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Edgar Degas is a French artist born in Paris. However, the Young Woman with Ibis was created during his second stay in Rome throughout the years 1857 and 1858. Edgar used oil and painting while creating this work of art which measures one hundred centimeters by seventy-four centimeters and nine millimeters (Rewald 4) .The enigmatic work features a woman leaning against a patio at a distance. The city behind the woman who has two ibises on both her shoulders seems to be a Muslim city. Ibis are mainly associated with wisdom and fertility. The authentic meaning of the art remains a mystery since the art was never exhibited in the time of Edgar’s life. Unfortunately, it was discovered after his death. The piece is a product of carefully painted
fine art drawn during the 19th-century European art impressionism (Rewald 6) . Edgar used oil paint produced from crushing color pigments with drying oil which this, allowed the drawing to dry faster. Gustave Moreau suggests that the painting originally consisted of the young woman and later the Muslim city and ibis were added to the drawing. Taking a closer look at the image in particular the two birds, flowers and the cityscape seem to be stuck into the composition of the drawing. These extra details were added to the drawing during the years 1860 and 1862 alongside his painting of the Semiramis Building Babylon (Rewald 10). The use of canvas ensures the rigidity of the painting. Currently, the secular figure painting is worth around twenty dollars. The painting of the woman with ibis Turkmen armor helmet and the folio from the Quran all have an Islamic setting.
Many countries have the pleasure of celebrating Independence Days. These historic holidays are filled with nationalistic celebrations and delicious traditional food. In Chile, the natives celebrate their break from Spain with Fiestas Patrias. In Mexico, the president begins the celebration by ringing a bell and reciting the “Grito de Dolores” and he ends his speech by saying “Viva Mexico” three times.
One can immediately see the involvement of age in this sculpture because of her hunched back, bone structure, wrinkles, baggy eyes, saggy breasts, and all the other imperfections, but also shows that she has some kind of background history. She is also missing her arms, which one would be carrying a basket with fruits or vegetables, and the other could be carrying a chicken. Her dress, slipped off of one shoulder, epitomizes women of age during childbearing years had
Life is like a game of blackjack where we unknowingly are dealt good or bad cards. This unpredictability makes it difficult to gamble decisions. Unfortunately many factors can lead to the bad card where in both the game and life, people are trying to prevent us from achieving the goal. There are two choices to change the outcome however, we may either give up (fold) or we may take a chance (call). The beauty of taking the risk is that if lucky, life gives you that much-needed card. When dealt that winning card, a person is immediately uplifted. That one good hand drives a person to outweigh the pros from the cons and continue to strive for the winning pot or in this case, the goal in life. Enrique in Sonia Nazario’s “Enrique’s Journey,” is dealt both the good and bad cards in life, as he undergoes a battle of being pushed internally to continue while also being pulled externally to quit, thus leading him to unearth himself as a worthy human being while on the journey to the U.S; sadly however, his arrival in the U.S refutes what he clearly envisioned for himself.
In James Hurst's short story “The Scarlet Ibis” the author describes the life of Doodle and the relationship he shares with his brother. During the story he has some happy moments with his brother, but his brother is also very selfish. Doodle pushes himself to his limits to try to please his brother. Doodle’s brother lets his pride get the best of him and forgets about the wellbeing and feelings of Doodle. (Summary) Throughout the entire story the central message is, Pride can lead people to do terrible as well as wonderful things.(thesis)
Bernini and Degas used very different materials and mediums to produce very different and compelling compositions that tell interesting stories through elements that were executed carefully. These carful hands displayed the importance of each figure in relation to the other figures and the style chosen.
“Café Fortune Teller” is a oil on canvas painting which was created by Mary Hoover Aiken in the year 1933. Mary Hoover Aiken was from Cuba, New York and was alive for eighty seven years. The picture is a self portrait which shows Aiken as a fortune teller in a small island off the coast of Spain, Ibiza. At first glance you would think that the woman is just simply playing solitaire and minding her own business. However a closer in depth analysis shows much more that at a first glance. “A picture is worth a thousand words” is a very fitting statement to describe this painting. There are many strong background details that capitalize on the main theme within the painting itself. This painting is set in the earlier times in hispanic culture
Humans are never perfect, and their emotions often conflict with their logic. In “The Scarlet Ibis”, the narrator receives a physically disabled brother, Doodle, thus trains Doodle physically so that he could live a normal life. Throughout the story, the narrator’s actions and thoughts reveals his true personalities to the audience as he slowly narrates the story of himself and his scarlet ibis, Doodle, whose existence he dreaded. In the story written by James Hurst, pride, love, and cruelty, these conflicting character traits all exists in Doodle’s brother. And the most severe of all, pride.
Degas showcased figure 1 as its “two –thirds life-size.” All of the materials used in figure 1 are made with real objects, dressed in appropriate ballerina clothing from the ballet slippers, tutu, to the satin ribbon and the real hair wig all covered with wax. Next, context is focused mainly on when Degas created The Little Fourteen-Year-Old Dancer. The sculpture was created in 1880 and later casted in 1922. The purpose of Degas ballerina was to show movement, along with human form. The style of Degas artwork is characterized by the motion of a ballerina, and the certain poses Degas mimics within his sketches along with his sculpture
Because Belisa Crepusculario had such a difficult childhood in which she experienced so much loss in her life, she is forced to become a stronger person both mentally and physically to survive such devastating circumstances. It will ultimately be this strong sense of survival that she develops through these experiences of great loss, which will guide her through the survival of life threatening situations.
In class we read the book House on Mango Street by Sandra Cisneros, the main character Esperanza lives in a lower working class neighborhood and street called Mango Street dealing with poverty. Her house is an important symbol in House on Mango Street. It represents Eperanza’s process of maturing as a person and the change in her perspective of poverty and struggle being shameful, to it being something to embrace and use as motivation. This is a very important part of the story because it is in many aspects where we are from that make us who we become. This is interesting to see in the book as her opinions and perspective of things inside and outside of her neighborhood are shaped by her experiences.
Since many individuals of the Latin American society who chose to write become intellectuals, these intellectuals, specifically women, whom have brought the social and development divisions of the Latin Americans into writing providing a variety of knowledge. Focusing on Latin American poetry, Julia de Burgos is commonly known as one of the greatest poets in Puerto Rico and Latin American history. In 1938 at the age of twenty-four, Julia de Burgos self-published a series of poems, Poema en veinte sucos, which portrayed her exploration of differing writing styles of Puerto Rican writers of that time, consisting of Luis Palés Matos and Luis Lloréns Torres. Through a developed skill of lyricism and unique imagery, Julia de Burgos expresses the
The painting, in its simplest form, consists of a naked woman lying elegantly upon stately and rich cloths, while a young, also nude boy, is holding a mirror which contains her reflection. Upon first glance of this work, I was quickly able to make out the identity of the two subjects. ...
When first approaching this work, one feels immediately attracted to its sense of wonder and awe. The bright colors used in the sun draws a viewer in, but the astonishment, fascination, and emotion depicted in the expression on the young woman keeps them intrigued in the painting. It reaches out to those who have worked hard in their life and who look forward to a better future. Even a small event such as a song of a lark gives them hope that there will be a better tomorrow, a thought that can be seen though the countenance by this girl. Although just a collection of oils on a canvas, she is someone who reaches out to people and inspires them to appreciate the small things that, even if only for a short moment, can make the road ahead seem brighter.
Leer la poesía de Julia de Burgos es abrirse paso a un mundo de emociones, luchas y temas múltiples. En sus tres poemarios, la poeta inaugura un estilo y unas temáticas que en ocasiones coinciden y en otras se apartan de los poetas entre los que convivió (López Jiménez, "Julia de Burgos” 141). Julia buscó abrirse paso hacia nuevas formas de escritura y trazar rutas alternas a los cánones establecidos, tanto por sus contemporáneos como por la tradición literaria. Poema en veinte surcos, su primer libro publicado en 1938, representa ese anhelo de trazar múltiples rutas mediante las cuales pueda realizar una búsqueda de nuevas voces, perspectivas y temáticas. Precisamente, en la poesía de Julia, sobre todo la de su primer poemario, se advierte un deseo de definirse y afirmar sus principios poéticos y políticos. Según Ivette López Jiménez, muchos poemas de su primer libro se destacan porque “se alejan de las fórmulas de la poesía criollista” y porque en ellos “la voz se afirma como una ‘rama desprendida’ o como ‘brote de todos los suelos de la tierra... de todos los hombres y de todas las épocas” (“Julia de Burgos” 143). Hay pues, un intento por alejarse de los discursos autorizados, lo que la lleva a identificarse con los espacios y los sujetos marginados. Desde esta perspectiva, Julia de Burgos pasa a ocupar el rol de “poeta cívico” y su discurso a ser uno de denuncia y protesta. Por ello, propone una reconsideración de los espacios marginales, del “otro” con el objetivo de traerlos a primer plano. Con esto, establece una “actitud a la avanzada del pensamiento y de las costumbres, sobre todo lo relacionado con los cambios necesarios en la sociedad”, en palabras de Manuel de la Puebla (16).
The groundbreaking Demoiselles d’Avignon was controversial not only for the way the women looked but also for the positions of the women. Although Picasso did not emphasize on detail, he “saw that the rational, often geometric breakdown if the human head and body employed by so many African artists could provide him with the starting point for his own re-appraisal of his subjects”(Cubism 53). “The naked women become inextricably bound up in a flux of shapes or planes which tip backwards and forwards from the two-dimensional surface to produce much the same sensation as an elaborate sculpture…”(Cubism 54).