In the second half of the past century, the American art world shattered the traditional views on the tradition to passively depict the objects. That was the time when “the critics lambasted gays as “bad” men and labeled women photographers who took pictures of their pictures of their children as unfit mothers and “pornographers” (Fusco 3). This postwar performance art emerged as they protest against the social conservatism of American life thus shocking the public with overt displays of sexuality and politics.
The scope of performance art
In the book The Bodies that were not ours: and other writings, Fusco presents a galaxy of art performers that managed to pass through the limited outlooks of conservatism supporters. Hence, in 1989, Mapplethorpe’s photographic works reveal the topics that were strictly forbidden in society and provoked many discussions among the critics.
Robert Mapplethorpe’s creative work
Robert Mapplethorpe was one of the representatives of the Surrealistic movement in the Post War period who was known for black and white photos of flowers and naked men. He also belonged to the Negritude movement who objectified black male bodies thus giving rise to the black gay cultural activity (Fusco 14). His sexual images provoked indignation among conservative politicians thus creating juxtaposed stereotypes against the portrayal of contemplative objects. In particular, his work “Thomas” depicts a black male body encaged into a circular barrier with his arms stretched to reveal himself from the cage (Mapplethorpe n. pag). In this way, Mapplethorpe intended to destroy the social and religious boundaries. This photo is also an attempt to surpass the traditional frames and interpret the moral and psychological state of people through the material presentation of nudity and sexuality. Disclosing the scope of performance.
The rhetoric of objects can thus be defined as the use of material culture within a context of presentation or display…for the sake of producing a visual and material argument at a particular historical moment and within a legible semantic code (Gonzalez 186).
Despite Mapplethorpe’s shocking presentation of nudity, which is often confused with pornography, this was, perhaps, the only way to prove that other displays of culture and social life had the right to existence. His extraordinary homoerotic image of the male body was of secondary importance for the idea the artist intended to say. Therefore, Thomas’s main idea lies in the manifestation of human nature, should it be homosexual or heterosexual; it is also a display of a man’s attempt to breaks the boundaries of forbidden to establish the freedom of choice and orientation.
Conclusion
In conclusion, the main purpose of colonial art installation was directed at the distortion of false traditional stereotypes based on the desire to introduce changes to artistic culture. The performance art was also aimed at discovering more spaces and surfaces for creative work. In this way, Robert Mapplethorpe was in the constant search of symmetry and rigidity.
Works Cited
Coco Fusco, “The Bodies that Were Not Ours”. The Bodies that Were Not Ours New York: Routledge, 2001
Gozalez, Jennifer. ‘Archaeological devotion’. With other eyes: looking at race and gender in visual culture. US: U of Minnesota Press, 1999.
Mapplethorpe, Robert. ‘Thomas’ Masters’ Gallery. n. d. Web. 2010.
Music plays a very important role in our life: people can express their feelings, attract the attention of other people, provoke somebody to do something, warn, inform, and even live another life in music. There are so many genres of music that not every person can catch the difference between grunge and hard rock, jazz and country, etc. However, if analyze the peculiarities of each style, it is quite easy to find out the difference and be amazed of how rich and wonderful the world of music is. Crossover is music that unites several absolutely different styles of music and introduces known works in a new adaptation. For example, this style of music allows people to hear some classical pieces of art or folk works in rock adaptation. Such wonderful musicians like Meredith Monk or Robert Ashley, and such bands like Yes, Pink Floyd, or ELP (an abbreviation form of Emerson, Lake & Palmer) have already made a considerable contribution into the development of crossover music; and some of them still continue to impress the listeners and present more and more captivating works in the sphere of progressive and experimental rock. Their music is full of philosophical lyrics, which make us look at the same things in different ways; the stories, presented in their work attract listeners and make them believe in something really great and worth.
Robert Ashley
Robert Ashley is a wonderful American composer, known for his operas in electronic adaptations. He was one of the first representatives, who was not afraid to experiment and use audio synthesis. This composer prefers to create in different spheres of music: Music with Roots in the Aether: Opera for Television and Perfect Lives (An Opera for Television) are his best television works; That Morning Thing and In Memoriam… Kit Carson are his well-known operas. (A Conversation with Robert Ashley 2001) If we talk about crossover artists in the 1970s, then Robert Ashley may be studied and analyzed as the author of two perfect television works. These both are operas that were created at the end of the 1970s and amaze lots of people till today.
Robert Ashley admits that there is not much music on TV, this is why his operas should interest the watchers and arouse their interest to different styles of music, and opera music in particular. (A Conversation with Robert Ashley 2001) It is necessary to admit that one of his works, Perfect Lives, sounds like one of the most popular soap operas, Days of Our Lives. Ashley tells that he is not afraid if someone will blame him for such kind of plagiarism, but only will be happy that some people will watch his “soap opera” as well. Perfect Lives is considered to be one of the most influential music works, where rather a continuous song presents the events in one small American town in a mythological form. (A Conversation with Robert Ashley 2001) Ashley’s text is lyrical and ridiculous, obscure and trite, simple and mystical at the same time. Jill Kroesen, Blue Gene Tyranny, Peter Gordon, and David Van Tieghem – these people created a really magnificent piece of work that may deeply affect each watcher. The melody and rhythm of the opera cooperates with the mood of the major characters, this is why it is quite unsteady and wide. One of the instruments, which are used to create such a wonderful work, is piano. Elegant and touching play evokes some wild feelings to make something unusual and captivating. With each second, a person who listens or watches Perfect Lives, gets a wonderful chance to be involved into another world with its own mysteries and fantasies. (A Conversation with Robert Ashley 2001)
Meredith Jane Monk
Meredith Jane Monk is another representative of crossover music, who deserves our attention and recognition, first of all, for her vocal innovations. This American composer, director, vocalist, and film-maker creates numerous magnificent works, which unite music, dance, and theatre. (Meredith Monk: Composer First 2000) With the help of extended techniques, she decides to present her solo performances at the beginning. With time, she is ready to create her own ensemble and amaze public. This personality can be distinguished from the other due to her quite different preferences. She really does both folk and rock music. In one of her interviews, she admits that “there was a real excitement in folk music, and there was some nice singing going on. And then rock…” (Meredith Monk: Composer First 2000) During the 1970s, she creates about 6-7 works, which become popular with time. One of such compositions is Quarry: An Opera. It is a work for 38 voices. 2 pump organs are used as the major instruments. There are also 2 soprano recorders and tape used. One of the peculiarities of the works by Meredith Monk is her ability to divide music and voices. It turns out to be rather challenging to create the necessary records at studio, and this is why some music may even not have an appropriate theatrical context. It is wrong to say that all Monk’s works are aggressive. (Meredith Monk: Composer First 2000)
However, if we compare Ashley’s melody and the Monk’s one, we will find out that Monk prefers to use narrow range of melody. But still, Monk does not stop on one or two instruments; she prefers to variate: cello, keyboards, horn, piano, and even bagpipes. (Meredith Monk: Composer First 2000) In the 1970s, Monk’s lyrics used to be quite lovely. She did not look aggressive or frightening. She just wanted to share her emotions and made the others listen to her stories and believe her words. Interesting approaches to present her own music, magnificent use of techniques, and combination of folk and rock music – this is all about Meredith Monk, one of the most amazing experimenter in crossover music. (Meredith Monk: Composer First 2000)
Pink Floyd
The second half of the 20th century was the time of drstic change in political, economic, and cultural life of the world. “The sense of optimism of 1967-8 had passed. Visionary experience and self-discovery had failed to confront the dominant culture, and progressive rock, as part of counter-culture’s revolutionary strategy had, to some extent, stagnated.” (Whiteley 104) It was not that easy to amaze people and present really worthy pieces of work. One of the groups that made a considerable impact to the development and improvement of the music in the 1970s was Pink Floyd. The members of this band, Nick Mason, Richard Wright, David Gilmour, Syd Barrett, and Roger Walters, are the examples of brightest representatives of progressive rock music. Their live shows and moving lyrics make lots of people cry and laugh simultaneously. (Whiteley 105) Of course, it is not the sign of some kind of madness; the point is that their philosophical contexts and really strong music may cause absolutely different feelings. The years of the 1970s were rather significant for the band, as it was the time, when their exciting The Dark Side of the Moon album was presented. Pink Floyd are known by their unbelievable passion to electronic sound; the idea to use the sounds, which are inherent to humans with the help of numerous electronic techniques is one of the most winning ones in the album. (Whiteley 106)
Moreover, the album under discussion is characterized by the use of the combination of the saxophone sounds with the female back-vocals. In this fact, the influence of Jazz music upon the creative work of Pink Floyd can be seen. The use of saxophone sounds adds the thickness to the texture of the music and adds to its expressive credibility. For example, Money and The Great Gig in the Sky are the songs from the album discussed that display the richest combination of instruments in which saxophone plays a leading role. At the same time, mono-instrumental compositions are also present in Pink Floyd’s legacy. (Whiteley 111) For example, On the Run is the piece of music performed on a synthesizer only with the use of female back-vocals to add to the melody of the song. On the whole, the features discussed above are typical of Pink Floyd’s work at all, not particularly of The Dark Side of the Moon album. Such features as inclination to include electronic sounds in their songs and combine them with vocals, female back-vocals, and jazz motives reflect the essence of the crossover music as well. (Whiteley 114)
Yes
The consideration of the crossover music as the leading musical genre of the 1970s would be far incomplete without mentioning the famous British progressive rock group Yes. Created 1968 by Jon Anderson, vocalist, and Chris Squire, bassist, the group developed into one of the icons of its generation that still keeps its fans around the world aware of the novelties in its creative work. (Yes 2009) As a progressive rock group, Yes introduced certain innovations to the music industry on the whole and crossover music in particular. For example, Yes became the first group to implement harsh contrasts in its music between the classical or even symphonic motives and the purely rock guitar interludes or drums. The first ideas that made Yes a nationwide, and then a worldwide, famous group included their cover versions of the famous hit songs by The Beatles, The Birds, etc. But even with such non-original material, the group acquired thousands of fans by 1970s. (Yes 2009) Finally, the year 1970 saw the release of the first completely original album by the British group. It was called The Yes Album and consisted of only the songs composed and performed by Yes as represented by Bill Bruford, Chris Squire, John Anderson, Steve Howe, and other Yes musicians. (Yes 2009)
As for the typical features that distinguish Yes from all other rock groups of the epoch such ones can be singled out as contrastive musical ideas, unusually extended tracks, the manner of song performance and the peculiar, still unknown, techniques of recording created by Eddie Offord. For example, The Yes Album contains the songs that exceed 20 minuted in lengths and are the combinations of the purely folk music ideas with the coverage carried out in the rock manner. (Yes 2009) The albums that followed, i. e. Fragile, Close to the Edge, Tales from Topographic Oceans, were also characterized by these features and included instrumental interludes, extended guitar sessions and improvisations created by bass guitars, keyboards or drums. All these features single Yes out of the mass of rock group of 1970s and make them into the icons of crossover music. (Yes 2009)
ELP
Finally, another bright representative of the crossover music of 1970s was the progressive British rock group ELP (used as abbreviation of the names of its members: Keith Emerson, Greg Lake, and Carl Palmer). (ELP 2009) Founded as the venture of the two other British bands, The Nice and King Crimson, ELP has managed to develop into one of the most popular crossover music groups in the world of 1970s. The important detail of the group’s history is the fact that the initial name of it was intended to be HELP in whose abbreviation was included the name of the most famous African American guitar player Jimi Hendricks. (ELP 2009) However, his participation left to be only an intention, and ELP achieved the global fame as a trio. Their first albums that include such masterpieces as Emerson, Lake and Palmer, Pictures at an Exhibition, etc. are characterized by their acquiring the original ELP style, i. e. the combined implementation of classical music, symphonies, etc. with actual hard rock pieces, vocals, and jazz insertions. (ELP 2009)
As for the specific traits of this group and its importance to the whole development of crossover music, ELP has contributed much to the style later called by specialists symphonic rock which displayed features of hard rock, classical music, symphonies, etc. (ELP 2009) The onstage behavior of the group members was also rather expressive and eye-catching as they resorted to aggressive actions, guitar breaking, etc. on stage, which caused a lot of controversy around the group, but nevertheless added to its popularity and helped with promotion. (ELP 2009) Finally, the last album the ELP managed to release on the peak of their popularity was called Love Beach and even the group members admitted that it was lower than their level in respect of quality of music, lyrics, and concept. After this album, ELP was disbanded and united again in 1985, 1992, and even plan to do it in 2009. (ELP 2009)
Conclusions
To make the respective conclusion to this paper, it is necessary to state that crossover music was one of the leading artistic movements in the world of 1970s. Crossover is music that unites several absolutely different styles of music and introduces known works in a new adaptation. Such wonderful musicians like Meredith Monk or Robert Ashley, and such bands like Yes, Pink Floyd, or ELP (an abbreviation form of Emerson, Lake & Palmer) have already made a considerable contribution into the development of crossover music; and some of them still continue to impress the listeners and present more and more captivating works in the sphere of progressive and experimental rock.
Works Cited
ELP. “Welcome Back My Friends…” Official Web Site.
Oteri, Frank. J. “Television.” 2001. A Conversation with Robert Ashley. Web.
Joaquino, Karyn. “Jazz, Rock and Popular Music.” 2000. Meredith Monk: Composer First. Web.
Whiteley, Sheila. “Pink Floyd: Dark Side of the Moon.” The Space between the Notes. Routledge, 1992.
Unlike other continents visual and performing arts in Europe and the western countries is treated with the utmost respect it requires. In the past centuries especially in Africa visual and performing arts was treated as an indulgence of the failures. However with its much success in the western countries and Europe visual and performing arts has now become a way of life. As a matter of fact most of the famous and successful people especially in the 21st century are those involved with arts.
Arts in general refer to the imaginative, creative and nonscientific branches of knowledge. When an audience appreciates an object or a performance that has been exhilaratingly put together by the artist then we say that art has been created.
Art is a universal discipline that has been used to bring people from different walks of life together. It includes a range of disciplines like fine arts, visual arts, decorative arts, applied arts, Liberal arts and performing arts among others. For this research paper we will specialize more with the visual and performing arts.
In performing arts, the artist uses their own body, face and personal presence as a medium to pass on information. In Canada however the male artists have been highlighted and praised more as compared to their female counterparts. Nonetheless this is not a Canadian phenomenon only but a concept that is worldwide. Women achievements are not treated with much consideration as those of men. To bring out some of the renowned talent in Canada though rarely celebrated, this article will be based on the life, challenges and success of two Canadian female artists whose careers have grown in leaps and bounds to reach the global stardom.
How many Canadian artists do we know? The question might seem irrelevant but it is out to gauge our knowledge on international artists. It is a common occurrence universally whereby artists do not succeed in their birth country which leads them to migrate and try other greener pastures especially in the United States of America. The case was not any different with these two Quebec born female artists, Marcelle Ferron and Celine Dion. Though the two represent two different generations their personal history is worth of recognition as it inspires young upcoming artists’ especially female artists who have to fight their way up in this male dominated field.
Early life of Marcelle Ferron
Marcelle Ferron was born in 1924 into a middle class family living in Louisville. Her mother passed away in 1931 when she was just seven years old. This prompted her father to move his family of live in Quebec from Louisville. He believed that the country life was more conducive for healthy growth of his children than the urban life.
Ferron senior was a trained lawyer and as such, he was keen on having his children receive the best education albeit in a liberal way. This, coupled with the rural fresh air, Ferron and her siblings all developed a liberal attitude that made them independent people involved in the transformation of Quebec society in the 1940’s (Women Artists in Canada, par.2).
Her life can be considered to be that of struggle from a very tender age. When she was only three years old she suffered from osseous tuberculosis, a condition that saw her hospitalized for a while. However to her, this was a life changing experience as it is from here that she developed all her important values that saw her through her challenging life as a female artist (Women Artists in Canada, par.4). She had learnt the very important lesson, one of valuing the little things in life and more importantly the gift of life. Unlike common occurrence her illness transformed her both physically and intellectually. She lived one day at a time, appreciating every second she was alive. Moreso she learnt to be strong and fought for the rights of women and was straight forward in her approaches about life.
Career journey of Ferron
Marcelle Ferron did not complete her college education after being frustrated with her teacher’s answers on modern art. Her independent spirit encouraged her to do it on her own and search for the answers she needed elsewhere. After a few years of experimentation, she met Paul-Emile Borduas, who later became her mentor. She learnt the basics of “Automatiste” painting from him.
With time, Ferron succeeded in creating a style of painting that was unique to her. Through this she could communicate her innermost feelings and her outlook of life. In 1946, Marcelle joined the Automatistes; a radical movement that was chaired by her mentor Borduas. This movement had published a controversial document called the Refus Global Manifesto in 1948 of which Marcelle was one of the youngest signatories to it.
She held her first exhibition ever at the Libraire Tranquille. Years later she held the second exhibition alongside her friend Jean-Paul Mousseau. By now she had started gaining recognition in the art world and by the time Automatiste group was disintegrating, Marcelle decided to look for greener pastures and this saw her move to France. For the thirteen years she lived in France, Marcelle had rented a house in Clamart which doubled as a studio. Her outgoing and straightforward character ensured that she got the attention of gallery owners and influential people such as Herta Wescher. It was Herta who assisted her with her overseas exhibitions especially in Europe.
Her outgoing nature worked well for her in France as she managed to interact with other renowned artists who had either settled in France or those who were passing by on their way to other countries. Some of the renowned artists she established contact with were Leon Bellfler., Charles Delloy among others.
However her life took a drastic turn when she met glass maker Michel Blum in 1963. Between 1963 and 1965, Marcelle travelled from Clamart to Blum’s Paris studio. During this period she made a large number of experimental panels. She later selected twenty five of those she considered the best to exhibit in Montreal (Lambton 24). During the period after, she worked with St Hyacinthe a Superseal Seal Company where she invented many models of glass used in architecture. Ferron went back to painting in 1985 and it dawned upon her that the break from painting was actually worthwhile as it had enriched her artistic skills.
Achievements of Ferron
Her first major achievement was a Mural for Expo 67. However her initial public commission on stained glass took place in June 1998 when she created panels for Champ De Mars Metro Station. This made her an icon in Quebec and a force to reckon with in the architectural world. Several public buildings, churches, government buildings are embellished with her glasswork. Most notable of her works include the Granby courthouse and the hospital at Trios-Rivieres.
In 1983, Ferron became the first woman ever to receive the Prix Paul Emille Borduas Award. Despite the pride she felt, she did not allow this experience to overshadow her future plans.
She had become so successful such that everyone was proud of her including the Quebecan government. In recognition of her exemplary contribution to art, the Quebecan government was conferred with the title of a Grand Officer. To crown it all Marcelle became the first woman from Quebec to win a silver medal at the Sao Paolo Biennial in Brazil.
Challenges that undermined her career
Her major challenge can be termed as her battle to be recognized in the society. The Quebec society of the 1950’s valued the role of housewife and mother as more important for a woman as compared to career progression (Lambton 20).
Unlike the support she received from her family members, her husband perennial antagonism was something that weighed her down. This led to a fierce battle for her kids’ custody which she succeeded in 1953.
Another major challenge that dragged behind the artists of Canada was the negative attitude people had especially the media. In 1957 a Canadian newspaper called the Canadian Art published an article that did not portray the true picture of her art. Being the straightforward woman she was she wrote a letter addressed to Donald Buchanan, editor of the Canadian art and included an impressive list of her exhibitions in France, Canada and the U.S (Lambton 21).
Early life of Celine Dion
Hers can only be termed as a rise to stardom from humble beginnings. Born on 30 March 1968 in Charlemagne, a rural French town in Quebec Canada, Celine was the lastborn in a family of fourteen children. Apparently their whole family was musically talented. The music talent ran in the family with the parents’ being musicians themselves. As a matter of fact they owned a small club which they used as an entertainment joint. The whole family would entertain clients every weekend. By the time Celine was barely five she had developed the courage to perform on stage through years of experience. By now, Dion was already performing live in the company of her siblings. At the age of twelve years Celine recorded her maiden single alongside her mother and brother.
In January 1981, René was moved by the strong vocals of young Celine that he endeavored to make her a global artist. To show his commitment to make this happen René mortgaged his house to raise enough funds to record Celine’s debut album. Celine introduced French music to Britain with her album ’Deux ‘topping the charts for some time.
Career Progression
Besides early recordings which were mainly done in French Celine’s international breakthrough came when she released her first English language album, “Unison” and her first for Sony Music in September, 1990 (The Journey So Far par.2).
After this, Celine endeavored to work with renowned musicians who would assist her in her career progression. Unison hit the right notes with critics (Canadian content par.3). The album was described as “a fine, sophisticated American debut” by a member of the All Music Guide, Stephen Thomas Erlwine. Another member of the Entertainment Weekly, Jim Faber regarded the album as tastefully adorned and therefore a relief. He praised Celine for sticking to her range and not attempting to bring off styles that were beyond her. There are a number of singles in the album that became an instant hit. Among these popular hits by Celine Dion in the album include “The Last to Know” (The Journey So Far, par 4). Celine’s music was a combination of various genres probably the reason her songs were widely accepted by her audience. From pop to rock to gospel tunes, all formed part of her rhythms. But these withstanding her vocal talents were exemplary.
The album “Falling into You” that Celine Dion released in 1996 came at a time when the singer was enjoying the best limelight ever. This album was a collaboration of Foster, Aldo Nova, Warren, and Celine Dion herself. This successful collaboration is a further indication of the extent to which Celine Dion had managed to tremendous progress in the music industry. In order to reach a wider audience Celine encompassed many elements in this album; ornate orchestral frills and African enchanting (Canadian Content par.4). To bring some modernity into her music, Celine used the Spanish guitar and saxophone which ensured that her music blended well with her audience.
Each single in this album featured a variety of musical styles; this brought out the prowess that Celine Dion is. Most of the songs in this album were a remake of original songs done by other artists. Tina Turner is credited with the original lyrics to the title track of Celine Dion’s album “River Deep Mountain High”. However, Dion managed to present it somewhat differently by way of making use of percussion instruments. In most of the other songs contained in the album, Celine DIon manages to integrate the sounds of a piano with the atmosphere of soft rock. Also in the album was the song “Because You Loved Me” originally done by Dianne Warren. This song proved to be a real success as it managed t o rise to the top of the Canadian musical charts. The impact of this song was even more profound. For example, in the United States, the song was at the top of (Canadian Content par. 5).
In 1999, Celine took a temporary break from entertainment. This was the year her husband was diagnosed with skin cancer and I believe she needed the time to reflect upon her life and be with her husband. She returned in 2002 with the release of “A New Day Has Come” a song that she had dedicated to her husband Rene Angelil. Her music did not perform so well after the break and she decided to venture into showbiz. She was signed in by Caesars palace where she used to perform five nights a week from 2003 to 2007.
Nevertheless none of her album has been a complete let down to date. This has earned her fame and recognition all over the world. No one ever thought that Quebec let alone Canada could produce such talent; as a matter of fact very few people know that Celine comes from Canada. Much of her fame is associated with the American type of success in popular music.
Awards and Achievements
As far back as 1982, Celine Dion was already becoming a household name in Canada. On this year, Celine Dion managed to secure. Another award that Celine Dion won in the same year includes the Top Performer Music Award (Canadian Content par. 1).
The following year (1983), Celine Dion yet again bagged another award for her exemplary performance as a music artist. By winning the Top Performer Music Award, Celine Dion went down the annals of history as the first Canadian to have ever won a God Record (The Journey So Far par. 4). By this time Celine had already created a name in Quebec where she bagged numerous Felix Awards.
She gained recognition in Europe in 1988 when she won the Eurovision Song Contest in Dublin, Ireland (Canadian content par.1). During this awards she performed live before a television audience of 600 million viewers throughout Middle East, Russia, Europe, Japan and Australia After her temporary break from music, in 2004 she received the Chopard Diamond award from the World Music Awards show becoming the best selling female artist of all time.
Dion released her song “Falling Into You” at the start of 1996 and by March, it was already a best seller album. So successful was this album that in over 11 countries, it managed to top the pop charts. As a result, the album earned Celine Dion an award at the 39th edition of the Grammy Awards. Celine has earned millions of shillings from the overwhelming sales of this album. “Let’s Talk About Love” was the next album that Celine Dion released. So successful was this album that its record sales surpassed the 27 million copies that titanic had realized. Moreover, “My Heart Will Go On”, her other single album bagged her yet another award at the Oscars, this time as best original song (Canadian content par.5)
In 2005 Celine released “Celine Dion: For Keeps”. This is a biography of Celine Dion created from her words and pictures. It encompasses her whole life since childhood to her stardom lifestyle. (The Journey So Far par. 6).
Challenges
The biggest challenge that Celine Dion had to overcome was that of language if she wanted to succeed worldwide (The Journey So Far par. 3). Having been born and brought up in Charlemagne a small French town in Canada, Celine could only communicate in French. To gain stardom Celine had to attend an English school to polish her pronunciation and articulation of English words.
Lack of children for many women may impact negatively on one’s career. This second challenge was more of her personal than professional life. She was unable to have kids for a long time until she decided to use vitro fertilization to conceive. She gave birth to a baby boy named Rene Charles.
In 1999 Celine Dionne’s husband and her personal manager since she started her music career, René Angelil was diagnosed with skin cancer and he is currently in remission.
However the above challenges have not stopped her from achieving her dreams. While she no longer dominates the charts like she used to, Celine is still a force to reckon with. In June 2009, Celine Dion is reported to have earned approximately $ 100 million, according to Forbes magazine. The only female to have surpassed her to the position of the highest paid female artists is Madonna (Celine Dion Biography 2).
Social Responsibility Projects
With her tight recording schedules that ensure a hit after another, Celine might be viewed as a workaholic. However Celine has utilized her talents for many worthy causes. Most notable is her involvement with the Canadian cystic fibrosis foundation; an organization established to support and provides information of this genetic problem. Following the death of Karine, Celine Dion’s niece as a result of complications related to Cystic Fibrosis, her interest social responsibility projects developed further. She has done a number of songs for this worthy cause like” Fly” which appears on the “Falling Into You” album.
In addition, to being the ambassador of Canadian Cystic Fibrosis Foundation, Celine has founded her own Celine Dion foundation alongside her husband René Angelil. The mandate of this organization is to offer support to worthy causes and needy individuals in the society. The organization is a non profit entity and recruits employees on the basis of volunteership. This ensures that no expenses are covered with the money collected and thus doing much bigger things for the Canadian people.
Conclusion
Marcelle Ferron and Celine Dion are two Canadian female artists who have made it in life. They both rose from humble beginnings to reach where they are today. These two artists were brought up in Quebec and can be referred to as the Quebecan divas.
Interestingly both artists prospered in lands away from home. Then the question that begs to be answered is why prosper away and not in Quebec? Using Marcelle’s words to answer the question; Quebec was more of a ghetto, and the environment was not conducive for a career woman.
Worse still the Canadians of the 1950’s were very traditional. They believed in the power of the woman as a housewife and a mother but not as a career woman. This hindered the development of young talent especially among women. Further, for those who defied the rules and followed their careers were treated as social outcasts, this was the main drive that forced Marcelle to move to France.
However the case was a bit different for Celine Dion. By the time she was coming to the limelight, pop music had not developed in Canada like it had in America. Her moving to the U.S was more because she wanted to access the best of technology in this part of the world.
Both the artists came from families that were artistically endowed. Three of Marcelle siblings are renowned artists with two of them being writers, the case is not different for Celine whose whole family was musically endowed. This might be considered genetically inherited from their parents, who were both musicians.
Marcelle and Celine both discovered their artistic talents when they were very young. At the age of five Celine was already performing together with her family members. As for Marcelle her passion for art came at the age of three when she had been hospitalized with tuberculosis of the bone. This taught her to appreciate everything around her and this was part of her artistic values.
Nevertheless the two artistes had some notable differences. While both of them were married during their career, Celine was lucky to have a supportive husband. To be more precise it was her husband René who nurtured her talent. He went to the extent of mortgaging his house just to raise enough funds to sponsor Celine’s recording. On the other hand Marcelle’s husband was a stereotypical chauvinistic man who considerer the role of women in the society as being housewives. Instead of supporting her when the rest of the world was against her, he was among those who critised her work. The situation was so critical that it led to their divorce and Marcelle migrated to France.
It is only after they had succeed in their artistic careers that the Canadian government recognized them through various awards, nonetheless the challenges that the two Canadian artists went through should be used as encouragement for other upcoming female artists.
Works Cited
Canadian Content. “Celine Dion.” Canadian Content Interactive Media. 2007. Web.
Celebrating Women’s Achievement. “Women Artists in Canada”. 2010. Web.
Bio True Story. “Celine Dion Biography”. A&E Television Networks. 2009. Web.
Lambton, Gunda. “Stealing the show: seven women artists in Canadian public art.” Canada. McGill- Queen’s Press, 1994. Web.
The Journey So Far. Sony Music Entertainment Canada Inc, 1996-2009. Web.
Art in the sixteenth and the twenty-first centuries have undergone significant changes. Exemplified by the works of Peter Paul Rubens and Katharina Grosse, artworks have transitioned from the Flemish Baroque to the Gagosian style, where an artist enjoys the interplay of architecture, sculpture, and painting. During the 16th century, Rubens used ordered oil painting to bring his ideas to life. However, Grosse uses sprayed acrylic colors for her paintings compared with him. The essay helps the reader understand the two artists and illustrates their artworks based on their presentation.
Peter Paul Rubens
Sir Peter Paul Rubens was considered an individual with a remarkable personality. He had a beautiful and charming companion nature and was described as having a tall stature with a regularly shaped face (The National Gallery). Rubens had rosy cheeks, sparkling eyes, and chestnut brown hair in his stately bearing. Despite having a restrained passion, he had a warm, gentle, and laughing air. Rubens played a significant role in 17th-century European politics and had a staggering number of artworks in his workshop (The National Gallery). Rubens was considered to have been an enormously successful painter. While painting, Rubens would have someone read to him from a classical literature work (The National Gallery). He had a passion for ancient coins and sculpture, among other curiosities, which included an Egyptian Mummy, and his collection formed part of the attraction for his visiting dignitaries.
Most of Rubens’s artworks were altarpieces, particularly suitable for an artist who enjoyed working on a grand scale. Rubens was a Flemish artist; therefore, his artworks had the Flemish Baroque style that existed between the 16th and 17th centuries. (Scribner) his ability to infuse his extraordinary vitality into an exuberant and powerful style epitomized the baroque style of the century. His color accentuation, movement, and sensuality made him an influential leader in the catholic counter-reformation painting style (Scribner). His paintings’ opulent, robust, and ample figures generated a pervasive sense of movement in dynamic and vivid compositions.
Katharina Grosse
Katharina Grosse is considered the most honest artist in today’s world, whose directness and simplicity form a rare personality type in contemporary art. Through her works, Grosse brings out both straightforwardness and uncomplicatedness, which are elegant reminders of the imagination she presents to the world through her art (Barcio). She is beautiful, entertaining, and amusing and stands out as an artist capable of presenting a collision of things through painted images.
Grosse treats the natural world and architecture as an armature of futuristic flair, humorous juxtaposition, and dreamy abandoned expressive compositions. Her artworks, which use sculpture, painting, and architecture, suggest complicated narratives through everyday objects, evocative titles, and psychedelic vistas by building up color layers with an expressive immediacy (Art21). Through her thought inscription, Grosse enables her artworks to have a material record of their own. She often employs electrifying sprayed acrylic colors, which enables her to generate large-scale sculptural environments alongside more minor wall works (Art21). Through her works, Grosse creates interesting scale shifts between being small and imagining the significance of the environment by exploring the dynamic interplay between being in the world and observing it.
Conclusion
The two artists represent two different art styles, with Rubens linked to Flemish Baroque and Grosse linked to the Gagosian art style. Rubens’ paintings are associated with opulent, robust, and significant figures responsible for generating a pervasive sense of movement in dynamic and vivid compositions. Grosse is responsible for creating an exciting scale shift between being small and imagining big. The shift enables the artist to create a relationship with the environment by exploring the dynamic interplay between being in the world and observing it.
Johann Sebastian Bach was a composer and musician, who was born in Germany in the year 1685. He came from a family of musicians and created numerous compositions during his illustrious career. He lived during the Baroque era, and his compositions were characterized by stylistic innovations that made him one of the greatest and most versatile composers of his time.
Today, he is remembered for some of his compositions that include “Toccata and Fugue in D-minor”, “Mass in B Minor”, “The Well-Tempered Clavier”, and “The Brandenburg Concertos.” His mastery of composition established and enhanced German styles primarily due to his mastery of harmonic and counterpoint organization and adoption of different rhythms, forms, and textures of foreign music. His numerous cantatas created his legacy as one of the greatest composers in the Western world.
Musical Family Lineage
Bach’s childhood was critical in the development of his musical genius. As mentioned earlier, he was born in a family with a long music lineage. For instance, his father, Johann Ambrosius Bach was a music director and instructor in their town (Geck 45). He gave him a strong music foundation that included music theory and guidance on how to play the violin. His uncles have also established artists as they composed music and performed in churches and courts. Bach was introduced to the organ by his uncle, Johann Christoph Bach, who offered lessons that ignited his interest in music (Geck 45). He was greatly influenced by his cousin, Johann Ludwig Bach, who was a versatile composer and violinist.
Childhood
Bach went to school at the age of 7, and like other children during his time, he received religious instruction and studied Latin that later shaped his music career. His Lutheran faith played a key role in influencing his compositions (Leaver 72). He was orphaned before he turned 10 owing to the sudden death of both parents, after which his older brother Christoph became his guardian (Geck 45).
In addition to taking care of him, Christoph offered Bach music lessons that supplemented the knowledge that he had received from their father. Bach’s strong soprano voice played an important role in securing his admission to St. Michael’s School in Luneburg (Jones 64). Bach gained interest in the violin and the harpsichord, and his stay at the school introduced him to several aspects of the European culture. Bach was a member of the choir and he played the organ during performances (Geck 45). His voice also changed and was the main factor that determined the genre of music that he chose to pursue.
During his formative years, Bach was influenced by the works of George Bohm. Bohm was his organ teacher and played an influential role as his mentor (Geck 45). Their interactions offered Bach access to great music resources. For example, he used St. John’s Church organ for practice and had the opportunity to see Johann Adam Reincken perform. He was a musical genius and he landed his first job at the age of 18.
Music Career
Bach’s talent was evident from his mastery of the organ and the violin, as well as the great pieces that he composed. He was a great performer, and his talent landed him a job as a court musician in the chapel of Duke Johann Ernst (Jones 68). He worked there for seven months, and his reputation as a great musician spread. He was invited to give his opinion on a new organ that the New Church had purchased, which secured him the position of organist at the church in Arnstadt. His responsibility was to provide music for religious services, offer instruction to choir members, and create music for special church events (Jones 71).
Bach was on numerous occasions criticized by church leaders for failing to prepare his students properly before singing during church services. Bach was dissatisfied with the low-quality singers that comprised the church choir. His strong family connections did little to remedy the situation and tension between him and his employer built up over time. The criticism angered Bach, and as a result, he abdicated his job for several months and traveled to Lubeck to visit Dietrich Buxtehude (Geck 45).
After spending time there, he decided to move away from Arnstadt and secured a job at the Blasius Church in Muehlhausen. A part of his application involved the performance of a cantata. His new job was more satisfying than his former ones because he was paid more and the choir had better singers. His complex music style was poorly received by the church’s pastor who believed that church music was supposed to be simple. His famous composition “Actus Tragicus” was created during this period (Leaver 76).
He returned to Weimar in 1708 and served as an organist and music director at the ducal court where his music career flourished and his most productive composing years officially commenced. During his stay in Weimar, Bach composed many keyboards and orchestral works (Geck 45). He learned how to incorporate dynamic motor rhythms and harmonic schemes from foreign music into his works (Marschall 46). He performed widely and used the organ for his compositions. He also created several preludes and fugues and wrote a book about mastering the organ.
Musical Style
Bach’s music style was highly influenced and dictated by the conventions of the Baroque period, which was characterized by the creation of music on specific keys (Swain 76). During the baroque period, composers were required to possess the skills to create solo melodic lines and accompaniment parts. He followed in the footsteps of his contemporaries by writing concertos, suites, and four-part choral music (Marschall 52).
His music was unique because of his mastery of motivic control and contrapuntal invention (Jones 83). Moreover, he was great at improvising at the keyboard and combining several aspects of different music genres into his compositions (Swain 79). He notated the details of his melodic lines and his harmony was achieved by varying the music key for a few beats and returning to the original key (Marschall 54). His music was eclectic and energetic and highly influenced by European composers. He incorporated several aspects of French, Italian, and German music into his works (Jones 88). Most of his compositions were religious, owing to his involvement in the Lutheran faith during his childhood.
Influence on Contemporary Music
Bach died nearly 300 years ago. However, his talent and musical genius are revered around the world and his style is the gold standard in classical music. He is considered as the ultimate composer, whose influence exceeds that of other great composers such as Beethoven, Mozart, Brahms, Mahler, Monteverdi, and Mendelssohn (Marschall 35). Bach’s influence on contemporary music genres such as jazz, hip-hop, and soul are immense. Several artists have sampled Bach’s works in their music. For example, the song “Everything’s Gonna Be Fine” by Sweetbox contains a sample of Bach’s Orchestral Suite No 3.
Popular artists that have been influenced by Bach include Apollo 100, The Toys, The Beatles, The Beah Boys, Procol Harum, Xzibit, Jethro Tull, Winston George, and Paul Simon (Marschall 65). The aforementioned artists have sampled Bach’s works in their music. For example, Jethro Tull’s (rock) Bouree was composed based on Suite in E major while Xzibit’s (hip hop) Symphony in X major was based on Brandenburg #3 (Marschall 67). In that regard, Bach has influenced musicians in all contemporary genres.
Personal Thoughts
The influence that Bach had on classical and contemporary music periods is immense. His ability to turn grief into musical masterpieces endears him to contemporary musicians who have sampled his compositions in their songs. I believe that the losses he suffered during his childhood played a significant role in enhancing his creativity and musical genius. It is amazing how his music is widely appreciated around the world among contemporary and classical music enthusiasts 300 years after his death. His success can be attributed to his talent, passion, early introduction to music, family connections, and the training that he received from his family members.
Conclusion
Bach is revered today as one of the greatest composers of all time. His music genius can be attributed to his long family lineage of musicians, early instruction by his father, brother, and uncles, an introduction to the Lutheran faith. His music had many influences, including his faith, loss of parents at an early age, and the conventions of the Baroque period. He influenced many classical music artists through his ability to incorporate several aspects of foreign music into his compositions. His influence on contemporary music genres including jazz, hip hop, and soul is proof of his great legacy and music mastery. The complexity of his music continues to inspire and amaze artists.
Works Cited
Geck, Martin. Johan Sebastian Bach: Life and Work. Houghton Mifflin Harcourt, 2006.
Jones, Richard DP. The Creative Development of Johann Sebastian Bach, Volume II: 1717-1750. Oxford University Press, 2013.
Leaver, Robin A. The Routledge Research Companion to Johann Sebastian Bach. Taylor & Francis, 2016.
Marschall, Rick. Johann Sebastian Bach. Thomas Nelson, 2011.
Swain, Joseph P. Historical Dictionary of Barosque Music. The Scarecrow Press, Inc, 2013.
Salvador Dali was among the most prominent artists in the area of surrealism art. It is stated that “whether working from pure inspiration or on a commissioned illustration, Dali’s matchless insight and symbolic complexity are apparent” (Salvador Dali Museum par. 9). He was born in Figueres, Catalonia, Spain, on May 11, 1904, and he passed away in the same place on January 23, 1989 (The Art Story Foundation par. 1).
Discussion
Surrealism is essentially about revolutionizing the human experience through art. It “balances a rational vision of life with one that asserts the power of the unconscious and dreams” (Tate par. 1). Surrealism means to go beyond reality via psychic automatism to depict the real functioning of imagination, thought, and emotion. Salvador Dali was the most famous surrealist, which means he led and influenced the surrealist movement by rejecting “the society’s oppressive rationality” (Wolfe par. 1). His famous artworks include The Persistence of Memory (1931), Swans Reflecting Elephants (1937), Soft Construction with Boiled Beans (1936), and many others (Harrow par. 4). His works mattered and still matter since Salvador Dali was a pioneer in challenging the convention by forging novel artistic language.
Conclusion
I find the artist interesting because he not only created outstanding artworks but personally embodied them expressed through his appearance, style, and personality. Art was not a mere craft, hobby, or occupation for him since he lived within art himself. My favorite work of Dali is The Persistence of Memory, shown in Figure 1 below. It depicts the time in Camembert from stripping the rigid precision of clocks. The creation at the center is something alien, but it additionally has Dali’s profile. It is unique and eerie because it is a snapshot of a dream where nothing seems to be stable, but a multitude of meanings are present nonetheless.
Both Willem de Kooning and Harold Rosenberg are well known in the art and specifically in the art called abstract expressionism. This art movement developed in America between the 1940s and 1950s. The kind of art the artists in this movement did put America on the international stage and dimmed the light for Paris, which had been the center of art in the world. The artists included those who “filled their canvases with fields of color and abstract forms, but also those who attacked their canvases with vigorous gestural expressionism” (Wolf 1). The paper will focus on Rosenberg and de Kooning’s key terms and concepts of their approaches in viewing and making the art. In addition, explain whether they approach art in the same way or different ways as well.
De Kooning’s key terms and concepts of approach in viewing and making the art
De Kooning was prominent and the most celebrated abstract expressionist artist. His works characterize “the vigorous gestural style of the movement” (Willem de Kooning 1). His paintings combined the style of surrealism, expressionism and cubism. He was biased in painting traditional subjects although he also did abstract pictures that increased his reputation. His most famous work was the paintings of women. After these paintings, he did pictures of landscapes that were highly acclaimed.
He felt that categorizing art into movements restricted it and thus he aimed not to be confined by those restrictions. This is the reason why he continued to paint human subjects. His pictures of women show his blending of figuration and gestural abstraction, which was due to the influence of cubism. De Kooning’s pictures of women were always in progress because he would dismember and reassemble thus distorting the figures. He always reworked his canvases and his works had the impression of dynamic incompletion. The paintings seemed to be always in a movement towards a definition. He reinforces Rosenberg’s idea of action painting because his works were like records of an ongoing encounter instead of finished works.
His paintings “flattened the pictorial space …. And simplified the color” (Willem de Kooning 1). The figure could be identified in his works although in Pink Angels the figure was difficult to separate from the background as it was dispersed on the canvas. Thus, he developed a unique style of painting that had a complex relationship between the ground and the figure. His works of the women series bring out this characteristic very well.
De Kooning’s approach in making art was different from the norm because he kept on working on a picture until he felt he was satisfied with the result. In an article titled ”Willem de Kooning paints a picture” by Thomas Hess he attempted to study how de Kooning painted his pictures and said” the picture’s creation as a voyage that involved hundreds of revisions and was only completed minutes before the work was loaded onto the truck to go to the gallery” (Willem de Kooning 1). This painter suppressed the narrative and figure of the picture. Commenting on this reintroduction of the figure the art critic Clement Greenberg felt this was a wrong direction thus a backward step. In retaliation, de Kooning asked what the problem was with his paintings as according to him painting was about freedom. Thus, he approached art as an expression of freedom (Storr 1). This explains why he painted the way he did and in the process raised a lot of controversies. He was not going to be confined to the conventions of art rather he would use art to express himself. He said, “I don’t paint with ideas of art in mind. I see something that excites me. It becomes my content” (Willem de Kooning 1).
Rosenberg’s key terms and concepts of approach in viewing and making the art.
Harold Rosenberg was among the most incisive supporters of abstract expressionism. His essay called The American Action Painters put the abstract expression movement on the map and compared artists such as Willem de Kooning to an existentialist fighting for self-expression. His writing focused on the thematic and expressive essence of artworks (Harold Rosenberg 1).
He described abstract expressionism as action painting. The painter expressed a creative process on the canvas. Action painting meant that the artists expressed themselves and their individuality rather than focus following the conventions of beauty set out in the society (Panero 1). The artists were free to express themselves on the canvas thus expressing their emotions and feelings. To Rosenberg, the canvas was stage upon which an artist has to act. The process of painting on the canvas was a process of expressing an event and therefore the result was not only a picture. He felt that the expressionist artists were recording the moment they were in on the canvas. Thus by looking at the painting one would tell what was going on with the artist.
His approach in viewing and making art was existentialist because he was of the view that an individual had a right to express him or herself and break away from the norm of the society, which was that art was to serve the society. Through this kind of art, an artist found a medium to express themselves as well as their opinions. His work was apolitical in his capacity as an editor for a leftist press. He was bringing politics to art and had political expectations of it bringing in a liberal aesthetic. He saw art as a vehicle for analyzing politics and thus his support of abstract expressionism and the rise of American art on the international stage was a sign that politically America was taking the lead role (Jachec 19-20).
He viewed art as an experiment and thus it included trials and errors. To him action painting was like an experiment and an artist depended on spontaneity in expressing an even on canvas rather than following preconceived designs. In action painting, “The painter was no longer concerned with producing certain kind of object, the work of art, but living on the canvas’ (Wolf 1). This means that a painter was free to paint as he or she deemed fit instead of trying to paint by following conventions thus whatever was painted was an authentic expression of self.
Comparison of approach to art
De Kooning and Rosenberg approach art in the same way because they view art as an expression of individuality. De Kooning influenced Rosenberg on art approach and thus he changed his mind that art does necessarily have to serve the society. Both felt that an artist does not have to follow conventions but uses art as an expression of freedom. This notion is captured by de Kooning “The attitude that nature is chaotic and that the artist puts order into it is a very absurd point of view, I think. All that we can hope for is to put some order into ourselves” (Hess 15). These two helped modern artists of the twentieth century look at abstract expressionism in a new light and their legacy still lives on in the 21st century.
Works Cited
Harold Rosenberg. npg.si.edu. n.d. 2010.
Hess, Barbara. Abstract Expressionism. Los Angeles: Taschen, 2005.
Jachec, Nancy. The philosophy and politics of abstract expressionism 1940-1960. assets.cambridge.org. 2000.
Juan Luis Guerra is a popular Dominican artist. He is regarded as one of the few evergreen singers, producers, and songwriters. This can be testified by the number of local and international awards he has won. However, what makes him be an important and inspirational segment of the Dominican Republic and Spanish culture is his music. As is evident, his musical styles, meringue, and bolero as well as afro-pop/Latin fusions have become international anthems. Not to mention they have propelled him to global fame. Also, he is predominantly linked with the popular Dominican music genre known as bachata, though partly true, he exploits the elementals of bachata tempo with elements of bolero in his works. Despite that, he has managed to incorporate diverse musical features to create a unique musical identity within the Spanish culture. Also, his collaboration with other Spanish artists such as Enrique Iglesias has made him a household name. Equally, he doesn’t limit himself to a particular musical style; he has established himself as an artist with a mastery of mixing diverse rhythms to make appealing music. Some of his mixed rhythms are diverse and include bolero-bachata, salsa, meringue, and gospel as well as rock n roll. Some exemplars of his fused works include Taboo by Black Eyed Peas, and The key to my Heart which are both distinct in text, tone, timbre, and arrangement.
The nature of his music cuts across all ages. More so, the theme of his compositions touches on social aspects that are closer to the people. Therefore, despite his political opinions which he shares in his music, he also explores the elementals of social justice. This illustrates why he is such a popular and important figure. Also in a cultural context, he has established his music to be all-inclusive. Considering that Spanish culture enjoys some of the sensational musical lyrics, he has managed to incorporate this dynamism in his work. Therefore, despite his musical identity, he plays an integral role in promoting Dominican identity with its Spanish cultural trends. Equally, he uses his music to sensitize the populace on the importance of democracy and vibrant social governance. On the other hand, his role as a musician has played an integral role in placing this little country on the global radar.
Despite his personality and musical integrity Juan Luis Guerra humorous and poetic approach to issues has made him dear to many. Too, his unique manner of incorporating sophistication as well as Dominican musical rhythms has made him to be a central figure in Dominican Republic.
Although, successful in music career, the mounting inequities in Dominican society affected him as is testified by the themes of his compositions. And as a devout Christian, he opted to fight the injustices through his works by infusing social commentary which impacted on the society considerably. As a cultural ambassador he has managed to inspire many of his countrymen and to stand and face the real aspects affecting their nation.
However, the greatest success of all time is his musical composition that has transformed the Dominican culture. By embracing the discarded musical traditions, he has established a dominant Dominican musical culture that will continue to be a legacy to generations to come. With the release of Areito in early 1992, his music took a profound meaning. This title was extracted from original language of the indigenous natives of the Dominican Republic, the Taino Indians, and roughly translates to song and dance. However, his exposure of social decadence in Latin American communities saw the authorities prohibiting his works. This fuelled his popularity across the Spanish speaking Caribbean peninsula.
Discussion
In recent times bachata has gone far beyond the conventional borders of native Dominican music. It has become an international genre that has attracted other distinct genres as rock, Caribbean, R&B, and African fusion. This has made this type of music to be accepted almost all over the world. With innovative and aggressive marketing and distribution this music has impacted many. But the name behind this music is Juan Luis Guerra. Using his musical genius he popularized the Dominican rhythms as well as cultural contents in his music. By incorporating ethical issues as well as romantic aspects he has grown to be one of the most successful and paramount figure in Dominican republic as well as in other Spanish speaking communities (Frith 199).
This development has seen him being embraced by both poor and the rich, young and the old in an equal measure. This illustrates his prominence and personal virtues have made him to be a man of the people. However, music seems to be the predominant factor that has contributed in making him important. Through music he has addressed diverse social issues affecting the ordinary citizens. Through the fusion of bachata with other Spanish and India styles that he made a name in the music scene.
The impact of his music globally has continued to export the Spanish dancing and tunes to other communities. More so, through music he has managed to shed light on the life of ordinary Dominicans to the greater communities. Examining his musical career it can be argued that he was a successful artist. But what made him gain such mounting prominence is his approach to life. The reality presented by his poetic music is evident to this. More importantly his authentic composition, close ties with the people and a humble attitude has also made him who he is. Despite that, he appeals across all cultures and this has seen him being the lone Dominican cultural ambassador. All in all, it would be instrumental to state that his engagement with music as well as his approach to creativity has formulated his worth to the people he so loves.
Considering his humble beginning in the Dominican Republic where he and several local artists released his maiden album, Soplado, in the early 1984. He concentrated with trying and mixing the Dominican styles and tastes. Later with his group of co-writers they explored the aspects of meringue, the energetic style of boogie music that had evolved into being as the nationalized jingle of the Dominican Republic by the period Guerra was born (Frith 233). The subsequent two albums, Mudanza y Acarreo as well as Mientras más lo Pienso … tú, Guerra also provided moderate tempo into the composition from bolero, a Caribbean mode of music extracted from a more conventional Spanish form. From such activities of employing diverse cultural aspects into his music as well as generating appealing compositions and that is why he is such an inspiration.
Eventually, it is essential to agree that his messages are both inspirational and uplifting. His style is also approachable and any individual from the Caribbean or Spanish Diasporas can easily identify with his music. Therefore, with such universal audience and his personal ethics he remains a popular role model and a father figure in both Dominican domains as well as in Spanish world.
Work cited
Frith, S. Popular Music: Critical Concepts in Media and Cultural Studies.NY: Routledge, 2004.
Jiro Takamatsu was a Japanese artist who worked in a variety of mediums, including painting, sculpture, and installation art. He is best known for his enigmatic and often dark paintings, which often explore the nature of perception and illusion. Takamatsu was born in 1936 and began his artistic career in the early 1960s1. Throughout his career, he remained highly experimental and pushed the boundaries of traditional mediums. In 1968, he famously painted an entire room black and refused to allow any light into it; viewers were able to experience the work by walking around with flashlights.
Jiro Takamatsu was one of the founding members of Mono-ha, and his pieces often featured natural materials like rocks, wood, and glass. He was known for his minimalist aesthetic and for using everyday objects in surprising ways. Takamatsu frequently explored the relationships between objects and their surroundings, seeking to create a sense of equilibrium or imbalance within his compositions. Many Mono-ha artists were strongly influenced by Zen philosophy, which emphasizes the importance of harmony with nature and the transcendence of materialism. In this sense, Takamatsu’s work can be seen as an embodiment of Mono-ha’s spiritual ideals.
Some of Takamatsu’s artworks were “The Temperature of the Sculpture”, “Cube 6 + 3, 1968”, “Oneness of Concrete, 1971”, “Slack of Cloth, 1969”, and “Slack of Net, 1968–69”.
The work is composed of a human head sculpture that could have been made from bronze, brass, aluminum, and other materials that were meant to express the “temperature” or “atmosphere” of their respective environments. The work could have been interpreted as being born out of its social circumstances – specifically, the artist’s response to the heated political climate in Japan during the 1960s2. Additionally, Takamatsu may have used materials (metals in particular) is seen as a commentary on the industrialization and modernization that was occurring at the time.
Takamatsu was born in Japan during a time when the country was going through a rapid modernization process. This change in society led to new ideas and concepts that artists could explore in their work. In “The Temperature of the Sculpture,” Takamatsu may have used the materials and tools available to him to express this change in Japanese society. For example, he used different shades to color the art, which created the sculpture’s dynamic shapes, which reflects how technology was changing people’s lives at that time. Overall, Takamatsu’s work shows how art can be reflective of its social context, technological development, and surroundings.
‘Slack of Net, 1968–69’ is a piece of art by Jiro Takamatsu that reflects on the tension between humans and the internet; the art was 215 x 215 cm. The artist created it at a time when the internet was in its infancy, and people were only starting to become aware of its potential. The work consists of an empty room with a large net in the center. The net could have been made from white metal cables with white cotton strings, and it is so large that it covers most of the floor.
Takamatsu’s “Slack of Net” series could be intimately connected to the political and social unrest of 1960s Japan. After World War II, Japan experienced a period of intense economic growth, which led to an increase in materialism and consumerism. The artist could be critical of this new societal paradigm and sought to create art that reflected the spiritual emptiness he saw in society. In the “Slack of Net” series, Takamatsu could have used netting as a metaphor for the way in which society traps people in its Material world. He may have created sculptures out of found objects that were suspended in netting, emphasizing how people are entangled in the web of society. Similarly, the idea behind it could be that the net represents both opportunity and danger, as it can be used to catch prey but also to ensnare people.
Jiro Takamatsu’s Oneness of Concrete, 1971, was born out of its social circumstances; it was estimated at 40 x 60 x 60 cm at the Shizuoka Prefectural Museum of Art. The work is a simple clay rectangular clay box with soil in it. The title, Oneness of Concrete, could reflect the artist’s attempt to reconcile the abstract and the concrete in his artwork. Takamatsu was born into a family of potters and spent his early years working in the family kiln. He later moved away from traditional ceramic forms and began making sculptures and paintings that were inspired by Zen Buddhism and by postwar Japanese society. In particular, he was interested in how people were adapting to their new urban environment.
In the early 1970s, Japan was experiencing a period of great economic growth. This newfound wealth led to a renewed interest in Western art, and artists began exploring new ways to incorporate Western styles into their work. Takamatsu’s “Oneness of Concrete” is a rectangular clay box with soil in it. The artist may have created the work in response to the growing commercialism and materialism of Japanese society. Similarly, he maybe wanted to create a work that would remind people of the importance of nature and the natural world.
Takamatsu’s Cube 6 + 3, 1968, is considered an important work of art from the Gutai movement, which was a Japanese avant-garde art movement in the 1950s and 1960s. The art measured 13 x 13 x 13 inches or 33 x 33 x 33 cm. The Mono-ha movement was born out of its social circumstances – Japan’s post-war period. After World War II, Japan was left in a state of chaos and destruction. This created an environment where artists were searching for new ways to express themselves and their ideas. Takamatsu’s Cube 6 + 3 is made from a blue square lacquered wood with a string. It is simple, but it embodies the spirit of the Mono-ha movement – to create art that is expressive and innovative.
“Slack of Cloth, 1969” is an artwork by Jiro Takamatsu that was born out of its social circumstances. The work is a cream square piece of cloth that measures approximately 360 x 360 cm at the Shizuoka Prefectural Museum of Art. It could have been created in 1969 as a protest against the Vietnam War3. The title of the work could refer to the idea that war leaves behind “slack” or excess fabric–in this case, referring to the amount of cloth used to make military uniforms. The work is made from a single scrap of cloth and is meant to be ephemeral, representing the idea that war is wasteful and short-lived. Takamatsu’s work highlights the human cost of war and its devastating effects on society. When the piece was created, Japan was going through a time of great political turmoil. The country had just suffered a major defeat in World War II, and the American occupation was underway. Takamatsu could have created this piece as a direct response to these events.
Bibliography
Dixon, Chris, and Jon Piccini. “The Anti-Vietnam War Movement: International activism and the search for world peace.” In The Routledge History of World Peace Since 1750, Routledge, 2018.
Kee, Joan. “Points, lines, encounters: The world according to Lee Ufan.” Oxford Art Journal, 2008.
Muramatsu, Michio, and Ellis S. Krauss. “The conservative policy line and the development of patterned pluralism.” In Critical Readings on the Liberal Democratic Party in Japan, Brill, 2018.
Footnotes
Kee, Joan. “Points, lines, encounters: The world according to Lee Ufan.” Oxford Art Journal, 2008.
Muramatsu, Michio, and Ellis S. Krauss. “The conservative policy line and the development of patterned pluralism.” In Critical Readings on the Liberal Democratic Party in Japan, Brill, 2018.
Dixon, Chris, and Jon Piccini. “The Anti-Vietnam War Movement: International activism and the search for world peace.” In The Routledge History of World Peace Since 1750, Routledge, 2018.
Two of the most significant artists of the early 20th century, Pablo Picasso and Umberto Boccioni, were recognized for their contributions to the modernist art movement. Picasso, an Italian artist, is best renowned for his contributions to the Futurist movement, whereas Boccioni, a Spanish artist, is best known for co-founding the Cubist movement. Their day’s historical and social changes significantly impacted both artists, which was reflected in their artwork. This essay will go through the historical and social influences that the artists experienced, the environment in which they thrived, their artistic viewpoints, and what characteristics they shared and diverged from one another.
Modernist Agenda
The historical and social influences that the painters experienced greatly impacted how they created their works. The Spanish Civil War and the political unrest in Europe in the early 20th century significantly impacted Picasso (“Pablo Ruiz Picasso”). His political opinions and the suffering of the populace at the time were frequently depicted in his artwork. On the other hand, the tremendous industrialization and technological development of his day had a substantial impact on Boccioni (“Umberto Boccioni”). His preoccupation with movement and the modern world was frequently visible in his artwork. Early 20th-century European culture, which was characterized by a growing interest in the avant-garde and a rejection of conventional art forms, fostered the success of both artists (“Pablo Ruiz Picasso”), due to the fact that their experimentation and creativity were embraced by the intellectual and creative elite of their time, which contributed to the success of both Picasso and Boccioni.
The success of both artists can be attributed to their distinctive viewpoints and styles in addition to the cultural context. Picasso’s utilization of primal and abstract shapes and Boccioni’s investigation of movement and dynamics were groundbreaking and revolutionary (“Umberto Boccioni”). They were well-known figures in the modernist art movement because their work stood out in the congested art world of the time (“Umberto Boccioni”). Early 20th-century Europe’s cultural environment gave the artists a stage to exhibit their work and acquire fame (“Pablo Ruiz Picasso”). This was especially true in Paris, which served as the heart of the art world at the time. Both Picasso and Boccioni spent much time in Paris, where they could exhibit their works to a larger audience and win the respect of the city’s intellectual and creative elite.
Picasso’s point of view was deeply ingrained in the political and social situations of his period, and he frequently used his artwork as a platform for political criticism. He advanced the modernist mission by rejecting conventional art forms and experimenting with novel methods and styles (“Pablo Ruiz Picasso”). However, Boccioni’s artistic expression was grounded in the contemporary day and its scientific and technological developments (“Umberto Boccioni”). It was also done by experimenting with novel approaches to representing movement and the dynamism of the modern environment. Their influences were another distinction. Picasso’s work was greatly affected by the art of the Iberian Peninsula and Africa, whilst Boccioni’s work was heavily influenced by Renaissance art. Picasso’s use of simple and abstract forms and Boccioni’s vibrant colors and forms demonstrate this.
Conclusion
In conclusion, Pablo Picasso and Umberto Boccioni were two of the most significant figures in the modernist art movement. The art world has benefited from their contributions to the Cubist and Futurist movements, respectively. Their day’s historical and social changes significantly impacted both artists, which was reflected in their artwork. Despite having differing viewpoints, they both promoted modernism by rejecting conventional forms of art and experimenting with novel methods and aesthetics.
Works Cited
“Pablo Ruiz Picasso.” Dictionary of Hispanic Biography, Gale, 1996. Gale In Context: Biography, Web.
“Umberto Boccioni.” International Dictionary of Art and Artists, Gale, 1990. Gale In Context: Biography, Web.
