people will realize that, at their core, art pieces created across centuries and cultures share the same emotions that connect an artist from Ancient Greece to a resident of a twenty-first-century megalopolis.

To understand the basic principles of arrangement in art and embrace the notion of harmony, one will need to study how form and function intersect in art pieces from a curatorial perspective. As a result, one will develop the ability to identify the intended meaning and possible interpretations of artworks from different sociocultural perspectives. Moreover, the focus on the analysis of form and function as the tools of artistic expression will lead to the historical analysis of artworks and, thus, inform a curator about how information about a specific artwork can be introduced to viewers.

The integration of the described perspective will help to elicit a powerful emotional response in viewers, causing the audience to build their knowledge of art. Moreover, opportunities for managing collections in a way that will allow making them as expressive and informative as possible will emerge. The integration of a deeper understanding of form and function, as well as their use in the historical context of an art piece, will lead to a better arrangement of art installations. Overall, the introduced perspective will cause a significant change in the artistic environment of a museum or an art collection, prompting an emotional response in audiences and encouraging dialogue to discuss art pieces, artistic movements, current trends, and possible changes in the future.

Works Cited

Huntsman, Penny. Thinking about Art: A Thematic Guide to Art History. John Wiley & Sons, 2015.

Nacas, Eduardo. Art, Media Design, and Postproduction: Open Guidelines on Appropriation and Remix. Routledge, 2018.

Ocvirk, Otto G., et al. Art Fundamentals: Theory and Practice. 12th ed., McGraw-Hill, 2013.

Introduction

Edith Piaf was born on 19^th December 1915 and died at the age of 47 in 1963. He was regarded as France most famous musician of all time. Though she was a female artist, her music attracted attention from all genders and generation. She specialized in playing ballad music which was intended to reflect her previous life in the street. Since she launched her career in music, she was able to write so many songs that were appreciated not only in France but also gained recognition in other parts of the world. Some of her most famous hits include La vie en rose released in 1946, Milord released in 1959, Non je ne regrette rien released in 1960 among many others¹. Despite her poor upbringing and poor family background, she managed to climb up the ladder and became one of the world renowned musicians of all time. Therefore, what were the main contributory factors that led to her success in the music industry? This essay will analyze the biography of Edith Piaf in brief and discuss some of the factors that led her success in music. Emphasize will be placed on the issue of gender and how it spearheaded her success.

Edith early life

Edith was born on 19 December 1915 to Annetta Giovanna Maillard and Louis-Alphonse Gassion in Belleville, Paris. Her mother was a café singer while her father was a street acrobat. Due to the nature of the job her parents were doing, it became difficult for them to raise her up and as a result, she lived with her maternal grandmother for a short while before being transferred to Alphonses mother. Alphonses mother ran a brothel and while Edith lived with her, the prostitutes in the brothel were the main people who served the job of baby sitting Edith.

This was not a conducive environment to bring up a child morally and therefore, Edith learnt life the hard way. At the age of seven, Edith suffered from keratitis a type of eye disease that made her almost blind². However, the prostitutes raised money to finance her treatment and she miraculous recovered from the temporary blindness. At the age of 14, she decided to join her father in the street and unlike her father who practiced acrobat; she joined the singing industry with her first debut in music being in France. As she developed her career in music, she separated from his father and decided to go her own way. Consequently, she hired a room in Paris and began performing in the street of Paris and its suburbs.

Edith fell in love at the age of 16 to Louis Dupont a delivery boy and gave birth to her first child at the age of 17. However, the child died of meningitis under the care of Dupont who was solely responsible for baby sitting the child as Edith went on performing in the streets. Her second boyfriend was Albert whose career was being a pimp and as a result, he collected money from Edith every time she could perform in exchange for keeping her out of his prostitution business. She later separated from Albert after her friend Nadia committed suicide in order to avoid practicing prostitution as Albert required.

Gender Contribution towards Ediths success

It should be noted that gender played some role towards Ediths success. The music she played was generally dominated by the male artists but she decided to discover the woman in herself by performing the male dominated career. She performed very well that she caught the attention of many and this made her very famous. Her music also captured the female gender teaching them on issues of love and how to conduct themselves as women. A good example is the La Vie en Rose song in which she addressed the young women on how to conduct them selves when singing³. The song advised the young women how to hold hands and also how to move their arms while singing. As a female artist she was able to command the stage with very expressive manners that attracted many to watch her music. She invested in the stage expressions as part of drawing crowds to her music. She managed to express the truth in her music in a manner that was very natural. According to many historians, Edith was able to succeed in music as a female artist because of her stage appearance mainly her dressing, a glass of wine and also the manner in which she moved her arms and hands. Her skills of presenting her music were admired by many.

Her music came to be admired by many female artists who were now working on their arts, inspirations and also craftsmanship in order to get audience from the media. The female artists are shaped by their work, their image and also public personality. Being a female artist really favored her career as a great entertainer especially in the night clubs where her music was greatly focused. Her gender also allowed her to connect with many people through her friendly nature. This enabled her to travel to other countries to perform her music especially in the US and later her music became international hits. Being a female artist with a great voice her music was liked by many funs. Edith had taken the advantage of the female gender as a source of power. The female gender in history is regarded as decorative and pleasing to the eye⁴. It is always a defensive weapon for most women and especially those who know how to express themselves. Ediths music especially in matters of love was well expressed in her music, her voice and also the body language. In those days, sex and recording of music was very crucial. Good body expression was a marketing tool and this was Ediths strength as a female artist.

The male artist could not be compared to her expression and these favored her music greatly. Her personality was a symbol of lifestyle for many of her funs. The female gender is able to master the needs of the audience and deliver it as it is demanded. This way the women are able to entertain their audience using their music and this led to the success of Edith. The creative role of women in music cannot be compared to the male gender. The body expression of women is especially a great role of selling music since they are able to express themselves in a number of ways especially using fashion and body language besides having a very attractive voice⁵. However it is important to note the success of women in music has not been possible without the male gender influence. Edith was taught how to express herself in music by her male teacher.

It is with no doubt that her teacher was able to instill in her those qualities that are easily expressed by women and this influenced her music a lot. The expression of passion by the female artist has great influence in music. Women are better positioned to express their feelings and emotions. They are also able to address their problems and also the problems that are faced by the women in the society. For example Edith was able to address the issues of gay people within the society. She blamed the women for contributing towards men being gay by neglecting them. The female artists therefore have strong messages in their songs and this greatly influenced Edith music. Having grown in an environment of prostitute women, Edith was very concerned about the problems of women in the society and this was well expressed in her music.

Conclusion

In conclusion, the female gender is a symbol of power in music. It addresses many issues within the society. Women are able to sell and succeed in music owing to their gender. Being a female artist one is able to express themselves using their body language and also emotions to bring out the meaning of the message in their songs. Most female artists have great voices and this attracts a lot of audience. The way one presents him/herself is also another consideration in music. The dressing code in the female artists attracts a lot of people to the music. This can be traced back to Edith music and how she dressed when she was performing. Looking at the life of Edith and her success in music, women can do very well in the traditionally male dominated field of music. Women will always be appreciated as good performers in music mainly because of their beauty, sweet voices and body expression⁶. Women who take advantage of these attributes always succeed in music as great performers.

References

Alexis Andrews, 2008. Edith Piaf records showcase the Little Sparrows Legacy. Sage publications, p8-31.

Bernstein, Jane, 2003. Womens voices Across Musical Worlds. University Press of New England, p23-42.

Edith Piaf, 1997. Edith Piaf Song Collection. Hal Leonard Corporation, p8-17.

Margaret Crosland, 2007. A Cry from the Heart: The Biography of Edith Piaf.Arcadia Books publishers, p16-28.

Neuls-Bates, Carol, 1982. Women in Music: An Anthology of Source Readings from the middle Ages to the Present. New York: Harper and Rowp 14-67.

Footnotes

1. Piaf Edith, 1997. Edith Piaf Song Collection. Hal Leonard Corporation, p8-17.
2. Crosland Margaret, 2007. A Cry from the Heart: The Biography of Edith Piaf.Arcadia Books publishers, p16-28.
3. Piaf Edith, 1997. Edith Piaf Song Collection. Hal Leonard Corporation, p8-17.
4. Jane Bernstein, 2003. Womens voices Across Musical Worlds. University Press of New England, p23-42.
5. Carol Neuls-Bates, 1982. Women in Music: An Anthology of Source Readings from the middle Ages to the Present. New York: Harper and Rowp 14-67.
6. Andrews, Alexis 2008. Edith Piaf records showcase the Little Sparrows Legacy. Sage publications, p8-31.

Introduction

To the question What is art? tens and hundreds of different answers can be given. In my view, there is no need to consider any specific definitions of art in detail since none of them can be satisfactory. However, I think that the concept of art is central to aesthetics and the philosophy of art, which does not allow to form a verbal definition. More precisely, it does not possess a real description that uniquely explains what art is and is at the same time true. In my mind, all the definitions of art are primarily nominal because they contain an obvious element of prescription and speak of what should be understood as art.

There is no constant phenomenon that could be called art, and the identification of the essence of which would be one of the main tasks of aesthetics. Searches for entities of objects, denoted by the terms arts, work of art, beautiful, and tragic, were characteristic of the traditional philosophy of art. Modern philosophy of art got rid of essentialism, just as philosophical anthropology rejected the idea of finding once and for all a certain human essence. Art cannot be defined solely by artists because it demands equality, viewers perception, and experience diversity.

Art Form Equality

Every form of art is equally relevant and important, which means that one cannot be better or worse than another objectively. Historically, art arises when a person goes beyond the satisfaction of his immediate physical needs, practical-utilitarian interests and goals, and is given the opportunity to create. Thus, art is a special form of mastering the world by a person, in which the environment appears in art through the types of activity, communication, and self-realization of people. It gives instant reflections and detailed projections of human existence, its spatial and temporal unity with the world.

Each form of art should be equally represented and illustrated because it is up to the viewer to judge it. Art, understood as a kind of conditional whole, can be interpreted as a picture of the world or a sort of ontology focused on the dynamics of the subject-sensual existence of people. Being a special form of activity of people, art combines the objective, communication, individual aspects of the creativity in images (Tröndle, Martin, et al. 315).

Therefore, it remains in itself the motivating, transformative, and cognitive principles, as well as collective and personal representations. Accents in the ratio of these principles differ significantly in different epochs and directions of art. Nevertheless, they always coexist, and their rate remains a constant subject for discussion about the purpose of artistic work, its role in the development of society.

Consideration of the phenomenon of art involves a complex separation of types of human activity when each of them is quite clearly isolated and then established in the technical means. In addition, the specificity of art can be revealed against the background of other subjects: material and spiritual production, religion, morality, and science (Tröndle, Martin, et al. 329). However, the problem is that art retains the synthetic nature of human activity. At different stages of history and types of culture, there are differences in the dominant images of art, the ways of their creation, the schemes of their functioning, and translation.

Viewer and Art

The role of a viewer is as important as the artists opinion because they are essential components of art expression. The definition of art should be determined by both viewers and artists because the work can be truly appreciated if both parties are present. Without claiming to be an unambiguous definition, art can be characterized in a very general way as concentrated, allowing the transfer to others of expression of the aesthetic vision of the world.

Artistic vision is a view of the world that changes from epoch to epoch and from civilization to civilization (Tröndle, Martin, et al. 321). The famous work of Michelangelo, The Creation of Adam, was perceived differently across the centuries (see fig. 1). Religious states are experienced as a vivid representation, whereas atheists of the current era refer to it as a metaphor. It also shifts from the perspective of the beautiful and the ugly, shocking and mediocre, sublime, low, and ordinary.

Art is the result of the activities of a particular community of people, or a group of artists, who evaluate the work of their colleagues and monitor the observance of accepted canons. They can also start to search for completely new art forms. Art also involves a certain audience or the viewer in order to be appreciated. Even in the case of the so-called art for art, works are created by artists, not for themselves, but the viewer. Thus, only the latter ultimately decides which of these works relate to art and which are artisan crafts.

Experiencing Art

Art is meant to be experienced, and it needs to cause a variety of feelings among people. The given diversity of experience distinguishes it from science, which is specific and factual. In my opinion, art should not have a solid definition, and everyone should be allowed to have his/her view on the subject. Artistic work always involves a certain aesthetic experience  a real sensual meeting of the viewer with the work. Sometimes such a meeting is contemplation or visual perception, but a physical encounter can also be listening, such as music. The listener is also a spectator in the broad sense of the word and who sensually perceives a work of art. It can be noted that the everyday experience of listening and seeing are mutually complementary.

In the dance figures, we observe that the rhythm of the music accompanying the dance is more evident. Sensual encounters with a work of art can be carried out not only by sight and hearing but also through touch, smell, and taste. The five senses of a person are the ways of his/her sensual encounter with a work of art, and often, they are very closely intertwined (Tröndle, Martin, et al. 319). Sometimes art is understood only as an aggregate of works of art, which needs to be accepted by the audience of the community of artists. A characteristic feature of these creations of the mind and hands of people is that they are directed not primarily to logic but to the feeling, not to the concept, but the image.

Conclusion

In conclusion, art remains one of the most important forms of translation and, therefore, the preservation of human experience. Art requires equal representation, viewers perception, and experience variation. It also acts as a form of renewal of this experience because each generation, in its special way, expresses the process of mastering being. The preservation of art, its specificity, and its social function are achieved in images that fix the constantly shifting balance between reproduction and renewal of human experience. Therefore, artistic work should not possess a precise definition because it will dictate how the viewer should experience it. In addition, there is no form of art that is better or worse than other ones. People should not attempt to define art but cherish and experience it.

Work Cited

Michelangelo. The Creation of Adam. 1512. The Sistine Chapel, Vatican. Art Pieces. Web.

Tröndle, Martin, et al. Is This Art? An Experimental Study on Visitors Judgement of Contemporary Art. Cultural Sociology, vol. 8, no. 3, 2014, pp. 310-332.

Introduction

The recent movie named Fast and Furious 4: New model Old parts has been a blockbuster among the teenage enthusiasts of racing in local colleges. The movie is directed by Justin Lin and written by Chris Morgan. It was released on the 10th of April this year and since then it has been a hot topic amongst the enthusiast of street racing and lovers of sporty rides.

Plot

The elements that constructed the plot of the movie feature a cop working for the FBI in LA and a notorious criminal. They are teamed up and set to get their hands on a drug dealer while aborting his businesses.

Synopsis

Dominic Toretto is on a path to find his girlfriend, Lettys murderer. He had left her earlier since his criminal record demonstrated him like an international criminal involved in the robbery and attempt to murder cases, which can in-turn would have affected her. His sister tells her that she has been killed after he leaves the state. He heads back to LA to attend the funeral of her girlfriend and find the traces which can lead to the killer. He, along with his sister visits the area of murder and comes across traces of nitrogen remains. According to his information, only a single shop sells this stuff, and with the help of his old fellows he tracks down the person known as David Park. Luckily, he finds David and forces him to reveal the name of the murderer. David assures him access to the gang liable of her girlfriends death, using a street race organized by Campos who later is discovered to be the special acquaintance of Arthuro Braga.

On the other side, Brian O Connor, the agent working for the FBI gains information about David Park also. This leads him to the drug lord as well. The story brings two of these old rivals to face to face and they are set to race together to win their chance of getting into the team hired for drug transfer.

Dominic wins the race and ends up confronting a man named Fenix who is later discovered as the murderer of Letty. Brian uses the authority of the FBI to get into the team by arresting one of their group members Dwight for the illegal sale of chemicals. When the event comes ahead, Dominic realizes the importance of drivers as throwaway items since the leaders are not willing to pay them instead. They counterattack the team and succeed in pulling drugs from them forcing them to arrange an exchange for it.

Later, at the exchange point, Dominic and Connor discover that Campos is indeed Braga himself disguising to confuse everyone. The raid of the FBI becomes messed up and Braga escapes the situation. Brian and Dominic chase after him and are successful in captivating him this time. Followed by Bragas group, they chase each other again, and once crossing the United States border, Dominic kills Fenix, devastating him with his car. They bring him back to the USA where trial and imprisonment become his destiny. Finally, Dominic also comes under trial with the plea submitted by Connor; he is sentenced to 25 years of jail time. The last scene of the movie shows Dominics group along with Connor himself chasing the bus shipping Dominic to jail signifying his release illegally.

Evaluation

The movie though depicts an endangering lifestyle played by the main characters but ends up giving the message of a well human being. The relationship between a cop and a criminal is quite considerable. The criminal-minded character helped the law to arrest an illegal businessman which shows the goodness of character. Their sincerity for his girlfriend and striving to seek justice for her also depicts his honesty. Law never supports crime and the criminal, but decency of personality and good character can lessen the tight punishments as shown. Dominic though, charged for robbery and murder cases is given leverage and is imprisoned only, due to the support of the cop owing gratitude towards the assistance provided by him. The conclusion of the movie describes that a person who commits a crime is liable of charge no matter what circumstances forced him to do the deed and how good the person is in terms of character and nature.

The movie attracts the viewers attention with striking stunts and special effects. The visuals are decorated with picturesque views and exotic racing vehicles featuring the ever-glorious American muscle cars and Japanese sports editions from Mitsubishi, Toyota, and Nissan. The racing stunts are specifically designed to provide the most exciting viewing experience. The technologies are shown in the movie give an edge to the script like the GPS-powered engine management system exposed in the race during the movie. The drift, the wheel-spins, and close-up shots of moving vehicles are worth watching. The movie overall is a thrilling genre, portraying skills of racing styles and the sport itself.

Introduction

La Sylphide is a romantic ballet in two acts, created by the choreographer Filippo Taglioni and first staged by him in 1832 at the Paris Opera. The ballet now exists in two main editions: a production by Filippo Taglioni and a production by August Bournonville. I am going to share my impressions and emotions after watching it in Bournonvilles production, as well as prove an insight and briefly talk about the plot of this masterpiece.

Personal Impressions

A cold and grey day was perfect for watching the gentle and romantic tragedy of La Sylphide at Atlanta Ballet. Its artistic director, who is Gennadi Nedvigin, a choice to use the Atlanta Ballet Orchestra in this play was a profound success and evidence of elevating the level of classical ballet in Atlanta. Sensitivity and emotions were the key themes of La Sylphide, as the Sylph was an enigmatic character. Airi Igarashi (the Sylph) performed admirably. Her Sylph was flirty and nearly naughty and seemed to be almost weightless. Sergio Masero-Olarte, who danced James, showed an excellent ballet mastery and technique, especially during his solo in the first act. However, his rival, Gurn, who was danced by Bret Coppa, overshadowed a bit Masero-Olartes acting and mime talents.

In the first act, my attention was also focused on the brilliant scenery from American Ballet Theatre. It was nice to see some old things, for example, the chimney, which the Sylph was flying up, or the window in arabesque, in which she appeared then. This classic antique brought the story to life, and the mime did the same by explaining the events to spectators, for whom this ballet was unfamiliar. It was further evidence that Nedvigin and the rest of the Atlanta Ballet team did a great job. Nevertheless, I would like to name one of the weaknesses of the production, which was the lack of a sense of cohesion and mutual understanding among the corps. It might appear because the majority of dancers came from different ballet schools in the USA. Another reason might be that many of them were relatively young ballerinas.

Manipulations of light were interesting when the light spot fell only on the main characters, and all the others were hidden by darkness. This emphasized a sense of intimate personal space, when lovers, wherever they were, did not need anything except for themselves. Only the Sylph, who was visible only for James, studiously tried to destroy this space and instill doubts in the sincerity of feelings.

As for the second act, it was as beautiful and amazing as the first one. First of all, the sets were magical, and I am still impressed by the artfulness of creating a real dense forest thicket on the stage. Moreover, the translucent perspective of air made it even more realistic, three-dimensional, with a 3D effect. Soaring in the air, flying sulfides, landing on the branches of the mighty oaks looked terrific.

Secondly, I believe that the costumes for the Sylphs and other characters could not be lovelier. All heroes, except the Sylph, appeared in a traditional Scottish cage. Red and blue suits with white trim were harmonious and looked great in motion. They perfectly combined stylization under the Scottish national costume with the requirements of scenography. It should be noted that in this ballet, dancers in traditional kilts, berets and golfs, looked almost more attractive than ballerinas. The Sylph, flitting among them, in her snow-white dress, with a wreath in her hair, seemed ephemeral. The dark floor, with a small mirror effect, further emphasized the airiness of the ballerinas and their costumes.

The choreographer Johan Kobborg added the dance for Sylph and James, which was not in the original production, but it was also wonderful. What is more, it surely added more narrative sense for the Sylph to take James into her enchanted forest. The corps de ballet was lovely, and the dancers showed their mastery and gracefulness in their pose changes, and their timid, and even almost uncomfortable movements when posing. Nevertheless, this looked natural enough and created a special atmosphere. Of course, magnificent detailed costumes, opulent scenery, and spectacular technical tricks added entertainment to the ballet. However, in the end, I felt some incompleteness, perhaps because each of the two acts of the ballet lasted about 40 minutes.

I chose La Sylphide because I read many reviews on this ballet, and most people loved it. All in all, I was surprised by the physical and emotional mastery of the dancers. Sergio Masero-Olarte, who danced James, was excellent, though sometimes it seemed that his impressive kilt might prevent him from moving freely. Airi Igarashi, who danced the Sylph, became more beautiful and impressive as the ballet went on, and her exciting solo and coda within the pas de deux provided a feeling of lightness and magical impulse.

Ballet Insight

The events take place in a Scottish village, where the protagonist, James, on the eve of his wedding with Effie, sees a Sylph, who is a captivating spirit of the air. She flutters around James sleeping by the fireplace and wakes him up with a kiss. James, fascinated by the Sylph, tries to catch her, but she disappears. When the guests gather, the Sylph appears again, but no one can see her except for the protagonist. Meanwhile, the sorceress Madge predicts that Effie will marry another bridegroom, Gurn. James chases the witch away, who leaves with a grudge against him. During the wedding celebration, the Sylph reappears and steals the wedding ring. Unable to resist her charms, James rushes after her, leaving the heartbroken Effie.

In the next act, Madge, the sorceress, is bending over the boiling cauldron, with a long transparent scarf in her hands. James follows the Sylph in her kingdom, which is an enchanted forest, but cannot hold her back. Then the witch offers James a magic scarf by which he can capture the elusive Sylph. When James puts the scarf around her shoulders, she loses her wings and cannot fly away. More than that, the Sylph cannot live because of this magic scarf and dies. James realizes that he lost earthly happiness in pursuit of a ghostly dream. At the same time, villagers celebrate the wedding of Effie and Gurn. James does not notice them, and unable to survive the death of the Sylph, he falls dead.

Conclusion

As I was a first-time viewer at Atlanta Ballet, I was overwhelmed with positive emotions. In addition, I was very impressed with the production and the commitment to it of all involved. However, this ballet left a sense of understatement; that is why I am looking forward to going to the Atlanta Ballet again to enjoy another masterpiece of our famous classics being performed so brilliantly.

Introduction

This article will compare and contrast two pop arts by different artists. The first art is by Andy Warhol with his art soup cans which was produced in 1962. This artist was from New York and was also a filmmaker and print maker. The other is by Roy Lichtenstein called the drowning girl produced in 1963. The artist was from New York and was very famous for his comic book style and popular advertising. The article will compare and contrast the styles used in the two arts (Green, 179). The styles include impressionism, pointillism, expressionism, realism, constructivism, primitivism, symbolism and fauvism.

Impressionism style

This is a way of painting concerned with creating impression with the impact of light. Colour is used to create an effect on the eyes about the subject. The art by Andy Warhol, the soup can used this style to create attention (Osterwold, p. 114). The artist used two contrasting colours red and white to attract attention. By using these colors also the artist wanted to display some culture where the two colours were very famous in the past. The art by Roy Lichtenstein, the drowning girl has also used this style to create some difference of the distance. The water at the fore ground has a brighter colour compared to the one at the back ground thus bring to our attention that the girl was drowning in a large mass of water. The colour has also been used to clearly show how deep the girl is immersed in the water by using different colours for the girl and the water to show the difference between the two.

Expressionism style

This style uses exaggeration and distortion in order to show emotions and feelings to the world. The art by Roy Lichtenstein the drowning girl has used this style to show the feelings and emotions of this girl. Paint has been used to show how the girl is crying and screaming after she drowned but on the other hand one can see that she is not worried and would prefer to die rather than call Brad to help her. On the other hand, the art by Andy Warhol, soup cans has not used this style of expressionism in his art because his art more attention creating rather than showing feelings or emotions.

Fauvism style

This style is used to show how violent the paintings are and it is mostly used on landscapes and people. This style is most used in two dimension surfaces and not three dimension spaces (Osterwold, p. 114). The art by Roy Lichtenstein, the drowning girl has used this style to show the violent movement of the water mass that the girl was drowning in. This artist used this style to show how rough the water was. This picture is also a two dimension surface and thats why it was possible for the artist to use this style. On the other hand, the art by Andy Warhol did not use this style but rather it used some cool paintings which were meant to indicate how good the soup inside the can was.

Constructivism style

This art style lays it emphasis on geometrical shapes and does not show emotions in any way. Andy Warhol has used this style in his soup of cans art. The artist has used this style to create some liking of his work since that was his aim (Green, p.179). It is also used to show how he likes the soup and how it tastes the same whether taken by a king or a pauper. On the other hand Roy Lichtenstein in his art the drowning girl did not use this style because his was meant to show some emotions and feelings which could not be shown by this style.

Symbolism style

This style is used in evocative, stylized and decorative images. Andy Warhol used this style in his art of soup can which showed the decorated images of can which were painted in red and white. These colors mage the art look good and styled and anybody is deemed to like it since it is creating attention. On the other hand, Roy Lichtenstein did not use this style in his art work of the drowning girl. The art does not look decorative because it is not meant to create attention or for advertisement purpose but it is used to show emotional feelings by the drowning girl.

Realism style

This style shows things as they appear in the real life (Osterwold, p. 114). The two artists have used this style in their arts where Roy Lichtenstein in the drowning girl has used this style to bring some reality because drowning is very real. This artist though, does not use the real colours of the objects because in the case of the girls hair its painted blue which is not the real hair colour. Andy Warhol has also used this style in his soup can because in the real life there are such cans. By using this style he brought some reality

Primitivism style

This style is very simple and makes the art look like it was done by a child. Roy Lichtenstein in his art has used this style by making it simple and a two dimension painting. The art looks so simple but it brings out clearly the message which the artist wanted to share. Andy Warhol on the other hand did not use this style in his art. He did not use the simple paintings of this style but rather his art was a little more complex and a three dimension one.

Pointillism style

In this style the artist use dots to create a picture (Green, p. 179). These dots are put together to create a picture and also to show a different colours. Roy Lichtenstein used this aspect in his drowning girl art where he used dots to create the hair of the drowning girl. This made the hair look full and of different colour. On the other hand Andy Warhol did not use this style in his art of soup can but rather he used clear lines to make his art.

Andy Warhol in his art, soup cans represent the can as a piece of art which could be admired and enjoyed by many people because he was very much aware of the aesthetics culture in New York which was popular. The soup can according to Andy Warhol showed the parallelism between religion and consumerism in New York. Roy Lichtenstein his art of the drowning girl displayed a comic culture. According to him, when doing his painting, he does not base it on any subject but after completing it, people gave a subject to his art.

Conclusion

This article has clearly compared and contrasted two types of pop art by Andy Warhol, the soup can and Roy Lichtenstein the drowning girl. Different art styles have been used to show the similarities and differences of the two arts.

Works cited

1. Greene, David. Styles in art that suddenly disappear: an unanswered problem in art. Michigan: Edwin Mellen Press, 2008.
2. Osterwold, Tilman. Pop Art. New York: Taschen, 2003.

Social documentary photography has its special functions that are relevant to the photographer and viewer. Its purpose is to convey socially important issues through the emotional perception that the objects in the picture convey. A monoblock chair is an example of a democratic design and a context-free object. However, the photographer can see by placing it in context, how can add to the picture the meaning and depth necessary for social and documentary photography.

Images of these chairs perfectly display cultures in which plastic chairs are only affordable furniture. The chair that replaced regular sit in the wheelchair show social problem of poverty and insufficient social support system.

Few people are familiar with the history of monoblock chairs, although they have them at home or at least used them at work, school, or on a picnic. The first monoblock plastic chair was made in 1946 in Canada, but it was launched into production only in 1964 (Rashid. 2020). Further, the technology of molding chairs by using the air flows developed and progressed, which allowed people to create many beautiful and comfortable designs at a low price (Rashid. 2020). A variety of designs allow using a monoblock chair in different interiors from modest and elegant to modern and cocky. These features attribute plastic monoblock chairs to furniture with a democratic design as they combine practicality, quality, good appearance, and low price, so they are affordable for most of the population (Democratic design, n.d.).

In addition, one of the main features of the monoblock chairs for photography is that it is context-free but, at the same time, adds meaning to them. This kind of chair can be called context-free because it does not carry any information on its own. It is impossible to guess in which country, at what time, and under what circumstances a photo was taken if only the chair is analyzed. However, if one pays attention to the details surrounding the monoblock furniture, he or she can see that it complements and expresses emotions, cultural features, the interior, social problems, and even whole stories.

Therefore, these pictures demonstrate that monoblock chairs are universal for use, art, and social documentary since they are context-free and can be used for various purposes by anyone.

References

Democratic design. Design for everyone. (n.d.). Web.

Rashid, K. (2017). A brief history of the humble plastic chair (and its oil-free future). CNNStyle. Web.