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Perception of art
The perception of art
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Another Look at Art
(A discussion on three messages from W.H. Auden’s Musee des Beaux Arts)
In life, people often look at the bigger picture, easily bypassing small, less noticed details. This could include so many different topics and include many different life lessons. The focus of humans has turned to always wanting what you don’t have, and by doing that, only looking and focusing inward. W.H. Auden was observing in a Museum and discovered a very intriguing painting with the title, The Fall of Icarus. He made some very interesting observations, and ended up turning what he saw and recognized into this poem. He includes some very interesting notes and points of interest for discussion. In W.H. Auden’s Musee des Beaux Arts, three messages
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Auden’s Musee des Beaux Arts is that people in the world don’t care about other’s pains and sufferings, only their own. This message is clearly punched into readers at the end of the poem as the thoughts which combine the painting and the poem come together. Lines 14-21 emphasize this as it reads, “In Brueghel’s Icarus, for instance; how everything turns away quite leisurely from the disaster; the ploughman many have heard the splash, the forsaken cry, not for him it was not an important failure...and the expensive delicate ship that must have seen something amazing, a boy falling out of the sky, had somewhere to get to and sailed calmly on.” This account shows that Icarus, a tiny focal point in the picture, was not recognized by a ship or a ploughmen when taking a deep plunge into the water. Surely, they had heard the cry, but neither witnesses seemed to show any interest at all. They were more worried about themselves and what they were doing to even care or show interest in what tragic incident had occurred to Icarus. Auden suggests that this is the nature of a human being. People do not truly care about any other suffering other than their
In the story Icarus and Deadus nature has many roles in the in the passages. For example he felt like a leaf in tossed down the wind, down, down, with one cry that over too. He held himself aloft wavered this way and that with the wind and at last like a great fledgling he learn to fly .Another role of nature in this passage was warmer and warmer grew the hair those arms which had seem to uphold him relaxed and his wing wavered drooped .These are the roles that nature has in the passages
Monetarily speaking, an artist such as Vermeer must paint in order to make a living and support his family of 11 children, “And there were other debts.” (pg. 209) Overall, the book describes the soul purpose of art to provide love, sorrow, warmth, depth and happiness to the soul and heart. The monetary wing is also very important because many of the owners had to sell the painting; no matter how much they treasured the painting, they still had to sell it because of monetary problems to keep them on their “feet.” Elevated feelings toward emotional values may be difficult to let go of.
Icarus flew too high and got too close to the sun. The heat from the sun melted the wax on the wings, making him fall from the sky. Many people were around where he fell, but they went on about their business and cared nothing about him drowning. There was a man plowing his field, a man fishing, and a man gathering his sheep and they just kept going, not even paying attention to Icarus
Ovid, Pieter Brueghel and W. H. Auden have (inadvertently) created a lineage convenient to these demands. In Ovid's myth "Concerning the Fall of Icarus" from Metamorphoses[i], he created a character that has become an icon, several millennia later. Pieter Brueghel adopted the icon in the sixteenth century for his painting Landscape with the Fall of Icarus, which then received famous treatment in the twentieth century by W. H. Auden in his poem "Musée Des Beaux Arts." These three works provide a beautiful, laboratory-quality arena in which to apply various deconstructive ideas: Jacques Derrida's theories of translation and the "dangerous supplement" and Roland Barthes' conception of the myth as language. However, such an inheritance necessarily extends to include the critical work that draws it together.
The fall of Icarus often comes as a cautionary tale about pride and ambition. However, W. H. Auden and William Carlos Williams took inspiration from Brueghel’s The Fall of Icarus in their respective poems Musee des Beaux Arts and Landscape with the Fall of Icarus to tell a new tale. The poems use imagery, form, repetition, and alliteration to convey the apathy of the world in the face of personal tragedy.
The meaning behind the myth of Icarus is universal, but due to the wild and ancient nature of the myth, it can be hard to relate to. The way the Fields places the myth in a contemporary setting through the use of point of view, truly modern diction, and ubiquitous imagery makes the meaning of the poem more relatable to a modern audience. This poem shows how universal the aspiration for greatness is while portraying the crushing effect of the fall from its
Though people can look into color and composition, others can still even look into the source of the art itself. Cole goes deeper, delving into the source of the art, looking in particular into the idea of cultural appropriation and the view a person can give others. Though it is good for people to be exposed to different opinions of a group or an object, sometimes people can find it difficult to tell the difference between the reality and the art itself. Sometimes art can be so powerful that its message stays and impacts its audience to the point where the viewer’s image of the subject of the art changes entirely. Cole brings up an important question about art, however. Art has become some kind of media for spreading awareness and even wisdom at times, but in reality, “there is also the question of what the photograph is for, what role it plays within the economic circulation of images” (973). Cole might even be implying that Nussbaum’s advertisement can sometimes be the point of some media, and that sometimes the different genres of art can just be to make someone with a particular interest happy. One more point that Cole makes is that “[a]rt is always difficult, but it is especially difficult when it comes to telling other people’s stories.” (974) Truthfully, awareness and other like-concepts are difficult to keep going when a person or a group is not directly involved.
W.H. Auden and Pieter Bruegel were both keen observers of the ordinary. In Bruegel’s painting “The Fall of Icarus”, he is able to look past the tragedy of the death of Icarus and focus on the simple scene surrounding the event. Auden’s poem, “Musee des Beaux Arts”, has the same qualities: it glazes over the nature of tragedy, and chooses to instead examine the fact that life goes on while disaster occurs. Arthur F. Kinney highlights this idea of calm in the face of tragedy in a critical essay entitled “Auden, Bruegel, and Musee des Beaux Arts”. Kinney explores Auden’s inspiration for the theme of the poem. The theme, Kinney explains, is not merely generated by “The Fall of Icarus”, but also two other Bruegel pieces. “The Numbering at Bethlehem” portays Joseph and Mary arriving at Bethlehem, while “The Massacre of the Innocents” shows a torturer and his horse in a town square. Both pieces convey the same main theme as “Musee des Beaux Arts”: the complex nature of a substantial event, contrasted with the simplicity of every day life. Each of the paintings reflects on human nature, in the context of apathy amidst tragedy. In his critical article “Auden, Bruegel, and Musee des Beaux Arts” Kinney asserts that “the same statement [is] made by two art forms”, and that Bruegel’s painting and the poem it inspired, “Musee des Beaux Arts”, “juxtapose the unique and the commonplace.”
Brueghel and Auden contrast Ovid’s myth, as they focus on human’s apathy to suffering. In “The Fall of Icarus”, Brueghel focused his entire piece on the spectators and the landscape, and Icarus was only the backdrop. Auden, similarly to Brueghel focuses on the mundane activities done by spectators and on their indifference to Icarus ‘suffering. In Ovid’s myth the story was told from the Ovid’s perspective who felt the pain and suffering Daedalus’ felt as a result of his loss. Therefore, the spectators looking in amazement acts as a commemoration of Daedalus’’ son. Yet in Brueghel’s painting, Icarus was not only ignored but he was also drawn as proportionately smaller to the spectators; hence showing that he is not considered as significant and that the mundane selfish activities were of higher significance.
Pieter Bruegel’s painting “Landscape with the Fall of Icarus” is one of the greatest masterpieces created. The idea that time continues to pass endlessly is very evident, though every figure or shape that was drawn into this image. Overall, Bruegel succeeded in displaying the story of Icarus through illusions and the elements of art. Through every element found in this painting, Bruegel was able to create a great work of art that represents the story of Icarus but also the story of time and
By physically personifying concepts such as the animalistic freedom found in nature, the poet can convey the natural allure associated with freedom and adventure. Afterward, the personification used near the end of the poem, such as the boat covered in seaweed or ship nearly falling apart due to water damage, aligns with the poem’s theme of the hubris of blindly exploring the world. By utilizing personification in this fashion, Arthur Rimbaud is able to tie all these themes together into one
In Icarus, by Edward Fields, the poet twists the myth into a contemporary manner. He utilizes latter-day diction and dull imagery to modernize the myth and exploit the main character’s ordinary life style .
"Quotations by Subject: Art." The Quotation Page. QuotationsPage.com and Michael Moncur. Web. 23 Feb. 2015. .
"A picture can paint a thousand words." I found the one picture in my mind that does paint a thousand words and more. It was a couple of weeks ago when I saw this picture in the writing center; the writing center is part of State College. The beautiful colors caught my eye. I was so enchanted by the painting, I lost the group I was with. When I heard about the observation essay, where we have to write about a person or thing in the city that catches your eye. I knew right away that I wanted to write about the painting. I don’t know why, but I felt that the painting was describing the way I felt at that moment.
The arts have influenced my life in amazing ways. Throughout my life, art has been the place I run to and my escape from the world. As I’ve grown older, art has become so much more than that. Every piece of art I create is a journey into my soul. It’s a priceless way to deal with my emotions and my struggles. I create art not only because I enjoy it and because I want to, but because I have to. Somewhere deep inside there is a driving force, urging me to put my heart down on paper. I become emotionally attached to each of my pieces because they are like dashes on the wall marking my growth. Each one is the solution to a problem I have dealt with and overcome.