Category: Art 2722

To be a good dancer, one needs an innate sense of rhythm and style. Dance is not just the art of performing body movements; it is about revealing ones soul and interpretation of ones ideas. Being a physical and cognitive activity, it united many people worldwide who dedicated their lives to creating and exploring the unknown. Multiple dancers influenced this art and its types; however, some have contributed more by inventing new movements and directions (Gruner 265). One such person was James Brown, whose abilities overwhelmed the world of dancing. Therefore, this paper investigates how James Brown impacted modern dances and why his movements became increasingly popular.

James Brown was an American singer, dancer, progenitor of funk music, and merely a grand figure in the world of dance and music. Being among the most influential specialists in the popular music of the twentieth century, his landmark achievements earned him the epithet the most diligent man on Broadway (Gruner 277). A sophisticated artist and artist with a unique sense of time, he was fundamental in bringing musicality to mainstream musics bleeding edge. Besides his vocal innate abilities, his dancing skills were the center of attention among most severe critics.

Primarily, he became famous due to his signing skills and the invention of the funk. His fascinating shows were watched and copied time and time again. As a result of his hard work and dedication, he influenced such artists as Mick Jagger, Michael Jackson, and Prince (Furniss 5; Trzcinski 7). Yet, some people considered him the enemy because of his phenomenal fame. During her 50-year glorious career, James Brown released 17 singles that reached #1 on the Billboard charts and was credited to different fame halls worldwide (Perchard 35). He was also a supporter of social liberties and composed the 1968 colored people force anthem Say it loud  Im dark, and Im proud. He also impacted a much more varied range of artists in a roundabout way, encouraging performers to follow cadence and score rather than stick to banal melodic shows and structure.

Unlike Prince, who was almost like no other, James Brown spent 12 years in the business as a quintessential R&B professional before presenting his most famous creation: funk. Brown was the owner of the uncanny ability to scream on key, sing deep moderate numbers, and charge songs at a high tempo, use the cadential abilities of the human voice and instrumental backup (The Long+Short). Moreover, he could blend blues, gospel, jazz, and national vocal styles which made him one of the most compelling performers of the twentieth century. His unusual movement was scheduled with skillful use of microphones and clothing items such as props, aerobatic jumps full of knee-length arrivals, complex cadence examples, amazing footwork, and dramatic entrances (The Long+Short). These tricks were combined, thus, the public performance in well-known music and awakened centuries of imitators were redefined because no one else could do it like him.

James Browns music could make even the most rigid body get up on the dance floor and make a move. His immortal melodies have inspired artisans for centuries because he was the head of funk and was exemplified every time someone spoke about hip-hop. Today, there is not a single master of pop, hip-hop, or soul whose art was not influenced by James Brown (Perchard 91). He was a force of nature on record and in front of an audience, and his unthinkable moves were imitated by Bruno Mars, Michael Jackson, and many others.

The best part about his dances was that he created them entirely on his own. Choreographers and dance coaches were not approved when he wanted to demonstrate his dancing skills in front of an audience. His secret was simple: adding some soul to the performance and some fancy music. Brown believed that dance is much more than we think it is. The statement the only thing that can solve the vast majority of our problems is the movement is the most famous expression of James Brown, and certainly the most sensible one on this issue.

He presented some of the most distinguished movements, which are still imitated by numerous dancers across the globe. The so-called reverse moonwalk or the camel walk made him travel everywhere on the moving floor, affecting his shoulders from the side to agree with the style and pop music (Furniss 5). Even though this path of development existed for quite a long time before the appearance of James Brown, it added its flair and imitated it on his own. Besides, his Funky Chicken dance received much praise and applauds from the audience. (Valorose 4) However, the majority of people cannot make these movements look fascinating, as James Brown did. Moving ones knees back and forth like a baby bird taking flight and waving arms all the time was quite a complicated trick for those who desired to dance like him. This charming move turned out to be not for the weak-willed.

Another movement that brought him fame was named Boogaloo Staple. It got ones feet wide with knees bouncing, and the entire body trembling (Valorose 5). This one was thought to be the easing one for those who wanted to imitate Browns dances. Nevertheless, his signature move was The Mashed Potato, with massive and hard footwork to balance (Valorose 6). Once the feet were on the dance floor, he started to shuffle back and forth, wriggling around the spot. The Robot motion implied stopping suddenly and moving hard like a mechanical person (Valorose 7). James Brown managed to smoothly move from soft to hard movements and return to the routine ones. The Split was also one of James Browns masterpiece moves, which displayed all his adaptability, magnetism, and ability (Valorose 8). Reaching the floor was the easiest part of the performance, while the real challenge was to get up without any hesitation. This was indeed the final pitch to learn if one desired to move like James Brown.

In conclusion, it seems reasonable to state that James Brown was an unusual example of a top-notch actor who was also a true trailblazer of the missing connection between Louis Jordan, who influenced him, and Prince, who was influenced by him. His dancing abilities influenced the art of dancing and made him a recognizable figure among his contemporaries. The movements he elaborated could drive people crazy because no one could repeat them. Browns rhythm, style, and techniques changed dances perception; thus, many singers and performers of the 20th century aimed to imitate his. In general, he might be considered the greatest contributor to the field of music and dance.

Works Cited

Dance moves: James Browns Single-Handed Invention of Funk. The Long+Short, Web.

Furniss, Tracey. Whose Moves and Looks Inspired Michael Jackson, the Iconic King of Pop? Style, Web.

Gruner, Oliver. Screening the Sixties. Palgrave Macmillan, 2016.

Perchard, Tom. From Soul to Hip Hop. Routledge, 2016.

Trzcinski, Michael. The Rolling Stones: Mick Jagger Said He Copied His Dance Moves From Another Singer. Showbiz, Web.

Valorose, Sam. 6 James Brown Dance Moves To Make You Get Up Offa That Thing. iHeart Radio, Web.

Talking about the conflicts between heroes and villains in movies or literature, one should recognize the story of Batman as one of the strongest examples of how evil is born, developed, and controlled. This film franchise contains a number of characters as protagonists or antagonists and, what is more important, describes the line between good and bad qualities that is usually hard to identify. The first movie about Batman was created in 1989, and the Joker was its main villain. In 2008, Christopher Nolan made another powerful attempt to depict the battle between Batman (performed by Christian Bale) and the Joker (performed by Heath Ledger) and directed The Dark Knight.

Today, this movie is defined as one of the most memorable performances by Ledger before his death, and the work of Bale underlines the qualities of Batman. Smart evil plans, loyal relationships, brave decisions, justified risks, and horrible outcomes are perfectly intertwined within the plot. In the Batman film franchise, The Dark Knight introduces the two most powerful characters, including the Joker as the antagonist with a desire to challenge Batman, whose protagonist qualities and justice endeavors gain new meaning.

Batman is always accepted as one of the brightest protagonists. His qualities are frequently used to demonstrate the highest levels of justice, brevity, and power. He believes that sometimes people deserve to have their faith rewarded but never turn away from them (The Dark Knight). On the one hand, the presence of such skills should make Batman a round character. He is an example or even a prototype of a multi-faceted personality whose motivation is to help and protect people. Bruce Wayne is a rich man and a successful business owner in Gotham City. However, he makes a decision to hide his face under the mask of Batman to fight against the criminal society of the city.

On the other hand, it is not enough to categorize Batman as a round character. The strength of The Dark Knight is the change people observe in Batman through the movie. In the beginning, he was the hero Gotham deserves, the one that protects when it is necessary and help when it is not even expected (The Dark Knight). With time, concerns and doubts arise to clarify if you either die a hero, or you live long enough to see yourself become the villain (The Dark Knight). In the end, he became a silent guardian, a watchful protector, a Dark Knight (The Dark Knight). It is the best transition of a dynamic character, and the Joker seems to be one of the authors of this change.

The list of villains in the Batman franchise is impressive, but the Joker can be named as the father of all bad guys who should resist Bruce Wayne. The Joker is a doer, a genius planner, and one of the most horrible characters in the movie industry. He knows no mercy, forgiveness, or compassion and supports everything connected with destruction and chaos. In his intention to understand the Joker, Batman does not succeed and listens to his confident Alfred. The Joker actually belongs to some men arent looking for anything logical. They cant be bought, bullied, reasoned or negotiated with. Some men just want to watch the world burn (The Dark Knight).

Using these definitions, it is possible to define this antagonist as a static character, who starts and ends as an evil source, the goal of which is to prove his power over everyone and everything. Still, it is not enough for the Joker to kill a person or set a building on fire. He thinks over each step and predicts the reactions of other people to be prepared and be smart. As a result, his plan was achieved when he took Gothams white knight [Dent] and brought him down to our level (The Dark Knight). The Joker does not follow any philosophy but strongly believes that madness is like gravity, all it takes is a little push (The Dark Knight). Besides, his facial expression proves that he is not going to change but achieve his evil plans with a smile on his face.

Taking into consideration the nature of both characters, an antagonist and a protagonist, it is hard to believe that some juxtaposition can be found in this movie. However, Batman and the Joker are the sides of the same coin and have to co-exist, supporting the balance of good and evil. One should mention that both of them wear some masks (the smile and chalk make-up on the Jokers face and the Batman mask).

It means that they have something to hide, and secrets may be the sources of misunderstandings, wrong judgments, and failed decisions. For example, the Joker uses it as an excuse to kill people because he wants Batman to take off his mask and turn himself in& and every day he doesnt, people will die starting tonight (The Dark Knight). Batman wants to prove that his decision to hide his face is justified, and the city is full of people ready to believe in good, even if it is under the mask (The Dark Knight).

The Joker uses Harvey as an ace in the hole to reveal the worst things in people, and Batman explains Dents fall as he is one of the best representatives of society (The Dark Knight). These two characters meet and use the same people, but their intentions make them different. The antagonist has no good qualities, and Batman has to show his worst ones to realize how to win the enemy and achieve justice.

In The Dark Knight, Christopher Nolan presents a variety of characters, either round, dynamic, flat, or static. Despite their goals and qualities, all of them are fully-developed and well-performed. This story is not only about good and evil but also about the situations when evil changes even the best individuals. There is no definite distinction between these concepts, and the chosen characters show the mess that exists around. The Joker challenges Batman and demonstrates how justice and loyalty could become the reasons for fury and hopelessness.

Although both of them try to kill each other a million times, none of them actually does it even if they have opportunities because these are not their final goals. These characters need each other to prove their worth and provide meaning for their actions. The Joker wins because his mastermind and strategic planning have to be recognized. However, if the Joker aims at ordering chaos only, Batman wants to keep social order. The relationships between these characters are complex, and the director proves that this connection influences the Joker and Batman, revealing their best and worst sides.

Work Cited

The Dark Knight. Directed by Christopher Nolan, performances by Christian Bale and Heath Ledger, Warner Brothers Pictures, 2008.

Introduction

Stand-up comedy is a complex, vibrant, multilayered phenomenon that, over recent decades, has attracted a fair share of attention not only from critics and target audiences but also from researchers in different fields. From a linguistic standpoint, jokes and comedy routines are usually subtracted from the main discourse and dissected in isolation from the context. Social studies consider more factors: for instance, the period when a particular routine was written and for whom it was created.

This paper will provide a rhetorical analysis that will incorporate both linguistic and social perspectives on several fragments from Louis C. K.s Shameless comedy show. The present essay will also discuss controversies surrounding Louis C. K. as a public figure and his stance on humor to give the analysis more depth.

Brief Biographical Overview and Controversies

Louis Székely, who is better known by his stage name Louis C. K., is a stand-up comedian, actor, writer, and filmmaker of American-Mexican origins. He was born in 1967 in Washington, DC, and began his career in comedy at the age of 17 in 1984. Louis C. K.s professional life had a rocky start and humble beginnings as he did not gain much attention as a stand-up artist in the 1990s. It was not until 2005 that he had his first breakthrough in the stand-up industry after years of focusing on filmmaking  writing and directing.

Despite Louis C. K.s steady rise to stardom and continuous success, for him, the year 2017 was marked by several accusations of sexual misconduct as the MeToo movement was in full swing. His fellow comedian, Roseanne Barr, spoke out about the stories she heard from other women about Louis C. K. locking himself up in a room with them and masturbating (Ryzik). His downfall continued as more and more female comedians started to give an account of Louis C. K. abusing his power and leverage in the industry to exploit them sexually. One of the consequences of the past incidents appeared to be closer scrutiny of Louis C. K.s comedy  the outraged public sought inappropriate messages in his routines to undermine his reputation further.

Louis CKs Shameless: Rhetorical Situation Analysis

There is no denying that the image of Louis C. K. in media and the comedy world is not only eccentric but also controversial. His comedy as a direct product of his mind and personality is too often characterized by a high degree of inappropriateness and polarizing messages made for entertainment. Yet, his shows and specials on HBO and Netflix are widely popular and attract many viewers. The vast popularity of his type of humor points to two possible explanations: undeniable relevance of the subject matter of his routines and their perfect structure and timing.

The structure of comedy routines can be examined using rhetorical analysis. This type of analysis aims at exposing three parts in every joke or comical story: exigence, audience, and constraints. Exigence is defined as a social and political circumstance that allows for making a relevant routine as a response to a resonant event. The audience consists of the viewership of a comedian, and it is essential that they can recognize the facts or phenomena to which a comedian refers. Lastly, constraints are stereotypes and commonly held beliefs that a comedian may choose to question, debunk, or attack directly.

Shameless is one of Louis C. K.s most iconic shows to date. The show came out in 2007  shortly after the comedians rise to fame  and includes some of his most well-known routines that can be described by the adjective that is the title of the performance  Shameless. For instance, the opening bit already contains all three elements necessary for rhetorical analysis  it trains the audience and orients towards the nature of the show (Filani 43). C. K. starts with a statement that both Hitler and Ray Charles are dead  the death of Ray Charles being a recent event back then makes the opening relevant, and the audience is aware of it.

He then proceeds with comparing these two very dissimilar people. The comedian says that Hitler killed several Jews. Too many. Ill say too many. He killed an excessive amount of Jews. Just no moderation (Louis C.K.  Shameless (07)). In this fragment, he breaks a societal expectation of him being aware of the realities of the Holocaust and then acts surprised as he discovers what Hitler did.

Another famous routine from Shameless is the I Love Being White piece. Again, all three elements are in place: the racial tension was still very much present back in 2007, and the mixed audience was aware of it. Right from the start, Louis C. K. breaks the audiences expectations about what they are about to hear. He enlists some things that he is grateful for  Thank God, I am alive, I am healthy  and adds I am white ((Louis C. K.  Shameless (07)). In a country where there have always been complicated relationship dynamics between races, such a statement could generate controversy. However, as Louis C. K. goes on and talks about his privileges, it turns out that it is his way of exposing the faulty system of oppression.

Lastly, another highlight of the show is a no less controversial piece titled Never Rape Anyone unless You Have a Reason. Louis C. K. starts a rooting with setting the background that can be interpreted as the exigence part: he tells a story of an annoying friend who likes to make many phone calls and ask him uncomfortable questions. Both characteristics of the friend are familiar to the audience  especially given that mobile phones were emerging in the mass market. He then mentions a frequently asked question to strike a conversation, What would you do if you had a time machine? Unlike his friend who would murder Hitler, C.K. says that he would rape him. He concludes that it is appropriate to rape people if it is for a greater cause  a statement that would cost him a career was it used outside the context.

Modern Perception and Target Audiences

Louis C. K.s old shows on par with performances by other prominent figures like George Carlin may make a viewer feel nostalgic for the era when comedy was freer and less restrained. The question arises as to how C. K.s humor fits in the modern context, if it does at all. As the political climate in the United States becomes more polarized, some people make attempts at policing jokes and call for more sensitivity towards social groups with actual or perceived disadvantages. For instance, the routines about race, sex, and gender from 2007 Shameless might have proven to be negatively resonant were they to come out today. While C. K.s humor aligns with the characteristics of the chosen genre, his target audience now might be smaller.

It seems like his approach to comedy is losing its relevance especially given the accusations of sexual impropriety. After all the controversies, C. K. tried to make a comeback and once again generated controversy with his jokes about mass shooting victims (Kenny). Even though it is true that C. K. might have been inconsiderate, it is safe to assume that both media and he contributed to his failure. As Greenwald states, comedy should feed on hard truths and not cheap gags.

Louis C. K. seems to be playing a game of trial and error  sometimes, he is a neat observer of relevant phenomena, but sometimes, he makes jokes for the pure shock value of them. Critics, on the other hand, might be stifling his potential while imposing political correctness onto comedy. As Pérez and Greene state, the main function of humor is to move the viewers from the serious mode to humorous mode (3). It is upon them to support or condemn the comedian  and do so independently.

Conclusion

Humor and comedy are some of the oldest forms of human self-expression, and on many occasions, they have become the subject matter for such disciplines as linguistics, sociology, psychology, and some others. Even though the concept of comedy may seem nebulous and extremely broad to be analyzed, there is a number of perspectives in which stand-up comedy can be put for examination. Louis C. K., a renowned comedian, created many specials which can be analyzed rhetorically with the exposure of the three essential elements  exigence, audience, and constraints. In his 2007 show Shameless, almost every routine is structured according to the rhetorics of humor, making the jokes effective in delivery.

Louis C. K. is a controversial public figure which, however, never missed an opportunity to enrage his critics. It is argued that he might need to find a balance between harsh truths and offensive content, whereas his critics should let his potential unfold and allow viewers to decide whether his comedy has any value.

Works Cited

Greenwald, Abe. Louis C.K.  and His Critics  Are a Plague on Comedy. New York Post. 2019. Web.

Filani, I. (2015). Discourse types in stand-up comedy performances: An example of Nigerian stand-up comedy. The European Journal of Humour Research, 3(1), 41-60.

Kenny, Brody. How Louis C.K. and the Rest of Us Failed in His Comeback Attempt. Consequence of Sound. 2018. Web.

Louis C.K.  Shameless (07). YouTube, uploaded by FyahRas Tv, 2018. Web.

Pérez, R., & Greene, V. S. (2016). Debating rape jokes vs. rape culture: Framing and counter-framing misogynistic comedy. Social Semiotics, 26(3), 265-282.

Ryzik, Melena, et al. Louis C.K. Is Accused by 5 Women of Sexual Misconduct. The New York Times. 2017. Web.

New York City has changed drastically over the course of the past 30 years. Its current residents would barely recognize the streets of the place where they live were they offered an opportunity to take a walk there in the 1980s. Abandoned industrial zones have been turned into industrial centers, and wastelands have become parts of a currently safe and expensive city. This process  the one of the transformation of poorer urban areas into places of living of upper-middle-class citizens  is referred to as gentrification. Two of the neighborhoods that have been particularly subject to growth and change as a result of gentrification are the Meatpacking District and Chelsea area, which are commonly referred to as MPDC.

MPDC is located near one of New Yorks urban centers that is Greenwich Village in Lower Manhattan and, therefore, is woven into the citys fabric. Strömberg (2018) reports that the Meatpacking District had been a meat distribution hub since the 1880s but began to decline in the 1960s due to the distribution system changes and the suburbs explosion. It led to reduced demand for meatpacking in the area, and soon it turned into a scene of drug dealing and prostitution. In the 1970s, MPDC saw the establishment of the first nightclubs, which were especially popular with the gay community, and in 1985, the first restaurant was opened (Strömberg, 2018). Since then, the area has been taken over by creative industries, and living there has become particularly expensive.

It is evident that MPDC has undergone a fascinating modification. However, as Strömberg (2018) notes, a turning point for the area was the opening of two high-end restaurants  Markt and Fressen  in 1999. Soon after the rents in MPDC rose to around $30,000 a month; then came high-fashion stores, the Pastis restaurant, and the construction of the High Line. As a response to all the changes, in the beginning of the 21^st century, the Meatpacking District Initiative (MPDI) was formed with the aim to further advance the area. Several years later, emerged a new organization  the Meatpacking District Improvement Association (MPIA). It chased the same goal but also focused on reconstruction, renovation and commercial development of public places in the district (Strömberg, 2018). Additionally, the MPIA took responsibility for organizing events and festivals to attract people to MPDC.

During this time, high-profile clothing retailers and high-tech stores, as well as creative industries offices  designers and architects  started gradually increasing their presence. MPDCs unpolished atmosphere of the historical area has given way to a gleaming landscape of a modern city. As Strömberg (2018) notes, the establishnebt of The Standard High Line Hotel in 2009 and The Whitney Museum of American Art in 2015 further advanced this classy image. Nowadays, in New York Citys avant-garde circles, MPDC is condescendingly considered to be a tourist destination for so-called common people.

When it comes to the process of gentrification in general and gentrification in MPDC in particular, art and artists are often considered to be playing a major role in it. As Valli (2021) notes, artists are among those who spark the change in neighborhoods, which leads to both positive and negative results. It seems that gentrification always guides areas towards a better life: property values become higher, crime rates become lower, and, overall, neighborhoods start to thrive. However, gentrification is frequently criticized for displacing long-term residents and driving small businesses out of a place: many cannot afford to stay to enjoy a better life resulting from reinvestments in the area. In that regard, artists, who are expected to be on the side of common people, get their portion of criticism for contributing to the process that does not benefit the working classes. However, it is important for artists to continue to create, for they are the ones making gentrification possible.

Although there are many causes researchers associate with the city neighborhoods gentrification, the arts remains the main localized factor they consider to promote neighborhood change. According to Valli (2021), individual artists, as well as artistic businesses and spaces (that is, theaters, galleries, and art studios) function as powerful levers helping create the primary conditions for the emergence of gentrification. It is the embodiment of an artistic mode of production, which is achieved by the artists symbolically appropriating space, which in turn is used by investors to bring capital to rebuild the environment (Valli, 2021). To put it simply, artists are believed to orchestrate the change by their cultural capital, and this is exactly what has happened in MPDC. Artists aesthetically brought the place new value by turning impoverished and shabby areas into a district of galleries, art studios, and places where people can spend time. The art has modernized MPDC, with its creators leaving a trace of their artistic vision in the citys image, capturing the way they see the world in this day and age.

When it comes to my particular neighborhood, I would say that it is changing  slowly but surely. There are increasingly more and more places where both adults and their children can spend the time. New establishments are being opened and new offers to do extracurricular activities in groups are emerging. I suppose that it is because the districts governors care about the people staying in the area and want to make their life here as pleasant as possible.

References

Strömberg, P. (2018). Meat and creativity: Adaptive reuse of slaughterhouses and meatpacking districts. Nordisk Arkitekturforskning, 30(2), 65-99. Web.

Valli, C. (2021). Artistic careers in the cyclicality of art scenes and gentrification: Symbolic capital accumulation through space in Bushwick, NYC. Urban Geography, 1-23. Web.

Frida Khalo painted the Two Fridas in 1939 after the divorce with her husband. Each Frida in the picture represents either her Mexican or her European identity, which is seen from their clothes. The artist painted two images of herself sitting next to each other, holding their hand, and connected by the heart vessel. The heart of the European Frida is torn open, and she holds scissors in her hands. The picture is autobiographical and expresses Fridas agony and the personal catastrophe of separation from the lover.

The prevalent shades of the painting give the picture an oppressive and suffocating temperament. A woman who has experienced so much pain, torment, and despair cannot draw softly. That is why, the artists used dark colors, mostly with a gray tone, and even the white is perceived as a darker white. The background depicts the clouds in this not-white white sad color representing the mood of the scene. Thus, the color decision completely matches the concept of the canvas and shows the artists feelings.

The spectator may feel the loneliness which the picture expresses. Both women in the picture have open hearts and interweaving bloodlines. There are both lonely, but their loneliness is different, and their feelings complement each other. Holding each other hands communicated the idea that duality probably means that the two identities are not detached, although they are distinguished. Therefore, although they are two supporting each other, they are still one identity, and they are alone.

The European Frida saw his husband as a piece of her innate nature, and that is the reason Frida is being delineated with the cut heart and bloodline. Furthermore, the heart and the emotions are not prone to be as open as they used to be anymore because of the injury.

The comparing delineation to this would establish the representation of the second Frida. In contrast with the European Frida in white, her heart and her bloodlines are not being cut. It can be seen that a woman in modern clothes cuts her vein, blood drops in large drops on her skirt. The Mexican Frida holds an amulet in her hand. The amulet depicts her husband, who loved her simple, Mexican girl, and despised the European part of his wife. Although he could not accept her duality, it was impossible to tear off one of the images as they existed in harmony and were connected by common blood.

The artist suffered from misunderstanding, but Frida Khalo could not make her husband accept her. Therefore, the canvas reflects the attitude of her dual nature to her husband. A simple Mexican woman squeezes the image of a man in the palm of her hand, and a modern European woman boldly cuts off the vein that brought her so much suffering. Thus, there were disputes in the soul of a woman all the time.

In conclusion, the Two Fridas represent deep emotions of separation from beloved people. The artists depicted herself in two possibilities, which are both her identities. Moreover, the painting shows the inner personal split, which is caused by this traumatic experience. Frida Khalo used the colors to create extremely sad and dramatic scenery. She showed that the feelings were versatile, and she perceived it differently from each side of her personality. Thus, the painting is a significant artwork of the artists career and art heritage.

Independent filmmaking has been around for centuries, with one of the earliest examples being Georges Méliès A Trip to the Moon in 1902. This film was not commissioned by a studio, and Méliès financed, wrote, directed, and starred in the film himself. In the early days of Hollywood, there were many independent filmmakers who were not beholden to the studios, and they were able to tell the stories they wanted to tell without interference. These days, the term independent film has taken on a different meaning. It is now used to describe films that are not made by the major studios, and are usually low-budget. These films are often seen as being more artistic than the big-budget studio films, and they are often lauded for their creativity and originality.

The difference between independent and studio filmmaking is very self-explanatory. Apart from the budget of the project, there are some other key disparities. The target audience for independents filmmaking is typically narrower than the target audience for studio filmmaking. This is because independents filmmakers usually make films that are geared towards a specific niche market. For example, a studio might make a blockbuster action movie that is meant to appeal to a wide range of people, while an independent filmmaker might make a low-budget horror movie that is only meant for fans of the genre. The distribution methods for independents filmmaking are also different than studio filmmaking. Independents filmmakers typically have to rely on alternative methods, such as online distribution, to get their films seen. This is because they do not have the same level of access to traditional distribution channels, such as movie theaters, that studios do.

Some argue that independent filmmaking limits the artistic expression of a movie because it is usually constrained by budgets and resources. Others argue that independent filmmakers have more freedom to express their creativity because they are not beholden to studio executives or other investors. Ultimately, whether or not independent filmmaking limits or expands the artistic expression of a movie depends on how you define artistic expression. In this paper, I will explore both sides of this debate in order to come to my own conclusion about whether or not independent filmmaking does indeed limit or expand the cinematic arts.

On one hand, those who believe that indie movie making restricts artists would say so for several reasons: primarily financial ones but also due unforeseen production problems & outside interference from studios/distributors. To begin with, let us look at some statistics: according to The-Numbers research firm, as cited in H Perritt Jr.s Crowdsourcing indie movies , the median cost of making an independent film in North America is $600,000 while the average Hollywood movie costs around $100 million to produce. Even when we compare lower-budgeted films, there is still a big discrepancy : whereas an American studio picture might have a production budget of $20-$30 million, most independents would struggle to even get close to that number.

The lack of resources available for independent filmmakers often leads to subpar production values. For example, many Indies are shot on low-quality video cameras or with non-professional actors. This can sometimes lead to a cheap look that takes away from the overall artistry of the film. In addition, Indie productions are often plagued by problems such as schedule delays, equipment failures, and bad weather conditions which can all hamper the creative vision of the filmmaker.

Furthermore, those who argue that Independent filmmaking limits artistic expression would also point out how outside interference from studios and distributors can impact a directors ability to tell their story the way they want too. Studios will typically only invest in an Indie project if it has commercial potential  meaning that they will be looking for a film that will make them money, not one that is artistically groundbreaking. This often leads to studios pressuring filmmakers to change their vision in order to make the film more mainstream and thus appeal to a wider audience. In some cases, this can result in an Indie filmmaker having to compromise their artistic integrity in order for their movie to get made.

Aesthetics are important in movies because they can impact the way a viewer perceives the film. For example, a movie with poor production value may be seen as less credible or less artistic than a movie with high production value. This is because the aesthetics of a movie can influence how a viewer interprets the film. If a movie looks cheap or poorly made, viewers may be less likely to take it seriously as an art form. This is why studios typically invest more money in films that they believe will have commercial appeal  because they know that better production values will result in a better reception from audiences.

However, independent filmmakers often have to work with limited resources, which can impact the aesthetics of their films. This can sometimes lead to independent films looking less polished or professional than studio films. Additionally, it can also limit the artistic expression of a film if the director is restricted by budget or other constraints. For example, a director may have a vision for a movie that is very ambitious and requires a large budget to execute properly. However, if the director is only able to secure a limited amount of funding, they may have to scale back their vision in order to stay within their budget. This can result in a film that is not as artistically impressive as the director intended.

Ultimately, the lack of resources on independent filmmaking can impact the aesthetics of an independent film and limit the artistic expression of the movie. However, this does not mean that all independent films are inferior to studio films. There are many independent films that are aesthetically pleasing and artistically impressive, despite being made with limited resources. It is important to remember that the quality of a film is not always determined by its budget.

On the other hand, those who argue that Independent filmmaking expands rather than limits artistic expression are surely familiar with the Auteur Theory. The auteur theory is often cited as one of the reasons why independent films are more artistically expressionistic. The auteur theory is the idea that the director is the author of the film, and that their personal vision and style is what makes a film unique. This theory was first proposed by French critics in the 1950s, and it has been influential in the world of independent film. I believe that the auteur theory gives the independent filmmakers the freedom to express their own vision without interference from studio executives.

Independent filmmaking provides filmmakers with more creative control & allows them to tell stories that wouldnt otherwise be told. When we look at budget statistics , sure  there is no denying that Hollywood blockbusters have bigger budgets which allow for better production values. However, as Mekado Murphy points out in his New York Times article Bellflower: Build The Apocalypse Inside Your Garage, sometimes less money can actually lead creatives thinking outside the box: &a lower budget encourages creativity& With fewer resources comes necessity-driven invention& For example, he cites how much of Bellflower was shot using homemade props and special effects which added character & charmto the final product. To put it simply: Indies might not always have state-of -the-art equipment or huge budgets to work with  but what they do have is the freedom to experiment & tell stories that might not otherwise be told.

Independent filmmaking may be able to expand artistic expression by providing filmmakers with more creative control over their projects. Unlike studio films which are overseen by executives and producers, Indies are typically written, directed, and produced by a single artist or team of artists. This allows them to maintain full creative control over their movies and tells the story exactly the way they want too. In many cases, this results in a film that is more personal and unique than anything Hollywood could ever produce. I completely believe that creative control plays a major role in making the artists artistic point of view more clear to the spectator. I think that when filmmakers have complete creative control over their projects, the results are usually more interesting and innovative than what we typically see from Hollywood studios. I also believe that independent films are often more personal and reflective of the filmmakers individual vision, which makes them even more special. The question that still rises is if this is enough to cover for the lack of resources.

It is also worth mentioning that independent films often avoid stereotypical plot twists and lines, which are typical of studio films. The majority of the studio films released for a wide audience are likely to have such narrative situations as bank robberies, love stories that began with hatred, glamorous people addicted to drugs, or having depression. These storylines may be described by just one word  cliche. The general audience loves cliches of different sorts, and that is why films which have them are so successful. It happens so because people tend to unconsciously associate themselves with the characters of the film and try to live through their experiences.

Another phenomenon typical of studio films is a protagonist without any memorable or outstanding characteristics so that people who watch the film can imagine themselves to be the protagonists. It is the pattern according to which an outrageously successful cycle titled Twilight was filmed. Bella, who is one of the protagonists, is shown as a plain girl without any specific character traits and personality details. Such an image makes it easier for the audience to imagine themselves in Bellas place and associate themselves with the protagonist of the vampire saga. This technique is often applied in studio films and makes them seem alike with the similar images of the protagonists placed in different situations.

Indie films do not use cliches or any other means which simplify the films content or make it non-unique. As was already mentioned, independent filmmaking is strongly connected to creativity because it gives the directors the freedom to embody their artistic fantasies and ideas. Though the low budgets indie films often have, presume certain limitations to their makers, they boost their creativity as well. Since independent film creators do not have the financial or technical opportunities their colleagues from the studio filmmaking possess, they have to search for alternative ways to express their ideas and impress the audience. It is usually the indie films that create new styles and storytelling means and techniques which, if successful, are applied by major filmmaking studios. Thus, the indie film producers do not face those limitations and the necessity to incorporate cliches into their film scenarios. It contributes to the growth of their professionalism and helps create something new in the area. Moreover, the audience becomes pickier, and many people are tired of cliches in every movie, so the chances of public recognition are higher for independent films than they were before.

Another argument that revealed a significant limitation the independent filmmakers had to face concerned their inability to use the professional equipment that enables to produce a high-quality sound and video. However, technological progress and development have decreased the significance of the issue. There are a lot of professional video cameras on the market now, and it is possible to film a quality video even on the phone. In addition, there exist many computer programs for editing the filmed videos, and they are available to general users. Thus, independent filmmakers can do the majority of the post-production work themselves on their computers or laptop without paying extra money to professional film editors. Technical progress allowed independent film producers to decrease the costs of the filmmaking process. Now they are able to perform the major part of the work themselves without the need to pay millions of dollars to a bunch of professionals.

Independent filmmaking also provides an opportunity for underrepresented voices to be heard. There are a lot of stories that need to be told, and oftentimes the big Hollywood studios are not interested in telling them. However, with independent filmmaking, anyone can tell any story they want. This is incredibly important, as it allows for a more diverse range of voices and experiences to be represented on screen. Additionally, it gives audiences the chance to see stories that they can relate to, which is something that is often lacking in mainstream Hollywood films.

In conclusion, I believe that independent filmmaking can both limit and expand the artistic expression of a movie. On one hand, the lack of resources available to independent filmmakers can often lead to subpar production values, which can impact the aesthetics of the film and limit the directors ability to tell their story the way they want to. On the other hand, independent filmmaking provides filmmakers with more creative control and allows them to tell stories that wouldnt otherwise be told. Additionally, the auteur theory gives independent filmmakers the freedom to express their own vision without interference from studio executives. Ultimately, I believe that the quality of a film is not always determined by its budget, and there are many independent films that are aesthetically pleasing and artistically impressive.

Abstract

This paper focuses on the study of a castratos phenomenon from the perspective of the history of music. To better understand the role castrati singers played in opera, along with the impact of castration, the nature of their singing and bodily effects are explored. The prohibition of male voices by the Italian church resulted in the need for more voices, and thousands of boys were castrated.

While only some of them made brilliant careers as singers, many boys died or were not successful in this field. It is especially important to identify if castration is directly associated with a soprano voice and if there are living castrati who can produce such tones. The paper also discusses several examples of castrati virtuosos and clarifies the way modern orchestras approach this issue. Research question: is the desire to control and manipulate nature a guaranteed path to the virtuoso castrato voice?

Introduction

Male castration is a process that is performed for many centuries, beginning with the Biblical images and ending with the 19th century, when it was banned in Europe. A castrato voice ideal appeared in the 17th century as a result of the prepuberal surgery, which led to such singing voices as soprano or contralto. While the voices of castrati were especially valued in opera, their bodies transformed dramatically, lacking testosterone. Today, there are no living castrati, and the issue of the appropriateness of this operation is ambiguous. This paper aims to address the following research question: is the desire to control and manipulate nature a guaranteed path to the virtuoso castrato voice?

History of Castrato Virtuosos

The Baroque era of the 1650-the 1750s was the time of greatness of castrati singers. During this period, 70 percent of opera singers were castrati, yet the tradition appeared in the 16th century when the Roman Catholic Church in Italy forbade women to speak or sing in the church.¹

This caused an acute shortage of male voices that would be able to replace the female soprano. The emergence of Belcanto is associated with the development of a homophonic style of vocal music and the formation of Italian opera. Monteverdi, Cavalli Honor, and Scarlatti are the most famous representatives of the so-called early bel canto, which is marked by expressive cantilena, an elevated poetic text, a dramatic effect, and pathetic. Among the outstanding bel canto singers of the second half of the 17th century there are Farinelli, Stradella, Pistokki, Ferry, and others.² Bernacchi, Creshentini, and Uberti (Porporino), and Caffarelli were less prominent representatives of castrati singers.

One of the challenges faced by the castrati singers was their physical appearance and associated changes. Their bodies were often asymmetrical since they had long body parts, narrow shoulders, and an unusually large upper torso, yet their larynx remained as narrow as that of a child. Thus, their voices remained identical to those of children but possessed the strength of an adult. While the voice was unusually flexible, its owner could take several octaves.

At the end of the 18th century, the tradition began to eliminate under various prohibitions for castration. The last role for the male soprano was written in 1824, and in 1870, the castration of young boys was officially banned.³ In the Vatican, the singing of castrati continued until the beginning of the 20th century. Despite the fact that his contemporaries called him the angel of Rome, Alessandro Moreschi, the last castrati singer, was never considered a brilliant soloist. As the last representative of a 350-year-old tradition, Moreschi has earned a special place in the history of music. In addition, it is his voice that sounds in the last known recording of castrati singing.

Modern View on Castrati Singers

It is impossible to convey the voice of castrati today, and there are no living castrati. The best falsettos do not fit into the tradition of baroque operas since they do not have the range and power that the castrato voices possessed. Despite the fact that thousands of talented boys underwent castration, only a few became truly popular and loved by the public. The study by Zanatta et al. explores the biological profile of Gaspare Pacchierotti using computed tomography and anthropological analyses.⁴

It is revealed that the occupational markers of this singer reflect the hormonal effects of the castration surgery. Namely, the body parts were influenced by a lack of male hormones, the disorders of the spine and osteoporosis occurred, and the ribs were like those of senile men. Based on this study, one may suggest that the surgery for art was associated with significant body damage and long-term negative consequences. Therefore, the desire to manipulate the voice based on castration cannot be regarded as a safe and ethical way to achieve it.

Today, the evidence shows that no castrati singers live and produce operas. It seems that there are also no known strategies to have their voices without the surgery. Even in large opera houses, there is a very small baroque repertoire. Theaters such as the Vienna and Paris Opera or Covent Garden stage a baroque opera only once a year or once every two or three years.⁵ These theaters that decided to stage more baroque operas are likely to run into difficulties as a few singers specialize in baroque repertoire.

Not to mention how expensive it is to maintain an orchestra of ancient instruments, without which the authentic sound of operas of the 17th-18th centuries is impossible. Modern orchestras try to play old music, but the violins sound hard with a lot of vibratos, and the voices of contralto and soprano are replaced by countertenors. For example, Max Cencic and David Hanson are prominent singers that have a countertenors voice, yet they cannot produce soprano or mezzo-soprano likewise castrati did.

Conclusion

To conclude, castrati singers were known for their strong and demanded soprano voices that were created as a result of the castration surgery. The 17-18th centuries were characterized as the fluorescence of castrato voices, which pleased the public in operas. In the 19th century, castration was prohibited since it led to thousands of deaths and had a damaging impact on males bodies. Today, there are no living castrati, while it is clear that castration does not ensure a soprano voice.

Bibliography

Feldman, Martha. The Castrato: Reflections on Natures and Kinds. Berkeley, CA: Univercity of California Press, 2016.

Gordon, Bonnie. Its Not About the Cut: The Castratos Instrumentalized Song. New Literary History 46, no. 4 (2015): 647-667.

Lewis, Susan. Music in the Baroque World: History, Culture, and Performance. New York, NY: Routledge, 2015.

Nedbal, Martin. Morality and Viennese Opera in the Age of Mozart and Beethoven. Berkeley, CA: Routledge, 2016.

Zanatta, Alberto, et al. Occupational Markers and Pathology of the Castrato Singer Gaspare Pacchierotti (17401821). Scientific Reports 6 (2016): 1-9.

Footnotes

1. Feldman, Martha, The Castrato: Reflections on Natures and Kinds (Berkeley, CA: University of California Press, 2016), 61.
2. Lewis, Susan, Music in the Baroque World: History, Culture, and Performance (New York, NY: Routledge, 2015), 7-8.
3. Gordon, Bonnie, Its Not About the Cut: The Castratos Instrumentalized Song, New Literary History 46, no. 4 (2015): 649-651.
4. Zanatta, Alberto, et al., Occupational Markers and Pathology of the Castrato Singer Gaspare Pacchierotti (17401821), Scientific Reports 6 (2016): 2.
5. Nedbal, Martin, Morality and Viennese Opera in the Age of Mozart and Beethoven (Berkeley, CA: Routledge, 2016), 75.

Impressionism and expressionism differ in the message of the art and painting techniques. Impressionists created art for arts sake instead of using art to teach something, while expressionists began to use art as a political instrument (Art in Context). Further, impressionists paid much attention to depicting light in their paintings. For example, Claude Monets painting called Impression Sunrise is full of light, and the red sun is used for contrast and to direct the viewers attention. In comparison, expressionists used contrasting colors and abstract forms in their works. Edvard Munchs The Scream and Henry Asencios painting of a woman against an abstract background are good examples of expressionists use of colors and forms for conveying emotions rather than depicting reality.

Although impressionism and expressionism are different types of art, one can find similarities between them. Both types of art advocate for freedom of expression instead of following established traditions. For example, it was not common in France to depict landscapes; instead, realistic portraits and depictions of historical events prevailed. Impressionists got away from this tradition by beginning to depict landscapes and scenes from ordinary life. Theodore Robinsons painting La debacle is a good example of this since it does not try to portray the woman or show a significant event; instead, it focuses on the scenery. Expressionist paintings also diverge from traditions of art and try to convey emotions rather than depict the world as it is. For example, Rainer Magolds painting of a woman does not try to convey the real colors and proportions of the womans face because its purpose is not realism but emotional expression.

Finally, both impressionism and expressionism are the products of their time. Impressionism emerged in the second half of the 19^th century following the invention of photography. Therefore, impressionists were inspired by photography and wanted to apply its principles to paintings. Morisots Summers Day is an example of this: the composition is not centered, and the depiction of the woman on the left is cropped. Expressionism originated at the end of the 19^th century in Germany, during the chaotic era on the verge of World War I. As such, it was intended to criticize power and social order through art and was not interested in depicting nature or things in the outside world (Art in Context). Thus, although impressionism and expressionism emerged in different times and places, they were affected by surrounding circumstances.

Work Cited

Art in Context. Art Periods  A Detailed Look at the Art History Timeline. Art in Context, 2021.

Introduction

A documentary movie, 15 Reasons to Live (2013) by Alan Zweig, is an attempt to answer a question that probably puzzled every person who ever lived on earth at least once across the lifespan: what is the meaning of life? The film comprises fifteen short stories told by different people and related to particular concepts which are deemed to make up the essence of life. Some of them include love, work, humor, friendship, and duty. It is valid to say that by elaborating on these fifteen concepts and stories, Zweig manages to demonstrate the multidimensionality of life and shows that there cannot be a single right reply to the posed question. However, one may distinguish a few common themes within the vignettes included in the movie: connectedness, passion and a sense of purpose, self-realization, and self-expression, and acceptance of uncertainty. It seems these are the four major things that endow a persons time on the planet with a value no matter where they live. I would like to discuss them in the present paper.

Connectedness

The given theme refers to a sense of relatedness either to other people or nature and the world in general. It can be expressed in support of loved ones and friends, sharing positive experiences, challenges, and stories; a state of being open, compassionate, and sensitive to the needs of others. It is apparent that when a person feels supported and connected, they handle challenges much easier than if they were alone. The story of Peter, a rock climber and a mountaineer who suddenly fell ill and became paralyzed, verifies this idea. During the hardships, he was attended to by his friends, surrounded by their care and attention, and it probably was one of the primary reasons why he managed to regain the strength needed to carry on and recover. However, what is more, important in the sense of connectedness, in my opinion, is that it helps to comprehend your own value and that your life has an impact on others. It is not just about how many good friends one has. Relations with the world and society can take many forms and may be expressed through multiple activities, including bird watching, taking care of an old lighthouse, saving whales trapped in fishing nets, and commenting on favorite songs in a music blog. Whatever shape it takes, connectedness is extremely important as it promotes the feeling of belonging and security, which makes life more wholesome.

Passion and Sense of Purpose

Edward Albee once said that the meaning of life lies in the awareness of it (Metz 1). This statement implies that to make life meaningful, individuals should either actively engage in search of their purpose or live up to it, in case they already know the thing that makes their existence significant. The importance of passion and purpose is rather questionable, and not everyone would agree that they are indeed necessary: many people are doing just fine without them anyway. However, when you are devoted to a certain activity and see how the skills in a particular sphere become improved when you invest a lot of time and effort in their development, it can provide significant psychological comfort and inspiration. A strong interest in something can be very motivating and serve as a source of substantial support during turbulent times like it was in the case of Howard, a writer who had a stroke and could not read anymore. It is also possible to say that compared to individuals who are not devoted to anything, a person with a passion can get enduring enjoyment and satisfaction from the feeling of accomplishment and contribution. Thus, it is valid to say that the sense of purpose makes life worth living.

Self-Realization and Self-Expression

Self-expression is defined as a conscious act of an external representation of individual ideas and feelings and an assertion of personal traits (Freedom of Expression Explained). The expression of individual opinions, attitudes, and some personal traits is, however, not always welcomed in society, especially when they do not meet the mainstream ideas and expectations. Therefore, such external representations of a persons self may frequently lead to conflicts and troubles. In spite of this, 15 Reasons to Live shows that self-expression takes an essential part in the lives of individuals and, without an opportunity to behave and speak in accordance with personal views, many people would not be happy to a full extent. It is true that when living in society, we must abide by some rules. However, when the formality is overemphasized, and even slight deviations from norms are penalized, we may feel constrained and deprived of freedom. At the same time, it is impossible to progress in self-realization and fulfillment of the life purpose substantially when self-expression is limited. Conversely, when a person is free to show their true self to others, they become able to establish more meaningful and authentic relations and make various choices more thoughtfully instead of just following the crowd and trends.

Acceptance of Uncertainty

Partially due to societal norms and behavioral expectations, which people start to learn and take for granted since early childhood, most of us prefer to control every single element and event in life. Uncertainty is regarded as something negative by many individuals, and, therefore, they try to avoid it by any possible means: working nine-hour shifts five days a week, saving money, forecasting, and thorough planning, et cetera. However, it can be very suffocating to reduce life to the routine. There is a risk that such an approach can make it meaningless. Conversely, an ability to decrease the level of control and embrace uncertainty, no matter how threatening it may seem at first, can be rewarding. For instance, the main message of the vignette entitled Intoxication is that by saying yes to things that one does not usually engage in regularly, it is possible to enrich life with some memorable experiences and new acquaintances and make it much brighter and interesting and, hence, more valuable.

Conclusion

There can be as many answers to the question about the meaning and value of life as there are people in the world: they are all defined by individual backgrounds and personal preferences. 15 Reasons to Live makes viewers reflect on the meaning and purpose of their own lives and offers a few solutions that they can choose to apply. The four themes, which were identified in this paper as the most significant in the movie, are present in every persons life even if they do not realize it. They affect everyday performance, mood, behaviors, and decisions. It means that they define the overall quality and outcome of life to a significant extent as well. As the movie analysis makes it clear, by working towards improving the sense of connectedness with the world, finding a passion and life purpose, learning to express oneself freely, and embracing uncertainty more often, an individual can discover the meaning and new value in their life.

Works Cited

Freedom of Expression Explained. Bright Knowledge, Web.

Metz, Thaddeus. Meaning in Life. Oxford University Press, 2013.

Introduction

Henri Rousseau is an influential painter whose style and technique had a significant effect on the development of avant-garde. His personal life and art were very unusual, making the artist stand out among other painters of the time. The naivety and primitivism, typical to his style, saw a mixed reaction from critics, and the author was not recognized during his life. At the same time, Rousseau was praised by the following generations of avant-garde artists for his innovative approach and unique technique. Studying the life of Henri Rousseau and his most influential paintings helps understand the sources of his inspiration and the evolution of his style.

Main body

Rousseau never studied art academically and started his career as a painter in his forties, developing his style independently. The author loved spending time in botanical gardens, where he could see various kinds of exotic plans. The artist claimed that nature was his only teacher, allowing him to dream and play with his imagination (Shattuck, 1968). Illustrations from childrens books also were a source of inspiration for the author, contributing to the development of his unique style (Adams, 2018).

Meeting French soldiers who served in Mexico also made an impact on Rousseau, as he was fascinated by their stories about strange foreign lands (Adams, 2018). Thus, despite the fact that Henri Rousseau never traveled overseas, he was inspired by jangles and wild animals, often turning to use them as central elements in his paintings.

Henri Rousseaus paintings evoke a strong emotional response in people and can make a drastically different effect depending on the audience. The nativity and seemingly primitive style of the author made many people think that his works were painted by a child. This fact has always been the main target for criticism and debate regarding the artist. During his life, various critics ridiculed the techniques of the author, while others praised its unique ingenuousness.

At the same time, many viewers pointed out that, despite the appearance, the works of Henri Rousseau show high levels of sophistication (Shattuck, 1968). Thus, the authors style aroused controversy among critics and provoked a major public discussion regarding his art.

The self-portrait that was painted by Henri Rousseau in 1890 reflects the authors vision of himself and his work. The painting shows Rousseau standing with Paris in the background. The figure of the painter is deliberately depicted disproportionally huge compared to other elements of the picture. The author employed this device to represent how he feels about his place in the world and his work. The way Rousseau painted himself shows that his technique did not fit in any genre of contemporary art. In addition to that, the facial expression on the self-portrait illustrates the painters attitude, as can be seen simultaneously naïve and deep (Shattuck, 1968). Thus, the painting is important because it reveals the emotional state of the artist and shows the audience his search for identity.

The Dream is one of the most famous works by the author and great examples of the paintings that were inspired by his interest in wild exotic nature. The Dream is the last picture that the author finished during his life (Adams, 2018). The painting depicts the artists former mistress lying nude on a sofa, surrounded by the jungles. The woman reaches out her hand towards a lion and a snake charmer while looking at the nature around her (Nettleton, 2019). The painting grabs the attention of the audience with its bizarre appearance and unusual combination of details.

The Snake Charmer is another essential work of the artist, and it was the first painting that was commissioned with a large amount of money. In this picture, the author once again turns to the jangle theme. The mysterious asymmetric painting depicts a woman with a flute in the moonlight and a snake charmed by her music. The style of the picture is sophisticated and primitive at the same time, with a naïve, yet the precise depiction of nature and the human (Shattuck, 1968). The surrealism and authors unconventional approach to painting allows this work to make a strong emotional impact on the audience.

Conclusion

Henri Rousseau is a self-taught French painter who made a profound impact on the development of art in the twentieth century, particularly influencing avant-garde artists. Finding inspiration in the exotic nature of strange foreign lands he had never seen, Rousseau developed his unique style and technique that are characterized by experimentation with forms of expression. Naïve child-like manner that the author employed in his work is one of the central features of his art.

Rousseaus style was a subject of controversy during his life because of its novelty and unconventional appearance, and the artist became widely recognized only after his death. The works of Henri Rousseau show his professional and personal search for identity, illustrating his complicated relationships with the outside world. Surrealistic and provocatively innovative for the time, these paintings play with the imagination of the audience combining forms and objects in a creative and unexpected way.

References

Adams, L. S. (2018). The methodologies of art: An introduction. New York, NY: Routledge.

Nettleton, C. (2019). The Artist as Animal in Nineteenth-Century French Literature Palgrave Claremont, CA: Macmillan.

Shattuck, R. (1968). The banquet years: The origins of the avant-garde in France, 1885 to World. New York, NY: Vintage Books.