Kaleidoscope
“Some are transformed just once / And live their whole lives after in that shape. / Others have a facility for changing themselves as they please.”
-Ovid
It finds its way into my hands—the small kaleidoscope—a trinket my grandfather passes along to me after finding it at the bottom of his toolbox one afternoon. “Hold it up to the light, Lauren,” he advises me, upon witnessing my attempts to unlock the kaleidoscope’s magic by aiming it towards the shadowy pavement. With hands clasped, eyes squinted, and head cocked, I finally spot the colored chips, a glittering lattice of blue, green, and yellow, stagnantly arranged and defined. “Turn it, now,” my grandfather orders, smiling. Suddenly, the clear composition unravels. It becomes a moving color war, triangles and rectangles interacting, skirting around one another to form patterns that linger only fleetingly before changing again. I gasp, intrigued. “That’s the beautiful part,” my grandfather observes. “It’s beautiful when it’s turning.”
The challenge of cleaning out my desk drawers in preparation for the move to New York results in my stumbling across an old coloring book. I leaf through the pages, startled by the number of pictures I’d left only partially colored. With quick, shaky movements, it seems as if I had simply jumped from shading one image to the next, as if there were something complete about leaving the figures incomplete. Sitting at my desk, fourteen years older, I laugh at my rendition of Big Bird, whose characteristically yellow feathers I had made blue and whose feet (I suppose I had decided) were altogether undeserving of color. And yet I get a sense that thi...
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... of wholeness, but the acceptance that I’ll always be a work-in-progress that creates the satisfying illusion of completeness.
Although ignorant of his own words, my grandfather has gotten it right: It is beautiful when it’s turning. We, as human beings, are not able to ossify what we perceive to be our “identity”; it will be forever changing—a kind of surreal, confounding, and complex reflection of our human experience. We possess innumerable facets, like little tubes of color that remain separate until some creative force removes all the caps and mixes them together. It is that mélange that initiates a masterpiece of identity—a masterpiece that is ever changing and never quite finished, but fulfilling in its progression. And it is precisely this understanding that makes the next stroke of the brush a little bit clearer, the portrait itself a bit more revealing.
Mary Shelley’s gothic novel Frankenstein is a novel narrated by Robert Walton about Victor Frankenstein and the Monster that he creates. Frankenstein grew up surrounding himself with what he loved most, science. He attended Ingolstadt University where he studied chemistry and natural philosophy, but being involved in academics was not enough for him. Frankenstein wanted to discover things, but did not think about the potential outcomes that could come with this decision. Frankenstein was astonished by the human frame and all living creatures, so he built the Monster out of various human and animal parts (Shelley, 52). At the time Frankenstein thought this creation was a great discovery, but as time went on the Monster turned out to be terrifying to anyone he came in contact with. So, taking his anger out on Frankenstein, the Monster causes chaos in a lot of people’s lives and the continuing battle goes on between the Monster and Frankenstein. Throughout this novel, it is hard to perceive who is pursuing whom as well as who ends up worse off until the book comes to a close.
Besides bright or dim colors, and fine or rough brush strokes, artists use centralized composition to convey their interpretations in "The Acrobat's Family with a Monkey," "Amercian Gothic," "The Water-Seller," and "The Third of May,1808.”
I found that the setting in the movie and in the book were the things that had the most similarities. Both the movie and the book are very close when it comes to the setting, and so are most of the scenes throughout the book and the movie. The setting in the movie takes place in New Orleans and in the gorgeous city of Paris. The old English style of clothing was brought into the movie and it was very appropriate for the film. In the file Cruise and Pitt had a very long hair style which fit with the time period perfectly. The Director Neil Jordan tried to capture very dark, passionate world which would fit the vampire environment. Most of the scenes are shot during the very cold dark night. I think that the Director Neil Jordan did I great job creating most of the scenes in the movie, but I think that the veins protruding on the face were a bit too much, the blue tint looked very unnatural, and also some of the scenes were taken a bit took fore, the bloody scenes were way to graphic and looked very unreal. But other then that I found the movie entertaining and funny at some point of the movie. For example their was a time in the movie when Claudia develops an insatiable thirst for blood and kills her piano teacher in the middle of a lesson, Lestat reprimands her, "What did I tell you?" "Never in the house," she says meekly. In the novel the setting also takes place in New Orleans and in Paris. The novel starts off with a young boy interviewing a vampire named Louis and fades off and on onto story scenes that Louis is telling to the young boy. Basically to say the settings in the movie and book are about the same. The writer Anne Rice also does a great job creating a vampire environm...
The novel depicts the protagonist, Dorian Gray, coming to realization of how everything in the world is not permanent, including his beauty due to a painting from Basil Hallward and a lecture of life from Lord Henry Wotton. In response, Gray sells his soul to the painting for eternal beauty, and that the painting should take his sins.Gray is content, even purposefully using trial and error on the emotions of people around him. Yet, the past comes back to haunt him, and Gray has to come to terms with time passing even if it is against his
“After his second-grade class created self-portraits last year, I noticed that he was the only one not hanging on the classroom wall. His teacher explained that his portrait was ‘a work in progress.’ The
In Edenton, North Carolina Harriet grew into slavery in 1813, the book “Incidents in the life of a slave girl,” was written by her to show what she lived. Linda had the life many slaves wanted, she could read and get in touch with her grandmother. Although her parents died at least she knew who and how they were. According to Harriet her father was a hard workingman that she admired, considering her first sentences were about him. Frederick Douglass was a very unfortunate baby when he got separated from his mother. The book “Narrative of the life of Frederick Douglass,” was written because he wanted the world to know what he was made of and all the pain that he went through. Two slaves that didn’t wish the life they had when they were destined to be slaves.
The first bit of information shared at the beginning of the essay is a quote from Reynolds writings claiming that he wants to heighten the dignity of the art of painting. He considers it to be on the same dignified par as literature and poetry. Gill Perry claims that Joshua Reynolds dignifies painting in a variety of ways. The most prominent aspect of Joshua Reynolds female portraiture is the way that he disguises women as significant figures. This adds a lot of dignity and sophistication to his work because it adds layers of meaning to be interpreted by a viewer. He wanted to break the common interpretations of portraiture. Portraiture was considered to be much about likeness. This meaning that it simply looks like the person or makes a simple statement about the person. These concepts leave much to be
From our first breath to our last, every person on Earth is in a perpetual state of change. Some of this change is physical, some of it is mental, and all of it is important. One of the most obvious instances of human change is seen throughout adolescence. During this time, both our bodies and our minds change very rapidly, nearly transforming us into completely different versions of ourselves. While it is true that this period of the human life does contains the largest amount of both physical and mental change, it should not be thought of as the only time in our life where change is acceptable. At any other time, though, change is usually looked at as negative. In many texts, when an adult changes, they are usually viewed as fickle or even
Marilyn is told many times by people close to her that undergoing the transformation will make her beautiful and powerful, whereas if she doesn’t she will be unattractive and unappealing. “But afterwards, you'll be beautiful.” (Number 12 Looks Just Like You). Lana mentions to Marilyn many times that the transformation was the best decision she ever made and she was very ugly before going through the process, despite Marilyn thinking she was beautiful even before the process. Marilyn’s good friend, Valerie, also tries to convince her to undergo the transformation. She brings up Marilyn’s family and her own, she also mentions how painless and easy the process is. The high praise put onto the transformation process cause people in this society to be brainwashed into believe anyone who does not undergo the transformation is ugly and foolish. Not wanting to be labeled as such, many people, including Marilyn and her father, decide to undergo the transformation against their heart’s desires. Although transformation improves physical appearance and allows humans to live longer, it deprives people of basic life experiences that are necessary to enjoy it. If you have forever youth, you would not cherish your youthful years as much as if it had a limit. If everyone looked perfect and extraordinary then no one would be beautiful, instead
He describes beauty as delicate and rare, unable to be established. He focuses on the lightheartedness of young girls, how they are caught up in beauty, and he warns them to be conscientious of the fact that their beauty will fade and that they cannot put all their hope on their beauty. At the same time, he encourages them to "practice" their beauty until it is gone, and he promises to celebrate that beauty as best he can, with all its value and frailty.
Looking at landscape art, especially when painted by one of the masters, many have undoubtedly pondered: what would it be like to live there? Shapes and attention to detail are, of course, important in a painting. However, it is color that draws the eye and inspires the heart. Oscar Wilde, an Irish poet and dramatist, spoke well of this when he noted that, “Mere color, unspoiled by meaning, and unallied with definite form, can speak to the soul in a thousand different ways. (qtd in “color”)”. Vincent Ward had a similar understanding of this impact when, in 1998, he directed the movie What Dreams May Come. Looking at this film, one can easily imagine being inside a living painting. The use of color to emphasize the emotional state of a character or event is common in films; nevertheless, Director Ward goes even farther in using color to represent the actual characters themselves. Red is the shade chosen to signify Annie and likewise, blue is used for Chris. Both of these, as will be shown, are accurate in defining these fictitious people. However, it is the profound use of purple in this film that is the true focal point. When mixing red and blue paint, one would find that, after being mixed, they cannot be separated. Likewise, this is true of the life and love these characters build and share. Purple represents the many ways in which Chris and Annie are melded, and joined.
In the beginning of the book, Dorian seems to be an innocent, charming, beautiful young man, and even referred to as “a wonderful creation” (ch 2). Dorian is described as this amazing person, with looks comparable to a God, charm that could swoon any woman, and a mesmerizing persona about him with the ability to draw anyone near, yet he seems to be so imperceptive to himself. His attitude of simplicity causes readers to be fond of him, passing their first judgments that he could not possibly be evil. As the story moves along readers see the first inkling that Dorian may not be so perfect. Dorian comments on “how sad it is…[that he] shall grow old, and horrible, and dreadful. But the picture will remain always young” (ch 2). This statement lets readers inside Dorian’s thoughts, showing how shallow and frivolous Dorian views life to be. He places so much value and esteem on looks alone, forgetting that being painted should be an honor, or at the very least...
Beauty isn’t subjective. It’s one of the only things in the world that cannot be denied. Things are either beautiful or they are not. Art is beautiful. Art is not always meant to be interpreted, sometimes you just need to admire it for its beauty, not for what it means. Oscar Wilde, an Irish writer best known for his book The Picture of Dorian Gray and for writing plays like The Importance of Being Earnest, wrote this and almost based the book earlier mentioned on the whole ideal that beauty doesn’t have to mean more than just beauty. I feel like Oscar Wilde’s greatest strength is his play on words and often use of caricature that really livens up what he writes. He lived during the Victorian era, when art was meant to be used to teach and to influence the minds of society, so as he wrote the book The Picture of Dorian Gray, he strived to prove a great point and contradiction to the era he was living in, as well as the way he uses Dorian’s two best friends to show the hideousness of the bigotry he was living in, as he was arrested and imprisoned for being gay. Oscar Wilde’s use of irony, foil, and symbolism really portray his total disgust towards the age he was living in by rebelling and contradicting the use of art as a tool and the intolerance he was surrounded with during this Victorian age.
Even though one's physical appearance may change over time, deep down inside that person will always be the same. In Pygmalion, Professor Higgins and Colonel Pickering met a young flower girl whose character was appalling to the men. Pickering said he would pay for all expenses if Higgins could pass Eliza, the flower girl off as a lady. With much work Higgins won the bet. He passed the flower girl off as a lady in the public eye, but even though he “changed” Eliza she was still the same flower girl she used to be. Because no two people are the same, no one should try to be changed into someone they are not.
To live, to err, to fall, to triumph, to recreate life out of life!”(123) Recreate life, there lies the true nature of an artist, to recreate life for others to see through the eyes of another. The women that Stephen comes across in his journey in becoming an artist define him and change him by nurturing him, fascinating him, and inspiring him. Stephen was forever changed by his mother, the Virgin Mary, Eileen, the prostitute, and the seaside woman. The object of the artist is to create the object of the beautiful, I argue that it was the beauty in the women of A Portrait of the Artist as a Young Man, which created the artist in the end.