Venetian paintings are known for their beautiful landscape, mood and mystery and a classical influence of nude figures. The artwork that contains mood and mytery is called Feast of the Gods. Giovanna Bellini and Titian painted it in 1529 and it can be found on page 483 in the textbook. The setting is very usual for most of us, but again they are Gods in the middle of a forest trying to have a good time. On the very left of the painting there is a nymph with a human upper body and what look like a dear legs carrying a vase of wine on his head. I find myself pondering weather or not he was born that way or maybethe other Gods turn him into a half man and half dear for something he did. This nymph is a mytery. Next to him is a little girl drawing
When that room is entered all voices are hushed, and all merriment silenced. The place is as holy as a church. In the centre of the canvas is the Virgin Mother with a young, almost girlish face or surpassing loveliness. In her eyes affection and wonder are blended, and the features and the figure are the most spiritual and beautiful in the world's art.
The Kingdom of Matthias by Paul E. Johnson and Sean Wilentz is a story of the rise and fall of a religious cult established by Robert Matthews (Matthias). Within his kingdom, Matthias and his followers, abided by Matthias, believes of the subjugation of women by men. Even though at the time the cult was in existence the United States was experiencing two great movements that urged the forward progression of women, the Market Revolution and the Second Great Awakening. Two women in particular are mentioned in Johnson and Wilentz’ book that were really suppressed by Matthias and his subjects. One was Isabella van Wagenen, the slave that worked in Mount Zion and even Matthias’ own daughter Isabella Matthews Laisdell. The Kingdom of Matthias reveals the 19th century experienced the presence of an oppressive “prophet” known as Matthias who tyrannically degraded women through cruel treatment, sexual advances, and belittling them in a society that was starting to notice the inclination of women’s rights, all of these violent and atrocious acts eventually lead to the downfall of Matthias’ kingdom.
I read a book about the Boston Massacre the was originally named the bloody massacre. The amount of killed persons is generally accepted to be 5 people. The Fifth of March is a 1993 novel about the Boston Massacre (of March 5, 1770) by historian and author Ann Rinaldi, who was also the author of many other historical fiction novels such as Girl in Blue and A Break with Charity. This book is about a young indentured servant girl named Rachel Marsh who finds herself changing as she meets many people, including young Matthew Kilroy, a British private in the 29th regiment.
In the book, Apostles of Disunion, author Charles B. Dew opens the first chapter with a question the Immigration and Naturalization service has on an exam they administer to prospective new American citizens: “The Civil War was fought over what important issue”(4). Dew respond by noting that “according to the INS, you are correct if you offer either of the following answers: ‘slavery or states’ rights’” (4). Although this book provides more evidence and documentation that slavery was the cause of the Civil War, there are a few places where states’ rights are specifically noted. In presenting the findings of his extensive research, Dew provides compelling documentation that would allow the reader to conclude that slavery was indeed the cause for both secession and the Civil War.
The Shadow of the Galilean by Gerd Theissen is a fictional narrative about a Jewish merchant, Andreas, searching for information about a group of people known as Essenes, John the Baptist, and Jesus of Nazareth. While traveling through Jerusalem Andreas was imprisoned by the Romans thinking he was a part of a demonstration against Polite when his mission was to find Jesus. Andreas writes, “I never met Jesus on my travels through Galilee. I just found traces of him everywhere: anecdotes and stories, traditions and rumors. But everything that I heard of him fits together.
The Merode Altarpiece is a triptych painting that represents the Annunciation of the Virgin Mary. This work displays the main characteristics of the Northern Late Gothic period. There is so much detail in this work of art. Campin utilizes many symbols in this altarpiec. The setting of the painting is in a Flemish middle class house. The Annunciation theme is being depicted in the central panel. A scene of Saint Joseph at work as a carpenter occupies the right-hand panel. The portraits of the donors are depicted in the left hand panel. Campin failed to understand the scientific perspective. To illustrate, there is no focal point in the painting and the table looks tilted. Campin used no aerial perspective. To illustrate, the background is still very crisp when seen from a distance. The most important aspect of the painting is the symbolism. For example, the lilies represent Mary's purity, the candle represents the Holy Spirit, even the mouse traps represent trapping evil. Campin also made use of bright, rich colors. In the central panel, the drapery of the figures are filled with colors of red and white. Campin has also made a good use of illusion of the space by making the town seem to be far away by distance by making them appear blurry. Furthermore, Campin has created figures that are not in proper proportion. To illustrate, the figure’s head is small and the bodies are big and it seems that if they get will hit their head if they get up. They look very unrealistic. Although they are not in proportion, the figures seem to have very sharp edges. The figures also look very stiff and rigid. In Merode Altarpiece, the light is arbitrary and the figures do not cast any...
For more than a dozen years, Clarence Earl Gideon lay buried in a nondescript, unmarked grave in Hannibal, Missouri. Most Americans outside of the legal community (and many within it) would neither recognize Gideon's name, nor understand the seismic impact he had on our legal system. Fortunately, Anthony Lewis, the renowned journalist now retired from The New York Times, chronicled Gideon's saga from the filing of his hand-written petition for writ of certiorari with the Supreme Court to the momentous decision of March 18, 1963. Lewis brings to life the story of the man behind the case, the legal machinations of the court appointed lawyer (and others working with him) toiling on Gideon's behalf and the inner-workings of the Supreme Court. By telling the story, Lewis has preserved an important piece of legal and social history and we are all the richer for his doing so.
Modris Eksteins presented a tour-de-force interpretation of the political, social and cultural climate of the early twentieth century. His sources were not merely the more traditional sources of the historian: political, military and economic accounts; rather, he drew from the rich, heady brew of art, music, dance, literature and philosophy as well. Eksteins examined ways in which life influenced, imitated, and even became art. Eksteins argues that life and art, as well as death, became so intermeshed as to be indistinguishable from one another.
By most accounts, the year 1500 was in the midst of the height of the Italian Renaissance. In that year, Flemmish artist Jean Hey, known as the “Master of Moulins,” painted “The Annunciation” to adorn a section of an alter piece for his royal French patrons. The painting tells the story of the angel Gabriel’s visit to the Virgin Mary to deliver the news that she will give birth to the son of God. As the story goes, Mary, an unwed woman, was initially terrified about the prospects of pregnancy, but eventually accepts her fate as God’s servant. “The Annunciation” is an oil painting on a modest canvas, three feet tall and half as wide. The setting of the painting is a study, Mary sitting at a desk in the bottom right hand corner reading, and the angel Gabriel behind her holding a golden scepter, perhaps floating and slightly off the canvas’s center to the left. Both figures are making distinct hand gestures, and a single white dove, in a glowing sphere of gold, floats directly above Mary’s head. The rest of the study is artistic but uncluttered: a tiled floor, a bed with red sheets, and Italian-style architecture. “The Annunciation” was painted at a momentous time, at what is now considered the end of the Early Renaissance (the majority of the 15th Century) and the beginning of the High Renaissance (roughly, 1495 – 1520). Because of its appropriate placement in the Renaissance’s timeline and its distinctly High Renaissance characteristics, Jean Hey’s “Annunciation” represents the culmination of the transition from the trial-and-error process of the Early Renaissance, to the technical perfection that embodied the High Renaissance. Specifically, “Annunciation” demonstrates technical advancements in the portrayal of the huma...
Dozens of horses are charging through the fair grounds, each hoof vibrating the ground, which causes chaos to erupt. Some horses are white as for a person of royalty, and others a mysterious brown. Through all this chaos, Rosa Bonheur paints what is before her. Her painting is called The Horse Fair. The painting itself is 8 feet tall by 16 feet wide.1 The Horse Fair is located at the Metropolitan Museum of Art.1 Bonheur uses a panoramic view in her painting.2 The Horse Fair was inspired by the horse market that Rosa Bonheur use to visit on Boulevard De l’Ho ̂pital.1 The building in the upper far left of the painting is called Asylum on Salpetriere, which is located in Paris.3 The people on the hill in the upper right corner of the painting are potential customers evaluating the horses to see which horse to purchase.1 Through this painting, Bonheur shows the power and magnificence of the horses as the owners of these horses are using all of their strength to control them.3 Bonheur included a self portrait of herself on a horse in her painting, which can be located next to the black and white horses that are rearing up.4 The audience can notice the shadows that are coming off each of the horses. The shadows are through the use of chiaroscuro. The shadows make the horses look more real, as if they are actually moving through the fair ground. The author will prove Bonheur’s use of naturalism in her painting The Horse Fair by analyzing Bonheur in terms of historical context, anatomical accuracy, and structural elements.
Michael Ondaatje is very much like the narrator of his novel. Both share similar aspects of their lives beginning with the fact they share the same name: Michael. It is perhaps because Ondaatje himself experienced the same voyage as eleven year old Michael that the novel seems so very realistic. Both are born in Colombo, Sri Lanka and each, at age eleven take the voyage of a lifetime by boat from Sri Lanka to England. It seems appropriate that as the narrator of the book recalls his past as a journalist deep in adulthood, the same may be said of the novels true real author. Only Ondaatje himself knows how connected the two journeys are and this blend of truth and fiction are married perfectly to create a dreamlike quality to young Michael’s story.
The book, "The Shadow of the Galilean," by Gerd Theissen is based on the story of Jesus through a historical and fictional perspective. Gerd assists the readers to imagine what life was like during the time of Jesus with historical facts and with his mythical creativity. The stories that are told throughout the narrative are events from the Bible and are experiences with people who were actually recorded in the Gospels, but with a twist of fictional characters and expeditions. The main character in Theissen’s narrative is a merchant named Andreas, who had never met Jesus personally, but later couldn’t help the fact that he was always running into Jesus' "shadow" throughout his travels through Galilee. During his journeys, he encounters many people who tell him stories of Jesus and how Jesus has influenced them specifically and how they came to support and follow Him whole heartedly. Through this, he learns of the many capabilities of Jesus and how powerful He is.
Campbell examines thirteen Venetian engravings and paintings, as well as an example of early poetry, to illustrate the grafting effect of different imagery sources within a single picture, along with poetic imagery and form used with poesia. Many examples of art that Campbell examines focuses on the nature of the works, such as the juxtaposition of “pagan opposites” in Christian subject matter, the idea of the gaze, juxtaposing two pictorial ...
Throughout the novel "Little Altars Everywhere", written by Rebecca wells, there are changes between the relationships of its characters. Viviane, the mother of Siddalee, Baylor and Little Shep, is one of the main characters, and most of the changes revolve around her. Throughout the novel, it is portrayed that Viviane has a closer relationship with her eldest daughter, Siddalee. Viviane has always been a distant mother, who is more worried with social things such as her "Yaya sisterhood", than developing a close relationship between her and her family. Viviane is not only distant with her children, but she does not have a solid relationship with her husband, Big Shep.
Rossetti shows us the woman being painted as many different things. Although she is just a painting, the woman symbolizes how the artist views women in real life: as objects. Irony is used when the woman is painted as “a queen”(5). She is put on a pedestal in a position of power, yet she is only described as being “in [an] opal or ruby dress”(5), cementing her role as an ornament. The ruby symbolizes passion and perhaps promiscuity. Opal is a white stone that reflects many colors. White symbolizes purity; while the different colors reflected symbolize how her meaning can change, and how the artist controls her identity and can make her fit any persona he desires. The woman is also depicted as a “nameless girl”(6), indicating her identity is not important to the artist. It also shows that he does not personally know the women he’s painting, but only their looks, affirming that he bases their value off of their appearances. Lastly, the artist portrays a woman as “a saint [and] an angel”(7) and compares her to the “moon”(11), an allusion to Artemis, the goddess of virginity. In this painting, she is established as a pure virgin, which was a requirement of the time period Rossetti lived in. However, because it is one of the fantasies the artist creates, and the poem antagonizes him, this line also expresses the idea that a woman’s purity should not define her. He makes the innocent virgin and the licentious queen the only ways women can be viewed. Yet, they are the same to him. Lacking depth, their physical description is the only thing giving them any meaning. Rossetti describing the portraits conveys the idea that no matter the position in society; or what their actual personalities are like, women are just blank canvases for men to project their fantasies onto. Uninterested in a real person, the artist worships the idea of a