When Art Speaks an Analysis of Two Artist and Two Works...

When Art Speaks: An Analysis of Two Artist and Two Works of Art Wanda M. Argersinger Southern New Hanpshire University When Art Speaks The Italian Renaissance produced many artists and even more works of art, but there were three artists considered to be the Trinity of Great Masters, Michelangelo, Leonardo da Vinci and Raffaelo Santi, or simply Raphael. While these artists often worked in different mediums, Michelangelo preferred stone and Raphael preferred oil paint. Michelangelo and Raphael were able to portray emotions in their work. In two of these works, The Pieta and La Madonna di San Sisto, these artists were able to bring to works of art the raw emotions felt by their subjects. Though their works are quite different,†¦show more content†¦They look puzzled and somewhat bored, a bit mischievous and not at all reverent. The colors are similar to others used during this period but do not contain all the colors used by Michelangelo in his painting of The Sistine Chapel. They are not bright or harsh, but rather muted. There is sparing use of red and blue, but show more use of brown and gold. The curtai ns and clothes are dark. The images have little shadowing, showing only under the feet of Mary and one of the saints. The lines of the painting show an opened curtain and clouds on which Mary and the saints stand. The cherubs appear to be leaning on a solid surface that is, in fact, the very bottom of the painting, which is the only straight line of the piece. The clothes appear to be flowing, captured by the use of curved lines and shadowing in the folds. The light source appears to be the clouds which are the brightest of the piece. Personally, it is the cherubs that speak to me, and not the entire work of art. I like the playfulness they show in their eyes. I like the idea that not all religious work is completely serious and that some fun exists in religion. Intellectually, I wonder what the purpose Raphael had in including them in a Church commissioned work. This work is much like other works of the time – religious in nature, done in oil, and displayed in a house of wor ship. No doubt that Rafael was influenced by other artists and the trend in art of the time, and yet from this one workShow MoreRelatedArtemisia as a Feminist1030 Words   |  5 PagesNanette Salomon, a very well known feminist writer, wrote the article, â€Å"Judging Artemisia: A Baroque Woman in Modern Art History.† The article opens up with a discussion about the 2001-2 exhibition of Orazio and Artemisia Gentileschi: Father and Daughter Painters in Baroque Italy. 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The two examples of his paintings are, The Old Mill Elora, (35.6 x 4 0.7 cm), 1930, watercolour on paper, in private collection, painted post-World War I duringRead MoreAnalysis Of The Poem The Sided Love By Patrick Bennett978 Words   |  4 PagesMy analysis over the romantic short story â€Å"Lop Sided Love†. In this essay, we will look at the story â€Å"Lopsided Love† by Patrick Bennett. The mode of criticism that would work best for this story is the psychoanalytic criticism. This is because of the two main characters in this story. The main characters fell in love, despite each other’s flaws. Love is something that cannot be controlled, and you cannot help who you fall in love with. The main point in this story is internal beauty is what causesRead MoreAnalysis Of Rhymes : The Poetics Of Hip Hop1098 Words   |  5 PagesAnalysis – Book of Rhymes â€Å"Rap is poetry† (xii). To any avid fan of the genre, it is a statement that seems obvious. 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Stem Cell Research Is It Humane - 1686 Words

Michelle Carter Mrs. Williamson AP Lang- Orange 2 25 February 2015 Stem-Cell Research--Is it humane? The studying of stem cells is a very controversial issue that has been around since 1998 when the research of the use of embryonic stem cell treatment began. The main issues surrounding the discussion of treating people with life-altering disabilities through the use of these pluripotent cells is the ethicality of the matter and whether or not it is a savage act against a fetus. Many who oppose the use of these stem cells derived from excess embryos use the formerly stated opinion to support their argument, while those who are pro research argue that the destroying of one life could save another. The core complications that arise in studying stem cells lies in many Christian-like ethics and morals, otherwise called Christian bioethics. These are rooted in the modern day controversies arising due to advancements made in biology and medicine, mixed with religious views that argue against it. The conflicting interests of the polar oppos ites which are scientists and those with religious views have caused many complications along the way to discovering new treatments and cures for diseased cells. This bumpy road which has refrained scientists from making tremendous breakthroughs must smooth itself out, and the only way possible is through coming to an agreement that certain stem cell research should be practiced, such as the IPSC and adult stem cells, and others like theShow MoreRelatedEssay on Stem Cell Research: Should it be Permitted?868 Words   |  4 PagesStem cell related diseases affect over 100 million americans (White). 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Beauty is not so easily measured Free Essays

While love is something that can be sensed as being palatable and felt directly within one’s self, beauty is not so easily measured—an aesthetic that is judged by each person according to his or her own likes or dislikes. Kawabata Yasunari’s classic short stories â€Å"The Man Who Did Not Smile† and â€Å"Immorality† both look at love and beauty and how they are measured, each in a poetic and colorful way. â€Å"The Man Who Did Not Smile† is a 1929 short story, or â€Å"palm of the hand story,† as Yasunari called them (Ljukkonen, online), about a film writer and his relationship to beauty via his movie that is being filmed, and via his relationship with his wife and children. We will write a custom essay sample on Beauty is not so easily measured or any similar topic only for you Order Now    It is a story about beauty and this man’s relationship to beauty, and the psychological relationship he has to the idea of beauty and what is behind the idea of beauty. Yasunari wrote â€Å"The Man Who Did Not Smile† as a first-person account from the film writer’s standpoint.   The man is on location for a film he has written about patients in a mental hospital, and is in the process of discovering a final scene for his film.   He finds it one morning while â€Å"gazing out on the Kamo River,† (Yasunari, 1929/1990, p. 128) upon waking, finding himself amid the memories of a previous day and recalling a mask that he had seen in a display window.   It is that image that gives him the idea for his final scene of the movie, â€Å"a daydream† (p. 129) filled with masks of smiling faces. The search for the masks to be used in the film becomes the central drama of the story—and the protagonist’s relationship to those masks once he takes them to his wife and children after the filming of the movie is complete.   The masks are delicate and the actors must handle them carefully.   Yet, there is some power within those masks.   The film writer decides to buy them so they can be handled without fear of them being destroyed, and it is in the power of those masks that the protagonist realizes his own relationship with beauty. â€Å"Well then, I’ll buy them.   I did actually want them.   I daydreamed as if awaiting the future when the world would be in harmony and people would all wear the same gentle face as these masks.   (p. 131) His children love the masks, but he refuses to wear them.   His wife agrees to put one on, and it is in that moment that he discovers his true relationship to his wife’s beauty.   â€Å"The moment she removed the mask, my wife’s face somehow appeared ugly† (p. 131).   It is as though he is seeing her face for the first time—and his own idea of her beauty, or, in this case, the â€Å"ugliness of her own countenance† (p. 131).   As his wife lay in the hospital bed, he is faced not only with a new idea of beauty, but his own sense of self—one that might appear as â€Å"an ugly demon† (p. 132) to his wife.   He would be exposed to his real self, his true nature. Psychologist C. G. Jung writes that the mask can be seen as the outer persona we show to the world, the way we want to be seen (Jung, 1929/1983, p. 96).   â€Å"The mask is the ad hoc adopted attitude, I have called the persona, which was the name for the masks worn by actors in antiquity† (Jung, 1921/1983, p. 98).   The narrator is forced to confront not only what lies behind his wife’s beauty/ugliness, but also his idea of his own beauty/ugliness.   The â€Å"beautiful mask† (p. 132) reveals another question, too:   whether or not the face he sees on his wife could be artificial, too, â€Å"just like the mask† (p. 132).   It’s a perplexing question, but one that reveals, like the mask, much about the filmmaker’s relationship to himself and his world. While the idea of beauty colors Yasunari’s 1963 â€Å"palm-of-the-hand† story â€Å"Immortality,† the concept of eternal love is the central theme.   In this short story, two lovers have reunited after being apart for at least five decades—but their reunion comes in the afterlife, as they are now each dead.   Yasunari presents a portrait of an eighteen-year-old girl and a man sixty years her senior walking through some woods in a land they’d both known together while alive.   The scene is haunting as the girl is not aware the man has passed on into the afterlife until the end, when, upon that realization, the two â€Å"go into the tree and stay† (Yasunari, 1963/2005, p. 326). The love between the two has been eternal, in a sense—the girl killed herself because of her love for the man when they had to separate, and he wound up spending much of his life on the land overlooking that spot in the ocean where she died. The man has returned to the land where she died to reclaim her.   He wants to be with her forever.   However, he doesn’t know he is dead, and neither does she. Once she realizes he, too, is dead, they are able to reunite into eternity in nature, merging themselves into an old tree where they will live forever. Like â€Å"The Man Who Did Not Smile,† Yasunari uses the idea of beauty and the mask that we wear—Jung’s â€Å"persona†Ã¢â‚¬â€as an aspect of â€Å"Immortality.†Ã‚   The girl tells the old man, Shintaro, that she has lived in the afterlife with the image of him as a young man.   â€Å"You are eternally young to me,† (p. 325) she says, even though the man is now old. If I hadn’t drowned myself and you came to the village now to see me, I’d be an old woman. How disgusting.   I wouldn’t want you to see me like that.   (p. 325) For the girl, memories are important.   Her spirit carries them as she lives in the afterlife.   Scholar James Hillman says that memories are important for the soul, carrying with them energy that thrives for the departed person.   The girl realizes this, too, in a way:   â€Å"If you were to die, there wouldn’t be anyone on earth who would remember me,† she says (p. 325). The soul, they say, needs models for its mimesis in order to recollect eternal verities and primordial images.   If in its life on earth it does not meet these as mirrors of the soul’s core, mirrors in which the soul can recognize its truths, then its flame will die and its genius wither.   (p. 159) The girl imagines ugliness representing old age—that ancient mask we all wear once we have passed from the prime years of our life.   Even though the old man is wearing that mask, she doesn’t see it:   she has only her memories carried with her at the time of her death, so she sees him as an eighteen-year-old, also.   For the man, he never experienced his lover as an old woman; thus, her youth is indeed eternal for him. Yasunari uses few characters in both stories, keeping each â€Å"palm-of-the-hand† short and simple.   The narrator in â€Å"The Man Who Did Not Smile† is joined by the mask buyer, his wife, and his children in the tale, while it is only Shintaro and his young lover in â€Å"Immortality.†Ã‚   We do not see deeply driven characterization in either story, as Yasunari essentially paints portraits of each actor through their thoughts and actions.   Like a beautiful painting of a sunset or sunrise, we must use our imagination amidst the texture and colors of the painting to grasp its deeper meaning. Indeed, Yasunari’s beautiful use of words shines in both stories in his colorful imagery.   It is simple:   â€Å"An old man and a young girl were walking together,† he writes to begin â€Å"Immortality.†Ã‚   He ends that story almost the same way he begins â€Å"The Man Who Did Not Smile†Ã¢â‚¬â€with the picture of the sky. The color at evening began to drift onto the small saplings behind the great trees.   The sky beyond turned a faint red where the ocean sounded.   (p. 326). â€Å"The Man Who Did Not Smile,† on the other hand, begins with the image of the sky as well.   â€Å"The sky had turned a deep shade; it looked like the surface of a beautiful celadon porcelain piece† (p. 128).   It is a daydream of sorts, a beautiful portrait into which Yasunari takes the reader as he moves through the inner world of the film writer. Both stories are magical.   It is the â€Å"magic of those trees† (p. 325) that captures the imagination of Shintaro and his young lover.   Those trees are part of land his family owned, and he later sold to the men who turned the land into a golfer’s driving range.   The trees are on land overseeing the ocean where the girl jumped to her death.   Trees are sacred and magical in many mythologies.   Buddha gained enlightenment under the Bodhi Tree, and many myths use trees as the focus for rebirth (Anderson, 1990, p. 25).   In the same regard, the ocean, too, is a mythical place:   from where gods and goddess reside and in the Greek legend Odysseus sailed before being reuniting with his lover (Anderson, p. 25). The magic of â€Å"The Man Who Did Not Smile† comes in the healing properties of the masks.   It is through the image of the mask that the film writer is able to create an ending for his story—a â€Å"beautiful daydream† (p. 128) to conclude the â€Å"dark story† (p. 129).   The masks represent his own distrust of himself and the world around him, covering with an artificial beauty the truth that lies behind them.   The masks magically hide what is true and meant to be revealed—whether it is an â€Å"ugly demon† (p. 132) or an â€Å"ever-smiling gentle face† (p. 132). What is also interesting about â€Å"The Man Who Did Not Smile† is in how the film writer’s screenplay is based on a scene inside a mental hospital.   We learn later that his wife is in a hospital of sorts—and we never learn the exact nature of her illness.   Could it be a mental hospital?   And might her hospitalization also be a reflection of his â€Å"gloomy† personality (p. 129)?   He’s afraid of what is hiding behind the masks—so much that his initial reaction to putting on the mask himself is fear.   â€Å"The mask is no good.   Art is no good† (p. 132).   Masks and art each reveal the hidden dimensions.   The film writer himself uses his films to balance his own â€Å"gloomy† personality.   Yet the shadows of life are revealed through film and art, and are experienced in hospitals.   Each is an aspect of â€Å"The Man Who Did Not Smile.† Yasunari gives much to think about regarding our relationship to each other and ourselves in â€Å"The Man Who Did Not Smile,† and to our relationship with the magic of eternal love in â€Å"Immortality.†Ã‚   Both reveal the hidden aspects of our existence on earth, offering us a short look at the feeling of living in a world of melancholy and loneliness amid what we call beauty.   Our own mortality rises from the depths of eternity through these stories, and it is in the hidden beauty of our daily lives that Yasunari’s works can be realized. Bibliography Anderson, William.   (1990).   Green man:   The archetype of our oneness with the earth. London:   HarperCollins. Hillman, James.   (1996).   The soul’s code.   New York:   Warner Books. Jung, C. G.   (1983). Definitions.   (R. F. C. Hull,Trans.). In   A. Storr (Ed.). The essential Jung:   Selected writings.   (V. S. de Laszlo, Ed.) (Pp. 97-105).   Princeton:   Princeton University Press.   (Original work published 1921). Jung, C. G.   (1983). The relations between the ego and the unconscious.   (R. F. C. Hull, Trans.). In   A. Storr (Ed.). The essential Jung:   Selected writings.   (V. S. de Laszlo, Ed.) (Pp. 94-97).   Princeton:   Princeton University Press.   (Original work published 1929). Ljukkonen, Petri.   (2005).   Yasunari Yasunari.   Retrieved November 19, 2005 from http://www.kirjasto.sci.fi/Yasunari.htm. Yasunari, Yasunari.   (1990).   The man who did not smile.   (L. Dunlop, Trans.).   In Palm-of-the-hand Stories.   (J. Martin Holman, Trans.).   (Pp. 128-132).   San Francisco:   North Point Press.   (Original work published 1929). Yasunari, Yasunari.   (2005).   Immortality.   In (G. Dasgupta, J. Mei, Ed).   Stories about us.   (Pp. 323-325).   Nashville:   Thomas Nelson Publishers.   (Original work published 1963). How to cite Beauty is not so easily measured, Essay examples