Depictions of Saint Sebastian in Visual Art and Music Zeitgeist, a German term often attributed to philosopher Georg Hegel (1770-1831), literally means “the spirit of the time.” Zeitgeist is founded upon the understanding that a dominant school of thought—be it political, social, philosophical, or other—influences the culture of a specific period in time and that the art and thinking of that period influence one another. Zeitgeist presumes that culture and art are therefore faithfully united, since an artist is the product of his or her time. This semester, in comparing works of visual art and opera and particularly between works of the same time period, many parallels emerge. But beyond the scope of individual time periods (e.g., Renaissance, Romanticism, Modern), there are parallels that transcend the scope of time entirely. Individuals of varied cultures and periods in history seem to be invariably fascinated by the idea of an archetypal character whom they can adapt and reinterpret according to the terms of their own zeitgeist and with whom they can identify. A salient example is the Orpheus figure, who hails from the myths of antiquity and has been remade and adapted in operas by composers including Monteverdi, Schütz, Lully, Fux, Telemann, Rameau, Gluck, Haydn, Offenbach, Debussy (in an unfinished project), Milhaud, Birtwistle, and Philip Glass—and that is really only the tip of the iceberg! We see Oprheus depicted as well in paintings by Gennari in the 17th century and by Redon in the 19th century, Corot (1861), dell’Abbate, and Rubens. I could similarly enumerate artists, writers, or composers who have famously depicted any of the figures we have studied this far: the Norse figures held so dear by Wagner, Saint Sebastian... ... middle of paper ... ...et’s drama.” The music, subsequently, exists today in a concert version, much like an oratorio, for chorus, orchestra, and soloists which included a spoken narration based on D’Annunzio’s play. From Le martyre has also come out a suite of symphonic fragements, minus the voices and narration, which has gained some popularity. What does it sound like? The music for Le martyrdom comes from an advanced stage in Debussy’s career. As a point of reference, Pelléas et Mélisande had already been written in TK. There is a brief spoken introduction [excerpt TK], in which the narrator entreats the audience to silence and attentiveness, followed by the Prélude to Mansion One , or Act One, The Court of Lilies. The music calls to mind Pelléas, but with an even more restrained orchestration and leaner texture, which if anything serves to heighten the sensuality of the music.
A composer’s key characters often embody the value and perspectives of their own social, cultural and historical context. The characters are the composer’s approach to communicating with their audience, allowing us to make comparisons between these vastly distinct contexts. Through a close study of Atwood’s “The Penelopiad”, the reader is provided a glimpse of into the comparison of key figures from “The Odyssey”, such as Odysseus and Penelope. Atwood aims to bring light to the portrayal of the central characters through her postmodernist appropriation of Homer’s classical Greek tale.
EPÙÓ, Greek for Eros, is shown to be beautiful in Bridges’ poem: beautiful and adored, yet forgotten. Eros is venerated—called “idol”, and he plagues the heart as a “tyrant.” He is a “flower” of “lovely youth,” and an image of “eternal truth.” Through these strong words, Eros is portrayed to be the god that people all look up to in admiration for his credible honor and ideal beauty. Eros is so striking that only the famous Pheidias, the Greek Sculptor, can compare through his “marmoreal” works. Greek sculptors strove for perfection and this Eros was—perfection. Although giving thought and love to others, he received none back, yet continued his job without complaint. People recognize the youth and beauty of love with the vivid images that Bridges uses. “With thy exuberant flesh so fair,” people are able to see Eros’s outward beauty. At that instantaneous moment, people are enthralled by Eros’ splendor, but once they are satisfied, they forget, and their momentary enchantment disappears. “None who e’er long’d for thy embrace, Hath cared to look upon thy face.” All those who yearned for love, received it, but once having done so, neglected to see and look upon Eros. By using these beautiful words and...
By paying attention to elements such as subject matter, light, form, and placement of figures, we can see how these enhance the ideals depicted by each form of art. As a result, we can understand how Neo-Classical art is an attempt to counter the values of Rococo. Rococo is a form of art directly targeted to the privileged. Because not everyone in society belongs to the aristocracy, the Neo-Classicist wanted to impose order as an alternative to the frivolous life style. As a result, we have to works of art that challenge each other’s ideals. The theme of infidelity versus loyalty and how one arrives at the decision made is animated in the works of Fragonard and David. However, it is important to note that there is no right or wrong form of art, although it may seem that this was the common perception of the time. In conclusion, both works of are similar in one important aspect; they are both works of art.
In this article Winckelmann states that the good taste in art that is present in contemporary works stems from the work of the ancient Greeks. The beauty in the modern works of artists like Raphael (especially his Madonna and child with St Sixtus and St Barbara) hold such beauty, complexity of emotion, and good taste because he draws on the ideas set up by the great ancient sculptures and society in which they lived and drew inspiration from. Winckelmann categorizes the ancients greatness into two main ideas that are necessary for contemporaries to draw from in order to reach greatness: Natural beauty and noble simplicity and quiet grandeur.
...re often used as vital means of propaganda communication. Beyond these conventional images we have such images as Cosimo de Medici as Orpheus and Self Portrait by Sofonisba. Which, although rare, were recognised as beautiful portraits of the time, and present and much more unusual and intriguing visions of beauty.
The works of art from the Archaic Period, Classical Period, and Hellenic Period developed physically and mentally, and the study of their aesthetic differences from period to period allow for a decided contrast and comparability. This interpretation has had a profound effect on the art world and that continues even in today’s world. The importance of Greek sculptures is evident in the storytelling of the gods, the people, and the culture. We use these sculptures as a tool to go back into the past of the Greek people, letting us admire how far mankind has truly come, whether it is in art or intelligence. Generation after generation has been and will continue to be able to see for themselves the society, culture and uniqueness of these periods through the wonderful sculptures that came out of ancient
Roman portraiture was known to be one of the most significant and prominent periods in the development of portrait art. Roman portraits are characterized by two major styles the realistic or “veristic” and the idealized elements or “classicizing” both of these styles are known for their unusual realism and the desire to convey images of specific individuals such as gods and emperors. However it is important to understand the early background behind roman sculptures stretches back to the earliest days of Roman history, for example a commend tradition was to create a wax sculpture of the dace of a desist man, which were kept in a special place of the owners home. These sculptures were more of a record the persons existence than an actual work of art, there for it emphasis more realistic details than artistic beauty.
In conclusion, although Mycerinus and Kha-merer-nebty II and Augustus of Primaporta, do appear very different, come from entirely different geographic regions and were separated by thousands of years, they do have many things in common. When we consider subject, style, and function; perhaps other works of art have more in common than they appear to have.
Claude Debussy had many influences in his life that effected his own compositions. Of these influences, the most important are arguably Richard Wagner in Debussy’s early career, and Frederic Chopin in Debussy’s later career. In this paper, I intend to compare the works of Debussy to those of Wagner, and through melodic and harmonic analysis, expose passages of Wagnerism in Debussy’s early compositions. I also intend to compare the late piano works of Debussy, specifically his etudes, to those of Chopin, which Debussy diligently dedicated to Chopin.
This essay will be about Flemish Baroque painter, Peter Paul Rubens. I will explain why Paul Rubens was highly influenced and impacted by the arts in the high renaissance time. Such as the works of Raphael, Leonardo Da Vinci, Michelangelo, and Titian, and how some of these artists ' works had an immediate effect on him during his time. I will answer this question by giving vast evidence of how Paul Rubens works are different based on contextual factors, but at the same time the same and under the influence of the high Renaissance artists mentioned above.
Additionally, the styles changed; from Rococo, which was meant to represent the aristocratic power and the “style that (…) and ignored the lower classes” (Cullen), to Neoclassicism, which had a special emphasis on the Roman civilization’s virtues, and also to Romanticism, which performs a celebration of the individual and of freedom. Obviously, also the subject matter that inspired the paintings has changed as wel...
And with this change goes another, an enlargement in the stature of the hero. There is in most of the later heroes something colossal, something which reminds us of Michelangelo’s figures. They are not merely exceptional men, they are huge men; as it were, survivors of the heroic age living in a later and smaller world. [. . .] Othello is the first of these men, a being essentially large and grand, towering above his fellows, holding a volume of force which in repose ensures pre-eminence without an effort, and in commotion reminds us rather of the fury of the elements than of the tumult of common human passion. (168)
For example, Petrarch focuses on describing not only the appearance of the doe, but her surroundings as well. Furthermore, he is so delighted by the beauty he sees in his beloved that he must drop everything and follow her at all costs; this fact exemplifies the Italian Renaissance’s cultural concept of beauty because the focus is on the poet’s infatuation with the outward beauty of his
The function of imagery in the mid-sixteenth century play Othello by William Shakespeare is to aid characterisation and define meaning in the play. The antagonist Iago is defined through many different images, Some being the use of poison and soporifics, sleeping agents, to show his true evil and sadistic nature. Othello’s character is also shaped by much imagery such as the animalistic, black and white, and horse images which indicates his lustful, sexual nature. Characterisation of women is heavily dictated by imagery used to show the patriarchal gender system of the time. Some of this imagery is that of hobbyhorses and the like showing that they, Desdemona and Emelia, were nothing better than common whores. Othello’s view at the start of the play is contradicting of these patriarchal views with Desdemona and Othellos’ true love overcoming these stereotypes and we are told this through imagery of fair warriors and the like. The power of deceit is shown also through imagery of spiders and webs, uniforms and other such images. Also the power of jealousy is well defined by imagery. The handkerchief, green-eyed monster and cuckolding imagery are prominent in defining this theme.
...s and syncopation. Though a passepied is traditionally written in triple meter, Debussy employs an interesting choice of meter throughout his piece that deviates from the norm of such a form. Modal chords give it a rather moto perpetuo feel, meaning a fast tempo and a steady, continuous stream of notes. Present in almost every measure is a crisp staccato accompaniment under which the melody provides us with two themes: the acicular introductory theme and the more graceful second theme. Throughout the course of this final piece, the second theme is heavily varied, oscillating between duple and triple meter and containing multiple inversions. The piece ends beautifully with a cascade of eighth notes as Debussy plays with the modal conflict of F-sharp and B. We also encounter a flurry of pianississimo chords which finally end with an array of sporadic staccato chords.