Category: Art

Introduction

This essay will compare the protagonists of Fear and Loathing in Las Vegas and The Life and Opinions of Tristram Shandy, Gentleman. In each story, the protagonist is a teaser. Although being under the influence of drugs and alcohol, the main character of Fear and Loathing in Las Vegas—who is based on author Hunter S. Thompson’s real-life experience—manages to retain an outward appearance of control even when events take a random turn. The form of personal narration in the book is very similar to that of the Laurence Sterne novel The Life and Opinions of Tristram Shandy, Gentleman. Both works use the same first-person narrative style to depict the bizarre events that have taken place in the lives of their protagonists, Raoul Duke and Tristram Shandy. This paper will analyze the main characters in both stories and compare their authors’ writing styles, such as gonzo journalism and digression.

Raoul Duke

Raoul Duke is the main character in Hunter S. Thompson’s autobiographical novel Fear and Loathing in Las Vegas. Portrayed as a cranky yet likable hedonist, he often serves as the voice of the author’s own opinions—opinions that would get Thompson in trouble if he dared to express them himself. By employing a literary technique known as an author surrogate, Thompson is also able to give an account of some of his own despicable actions without having to admit it was actually he who committed them.

Raoul Duke takes an extreme delight in living life on impulse, especially indulging in alcohol and recreational drugs. Being heavily intoxicated throughout the whole novel and showcasing the resulting erratic and bizarre behavior (at one point he considers a purchase of a monkey for unspecified reasons), Duke is nonetheless able to closely observe his environment. Whether he’s at a casino, a hotel, or a bar, his paranoia-compounded wit and sardonic humor illuminate the environment with a laser-sharp precision.

The drug-crazed persona of Raoul Duke provides the reader with more than a second-hand glimpse into the torrid entrails of Las Vegas and the short shadow of American dream; it allows us as an audience to have a close look at the disillusioned yet idealistic soul of the author himself.

Tristram Shandy

A legitimate child of Mr. and Mrs. Shandy, Tristram is a character whom we as an audience experience mainly through the actions or reactions of other characters in the humorous novel The Life and Opinions of Tristram Shandy, Gentleman by Laurence Sterne. Although Shandy is almost absent throughout the whole book, he familiarizes readers with fascinating and dirty accounts of the lives of other characters while remaining in the background. Shandy is a sly trickster, and his absence makes it difficult for the reader to gain any real insight into his personality. He even manages to disappear from the unfortunate event of his circumcision, calling it on more than one occasion a “Susannah’s accident” (Sterne 390).

Even though the story of Tristram Shandy is supposed to be about his life and opinions, readers are often instead presented with an explanation of what caused the hero to become who he is now. However, with the novel’s constant shift in tone and narration, it is hard to discern all of the hidden personality traits of the narrator. Instead of providing Tristram with a clear identity, Sterne endows him with a kind of collective personality whose thoughts and feelings serve as an indirect explanation for character’s motivations.

Characters Comparison

In light of Tristram’s father’s theory about the influence of person’s name on their fate and character, the eccentric persona of Raoul Duke, whose name was inspired by revolutionary Cuban politician Raul Castro and the nickname of the charismatic American actor John Wayne, gains more depth and significance. Just like Tristram, whose character—although being tightly wrapped around his close relationships—gives us little understanding of his inner thoughts and motivations, Duke is portrayed as a somewhat two-dimensional personality. In the words of John Hellmann, he is “not what E.M. Forster would call a ‘round’ or ‘realistic’ character” (54). His motivation, as well as back story, is almost entirely unknown to the reader. Similarly, although Tristram Shandy intends to tell a broad story that spans from his birth to the point of narration, he fails to provide us with any real meaningful insight into his identity. That being said, the reader does become familiar with Tristram’s witty, sentimental, erudite, good-humored, slightly sorrowful, and rather ridiculous personality only through vicarious experiences of others.

Both Duke and Tristram are tricksters who manage to hide themselves from the reader throughout the whole story, one behind the curtain of his familial relationships and the other behind a thick, drug-induced haze. It is worth mentioning that the whole persona of the drug-crazed journalist not only serves as a disguise for the author’s own opinions and thoughts but is also “in part a narrative device which can be used to distort the surfaces of realism in order to reveal their underlying truth” (Hellmann 69). Thompson imparts his alter ego with such uncanny characteristics that the whole story, even though it is apparently a depiction of actual events, loses its realism and seems like a warped anecdote of a deluded mind. On the other hand, Tristram’s narrative—although being weird, whimsical, and totally fictional—provides the reader with a deep understanding of the main character’s social milieu, providing a sense of reality. The narrative also gives the audience hints of minor changes in the hero’s motivations and personality as the story progresses, thus making him a more substantial and well-rounded character.

Writing Styles Comparison

Having been written as a subjective mix of real events and fiction known as gonzo journalism, Fear and Loathing in Las Vegas has a very similar writing style to that of The Life and Opinions of Tristram Shandy, Gentleman. Both novels employ a first-person narrative and a chaotic story structure rife with digressions. While progressing through their plot-driven stories, the two protagonists are trying their best to depict events taking place in their lives in the most candid manner. Ironically, both Raoul Duke and Tristram Shandy fail to deliver an objective account of their lives. Discoursing at length on a wide range of subjects such as noses, insults, sexual habits, and warfare, Tristram constantly digresses from the story of his life. Similarly, Raoul Duke is unable to fulfill his journalistic duties because of the constant distractions and numerous misfortunes caused by his excessive drug use and erratic behavior.

Conclusion

While the two main characters of these novels are very different, they nonetheless have a lot in common. Both Raoul Duke and Tristram Shandy go through the bizarre events of their life with a good portion of humor and wit, which helps them accept its randomness.

References

Hellmann, John. Fables of Fact: The New Journalism as New Fiction. Chicago: University of Illinois Press, 1981. Print.

Sterne, Laurence and Howard Anderson. The Life and Opinions of Tristram Shandy, Gentleman. New York: Norton, 1980. Print.

Thompson, Hunter S. Fear and Loathing in Las Vegas. New York: Vintage Books, 1998. Print.

Edwin Forrest is arguably one of the greatest performers in the American-theater history. Forrest was born in the city of Philadelphia in the ninth day of March 1806. His father was a Scotchman who had immigrated to America at the end of eighteenth century. Forrest’s father died while he was still a young boy.

This left him in the care of her mother. Her mother was of German origin and she was quite a simple woman by the standards of those days. Due to his well-pronounced oratory skills, Forrest was well suited to be a preacher. Her mother was almost sure of this fact when she was raising him.

Forrest received his education from the common schools of Philadelphia. Other than this basic education, Forrest never received any form of specialized training in his life (Moody 24). From an early age, Forrest had the ability to capture an audience. He also possessed a gift for music and mimicry. In church, listeners would gather around the young boy and be amazed by his skills.

It was largely presumed that Forrest would assume a career in church. However, most of Forrest’s admirers were to be disappointed by his career choice. From an early age, Forrest had shown an attraction to theatre. It is not clear how he was able to access a theater but by the time he was nine, Forrest was already a regular theatre attendant. His first appearance in an organized performance was when he was eleven.

During this appearance, he played a female character. Although this was a milestone for the aspiring thespian, his performance was not good enough to convince the theatre manager to cast him regularly. However, this performance lit a fire in his belly and convinced him he could pursue theatre.

It was during this time that the young thespian started studying the great artists of the time. He was particularly keen with the works of Edmund Kean, William Conway, and Junius Booth. Forrest attended performances of these actors regularly in a bid to hone his skills.

After his first not-so-convincing performance, Forrest finally convinced the theatre manager to give him another chance. The manager then agreed to include the future theater master in a performance of “Douglas” at the Walnut Street House theatre. Even though he had joined a cast of experienced performers, he still managed to impress the audience.

His gracious and modest figure was the fuel that was to drive his career to unprecedented heights. After his first performance, the manager allowed him to come back to the theatre as Fredric in “Lovers’ Vows”. By January of 1821, Forrest was already in his third performance as Octavian in the theatre production of the “Mountaineers”. During his late teens, the young actor was operating as a manager at the Prune Street Theatre.

This proved to be a profitable venture for the thespian. It also broadened his horizons and it was at this time that he started seeking admission to the prestigious “Western Circuits”. He believed this would give him the necessary experience as well as recognition. His efforts paid off because when he was around sixteen years old, Forrest was employed by the Collins and Jones theatre company.

Through this company, he worked for various theatres in Cincinnati, Lexington, and Pittsburgh. During these performances, he took up mainly juvenile roles. Soon after, the actor signed up with a theatrical company. This move helped introduce this great artist to the rest of the world.

After launching his professional career, Forrest was involved in many major performances across the country. He also had the chance of performing alongside one of his childhood heroes William Conway. Conway’s performance in Othello was one of the performances that were studied keenly by Forrest.

Later on, this study was to help him when it was his turn to portray this same character. Another high point of Forrest’s career was when he played alongside his other idol Edmund Kean. Kean was on his second American tour and was performing at the Albany theatre at the time.

Forrest was particularly baffled by the way his idol admired his work. In his own admission, Kean was one of the most magnificent actors he had ever met. During their stint together, the pair was involved in some memorable performances. For instance, Forrest performed as Lago to Kean’s Othello, Richmond to Kean’s Richard, and Titus to the legend’s Brutus.

Forrest’s breakthrough role was in the production of “Othello” at the Park Theatre in New York. This was quite a breakthrough considering this was the most famous theatre in America at the time. All famous actors of the time had showcased their talent at Park and Forrest made his chance count. Soon after this legendary performance, the Bowery Theatre of New York opened its doors.

In his inaugural performance at this venue in November of 1826, the actor continued to mesmerize audiences with his performance as Othello. This performance also earned him a considerable pay hike.

The thespian was also a man of great moral integrity. For instance when he was offered a post at a rival theatre for a better salary, he declined the offer. At the height of his popularity, Edwin Forrest was able to make up to two hundred dollars a night.

One of the benefits that came with the actor’s fame and acceptance was that he got to make money. After only a few years in the business, the actor had managed to clear his late father’s debts. His mother and the rest of the family were also well taken care of at the time.

It was in 1834 that the actor decided to go on a hiatus (Moody 57). He was bade farewell by fans and fellow actors in a banquet that was held in New York. When he returned from his vacation in Europe, he was glad to find that his popularity and fame were still intact.

In 1836, Forrest embarked on a performance tour in Europe. His first stop was London. Here he became one of the first American actors to take a stage in England. His first performance was in “Spartacus”. Although the play was a failure, his performance was applauded. His subsequent performances received reviews that were more positive.

It was during this London engagement that he got to meet his future wife Miss Catherine Sinclair the daughter of a popular English singer. The two got married in 1837. It was also during this engagement that Forrest met and socialized with both Charles Kemble and William Macready. Forrest admitted to getting a lot of help from the latter when he was trying to connect with the English audience.

When Forrest returned to America, his new wife was an instant sensation even with his friends. Most people were amazed by her mannerisms and her refinement. The qualities were in contrast to Forrest’s downright and rough attitude. However, their marriage failed to transcend over these differences.

Just a few years after they had been married, the two were involved in nasty and public divorce proceedings. The result of the divorce was a trodden Edwin Forrest. The court also ordered him to pay alimony to Sinclair.

After the divorce, the actor came out of the proceedings a dejected man (Baker 49). However, his rising popularity encouraged him to soldier on. After the Broadway theatre went into business, Forrest found a new venue to parade his art. It was in this theatre that he launched a sixty-night performance.

This performance increased his popularity as well as wealth. It is often thought that the events surrounding his divorce made Edwin Forrest a bitter man. This is why he had a lot of problems with his temper during this period.

In 1845, Forrest had visited England for a second time. During this time, he was accompanied by his wife. At their arrival, the two were welcomed by English and Scotch intellectuals and nobilities. When in London, Forrest pitched camp at Princess Theatre. Here he was able to stage several successful performances. It was during a performance as Macbeth when the audience publicly showed their dissatisfaction by hissing.

However, Forrest believed that this hissing was a manifestation of professional jealousy. He believed that William Macready had orchestrated this hissing to undermine him. This was in spite of the fact that Macready had helped him connect with local audiences during his previous trip to London.

As an act of retaliation, Forrest stood up during one of Macready’s performances and hissed him. This act was highly condemned by the British Press. Forrest’s stature among his English audience was also negatively impacted.

These two incidences were seemingly harmless and inconsequential. However, they laid the groundwork for an event that took the world by surprise. The rivalry between Macready and Forrest reached new heights when Macready toured America after the London incident. The two had both toured each other’s country twice. Their rivalry stemmed from the fact that Forrest was seen as the first homegrown American talent.

On the other hand, Macready represented English supremacy in the world of theatre performances. It is for this reason that both parties were insecure about the success of their rivals. This was much so for Forrest who had broken barriers to achieve unparalleled success. During Macready’s second visit to America, this rivalry had spread to encompass anti-British anger.

Therefore, on seventh May 1849 Forrest’s supporters halted Macready’s performance at the Astor Place theatre using acts of hooliganism. There were also anti-British slogans in the Astor Place theatre. This went on for a few days yet Macready declined to abandon his performance. Finally, the protests culminated into a full-blown riot. During the riot, approximately thirty people lost their lives and over a hundred were injured (Cliff 19).

When the riot ended, Forrest found himself at the receiving end of criticism. However, his brave actions earned him future respect. Other actors who came after him tried to influence change using their craft. John Barrymore is one of such actors.

After these unfortunate events, Forrest reappeared again at the Broadway Theatre in New York in 1852. The following year he took part in the staging of “Macbeth”. The play featured new settings, sceneries, and appointments. The play was staged for a record twenty-two nights and it featured an all-star cast. Forrest was then absent from the stage for about four years.

After this, he again reappeared at the Niblo’s Garden as Hamlet. At Niblo’s, he signed a contract that would have him perform for a hundred nights. His prior absence from the stage only fuelled his popularity.

Therefore, most of the shows at this venue were sold out. His similar performances in Philadelphia and Boston were equally successful. For instance, during his performances in Boston the halls were too small to contain the audiences he pulled.

In 1865, the now famous actor was faced by a new challenge. This time it was in the form of an illness. Edwin Forrest had started showing signs of early gout. The actor did not give up and continued performing as he struggled with this condition. Later on, the actor suffered a serious bout of pneumonia while performing at Baltimore’s Holiday Street Theatre.

After struggling to finish his performance, the doctors examined him only to discover that he had suffered partial paralysis of the sciatic nerve. Because of this affliction, his right hand became almost paralyzed. In his last days as a performer, the actor was even unable to lift up a sword.

In the year following his diagnosis, Forrest toured California and managed to do a few shows there. His final appearance in New York was in 1871 where he played Lear and Richelieu. After regaining considerable strength, he again toured Boston. This was in the month of March 1972.

At Boston, Forrest struggled through various illnesses including a severe cold. It was also during this time that he was unable to perform even after being booked for performances. Edwin Forrest died in December of the same year. The cause of his death was a stroke.

Edwin Forrest was involved in several philanthropic endeavors. Even in death, he continued these through his will and testament. For instance, he helped establish “The Edwin Forrest Home” a home for retired actors. As an honor, Forrest has had two theatres named after him. One of those is in New York and the other one is in Philadelphia.

In the span of his career, Forrest was able to triumph in many Shakespearean productions. Some of his strongest performances were in plays such as “Lear” and “Othello”. When it came to portraying characters, Coriolanus remains one his best portrayals. His performances managed to maintain their momentum until ill health came knocking.

However, his mastery of dialogue remained with him until the end. Characters such as Hamlet, Macbeth, and Richard were said to be out of his character-range. However, it was his ability to realize when it was time to elaborate a scene that enabled him to connect with his audience. He was also able to elevate his artistic abilities above his natural talents. This is what made him one the greatest actors that American theatre has ever known.

Works Cited

Moody, Richard. Edwin Forrest, First Star of the American Stage, New York, New York: Alfred A. Knopf, 1960. Print.

Baker, Thomas. Nathaniel Parker Willis and the Trials of Literary Fame, New York, New York: Oxford University Press, 2001. Print.

Cliff, Nigel. The Shakespeare Riots: Revenge, Drama, and Death in Nineteenth-Century America, New York, New York: Random House, 2007. Print.

Introduction

It has always been stated that art is subject to personal interpretation, this holds true for various works of art especially those whose themes and design are part of the abstract category of art. An initial examination of both works to be analyzed reveals that each is part of two distinct categories of art with the first emphasizing expressionism and the second being part of minimalist impressionism. Each has its own distinct themes and methods of interpretation and as such this will be explored in order to address each work’s formal elements in order to give readers both a visual and interpretative analysis of the two works of art chosen for this paper.

Determining the Inherent themes and style in the work

When first examining art one must take into account each art’s inherent theme and message in order to understand the stylistic justifications that went into the usage of color, shapes, contours, and lines in the art itself.

For example, in the first painting by Wesselmann it can be seen that the style of the abstract painting follows modern-day expressionism identified through its use of a subjective perspective in trying to incite an emotional response from viewers. While the painting itself is far from the quality of the old masters of abstract art it does bring out a certain emotional response as it can be interpreted that the woman in the painting is actually dying.

This is identified through the apparent halo surrounding the woman, the imagery of using white poppy flowers in the lower right corner of the painting, and the apparent “final gasp” of air that she is attempting to have before death claims her.

The second painting, “Nilleig Ruiridh Eoin a Phlan”, made by Ellison Robertson is more akin to impressionist styles as it can be seen through the use of relatively thin lines, its slightly open composition in terms of the scarcity within the work, and its emphasis on the accurate usage of lighting in the piece itself. Further evidence that this particular work follows the impressionist style is the use of a common subject matter as the primary basis of the painting namely the use of an old man as the subject to be depicted.

In this particular painting, it can be seen that the theme is apparently connected to the concept of introspection wherein the subject in the painting is apparently thinking deeply as evidenced by the furrowed expression and the classical “hand on chin” motif that has been used time and time again in various artwork to depict a subject deep in thought. It is based on the identification of themes and styles used in the works to be examined that a better and more detailed examination can now be done.

Visual Description and Analysis of the Paintings

Based on the expressionist style of distortion to invoke an emotional response the 1st painting seemingly tries to invoke a sense of pity for the character in the portrait but actually fails rather spectacularly at doing. As mentioned earlier one method of interpreting the painting is by thinking that its thematic expression is that of a woman breathing her last breath from her bed as she is about to die.

This is particular symbology is interpreted through the use of white poppies in the painting which symbolizes a pure death, namely a death that comes from a life well-lived. In the painting, we can see that on the left-hand side streaks of white are evident in the hair of the woman which are meant to symbolize old age. This is further evidence that the woman is the portrait is about to die and the artist has captured her “literal” last breath on his canvas.

Unfortunately in terms of artistic representation, the lines feel too “clean” in the sense that they seem more artificial and unimaginative than they are truly artistic. The entire painting seems to exude a feeling of artifice wherein through its use of curving straight lines any form of actual emotional connection established with viewers is lost. The painting feels too “modern” too “artificial” in the sense that it has lost its artistry by trying to appeal to too many audiences.

While there are various colors utilized in the work they feel flat, dead, and lack any form of actual liveliness. While it may be true that the work itself may have been created through some use of felt tip markers this just further emphasizes its divergence from true art. In fact, in terms of the overall balance and texture of the piece, it just seems too “clean” in the sense that it feels far too planned out, that the realism that can be captured at the moment is not there at all.

While it may be true that its utilization of space and contours is efficient therein lies the problem wherein the painting seems too “perfect” in the sense that it lacks any divergent emotion from the artist and merely looks like a piece that can be created within a few minutes on a computer. While there are many interpretations of what can be called “art” the fact remains that I know what I like and this painting diverges from everything that I would actually call “likable” art.

When basing the second painting on the impressionist style of the 19th century the emphasis on lighting within it can thus be clearly seen and appreciated. The use of light and shadows lends the painting a surreal realistic quality wherein the character within seems almost lifelike. This surprising when taking into consideration the rather minimalist perspective the artist utilizes wherein the background is nothing more than a series of striated lines depicting a wooden wall.

In fact, the overall use of color in this particular work is rather sparse which I believe was intentional in order to bring further emphasis on the subject of the painting itself. The most striking and realistic feature is the face of the man where the use of age lines, slightly shadings of brown, and the use of a distinct black shadow on the left-most portion of the face while emphasizing the color white on the right-hand side creates an almost 3d like realistic effect where the subject within seems to have been paused momentarily in a stitch in time.

In fact, when examining the rest of the painting it can be seen that the most painstaking detail applied to it was concentrated on the face with the rest of the subject’s body being akin to a sparse outline. This particular facet of the work itself could be considered purposeful on the part of the artist as he attempts to concentrate the perception of the viewer directly on the face and bring about the fanciful introspection of wondering what the person in the painting is thinking about. Overall the use of lines in this particular case is dominated by either thin line outlines as seen in a majority of impressionist works or by jagged dark lines utilized to create the effect of depth and shadow.

The one dominating color in this painting is the color yellow as seen directly in the middle of the painting which is actually utilized as a means of creating the almost 3d like effect on the man wherein the brightness of the yellow on the right-hand side contrasts nicely with the dark shadows on the left most side creating the impression that the sun is striking the wall directly to the left of the man creating the shadow-like effect on the left.

Comparison and Contrast

When comparing the 1st painting to the 2nd one, it is a no-contest victory for the second painting due to the stylistic rendering utilized and the realistic use of lines, color, and shading to almost bring to life the subject in the painting. The first painting feels too artificial and clean in terms of the way in which it was created. It lacks the vibrance seen in the second painting and in fact the first painting seems more like a piece of modern art easily created on a computer.

It fails to portray any apparent skill on the part of the artist as compared to 2nd painting where the overall skill is definitely apparent. What must be understood is that when making comparisons and contrasts between two different styles of creating artwork, you are not just evaluating the work itself but also the skill of the artist who made it. In this particular case when examining both artworks I have disparaged the first and acclaimed the second, I have called the 1st artist untalented and the 2nd gifted. This is not out of a sense of bias but rather an observation of skill through the very work they created.

Stylistic differences between the pieces of art form Greek and Roman periods can be seen as rather insignificant. This can be explained by the peculiarities of these two cultures. Greek Empire exercised the role of the world power propagating cultural values of mass culture until this role was taken away by the new world power which was the Roman Empire. The Roman Empire and its culture inherited all the achievements and winnings from the Greek Empire along with its cultural values and basic conceptions of art. Thus, the basic principles of Greek pieces of art are so evident in Roman ones. This paper aims to explore this tendency on the example of two pieces of art form Greek and Roman culture. Generally, the closer look to these pieces of art makes it evident that the cult of extolment of human body’s beauty is a prevailing idea both for the art of Greece and Roman Empire with some insignificant differences in their approach. In addition, the difference can be also explored within the subject matters from both cultures.

To see the main tendencies in the art of Greece and Rome, and also to make a comparative analysis of these tendencies the two following objects were chosen. The first object is the Greek Attic Pentelic Marble Grave Stele dated 350 to 300 BC. The museum’s information describes this object in the following way,

The stele here is treated as an architecturalized niche, framed by pilasters, a lintel and an architrave carrying a flat tiled roof. Two men stand by a seated woman named Krinylla, daughter of Stratios, according to the epitaph still faintly visible on the architrave. The bearded man in the center is Naukles, son of Naukrates of Lamptrae, while the man on the right is Naukrates, son of Naukles of Lamptrae. The second Naukles must be the grandfather of the first. Lamptrae was a district or deme of Attica (University of Pennsylvania Museum of Archaeology and Anthropology par. 2).

And the second object is the Roman Marble tomb loculus cover dated late 2^nd to 3^rd century AD. The museums information about the object is: “This panel sealed a burial niche in a tomb. The scene represents a Bacchic procession” (University of Pennsylvania Museum of Archaeology and Anthropology par. 1). The objects can be described as quite similar in their stylistic characteristics; although, the images under consideration have a row of differences in their subject-matter, and the message they convey.

Speaking about the similarities between these sculptures, it should be mentioned that they are quite many. First of all, they are both accomplished of the marble, and have almost the same size. As their medium is the same, the artworks also have similar color which is usual for marble objects. Next, they are both in a good condition in spite of their being related to a quite ancient historical period. Both of the objects look very similar due to their similarity in proportions of human bodies, people’s outfit and their appearance in general. Both reliefs show human body in its best condition exalting the values of esthetes. However, the sculptures still have particular differences; the main of them is in conveying different messages.

Speaking about the messages the pictures suggest to the audience, it should be stated that they can be described as the main difference between the two objects. The Greek sculpture can be described as related to the pictures from people daily life. Observing the sculpture the viewer is reminded about the scenes from family interaction. We see the two men discussing some important family matter with a woman from their family. The second sculpture cannot be described as featuring some highly moral subject-matter. The viewer observes the scene from ancient religious celebration called Bacchic procession. Such celebrations are known for their immoral overtone, rivers of wine and the other alcohol beverages, and unlimited desiderium for immorality and uncontrolled festivity. The difference in the plot of these sculptures seems to be not occasional. This common tendency can be observed as the main difference between the art of the Greek and Roman Empire. The last one is known for its moral breakdown, and said to be degenerated, corrupted and deteriorated on the reason of this moral breakdown. People in Rome were known for their constant thirst for festivals and entertainment. This destructive tendency led to the fall of their Empire.

Furthermore, as a continuation of the sculptures’ differences people’s outfit should be discussed. Adding to the immoral implication of the procession depicted in the Roman sculpture, people’s dressing conveys the message of the Roman moral breakdown. Compared to the decent outfit of family members in the Greek artwork, the dressing of Roman sculpture personages appears as suggestive and graceless.

Concluding on all the information related above, it should be stated that the two sculptures under consideration belonging to the Greek and Roman cultures can be described as rather similar in their appearance and stylistic characteristic. The artworks are accomplished at the same medium, have similar color and human body depiction conceptions. However, there also exist significant differences in their idea and subject matter. Greek sculpture propagates formative family values, whereas the Roman one seems to promote unrestricted festivity and immorality.

Works Cited

University of Pennsylvania Museum of Archaeology and Anthropology. n. d. Web.

Ebrey, Patricia Buckley. The Cambridge Illustrated History of China. Cambridge UP, 2010.

This provides an illustrated history of China. The book provides traditional myths about the Chinese. The book demarcates several periods in the history of China using dynasties. The author uses illustrations throughout the book to show various activities that took place in various dynasties. In addition, the book explores the complex nature of Chinese society and points out various factors that help Chinese groups who have different dialect, religion, and way of life live together harmoniously. The book provides a historical basis for the peaceful coexistence of various Chinese groups. In addition, the book illustrates the changes in the society during the ancient dynasties.

Elkins, James. Chinese Landscape Painting as Western Art History. Hong Kong UP, 2010.

Landscape painting is one of the major ancient Chinese forms of painting. The book provides a study of Chinese landscape painting that might be of interest to non-specialists or generalists. The book provides a detailed history of Chinese landscape painting.

The book looks at various influential ancient Chinese painters who helped in shaping Chinese landscape painting. In addition, the book tries to provide interpretation of various Chinese landscape paintings. The book compares Chinese landscape painting with various ancient western paintings. In so doing, the author helps in showing the importance of Chinese Landscape painting in modern art history.

Huang, Junjie and Erik Zürcher. Time and Space in Chinese Culture. BRILL, 1995.

This book helps in explaining the peculiar nature of the Chinese notion of ‘time’ and ‘space.’ The book explains how the peculiar notions of time and space help in molding the Chinese traditional culture. According to the authors, the notion of space and time helped in shaping the China’s ancient history.

On the other hand, history helps in shaping modernity of the Chinese society. Significant differences in the Chinese notion of space and time makes it difficult for the Chinese to adopt other cultures. Paintings help in portraying the ancient notion of space of time.

Works Cited

Ebrey, Patricia Buckley. The Cambridge Illustrated History of China. Cambridge UP, 2010.

Elkins, James. Chinese Landscape Painting as Western Art History. Hong Kong UP, 2010.

Huang, Junjie and Erik Zürcher. Time and Space in Chinese Culture. BRILL, 1995.

Mark Dion originates from New Bedford, Massachusetts. Born in 1961, the artist received BFA in 1986 and an honorary doctorate in 2003 at the University of Harford, Connecticut. Dion’s artistic works describe the approaches in which public institutions and prevailing ideologies shape our comprehension of the natural worlds and associated knowledge and history (Art 21 PBS, 2012). According to the artist, his task is to stand against the dominant culture and challenge conventions and stereotypes.

In this respect, Dion introduces works that provide the difference between scientific, objective methods, and irrational, subjective impacts. The painter’s curiosity extols unusual orderings of specimens and objects. In particular, the artist heightens the role of scientific explorations in modern society by locating the basis of environmental politics in the origins of knowledge and history about nature.

Mark Dion is famous for his scientific installation where specific details and objects are used, including wooden structures, sketches of animals, stuffed birds, photographs, etc. All these installations and images introduce nature in different dimensions. Specifically, the author makes use of different materials to represent different displays of nature, as well as how it interacts with science. The confrontation of the natural and scientific world can be viewed in Dion’s installation called “Neukom Vivarium” (2006).

The greenhouse structure provides several themes for discussion since it represents a tree within a scientific context and can be discussed without it (Art 21 PBS, 2012). The given piece of art reveals modern outlooks on art from ecological perspectives. In particular, the author emphasizes the role of nature and science in shaping the current attitude of society to artistic exploration (Harvey, 2008, p. 187). Concerning this, the work under analysis proves the connection between natural and artistic worlds.

References

Art 21 PBS (2012). Art in the Twenty First Century. Web.

Harvey, M. (2008). Mark Dion. Art in America, 96(10), 187.

The premiere of Mikhail Glinka’s Ruslan and Lyudmila took place in 1842. Still, in 1995, Kirov Orchestra, Opera Chorus, and Ballet in association with San Francisco Opera presented their new version with Anna Netrebko as Lyudmila, Vladimir Ognovenko as Ruslan, and Larissa Diadkova as Ratmir (“Glinka: Rouslan et Ludmila”). The musical performance can be viewed as perfect, and it is important to focus on the work of such singers as Netrebko and Diadkova. The characters performed by these singers are lively, and they are interesting to the audience. Netrebko, a coloratura soprano, demonstrates that her Lyudmila is a spirited and vivid character. Still, Diadkova’s Ratmir seems to compel the public’s attention even more actively because of her virtuosity in expressing the character’s feelings.

The performance can be discussed as impressive also in terms of the used theatrical scenery and costumes. They are effective to accentuate fantastic and epic adventures of the characters. These sets also make the audience follow the plot and concentrate on the fairytale interpretation of the fight between good and evil forces presented in the opera. Much attention should be paid to the ballet parties and the orchestra’s work. Glinka’s scores can be discussed as challenging, and some performances of Ruslan and Lyudmila are often viewed as unsuccessful because of problems with the orchestra (“Glinka: Rouslan et Ludmila”). However, the performance of Kirov Orchestra is exceptional. Still, in spite of the perfect performance of singers, the chorus, and ballet dancers, the opera seems to lack the dramatic action. Thus, unique theatrical images are created with the help of the singers’ mastery, their costumes, and sets, rather than the stage director’s skills.

References

“Glinka: Rouslan et Ludmila.” YouTube. 2013, Web.

Sargeant, Lynn. Harmony and Discord: Music and the Transformation of Russian Cultural Life. New York: Oxford University Press, 2011. Print.

Lauren Mabry is one of the most prominent contemporary artists specializing in creating ceramics. This field appears to be less prominent than painting among the mainstream arts. However, ceramics is, perhaps, the most understandable form of contemporary art when it comes to the ordinary viewer. Examples come in all kinds of shapes and sizes, require various color decisions, and give rise to a whole spectrum of ideas from functionality to pure expressionism. Even though Lauren Mabry is constantly creating new works, which are always unique and memorable, she tries to pass on her mastery by giving lectures and workshops on a regular basis.

Lauren Mabry is originally from Madison, Wisconsin. She has always been passionate specifically about ceramics. That is why her latter education began in Kansas City Art Institute. Lauren had attended the Ceramics Department, which she successfully attended in 2007. Two years later Mabry started a master program in ceramics offered by the University of Nebraska-Lincoln. Her academic achievements are supported by numerous fellowships and awards which she has received during her studies, in addition to which the artist also has considerable experience abroad. In 2006 she spent some time working for the International Ceramics Studio in Hungary. At the moment she lives in Philadelphia and has a website (Mabry 1) that provides information about her artworks and a brief summary of her achievements.

Mabry’s works are an example of laconism combined with a virtuous use of color. The artist has chosen cylinders as the main shape for her art. Single pieces and compositions make a base of her collection. Even though this form is incredibly simple, Mabry manages to make every crafted piece eye-catching by applying a mixture of various colors. It can be noticed that the artist leans more towards pastel shades. Her website provides pictures of her art, which is dominated by pink, blue, and terracotta. Mabry’s work is “very process oriented” (Lauren Mabry: Passages, 1), meaning that she uses improvisation and focuses on the work itself rather than on the final result. Her cylinders can fit in any setting, from a private home to a grand public space. Such a versatile feature is similar to all her works. Mabry manages to combine such a multitude of colors on one ceramic, and still retain its simplicity, that it is almost impossible to compare her art to that of others.

As the artist confesses on her web page, she never knows how colors will look after they undergo temperature treatment. However, the result is always brilliant. The shapes she creates for her ceramics are complemented by masterful brushstrokes. By no means all of Mabry’s collection is focused on cylinders. A cluster of works is presented by the so-called walls. Ceramic squares and rectangles also come in various colors similar to her other art. Regarding interior design, they can easily be used as pictures on walls. Moreover, the painting of this collection is an excellent example of modern art. This effect on glazed ceramics cannot be reached by any other type of art method.

Suffice to say, viewers react to Lauren Mabry’s ceramics with admiration. She is a recipient of several awards. Her personal website states that she was granted a Junior’s Award in 2012 and Merit Award in 2014. The 2014 year has, indeed, been very successful for Mabry, as she received the Emerging Artist Award and the Independence Foundation grant. All of these awards demonstrate that the art community is interested in the artist’s ceramics, which are recognized all over the country.

As a result of this popularity, Lauren Mabry has already had several exhibitions of her own. Starting from 2012, she has already had five of them. The last one is called “Lavender Fields & Pig’s Fat: Work From China”. This exhibition was a result of Lauren’s trip to China, where she gained experience and accumulated inspiration in one of the oldest Chinese places famous for its pottery. Of course, Mabry’s ceramics have also been a part of various group exhibitions. In 2016 she participated in four of them, two of which took place in Kansas, the city where she gained her initial knowledge of ceramics. In fact, Mabry’s ceramics are so popular in Kansas, that the local museum in Sedalia has purchased one of her works for their permanent collection.

Lauren Mabry is not focused solely on work. She spends some of her time giving lectures to students of various art universities and colleges. This year she works as a visiting professor at Ohio State University. Mabry’s experience in working with ceramics will help her impart very useful information to students of the Department of Arts. The artist also has three years of experience holding workshops.

Analyzing the input which Lauren Mabry has made in the ceramics art industry, there arises the undoubted fact that she creates extraordinary art pieces and, what is more important, she teaches others how to create them. Ceramics is a complicated matter since artists rarely know what the final work will look like. Nevertheless, Mabry always manages to make every piece unique and still look like a part of a single family.

Works CitedReferences

Mabry, Lauren. “Resume.” Lauren Mabry, Web.

“Lauren Mabry: Passages.”Ceramics Department. 2015, The Kansas City Art Institute, Web.

Stan Kenton led a remarkably creative life: he was a composer and a pianist, and he formed several of the most forward-thinking jazz ensembles of his time. Many jazz lovers of the 1960s first learned to appreciate this genre through the works of Stan Kenton, and his contributions undoubtedly made him one of jazz’s top figures.

Stan Kenton was born on December 15, 1911, in Wichita, Kansas, but he spent most of his childhood in Los Angeles. Kenton was only 8 years old when his mother noticed his interest in playing piano, and he showed remarkable progress during his early practice sessions. His first lesson in jazz came from Earl Hines, an iconic figure whose influence undeniably helped Kenton shape the history of jazz. After high school graduation, Kenton played gigs in numerous bars around Los Angeles and San Diego. In 1933, Kenton attracted the attention of Everett Hoagland, who invited him to play piano in his jazz orchestra, which was a remarkable experience for him. However, Kenton dreamed about starting his band and playing his music, different from anything that was being played at the time.

After some preparation, he formed his orchestra called Artistry in Rhythm in 1941. The unique sound of his music was dismissed by most jazz critics; for instance, one of his songs, “Artistry in Rhythm,” has loud anthem vibes to it, not entirely suitable for a dance floor. Nevertheless, the controversial style attracted the public’s attention and contributed to the success of his group, which went on to create such hits as “Eager Beaver.” Thanks to the growing recognition, Kenton was able to finance an ambitious new project he called Progressive Jazz Orchestra. The harmonies became even more unusual, with Latin rhythms added to the layered sound. Kenton created a widely successful jazz orchestra with a unique musical style that attracted its own audience.

Kenton did not stop there, however. He continued to encourage musical experimentation, and in 1947, one of the first Afro-Cuban jazz recordings was created. The musician valued young talent even at the cost of experience, and some of the people who worked with Kenton went on to become notable composers themselves. In 1951, he created his most ambitious project, a 40-piece orchestra called Innovations in Modern Music Orchestra, expanding on his success in creating modernistic jazz-tinged orchestral music. The orchestra was too big to be a commercial success, however, which led to the creation of New Concepts of Artistry in Rhythm. The music continued to be unpredictable, but Kenton managed to keep his trademark musical style. With this ensemble, Kenton toured Europe and was in fact the first American musician to tour in the years after WWII.

Upon his return to the United States, Kenton began exploring new creative ideas, including the creation of his own jazz club, which was ultimately unsuccessful. In 1961, Kenton started another musical revolution with the inclusion of the newly created mellophone into his new orchestra, contributing to the instrument’s rate of adoption. During his later life, Kenton continued his work as an educator, promoting jazz, sponsoring summer camps, and conducting innumerable clinics which he shared with other jazz players. His framework is still widely used today.

Stan Kenton was undoubtedly a prominent figure in the jazz world whose creative vision inspired many distinguished musicians and who continued evolving and popularizing this genre until his last days.

There is no use denying the fact that art could be taken as an integral part of human society. The thing is that it has always been moving along with humanity, helping it to express various feelings and emotions and making people more inspired and happy at the same time. Traditionally, art has also been taken as the thing that reflected the dominant moods and beliefs peculiar to the society at a certain period of time.

Being inspired by any idea or feeling, artist always wants to embody it and, that is why, art could be also taken as the remedy which serves to show all emotions of one generation to another.

With this in mind, it is possible to say that looking at a certain masterpiece, the idea about the epoch when it was created comes in mind. Besides, resting on these facts, it is possible to assume that the analysis of artworks created in China can help to obtain the vision of the main tendencies of its society, concepts of beauty and tools used in a certain period of time.

Nevertheless, it is possible to say that Chinese culture can be taken as the unique phenomenon that has no similarities with some other cultures. The thing is, that due to some peculiarities of the development of its state, China did not have contacts with European cultures. It was a kind of closed country with its beliefs and peculiarities of social structure.

Additionally, the absence of cultural interchange with the countries that had some other culture led to the appearance and development of Chinese unique lifestyle. That is why, it is quite obvious that this very culture had a great impact on the development of unique style in art that helped to express peculiarities of ancient Chinese feelings and beliefs. Moreover, due to this fact masterpieces of ancient China are of a great importance for the worlds culture as their analysis helps to add some information to the image of China.

Analyzing the art and culture of ancient China, it is possible to say that there were several factors that had a great impact on the development of these phenomena. First of all, it should be said that the period that is associated with the blistering development of arts in China is connected with the rule of Qin and Han dynasties. The Chinese state of that period of time had a ruler with the unlimited power, who tried to unite the state and protect it from some outer threats.

It is obvious that existence of one ruler meant that China was the totalitarian state with a class divided society in which noble people played the important role while the rest of population served them. These peculiarities were embodied in the ancient art of China. Very often, only some noble people were depicted (William 3). However, one should not also forget such aspect of culture as religion and the impact it had on the development of Chinese art (Sullivan 23).

The thing is that according to the ancient Chinese beliefs the soul of a person was immortal and it had to be protected in order to continue its existence. Moreover, in accordance with this very belief, every human being had two souls. These souls were flesh-soul and breath-soul (Priestley 2). When a person died, breath soul escaped the body of a person and went away while the flesh soul remained in it.

Thus, flesh soul was taken as very evil and dangerous, that was why some container to protect people and breath soul from the danger was needed.

Taking into account the role which the ruler of a state played in China and the ideology that was cultivated among population of a state, it is possible to say that creation of these containers for rulers became a certain kind of art that had been developing along with Chinese society and resulted in the creation of unique kinds of containers for body and soul of ancient rulers known as jade burial suits.

Being the reflection of unique ancient art, these suits should obviously be analyzed as this analysis could help to understand peculiarities of ancient China better.

However, before the analysis some attention should be given to the material which was chosen to make these suits. It is obvious that jade is not the best material that could be used for the creation of a suit that should be made in the shape of a person. However, the investigation of the role of jade in the culture of China could help to understand this choice better. The thing is that since the first steps made by Chinese civilization, jade had been taken as a very precious and important mineral (Hung 45).

According to its mythology, it was associated with some inner energy and purity at the same time. Moreover, this very stone was given some other qualities that made it an integral part of various religious rituals. With this in mind, the choice of material used for burial jade becomes clear. Being very important for people of ancient China, burial rituals presupposed creation of precious burial suit for their ruler and under existing conditions jade was the best choice.

Besides, it should be said that burial suits were found in various places in China which could be taken as a good evidence of the wide spread of beliefs connected with the soul of a person and its further existence. Additionally, suits, that were found at various periods of time, belong to different dates.

This fact also shows that creation of burial suits could be taken as the part of Chinese culture. It should be said that existence of jade suits had not been proven for a long period of time. However, it was documented in literature around AD 320 (Priestley 1). Thus, discovery of the tomb of prince Liu Sheng and Princess Don Wan of the Han dynasty helped to prove this hypothesis.

They were found accidentally by soldiers however, the importance of this discovery proved by the fact that very often it is taken as one of the greatest findings of the XXth century. The thing is that the tomb was undisturbed and due to this fact scientists were able to obtain the idea of ancient rituals connected with death and peculiarities of art.

Nevertheless, Prince Liu Sheng and Princess Don Wan were found in jade burial suits which were almost untouched and saved its original image. A great number of various investigations connected with these suits helped to outline several important peculiarities. The quality of work and the attention given to the tiniest details of these suits allow to treat them as the unique masterpieces of Chinese culture.

Both these suits are made of a great number of tiny pieces of jade. Liu Shengs one consists of 2498 pieces that are connected with the help of golden wire (Priestley 3). Don Wans suit is smaller, however, its quality is also great. Both these suits consist of twelve sections which are face, head, front, and back parts of tunic, arms, gloves, leggings, and feet (“Jade Objects” para. 2). The following pattern of segmentation was chosen as it helped to make the suit more elaborate.

Thus, scientist assume that resting on the quality of the work and its complicated character, about ten years were needed to create it (“Jade Objects” para. 4). The thing is that these pieces of jade are not only connected with each other, however, they are decorated with precious metals and carving. That is why, scrupulous and careful work of about one hundred craftsmen were needed in order to accomplish this task (Priestley 5).

Nevertheless, discovery of these suits helped to obtain some credible information about the culture and art of ancient China. It is obvious, that the above mentioned jade burial suit should be taken as the unique phenomenon of art because of several reasons. First of all, one should keep in mind that Liu Sheng belonged to the Han dynasty and was a very important person for the society of the country.

His death and rituals connected with it were outstanding events for all people and only the most skilled and talented artists and craftsmen were asked to create all needed equipment. That is why, these suits could be taken as the manifestation of the main peculiarities of beliefs and ideas of the epoch in which they were created. The thing is that the work connected with the creation of the given burial suits demands a great level of skills in various spheres.

Artists should be able to work with jade in order to create pieces of the needed shape and size. Moreover, there is some ornament on some of them which could also be taken as the evidence of a great talent of ancient artists. Additionally, the golden wire, used to fasten these pieces, also provides a great number of various facts.

First of all, it proves the idea of social segregation which existed in China. Gold was used for rulers of the land, while burial suits of noble people were created with the help of silver of red silk wires (Powers 124). Finally, the quality of the metalworking also shows the great level of skills of ancient Chinese masters.

With this in mind, resting on these facts, it is possible to make a certain conclusion. Going along with society, art can be taken as the phenomenon that helps people to embody their thoughts, feelings and emotions and convey them to next generations. Moreover, due to this peculiarity of art, any artwork could help to obtain the clear vision of the epoch in which it was created.

Thus, Liu Sheng and Don Wans burial jade suits, found in Liu Shengs Tomb, present people a great number of peculiarities of Chinese art and culture of the Han dynasty. The quality of work, choice of materials and the purpose of these suits help people to understand beliefs and ideas of people who lived in China at that period of time. That is why, these burial suits could be called the embodiment of ancient Chinese culture.

Works Cited

Hung, Wu. Monumentality in Early Chinese Art and Architecture. Redwood City, CA: Stanford University Press. 1995. Print.

Jade Objects. n.d. Web.

Powers, Martin. “Social Values and Aesthetic Choices in Han Dynasty Sichuan.” Stories from China’s Past: Han Dynasty Pictorial Tomb Reliefs and Archaeological Objects from Sichuan Province, P.R.C. Ed. Lucy Lin. San Francisco, CA: Chinese Culture Foundation of San Francisco.123-145 1987.

Priestley, Michael. Jade Burial Suits. 2013. Web.

Sullivan, Michael. The Arts of China. Oakland, CA: University of California Press. 2009. Print.

William, Watson. Art of Dynastic China. New York: Abrams, 1979. Print.