In the halls of the State Capitol building, Robert Straub’s portrait hangs near the House Of Representatives chamber on the second level of the building. The realistic acrylic painting salutes Straub’s effort in the establishment of the Willamette Greenway to preserve the natural state of the riverbank from 1975-1979. The subject preferred to have a more governmental pose, but various observers appreciated the informality. Paul Missal spend one year working on the collaborated portrait with Straub, as he helped decide the setting says it, “reflects the spirit of Oregon as I have always seen it.” Using donations and other non public funds, the painting was purchased through the State Historical Properties Commission.
Robert Straub is known to many as Oregon’s 31st governor, but by the painter Paul Missal, Straub was known as the “Guardian of the Willamette”. The portrait hangs within the halls of Oregon's State Capitol building in Salem as Straub represents one of several historical
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Straub stands off-centered at a forty-five degree angle, standing with both hands in his pockets as he stares into the distance. Lying at the feet, to his right, is his trusty German Shepherd, Shadrach, who is contrastingly staring straight at the viewers, acting as an allegory guarding Straub as he guarded and protected the river. Compared to the more traditional and idealized portraits of a governmental figure, an individual represented in an office wearing formal clothing, a suit, Straub is wearing an everyday look to represent his time after being governor. He is wearing casual jeans, a light blue button down shirt and a brown jacket (Plate 3). Based on the previous characteristics that makes up the composition and style of the portrait it is clear to say that Missal unmasks Straub and what he is known for as a
Soon after the fire, legislature decided to tear down the remains of the damaged structure and replace it with a larger and more stylish design. Chicago architect, Henry Ives Cobb, was selected to design and build the second capitol. The government gave him a budget of only $550,000, which was not nearly enough to reproduce the size and design that the legislature had envisioned. Due to limited funds, Cobb was unable to finish his intended design. Legislature was embarrassed and unimpres...
This group was formed by American landscape painters who were present from 1825 to 1880. Their work constituted of interest in realistic illustration of nature and a fascination to celebrate precisely the American scenery. Until its emergence, most artists seemed more interested in making portraits than painting murals. Those who did landscapes generally always turned to Europe for guidance on subject matter and skills. Subjects similar to the other side of the Atlantic appear on their canvases mostly compared to American scenes, such as Norman castles, Greek and Roman ruins. In addition, much of the paintings done prior to the emanation of the Hudson River Schoolwereemblematic and therefore not necessarily intended to emblematize a real place. The school combines elements of romanticism and the art of Nationalism. Its Romantic nature provides an alternative framework through which to view and appreciate the nature in the world.
Brought into this world on October 17, 1821, Alexander Gardner’s work as a Civil War photographer has often been accredited to his mentor, the better-known Mathew Brady. Only recently has the true extent of Alexander Gardner’s work been acknowledged, receiving the credit that has been long overdue. Born in Paisley, Scotland, Gardner and his family were quite the movers. Relocating to Glasgow, Scotland, shortly after his birth, and later in 1850, to the United States with his brother James in attempt to establish a community in Iowa (CWO). In need of more money to fund the establishment, Gardner returned back to Glasgow and purchased what would soon become one of largest newspapers in the city, and one of the most known newspapers in the entire country, the Glasgow Sentinel. The newspaper made a considerable amount of profit for Gardner and he returned to the United States a year later in 1851, but this time paying another state a visit, New York.
People tend to views an image based on how society say it should be they tend to interpret the image on those assumption, but never their own assumptions. Susan Bordo and John Berger writes’ an argumentative essay in relation to how viewing images have an effect on the way we interpret images. Moreover, these arguments come into union to show what society plants into our minds acts itself out when viewing pictures. Both Susan Bordo and John Berger shows that based on assumptions this is what causes us to perceive an image in a certain way. Learning assumption plays into our everyday lives and both authors bring them into reality.
The historian Richard White states the Columbia River, located in the states of Washington and Oregon in the Northwest portion of the United States, as an Organic Machine made by arguments that the habitat established by the environment dictates the survival of mankind. It was previously assumed that mankind dictates the laws of its existence and that the environment is simply a small obstacle that can be overcome. Richard White proves former beliefs about the relationship between mankind and its environment or habitat untrue through the book The Organic Machine by showing the reader why the Columbia River is a perfect example of an organic machine, how organic machines affect lives and different civilizations, and how the alterations that mankind makes can effect the river as a whole.
The Hudson River school represents the first native genre of distinctly American art. The school began to produce art works in the early 1820s; comprised of a group of loosely organized painters who took as their subject the unique naturalness of the undeveloped American continent, starting with the Hudson River region in New York, but eventually extending through space and time all the way to California and the 1870s. During the period, that the school’s artists were active (c. 1820-1870) the nation was in the process of undergoing momentous political, social, and economic change. The works that the Hudson River School painters comprised reflected the changes that were taking place across the continent as well as the self-conceptualization taking place in an ever developing and ever changing America.
In his essay “The Monument and the Bungalow,” Pierce Lewis advocates for his readers to consider the importance of landscape as a visual history that is as equally important as a written history. He encourages the cultivation of skills necessary to understand and participate in the informatively rich landscapes of our everyday lives. Pierce uses as example his own past experiences within teaching the ability of reading landscapes and makes a poignant observation of the commonality within American culture to take for granted the collective landscape and overlook the rich histories and details of our cultures that they may hold.
The golden sun set over the horizon, kissing the peak of the empire state as if they hadn’t met in centuries. The fading sunlight tuned the water bronze as Lady Liberty’s torch lit aflame. The Hudson at this time was paradise on Earth. Few people were walking on the cobblestone ground, looking over the copper railing to see America’s prize of freedom. This is New York City, the Empire State. It is also home to one of the most vile and forgotten artifacts. The artifact that ruined lives. The artifact that drove many to insanity. The artifact which was burned and thrown to the bottom of this very lake.
Kauai, Hawaii is not known for being very loud during the time of the westward migration in fact, Hawaii wasn’t officially a territory until 1898, 62 years after the Oregon Trail had begun. In this paper, I will be discussing the history of Kauai, Hawaii and the monuments in Kauai. I think that most of the monuments scattered around Kauai, deeply reflects the history of the area.
Fayum portraits are remarkably life-like depictions of men, women, and children that were painted onto thin panels of canvas, linen, or wood and placed on top of the outer wrapping of a mummy. Though this moniker is geographically specific to denotes the discovery of a large concentration of portraits in the fertile Fayum region in the late 1880s, these works have been found all throughout Egypt, spanning from the Mediterranean coastal city of Marina el-Alamein to as far inland as Thebes. Though the archaeological background behind the Fayum mummy portraits lacks in extensive depth, the unique stylistic detailing and realism surrounding such portraiture presents a fusion of two traditions: Greco-Roman portrait painting and Egyptian funerary
Stephen Dedalus is born of a woman, created of the earth; pure in his childhood innocence. From this beginning stems the birth of an artist, and from this the novel, A Portrait of the Artist as a Young Man, James Joyce recounts Stephen's story. His journey is followed from childhood to maturity, and thus his transformation from secular to saintly to an awakening of what he truly is. The novel evolves from simple, childlike diction, to sophisticated, higher ideas and thoughts as Dedalus completes his transition into an artist. In the beginning, Dedalus sees the world in an almost sing-song nursery rhyme sense, with a "moocow" coming down the road. By the end of the novel, Dedalus is mature and worldly; a man who stands tall and who feels confident with "Old father, old artificer, stand me now and ever in good stead." (238). Through the use of the symbols of woman and earth, and white and purification, Joyce gives his novel depth and wonder. These symbols follow an array of transformations, changing throughout the novel much like Stephen himself.
The art of the American West has long been honored in the states whose history it records, but it hasn’t always been accepted in the larger art world. Thirty years ago, it was often seen as an out of touch genre, fed by a love of nostalgia and history. Today, it is slowly entering museums across the U.S. and the great works of the American Western artists are being recognized. Charles M. Russell was truly an artist of the American West. He created more than 2,000 paintings of cowboys, Indians, and landscapes set in the western United States. Of Russell’s paintings, a large number of them depict Indians hunting buffalo. His painting, Spearing A Buffalo, finished in 1925, was one of the last pieces he completed. This piece, for Charles M. Russell, is unique because the theme of the painting is, of course, western and depicts an Indian spearing a buffalo as the main subject. However, the style strays away from what Russell typically does, which is more naturalistic, and demonstrates techniques used in impressionistic works. Spearing A Buffalo was a painting that honored the history of the “wild west” and, at the same time, hooked the larger art world with its new and diverse style of
This reminded Benton his grown distant relationship with his father after he chose not to follow family’s political path, ‘“I got a renewed sense of the variety and picture squese of his life and of the life of the people of my home country which the infatuated artistic vanities of the city had brought me to regard as stale and stuffy ”’ He felt closely to his father again by bonding with his “people’s history” art and the political role his father has been desire on him to reveal the social problem in his hometown. Since then, he has travelled to most the backward regions in the South and Midwest and experienced the poor labor radicals in the Midwest, the bribery and fraud in Republican governor of Missouri and inequality between labor and farmers class . After participating more political debates in New York, he realized this mess in Missouri was guided by the loosely harnessed capitalist system. He more confirms his duty was to communicate the western class issues of turmoil to the public through expressing his political thoughts in the paintings. Subscribed to Marxism, he claimed to be revealed a deeply ingrained populism, which he was pro-labor, anti-big capitalist and radicalism on the political issues
Rather than addressing each other on what the craftsman considers, they rather have it depicted for others to see. Guernica happens on the snippet of the shelling of the city, while Liberty Leading the People is at France before Notre Dame. Determination of the foundation is urgent for the craftsman with the goal individuals should comprehend the
"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.