In Gogol’s Petersburg Tales, he emphasizes the contrast between idealism and the concrete city of St. Petersburg. In “Nevsky Prospect” and “The Portrait”, he depicts the stories of an idealistic “Petersburg artist”. Gogol’s portrayal of these characters reveals a specific conception of “the artist”, as he presents certain values and characteristics as being central to the identity of the artist. For Gogol, the artist represents purity, passion, innocence, and idealism. The artist’s lofty profession is associated with certain elements of transcendence, insofar as he presents these characters as being outside of or above the material world. Moreover, his representation of St. Petersburg underlines many of the materialistic and consumerist aspects …show more content…
The artists featured in “Nevsky Prospect” and “The Portrait” are described as being disheveled and oblivious, and at times even lose touch with material reality. In this way, Gogol associates artistic passion and integrity with a sort of detachment from that which is physical or superficial. In “The Portrait”, the artist Chartkov exemplifies this trait, “His old overcoat and unstylish clothes showed him to be a man who was selflessly devoted to his work and had no time to concern himself with his attire” (Gogol, “The Portrait” 341). Further, he often loses touch with physical sensations such as hunger or discomfort (Gogol 344, 346). Gogol associates artistic passion with a sort of detachment or asceticism, thus placing the artist’s integrity in opposition to materialistic …show more content…
Petersburg are essentially incompatible. This portrayal of St. Petersburg reflects a view of the city which is inherently corrupt and to some extent evil. Gogol highlights faces of St. Petersburg society that reflect superficial and materialistic principles. For instance, the introduction of the city in “Nevsky Prospect” is almost exclusively focused on the consumerist culture associated with the district. Thus, Gogol depicts the city of St. Peterburg as being corrupt insofar as it promotes indulgence and intemperance, which he suggests to be fundamentally evil. In contrast, Gogol’s portrayal of the artist conveys a sort of ethereal idealism and purity which transcends the material realm. Therefore, the conception of the “Petersburg artist” illustrates a conflict of principles. Gogol presents a distinct contrast between the righteous integrity of the artist and the consumerist aspects of St. Petersburg, along with its underlying evils. In this way, Gogol suggests that the city of St. Petersburg is unfit for the naïve and idealistic artist, insofar as it offers seemingly-innocent beauty and indulgence, but conceals sinful “traps” which threaten the integrity of the
The role of the Gogolian narrator is an unassuming revealer of what is hidden in the world. Revelations can be the world’s evils, morality, or a nation’s ultimate purpose. Gogol’s narrator is merely a puppet of his imagination and is kept within certain boundaries. Sometimes the narrator’s lack of transparency can make a story seem like a parable or folk tale like in “The Nose” and “Nevsky Prospect.” We can see this in what limited information the narrator is allowed to reveal to the reader and I will examine this theme in Gogol’s “Nevsky Prospect,” “The Nose,” and Dead Souls.
The astonishingly brilliant artist Francisco José de Goya y Lucientes has always been revered and adored for his incredible paintings of the Spanish Royal family, but not many know that he was also a masterful engraver. In the exhibit titled Renaissance to Goya: Prints and Drawings from Spain, many of the pieces displayed were based on social commentary of the period within the country. This disdain is particularly palpable in the etching by Goya titled The Sleep of Reason Produces Monsters. The psychological and emotional state of Goya at the time is masterfully rendered and the presentation of the exhibit is absolutely remarkable due to its brilliant color scheme and expert presentation of the works.
The composer has aimed this text for general reading by all people over the age of ten. However as this publication is the young reader’s edition, it is targeted at young readers. People who may wish to read the book may be able to attain it through mediums such as book stores and libraries etc. Although this publication of the novel is the young reader’s edition, there is a publication aimed at adults.
A passing moment (like the one involving Verushka) is fickle on the surface, but under the right circumstances, is potentially timeless. Matthew Goulish uncovers this transition in his essay “Criticism.” He explains, “we understand something by approaching it,” and that “we approach it using our ears, our noses, our intellects, our imaginations. We approach it with silence. We approach it with Childhood” (328). In order to truly see something, or rather, to truly know something, Goulish asserts that we have to look at it in the same wide-eyed manner we would in our youth. Though we, as humans, have a tendency to analyze based on preconceived ideas, only through an acknowledgment of the unknown and an acceptance of the absurd can we truly “[liberate the] critical mind to follow whatever might cross its path” (329). In doing so, Goulish recognized the distinction between the literal and the surreal, and similarly understood the effects of embracing one over the other when viewing a subject. Verushka’s state of being was documented with a brief, exhaustively exploitative photo session, and acts as a direct representation of the concept of actually “viewing.” Everything, from her free-flowing hair to her effortless poses, personifies Goulish’s acknowledgement of the the pursuit of liberation. Though she’s the focal point of the image, this “liberation” isn’t her own; it’s the
In the opening the narrator gives a short summary of life on Nevsky Prospect, examining how life flows on Nevsky Prospect at different times of the day, the kinds of people who pass through at what time, how they dress depending on their professions and socio-economic statuses. This is the first way S...
Art is trapped in the cage of society, constantly being judged and interpreted regardless of the artist’s intent. There is no escaping it, however, there are ways to manage and manipulate the cage. Two such examples are Kandinsky 's Little Pleasures, and Marcel Duchamp’s Fountain. Both pieces were very controversial and judged for being so different in their time, but they also had very specific ways of handling the criticism and even used it to their advantage. We will be looking at the motivations for each artwork, what made the art so outrageous, and the public’s reaction to the pieces.
During Russia’s transition to communism in the early 20th century, conflict and unease permeated every part of life. Nothing was stable and very little of what the Bolsheviks had fought for had come to fruition by the time the USSR disbanded in 1991. The “classless society”, which was to work together for the prosperity of everyone, never became a reality. In the end, the majority of Russia’s 20th century was an utter failure on a grand scale. However, there were many amazing products of the system do to the great importance of education in Russian culture. Priceless novels were written, timeless movies were made, and great scientific endeavors were realized despite the rigid control placed upon Russian persons by the government. In fact, some of the most memorable written works of the time were written protests to the creativity-stifling situation many writers found themselves in. Because of the danger to their lives should the wrong people be upset by their writings, Yevgeny Zamyatin and Mikhail Bulgakov wrote their most popular, Soviet-life condemning novels under the guise of satire. Even though they’re satirizing the same subject, in both We and The Master and Margarita respectively, they take very different paths to do so.
...s work The 3rd of May, 1808 is a very detailed and dramatic narrative within a collection of war themed works by the artist. I believe that by using the formal elements of color, texture, shape, lines, space, and the value I was able to sufficiently provide evidence that Goya offers a sequential order of direction for the audience to comprehend from their personal viewing. The twisted and grief stricken work creates a massive emotional connection and the artist plans for the viewers’ to grow and understand this message. The subject highlighted is obvious that Goya is passionate on his stance and outlook on war is suggested in the work. It’s obvious that Goya’s formal organization of his color palette, variation of brushes, repeating shapes, and play with lighting all correspond to depict man’s savage and at times monstrous actions are justified during war.
It appears to me that pictures have been over-valued; held up by a blind admiration as ideal things, and almost as standards by which nature is to be judged rather than the reverse; and this false estimate has been sanctioned by the extravagant epithets that have been applied to painters, and "the divine," "the inspired," and so forth. Yet in reality, what are the most sublime productions of the pencil but selections of some of the forms of nature, and copies of a few of her evanescent effects, and this is the result, not of inspiration, but of long and patient study, under the instruction of much good sense…
Dostoevsky’s St. Petersburg is a large, uncaring city which fosters a western style of individualism. As Peter Lowe notes, “The city is crowded, but there is no communality in its crowds, no sense of being part of some greater ‘whole.’” Mrs. Raskolnikov initially notices a change in her son marked by his current state of desperate depression, but she fails to realize the full extent of these changes, even after he is convicted for the murder. The conditions and influences are also noticed by Raskolnikov’s mother who comments on the heat and the enclosed environment which is present throughout the city. When visiting Raskolnikov, she exclaims "I'm sure...
The arena for this ideological contest is Petersburg, full of slums, revolutionary students and petty titular councilors. Scientifically and artificially constructed in the midst of marshland, the city itself is a symbol of the incompatibility of logical planning with humankind's natural sensibilities. The city did not grow randomly or organically, but entirely by czarist decree. Nonetheless, it is a dank and depressing place to live, at least for those in the vicinity of Haymarket Square, where the story takes place. Joseph Frank, Dostoevsky's biographer, says of ...
In chapter six of the book, the pictorial imagery demonstrates a variety of art forms connoting its realism and diversity of the power of connecting to wealth in contradiction to the deprived in the western culture. The images used in this chapter relate to one another and state in the analogy the connection of realism that is depicted in social statues, landscapes, and portraiture, also present in the state of medium that was used to create this work of art. In fact, some of the works presented depict mythological paintings that resemble the transcending metaphysical matter of nature. Take for instance, the general aspect of the artwork presented in this chapter. They depict different social levels through the use of objects, emotions and various conditions.
Introduction Upon my first encounter with Kandinsky's painting, my eyes and indeed my mind were overcome with a sense of puzzlement, as it seemed impossible to decipher what lay beneath his passionate use of colour and distorted forms. Kandinsky hoped by freeing colour from its representational restrictions, it, like music could conjure up a series of emotions in the soul of viewer, reinforced by corresponding forms. Throughout this essay, I will follow Kandinsky's quest for a pure, abstract art and attempt to determine whether his passionate belief in this spiritual art and his theories on its effects on the soul, can truly be felt and appreciated by the average viewer, who at first glance would most likely view Kandinsky's paintings as simply abstract. Kandinsky was indeed a visionary, an artist who through his theoretical ideas of creating a new pictorial language sought to revolutionize the art of the twentieth-century. Regarded as the founder of abstract painting, he broke free from arts traditional limitations and invented the first painting for paintings sake, whereby the dissolution of the object and subsequent promotion of colour and form became means of expression in their own right.
Nikolai Gogol has been widely recognized as one of the most inspiring and remarkable authors of the Russian Empire and the one who produced an enormous impact on literary work of countless contemporaries and successors, both in the Tsarist Russia and abroad. Particularly, Gogol’s literary legacy is praised for his exceptional ability to deploy humor as a means of expression and the way to convey the message. In this respect, the short story The Overcoat written during the St. Petersburg period of Gogol’s activity is a very important work which balances between tragic and humorous elements and presents a brilliant specimen of satire. In this work, Gogol builds up the powerful criticism of the contemporary Russian society with its social hierarchy,
Painting in the 19th century, still highly influenced by the spirit of Romanticism, proved to be a far more sensitive medium for the kind of personal expression one should expect from the romantic subjectivity of the time. At the very beginning of the “modern period” stands the imposing figure of Francisco Goya (1746-1828), the great independent painter from Spain. With much indebtedness to Velazquez, Rembrandt and the wonders of the natural world, Goya occupies the status of an artistic giant. His artistic range goes from the late Venetian Baroque through the brilliant impressionistic realism of his own to a late expressionism in which dark and powerful distor...