Category: Art

Musical Instruments in a Piece

“Also Sprach Zarathustra” by Richard Strauss can be acclaimed as an excellent piece of music which occupies its dignified place among the other works of the world’s music classic. Its many parts are known all over the world due to their use in varied shows, TV commercials, movies and so on. The most famous adaptation of this music theme is in the film “2001: A Space Odyssey” by Stanley Kubrick. This piece of music is especially known for its multi-instrumental composition along with incredible vibe of the Universe which is heard in its every single note. Generally, it appears that “Also Sprach Zarathustra” by Richard Strauss has its main peculiarities in its harmonious form, inimitable style, and balanced composition which are beautifully emphasized by magnificent cooperation of multi-instrumental performing.

First of all, speaking about “Also Sprach Zarathustra” by Richard Strauss, it is important to make an emphasis on the abundance of the most varied instruments applied in it. This piece of music is played by the orchestra consisting of woodwinds: piccolo, 3 flutes, 3 oboes, English horn, 3 clarinets in E-flat and B-flat, bass clarinet in B-flat, contrabassoon, 3 bassoons; brass: 4 trumpets in C, 6 horns in F, 3 trombones, 2 tubas; percussion: timpani, cymbals, bass drum, triangle, bell on low E, glockenspiel; keyboard: organ; strings: 16 violins, 2 harps, violas, double basses, and cellos (Kennedy 87). Thus, it is evident that this piece of music is rich in its harmony and the most diversified sounds which put it together. Such abundance of instruments applied for this music piece adds to its inimitable spirit which seems to show the very “breath” of the Universe. The impact of this opus is also explained by harmonious form, inimitable style, and balanced composition (Samson 27).

Style and Form

With regards to the style and form of the composition of “Also Sprach Zarathustra”, it should be stated that it is rather sophisticated and refined. This piece of music consists of three major sections which are played with a few short pauses between them (Also Sprach Zarathustra par.4). Every section has its title which Strauss named after the titles of the book’s parts. These parts are Einleitung, oder Sonnenaufgang (Introduction, or Sunrise), Von den Hinterweltlern (Of those in Backwaters), Von der großen Sehnsucht (Of the Great Longing), Von den Freuden und Leidenschaften (Of Joys and Passions), Das Grablied (The Song of the Grave), Von der Wissenschaft (Of Science and Learning), Der Genesende (The Convalescent), Das Tanzlied (The Dance Song), and, finally, Nachtwandlerlied (Song of the Night Wanderer) (Schmid 35). The following comment seems to be very interesting in terms of its interpretation of the ideas behind the parts of this music piece:

With “The Dance Song,” Nietzsche’s ferocious philosopher, Zarathustra, breaks into a waltz. Some pro-Strauss critics have cited this as the composer’s glorification of the Life Force, while detractors point to it as an example of his wretched taste. In all likelihood, it is at once indicative of Richard Strauss’ affection for another Strauss, the Waltz King himself, and his sense of humor, which included not taking himself nearly as seriously as his listeners did. The climax of the waltz melts into the finale, “The Night Wanderer’s Song,” announced by a bell tolling midnight, and concluding peacefully, with high woodwinds repeating, ever more softly, a B-major chord (Also Sprach Zarathustra par.6).

This comment shows how important is every part of the work’s composition in reveling the depth of the author’s idea.

Discussing the theme of this piece of music, it should be mentioned that it is surrounded around the events of the Universe foundation. “Also Sprach Zarathustra” is said to be an interpretation of the ideas of a famous philosopher Friedrich Nietzsche (McColl 45). In the whole course of this music piece the audience seems to explore the secrets of genesis reveled in the grandeur of this magic sound. Strauss made many interesting comments concerning the ideas which he incorporated into his work. In the following words of his, the idea of the first part of “Also Sprach Zarathustra” is revealed:

First movement: Sunrise. Man feels the power of God. Andante religious. But man still longs. He plunges into passion (second movement) and finds no peace. He turns toward science, and tries in vain to solve life’s problems in a fugue (third movement). The agreeable dance tunes sound and he becomes an individual. His soul soars upward while the world sinks far below him (Also Sprach Zarathustra par.8).

The very first minutes of the music piece under consideration seem to reveal the most intriguing events happening during the process of creation of the Universe. This leaves the listener with an impression of touching something sacred, something divine and holy which inspires so much that the feeling that your teeth are set on the edge develops right in your brain and heart. As the composition continues to sound, the listener goes thorough a row of incredible and miraculous transformations in the “new-born” Universe which are described by Richard Strauss in this astounding music piece. The way the composer applies varied music means in order to signify varied “participants” of his work seems to be very well thought of. In particular, the major compositional theme of this work represents humanity and is played in B major, whereas the other one which is also significant for the development of the story plot is played in C major, and symbolizes the Universe. Another important detail of this phenomenon is in its tonal dissimilarity as B major is played by 5 sharps while C major does not use any of them.

Conclusions

As a final point, it should be stated that the famous piece of music called “Also Sprach Zarathustra” by Richard Strauss can be acclaimed as an inimitable masterpiece with its main peculiarities of harmonious form, inimitable style, and balanced composition which are beautifully emphasized by magnificent cooperation of multi-instrumental performing. Its inimitable sound harmony touches the most varied public to very extremities of their souls, and this is no wonder as this masterpiece seems to reflect the very vibe of the Universe with its grandeur, brilliance and splendor. Definitely, the most extraordinary and the most outstanding thing about this piece of music is in its concept of the Universe and the way it functions being the most astounding fact of reality. In particular, the secrets of genesis along with the events related to the origin of the Universe are reveled in the grandeur of this magic sound. As the composition continues to sound, the listener goes thorough a row of incredible and miraculous transformations in the “new-born” Universe which are described by Richard Strauss in this astounding music piece.

Works Cited

Also sprach Zarathustra n. d. Web.

Kennedy, Michael. Richard Strauss. Oxford, England: Clarendon Press, 1995. Questia. Web.

McColl, Sandra. Music Criticism in Vienna, 1896-1897: Critically Moving Forms. Oxford: Oxford University, 1996. Questia. Web.

Samson, Jim, ed. The Cambridge History of Nineteenth-Century Music. Cambridge, England: Cambridge University Press, 2002. Questia. Web.

Schmid, Mark-Daniel, ed. The Richard Strauss Companion. Westport, CT: Praeger, 2003. Questia. Web.

A view of Research

This paper presents a view of research, which embraces the goals for my doctoral process. As such, I will integrate the research ideologies of legitimacy and reliability with the intent of obtaining authenticity. In addition, the piece offers an explication of critical thinking or logic. Finally, it provides novel contemplation and approaches relating directly to the topic.

My doctoral study aims to highlight the relation amidst diverse aspects of the society associated with art. My goals are to explore assorted facets of this great phenomenon using illustrations and postulations. Indeed, I will engage in an analysis of practical training in art upon correlation with methodological process with the intent of establishing the possibility of job creation.

Additionally, my goals of the research will integrate the perception of decisive thinking. Subsequently, for the purpose of my research, I will consider critical thinking as the intentional application of higher philosophical skills for example scrutiny, amalgamation, quandary solving and valuation. While establishing the link between these facades of critical thinking and the aspirations in my study, my research view will further establish additional advantages, which individuals attain in the field of art.

Moreover, there will be a deliberate effort to propagate the importance of an apt attitude, which will propagate success in the field. My aim is to establish whether there is a practical training for finding employment in this sector. Consequently, there will be an investigation of plan of products and advertising in the corporate world.

The concept of reliability translates to the extent to which experimentation yields identical upshot when repeated. In integrating this notion of reliability in my research view, I offer the following; first, I concentrate on equivalence reliability where there is an attempt to appraise two ideologies with indistinguishable echelons of difficulty.

There is a disputable relation between the concept of art, methodological process and consequential benefits. The ability to improve an individual’s capacity of being creative is a significance of critical thinking. When artists engage in critical thinking, they facilitate developments in printing and drawing. As a result, these developments create great opportunities for artists for example, advertising representatives hiring artists to plan their promotional objects (Hickman 2008).

Further, there is interrater dependability, which is the degree to which individuals referred to as raters concur. This is evident in the subjection of my research results to two raters. Accordingly, there will be a scrutiny of the various opinions of the raters of my research results. Further, I will utilize these expert opinions to boost my research create standard works.

Finally, there will be contemplation of internal consistency, which has momentous involvement to the intact notion of reliability in any exploration. According to Leedy & Omrod (2008), this type of reliability facilitates the interpretation of data and the prediction of the value of scores. In addition, internal consistency highlights the edges of the affiliation amid variables. In my research view, I will embrace the utility of certain questionnaires to achieve a reliable knowledge on the significance of the goals of my research.

Further, my research view integrates the concept of validity, which is the scope to which a study accurately reflects the explicit impression, which the pollster attempts to quantify. There will be fortitude of whether the study regarding the benefit of scrutiny. According to Leedy & Omrod (2010), pollsters ought to explore notions of external and internal validity while conducting their research. Additionally, critical thinking is paramount for an artist to be able to engage in a process, which facilitates their self-reflection. This further enables my research view to focus on important issues, which result to studies that are more significant.

Further, there will be concentration of my research view on internal validity, which suggests the following two principles; first, whether there was adequate rigor in the conduction of the study. Secondly, there is a premeditated undertaking by the designers of the study to explore preceding alternative elucidation of the upshots.

In following the above theories of legality, my research view seeks to achieve the following facets; content validity, construct validity, criterion related and face validities. In integrating, face validity with my research view, there will be a form of critique on my research view. Moreover, my research view will embrace the phenomenon of observation to attain desired consequences. Questions on whether observation is a suitable method of attaining results in this research are paramount.

Propagators of instrumental validity depict that there ought to be demonstration of the accuracy of a measure by comparing it with other measures that are valid. Consequently, construct validity establishes the agreement between hypothetical concepts and measuring contrivances. This will enable my research view to have concepts, which conform to procedures. My research view will additionally explore the facades of content validity, which suggest that research ought to address all aspects of the research, which they aim to study. For example, my research view should focus on important details of the art and methodological concept (Hickman 2008).

Conclusion

New thoughts and insights in this topic incorporate the evident facts that art and methodological constructs are significant concepts in design. In addition, this façade of art could aid in the creation of jobs based on establishment of relevant policies to aid in the procedure.

References

Hickman, R. (2008). Research in art & design education: Issues and exemplars. Bristol, UK: Intellect.

Leedy, P., & Ormrod, J. (2010). Practical research: Planning and design. Boston, MA: Pearson.

Introduction

In the images presented by Chris Jordan, the image that demonstrates a bare woman’s chest interests me most. The image represents a collection of 32,000 Barbie Dolls, brought together, and zoomed down to give a picture of a bare woman’s chest. A mere look at the image displays a bare woman’s chest. However, when the same image is zoomed up, one sees the underlying nude dolls that are assembled to produce the visible image.

It is interesting how the artist decided to use an image, which could receive different receptions from unfamiliar social circles, depending on how individuals perceive morality standards of “nude” portraits. However, the image passes the test, and, consequently delivers its intended message, which is to portray the “nudity” of the modern people in various activities that they undertake each passing day.

Shocking and unbelievable thing in the image

To be precise the image, produced by Chris Jordan, essentially represents more than what may be termed as an artistic expression; the image represents a social revelation by Chris, aimed at sending a message that is backed by astonishing statistics. According to Chris’s definition, the dolls symbolize the number of artificial breast augmentations surgeries conducted on American women monthly in the entire 2006 year.

The image utilizes fantasy extremely well in signifying the reality that most women in America chose to undertake during the specified year. The women continue with their activities against the bare truth that such activities come with hidden consequences.

Toys could be considered by some people as ordinary vessels meant to provide an escape from reality, especially for children. It is unbelievable how Chris manages to confer his image this element in a considerably successful manner. The biggest message that the image sends is that the American people and the world at large have turned out to be extreme consumers. The ways by which people spend their earnings and fortunes could be viewed by most people as a small aspect that will come to pass with slight efforts. In essence, one could argue that the image would only require some slight efforts to cover its nudity.

However, by looking more closely at the image one discovers more nudity that is represented by the nude dolls, which consequently would necessitate several bigger measures to cover the nudity concerns. Similarly, a closer look at the issue of consumerism unveils other difficulties that may arise when handling the problem, which may appear an easy task for most people.

Conclusion

It is fundamental to note how remarkably Chris manages to use the aspect of toys perfectly in determining how his intended information fits his targeted audience while reflecting the correct statistics reported within the society. Chris’s image offers an individual an opportunity of evaluating their activities against the underlying aspects in the world that may seem too insignificant, or in an actual sense, not recognizable by the same individuals.

The image leaves someone wondering how he or she might manipulate and arrange the components of their lives. This, as a result, leaves someone to wonder if they need to “zoom” their lives inwards or outwards to understand the underlying aspects. It is my turn to be shocking what someone could find out after contemplating on the different issues that surface in their everyday activity.

Devi is literally considered to be a great goddess found in Great India and also known to have many guises. She has a feminine divinity. Most people regard her as a gentle mother who is tender and approachable. She is perceived as the mother of the universe. Moreover, she performs cosmic roles such as destroying all evils that might befall among the Indians and specifically those who worship her.

She can also perform the role of dissolving the world. The Goddess is also known as Jaganmata though she is worshipped by several other names. It is imperative to note that such names are meant to reflect on the culture and legends of the Indian societies. In this case, these names are mythical to some extent and people use them to demonstrate their loyalty to the goddess.

Interestingly, Devi is one being and yet many especially in terms of her functions. This gives an implication that the goddess takes different forms in which she manifests herself to be worshipped. The goddess is treated with utmost importance especially among the Hindu, Jainists and Budhists. Nonetheless, different worshippers perceive her uniquely due to differences in religion, beliefs, traditions and functions.

That notwithstanding, it is worth to note that individuals who worship Devi use songs and poems as means of worshipping her. The dissimilar forms which the goddess uses to manifest herself to the people are signs of her divinity. Besides, the reason why she takes numerous forms is mainly to enable her perform numerous functions. Needless to say, this feature is meant to portray her valor, beauty and might.

For instance, most of the times during worship, she manifests herself as benign and gentle. In other instances, she portrays herself as vicious and vibrant. Nevertheless, in all the forms which she manifests herself, they are all vital and useful to the worshippers. Furthermore, all the forms of manifestations have been celebrated through a universal worship in India.

Considering the aspect of function, it is arguable that Devi has about six roles which she plays in different circumstances. For example, she manifests herself as a cosmic force when destroying demonic powers that devour the world. By so doing, she is able to create balance, annihilate and reform the universe again.

She can also take a day in from that is gentle and gracious especially when she wants to provide people with wealth, fortune or success. Moreover, the goddess takes the form of a heroine whenever she wants to inspire women on earth.

She is also concerned with local affairs and the welfare of the people and thus manifests herself as a local protector. She has the ability to appear as semi divine in order to portray her fertility. Having been born on earth, she takes the form of woman saint to portray her spirituality.

It is also notable that all these forms have been represented through visual arts such as use of paintings, color and pictures. The visual representations are meant to make the goddess striking and appealing to the worshippers. Moreover, paintings and use of certain colors portrays her beauty, might and heroism.

The most interesting visual representation is the one known as Lakshmi whereby the goddess is depicted standing wearing clothes of different colors that appear very bight such as red and golden yellow. In her hands, she holds two red flowers and the basement of the painting on her feet are decorated with flowers.

The colors and the paintings appear attractive and quite appealing to look at. The choice of colors is a manifestation of the beauty in her feminism character. Moreover, they convey the impression of might to provide for the devotees.

There are a lot of particular techniques which help the movie makers to create specific structure of the movie, to make it interesting and capturing. Moreover, many directors refer to the special way of telling the background information about the characters, substituting the boring flashbacks and description with the subtext.

Subtext is the specific technique when the background information about the character or the events is told as the part of the dialogues, the part of the movie. The viewer gets to know more and more about the characters and the movie becomes more understood, the behavior and actions of the characters more motivated and obvious.

Gehring (2010) “These self-referential moments, which will be limited to actual film footage introduced into the narrative, tell the viewer something about a central character or add an ironically insightful subtext to the picture.” (p. 68). Watching The Hangover (2009) and Due Date (2010), it becomes obvious that the subtext plays an important role here, even those the purposes of the technique are different.

The Hangover (2009) is the story about friends who have decided to have a hangover in Las Vegas. Having driven to the city and having rented a room in the hotel, friends go to the roof remembering their college times and drink for a good night. The morning in the hotel is awful, friends find a tiger in their bathroom, a child in the room and cannot find the groom.

The Wedding is in several hours and friends are unable to remember what happened and try to recollect the previous night in minds by pieces. The movie structure is particular as the heroes find out the events of the previous night vise versa, noticing some things or using the hints they have. Piece by piece the heroes find out where they were yesterday remembering the events and trying to find the groom.

The disappearance of the groom is one of the most disturbing facts as the wedding is soon and friends do not know what they are to tell to the bride. Finally, when all of the places have been visited, when all of the events are recollected and the stories are told, friends appear at a deadlock. However, they remember the situation which happened to them when they were in college and the mattress at the roof.

At the end of the story, friends understand that they were to live the previous night in reverse order as they got to know each other better, they remembered the times they were younger and could allow themselves to have fun.

These people were together for many years, they came through many situations and when they appeared in the complicated one they managed to solve the trouble referring to their memories. The subtext plays an important role in this movie as it shows the friendship relationships and the role of the memories.

Turning to the discussion of the Due Date movie, it should be stated that the role of the subtext is different here. The movie structure does not differ from the most movies where the events flow, but the role of the subtext is special.

The main characters get to know each other by means of the subtest, telling the stories of their lives, presenting the events which do not have any connection to the main plot the characters become closer. Many events happen in the movie and most of them are not related to the plot, to the main idea of the traveling. Two main characters appear in different situations which prevent them from their final destination.

The subtexts, additional stories and absolutely strange people which appear on the way of main characters help them become closer to each other even though it seems that those events, vise versa, distract them. The role of the subtext is different here in comparison with The Hangover.

Comparing and contrasting The Hangover and Due Date from the point of view of the structure and the subtexts, it should be stated that the difference is laid in the way the events are presented and in the way the subtext is provided.

The Hangover shows the versa structure, when the events are recollected in the reverse order, while in Due Date the main characters just drive to the place of final destination dropping in some places on their way. The role of subtext is different as well. In The Hangover the director wanted to show that being friends from college, people have the same associations, they are able to think and act in one and the same direction.

The stories about Mike Tyson and a baby which come along just show the attitude of friends to the same events which are not related to the main idea of their search.

Additionally, trying to find the groom the friends appear in the situations whish show that they know each other pretty good, they are able to predict the behavior and thought which could be in this or that situation. The scene, where they understand where the groom is, is the confirmation of the fact that the college friendship is the closest.

The role of the subtext is to show how people are going to behave in the situations different from their usual environment, to show the real nature of people and to make sure that the viewer is able to understand the background information about some of the characters.

The behavior in the strange situations and in their natural environment is different, that is why trying to show the characters from different angles and in various circumstances the director of the movie tries to avoid the discussion and portrayal of the characters which my be boring. The director of these two movies gives the viewer and opportunity to get to know the characters themselves.

Moreover, the distraction from the main line of the discussion helps the director to pursue several purposes and to offer the viewer several lines of the plot. Even though the subsidiary lines are too short to impact the mood of the movie, they make the presentation vivid and avoid the routine.

Therefore, it may be concluded that the role of the subtext is crucial in the movies even though this specific technique implementation does not affect the central plot line. The subtext helps to understand the main characters better and influences the attitude of the viewers to the movies.

The Hangover (2009) and Due Date (2010) are the movies which implement the subtext greatly. The main plot is run on the background of the stories which are not related to the main idea of the movie directly but helps to see the whole picture better.

Reference List

Gehring, WD 2010, ‘Analyzing those movies within movies’, USA Today Magazine, vol. 139, no. 2786, p. 68.

Phillips, T 2010, Due Date, motion picture, Warner Bros, New York.

Phillips, T 2009, The Hangover, motion picture, Warner Bros, New York

• Title: The curve of the bridge
• Year: 1928-1929
• Medium: Oil on cardboard
• Location: The Art Gallery of NSW, Australia
• Author: Grace Cossington Smith

Grace Cossington Smith is known to be one of the first modernists in Australia. “Her paintings often expressed the general excitement and turbulence of big-city life”. The curve of the bridge is not an exception. The bridge painted in the picture is the famous Sydney Harbour Bridge. It is not finished, there is still a lot of work to do, but the painter focuses our attention on massive constructions, emerging from the water as a triumph of a human engineering thought. Being painted in light and pleasant tones, “the painting radiates optimism and energy in a celebration of modern engineering and, more broadly, the modern age”.

Bibliography

Daniel Thomas, “Smith, Grace Cossington (1892–1984),” Australian Dictionary of Biography, 2014. Web.

“Grace Cossington Smith,” Art Gallery NSW, 2014. Web.

In these two images illustrating a vivid and memorable Biblical tale, the artists have used lighting, costume, stance and pose, setting, color, size of image, and choice of model to convey two rather different views of the story. The D’Arpino is very nearly pornographic when viewed with a full knowledge of the narrative on which it is based (d’Arpino). The figure in Sherman’s Untitled is modestly attired, but her presentation of self is subtly suggestive (Sherman).

While both figures have accomplished the deed, the artist’s choices focus our attention on two different points in the story, and thus present the subject disparately. D’Arpino’s Judith is clearly a victim, albeit victorious. Sherman’s unnamed female, while in a pose that clearly evokes Judith, is serene and moving on to the next step in her quest for the liberation of Israel, but her power is contradicted by the pose of her head and the extremity of her makeup.

D’Arpino has elected to portray Judith just after she hacks off Holofernes’ head. He is portrayed as a bodiless old man, graying and balding. This implies ancient leering lechery and perhaps even sexual ineffectualness. However, whether he is a candidate for Viagra or not, he has managed to rumple her a good deal in their encounter before he passed out. Her garments are nearly pulled off her on one side. Her hair’s elaborate and decorative ‘do’ has been disarranged and tendrils hang down. All her finery and clothes are still pulled askew from Holofernes’ unwelcome attentions.

She looks away from his head, not, clearly, out of disgust or squeamishness, because she is still sturdily holding the bloodied sword that ended his life. She does not hold the sword as a man and soldier would, but she clearly was able to make it work. She grasps Holofernes’ hair firmly, as well, the way one would hold a chicken after wringing its neck.

The viewer is naturally led to wonder what she is, indeed, scrutinizing off to stage left. Perhaps she is looking for the door of the tent, or perhaps she is turning around to hand it to her maid, a likely role for the turbaned woman casting her eyes up behind her in shock, thanksgiving, horror, admiration, or possibly all of these. The biblical story says that she tore the canopy of his bed down and tumbled his body onto the ground (The Holy Bible Judith 13:9). Perhaps her pose means that she is looking over at his dead body, and planning to steal the bed canopy to show to the Israelites (The Holy Bible Judith 13:15).

Whatever her motivation, this pose gives D’Arpino a chance to show her rounded youthful neck, shoulders, and décolletage to full advantage. He highlights her hair, twisted with a ribbon and pearls, and her ear with its earring. The pose allows him to show how violently Holofernes pulled and ripped at her sleeve, which is down nearly to her elbow. This all makes her seem more of a victim, and gives the viewer a voyeuristic thrill of sympathy or possibly, if the viewer is male, of desire.

The dishabille of Judith also throws into question the veracity of her story later when she claims that she was able to do this without being defiled by Holofernes. She claims this in verse 16 of Chapter 13, apparently feeling the need to mention this in the same sentence with her assertion that she had killed him. It seems as though D’Arpino wants the viewer to doubt whether she could have gotten to this point without having been forced into some activity that would shame her.

The lighting is heavily dramatic, with highlights appearing out of nowhere to strike her maid’s turban. The contrast of dark and light places her colorful costume in sharp relief. This, too, emphasizes and draws attention to the fact that this is all happening at night in the dark when no one is chaperoning her. This is the time of day associated with all things hidden, naughty, and illicit.

All this is why this painting has a faint air of pornography about it. At one and the same time, it celebrates and undercuts her heroism. It calls into question the miracle of her deliverance without being subjected to successful rape.

Sherman’s female figure, on the other hand, is fully put back together after her murder of Holofernes. A viewer unfamiliar with the Biblical story could be excused for inferring that she never was in any danger of having her virtue attacked.

Her calm and collected stance suggests that she never was molested further than taking off her sandals. Alternatively, perhaps we are to infer that she wanted to make sure that no whisper of scandal touched her, and that she took the time to rearrange herself before exiting the makeshift tent to carry the head and the canopy off. After all, when she displays the severed head to an audience of stunned and cowed Israelites, she wants to be seen as a heroine, not as someone to be stoned for fornication. In either case, her fully clothed state suggests a greater dignity, but not necessarily a greater courage.

Sherman dresses hers model (herself, of course) in multiple layers of satin, wrapped and pinned together and unapologetically missing any without hems, much like in a low-rent Christmas pageant. She gives the impression of pregnancy so often seen in early Renaissance paintings, by wrapping the fabric around her loins.

She achieves a measure of grandeur for Holofernes by giving his tent the Martha Stewart treatment with rich fabrics draped to excess. This splashy decor somewhat offsets the fact that Holofernes is represented by a Halloween fright mask.

Sherman herself has adopted the eyebrow-less, rosebud mouthed, wide-eyed look of Boticelli models. Her elaborate maquillage reflects the Biblical story of Judith putting on her finery and bedecking herself. The Biblical account says that she, “put off the garments of her widowhood, and washed her body all over with water, and anointed herself with precious ointment, and braided the hair of her head, and put on a tire upon it” (The Holy Bible Judith 10:3). Both the extreme and very artificial makeup and/or depilitation that the artist has perpetrated on herself are subtly suggestive. They imply a child-woman with no eyebrows and a tiny child’s mouth and a perpetual expression of surprise or sexual pleasure.

The Sherman figure of Judith (or approximation thereof) stares out at the camera and the viewer without fuss, her carefully turbaned head tilted off to the side. The viewer might ask whether she is asking for approval, or even being a bit flirtatious. She holds the weapon loosely, displaying its bloody state as well as the head.

The lighting of the photo is unsparing and nearly garish. The size is greater than life-size, which would increase its impact and give it a rather heroic status.

Both these images portray a woman who has just done something horrific and heroic, who now is moving on to the next inspired action on the way to her destiny. However, it seems possible that D’Arpino is exploiting the story to titillate his viewers in a sort of 17th century version of a pinup poster. Sherman, on the other hand is taking a more solidly feminist approach, while at the same time, making fun of the exploitative images of females the past and the present. Why, after all, must the liberator of Israel (or Venus) have a Cupid’s bow mouth and china doll eyebrows? Sherman is playing with these images to make a point.

It seems that D’Arpino was playing with images as well, but with a perhaps more commercial purpose. His Judith is both heroine and object of wonder and desire for all men who view her, just as the Bible describes her effect on Holofernes’ soldiers (The Holy Bible Judith 10:14). D’Arpino, however, may be doing Judith a disservice by suggestively over-emphasizing her victimhood rather than her heroism. In this regard, Sherman takes the feminist high ground.

Works Cited

d’Arpino, Cavaliere. Judith with the Head of Holofernes. Berkeley Art Museum, Berkeley. 2011.

Sherman, Cindy. “Untitled #228.” 1990. Web.

The Holy Bible. “The Book of Judith.” 2011. etext.virginia.edu. Web.

Introduction

A self portrait encompasses an artist’s representation of himself. This paper’s major subject encompasses a 1917 self portrait by Joan Miro¹. This portrait encompasses one of his earlier works that were produced before his first exhibition in 1918. The identification of themes is essential before the painting of a self portrait.

The painting’s major themes encompasses Miro as the painting’s painter and subject, political radicalism, positivity of western influence in the artistic styles of Catalan artists as well as the use of the varying artistic styles in the production of a personal artistic style².

Though this self-portrait displays the art confusion facing Miro due to the influences of cubinism, dada arts style and fauvism, it can be described as a masterpiece that integrates the true feelings and emotions Miro had before his work was influenced by Surrealism.

To enhance the support of the identified thesis, such elements of analysis as line, shapes, forms, space, value, color and texture will be utilized together with such art principles as balance, contrast, movement, emphasis, proportion and unity.

Body

Analysis of Historical facts

The painting’s original setting is both in his grandmother’s native village of Majorca and Barcelona. After finishing his schooling in the private school of Art of Francisco Galy, he continued to stay in Barcelona, but he travelled to Majorca to acquire his painting inspiration. This original setting symbolizes the hostile period in which Miro initially became an artist.

This hostility culminated from the aged art world that not only locked itself in its original academies, but was also infuriated by the young artists whose art was aimed at climbing out of the old stifling academies of aged art³.

Though this original setting emphasized on the inheritance of “ism” from the 19^th century that enhanced the liberation of painting from depicted recognizable subjects, Miro was being faced by the challenge of deciding what artistic style he would incorporate into his art work.

This is because by the time he had decided to start painting, the dada style had enhanced the meaning of art, cubinism hade assembled, enhanced and restructured subject matter and picture space in paintings, while the fauvists had started focusing on the use of nature to demonstrate paint, rather that using paint to demonstrate nature⁴.

For this reason, this painting incorporated the dada, cubinism and fauvism art styles, to bring out the major themes that occupied Miro’s mind during this period.

This clearly indicates that the painting’s original setting enhanced the recognition of Miro’s feeling and emotions before the changing of his artistic style to surrealism. As per the historical functions, Miro utilized it to ascertain his political radicalism and rejection of the classicalism supported by The Noucentists that ruled the art scene in Barcelona.

He felt that the Catalan artists should integrate western influences into their artistic style, as opposed to the selective judgment passed on by The Noucentists. Essentially, Miro utilized this painting to show that an artist can combine different artistic styles to form his own artist style He uses color symbolically like the fauvists and radically fragmented objects of cubinism in this portrait⁵.

The painting’s patronage lies on Van Gough, Picasso and the various fauvist artists. This is because most of his earlier art was influenced by dada artistic style that encompassed a continuation of the Van Gough’s artistic style. Essentially, he incorporated cubinism in his art, an artistic style that can be attributed to George Braque and Pablo Picasso. Inherently, he incorporates the color symbolism of fauvism.

Analysis of Work Content and subject matter

This portrait’s content encompasses Joan Miro as the subject and painter of the self portrait⁶. Though the painting encompasses a reflection of Miro’s self examination, its subject matter is political and artistic radicalism. The brown coat he wears in this painting symbolizes political and artistic radicalism.

Under political radicalism, he believed that all people in Spain should be accorded with a chance to make their own political choices void of the politician’s influence.

Under art radicalism, he believed that the Catalan artists as well as other artists in Barcelona should be accorded with the freedom of articulating other western artistic styles into the personal artistic styles. This would enable the young artists to formulate their own unique artistic styles that were unrepresented in the old art world.

Historical Context and Analysis of the Style

As per historical and artistic context, this self-portrait was painted using the artistic styles of cubinism, fauvism as well as that of Paul Cezanne. Under cubinism, radically fragmented objects were utilized, as opposed to the copying of texture, space, color and form.

In this case, it goes beyond the traditional techniques of chiaroscuro, foreshortening, modeling and perspective to incorporate picture place surface of a flat and two-dimensional nature⁷. As such, synthetic cubinism as utilized by Miro in the painting encompasses emphasizing on forms’ synthesis or combination, which enlarges and makes the flat fragmented two-dimensional images more decorative.

This is done by emphasizing on the strength of color. Fauvism encompasses the utilization of color to symbolize specific themes. Cezanne represented the impressionist artistic style. Under this style, thick paint implications, distinctive brush strokes, real-life-subject matter and vivid colors were utilized in art.

Formal Analysis

Having been a short man, he utilized vertical lines in the portrait to indicate height by extending his form upwards⁸. This was aimed at enhancing his height because after self-examination, he realized that his short stature could be regarded as a limiting factor.

The various lines utilized also aid in leading the audience’s eye from his predominant eyes to his coat and the other features of the portrait. In terms of shape, lines are utilized to form the circular form of his head. His body also reflects a two-dimension shape. In terms of form, his part of the body painted in the portrait reflects a two-dimension shape in terms of depth, length and width that cannot be viewed from all angles.

In terms of space, Miro’s figure encompasses the positive space while the green and yellow background reflects the negative space. The reduced negative space accords the audience with the chance to concentrate on the pronounced positive space.

In terms of value, the portraits background is light as compared to the central figure in the portrait; this contrast aids the audience to differentiate between the background and the Painting’s central figure. In terms of texture, the face is smooth, while the coat is hard and rough⁹.

Color is liberally utilized in the painting. The painting’s main focus includes the green and yellow color of the portraits background and suit coat’s brushwork which is done in an intense dark brown color to symbolize radicalism.

This portrait is balanced because the textures, form, shapes and colors have been harmoniously combined. Contrast is created through the positive and negative space as well as colors utilized in the portrait.

The varying lines, color and space are used to enhance movement between the background and the central figure in the portrait. In creating emphasis, Miro contrasts the color, texture and shape in the portrait. Proportion is essentially created by the harmonious combination of sizes. Unity is created through the harmonious combination of the principles of art in the portrait.

Conclusion

The 1917 self portrait by Joan Miro can be classified as a self portrait. Miro utilizes the portrait to bring out his nature as a subject as well as painter, his political and artistic radicalism and the utilization of various artistic styles in the production of a unique personal artistic style.

From an historical facts perspective, the portraits original setting is Barcelona and Majorca and its patronage lies on Pablo Picasso, Van Gough, Paul Cezanne and various Fauvism artists¹⁰.

In terms of work content and subject matter, the work content is reflected by Joan Miro, while the subject matter encompasses political and artistic radicalism. The historical context of the work encompasses Cubinism, impressionism and Fauvism.

In terms of formal analysis the work can be analyzed using the various elements and principles of art. In conclusion its contribution to the history of art encompasses an affirmation that various artistic styles can be combined to for a distinctive artistic style.

Works Cited

Hudson, Suzanne, and Nancy Noonan-Morrissey. The Art of Writing About Art. Australia: Thomson/Wadsworth, 2002. Print.

Mink, Janis. Joan Miró, 1893-1983. Los Angeles: Taschen GmbH, 2006. Print. Miro, Joan. Self Portrait. 1917. Olga’s Gallery, Coudersport.

Footnotes

¹ Miro, Joan. Self Portrait. 1917. (Olga’s Gallery, Coudersport), 1.

² Mink, Janis. Joan Miró, 1893-1983. (Los Angeles: Taschen GmbH, 2006), 7.

³ Mink, Janis. Joan Miró, 1893-1983. (Los Angeles: Taschen GmbH, 2006), 8.

⁴ Mink, Janis. Joan Miró, 1893-1983. (Los Angeles: Taschen GmbH, 2006), 9.

⁵ Mink, Janis. Joan Miró, 1893-1983. (Los Angeles: Taschen GmbH, 2006), 9.

⁶ Miro, Joan. Self Portrait. 1917. (Olga’s Gallery, Coudersport), 1.

⁷ Mink, Janis. Joan Miró, 1893-1983. (Los Angeles: Taschen GmbH, 2006), 10.

⁸ Hudson, Suzanne, and Nancy Noonan-Morrissey. The Art of Writing About Art. Australia: Thomson/Wadsworth, 2002. Print.

⁹ Hudson, Suzanne, and Nancy Noonan-Morrissey. The Art of Writing About Art. Australia: Thomson/Wadsworth, 2002. Print.

¹⁰ Mink, Janis. Joan Miró, 1893-1983. (Los Angeles: Taschen GmbH, 2006), 6.

• Title: Still Life
• Year: 2014
• Medium: Oil on canvas
• Location: The Saatachi Gallery
• Author: Luc Tuymans

The paleness of the picture makes the viewer to intensify attention in order to examine better what is painted here. It seems that the picture is glowing, giving off some illusive light, which makes the whole artwork look surreal. “Tuymans depicts everyday figures, architectural sites, and other ordinary subjects in his works” and that picture is not an exception. Luc Tuymans “chose the subject of still life precisely because it was utterly unremarkable”. The simplicity of the composition makes us think, that the painter wants to show us that the same simplicity can be found in real world. Looking at that seeming simple picture, you come to the conclusion that our life is burdened with a lot of insignificant things and our purpose is to get rid of them.

Bibliography

“Luc Tuymans,” Artnet, 2014. Web.

“Still Life,” The Saatchi Gallery, 2014. Web.

It is said that the geographical position predetermines the destiny of a city. Due to its location in the center of the United States, Chicago has got a rich history. A permanent exhibition at the Chicago History Museum Chicago: Crossroads of America provides its visitors with an opportunity to learn new aspects of the city history in the context of the history of the whole country. Among all the historical artifacts, the pioneer locomotive an exhibit of the City on the Make exemplifies the cornerstone of the building of the city best symbolizing the cause and effect of its industrialization and urbanization.

The part of the exhibition entitled City on the Make allows Chicagoans and tourists to learn some additional details of the history of the city from the days of Fort Dearborn to the period of the Union Stock Yards dominance. Nelson Algren, the author of the 12,000- word essay Chicago: City on the Make, expressing his affection to the city, admitted that “Yet once you’ve come to be part of this particular patch, you’ll never love another” (Algren 23).

The same perspective was chosen by the authors of the exhibition, shedding light upon the most remarkable moments of Chicago history. Observing the wooden model of Fort Dearborn and the American flag streaming in the wind as a part of the exhibit, the visitors can imagine all the historical events that took place at the site. A new perspective on the Fort Dearborn Massacre allows considering the motivation of Native Americans for burning the fort. It is an amazing fact that the approximate sites of the first and the second forts are marked in the pavement at Michigan Avenue. Drawing parallels between the contemporary realities and historical artifacts make the exhibition more realistic.

The pioneer locomotive is the exhibit of the City on the Make collection exemplifying the building of the city best. It is exciting that the construction allows climbing aboard this outdated car and observing it inside out. The first iron horse named Pioneer was built in 1848 and has always been perceived by Chicagoans as a symbol of the city’s rapid urbanization. It was after the development of the railroad that Chicago became a leader in the cattle and wheat industries.

Between 1830 and 1890, Chicago was the fastest-growing city in the United States and the world. Within this period its population increased, and its borders expanded significantly. As a result of the rapid tempos of the 19th-century urbanization and industrialization, the city became the national crossroads. This fact may explain the choice of the title for the whole permanent exhibition: Chicago: Crossroads of America.

Nowadays, the Chicago ‘L’ remains the symbol of the developing transportation system and the period of the city flourishing. Built about 125 years ago, it is an integral part of contemporary life. “Born in the crucible of Chicago’s urban prospects and problems, the ‘L’ survives and thrives as a quintessential, and enduring feature of the city’s ever-changing landscape” (Borzo 9). The pioneer locomotive may be regarded, as a cornerstone of the exhibition symbolizing the period of its rapid growth, having a significant impact on the following development of the city.

A permanent exhibition at the Chicago History Museum Chicago: Crossroads of America would be interesting for both native Chicagoans and tourists. Disclosing the secrets of the past, the visitors are enabled to view the present-day realities in the context of the historical development of Chicago. The pioneer locomotive symbolizing the modification of the transportation system as the cause and effect of urbanization is the central artifact of the exhibition.

Works Cited

Algren, Nelson, Studs Turkel. Chicago: City on the Make. Chicago: University of Chicago Press, 2001. Print.

Borzo, Greg. The Chicago “L”. Arcadia Publishing, 2007. Print.