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“Memory is what shapes us. Memory is what teaches us. We must understand that that’s where our redemption is.” This is a painting from the perspective of a young boy who is a Holocaust survivor. The artist has created juxtaposition of his hands to when he was a youthful boy to his older self. It is evident that his memories shape this image particularly the background, as well as revealing his story and history.
The painting is Acrylic on Canvas by Mollie Goldman with the title NOW-THEN: NEVER AGAIN. This title could represent many things, one being, how the Holocaust affected him not only as a young boy but also as an older man and that a tragedy like this cannot ever be repeated. The hands in this painting represent justice; it elucidates equality, no matter what religion, race or sexuality, which was an important lesson following the Holocaust. The fact that one hand is small signifies the innocence and vulnerability of the young boy; whilst the bigger more aged hand indicates knowledge and understanding of the consequences of the Holocaust.
The artist has created an extremely effective background, symbolizing the present and past. The bright stones forming the wall contrast with the Jewish gravestones, which were desecrated and used to pave roads during the Holocaust. Moreover, the background alludes to light and dark highlighting the
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traumatic experience of the Holocaust. The Dark imagery represents the trauma of the ordeal, whilst the light signifies prospect and optimism, and life and continuity. Additionally, Goldman has used striped Pajamas and a tattooed number on the left wrist to insinuate the presence and affect the Holocaust had on him.
She has used a real number from a survivor, which expresses the pragmatism of the Holocaust, and his story as well as creating a further level of empathy to the audience. The artist recalled her inspiration for the painting was Jacob Hennenberg, after reading his story in the Cleveland Jewish News, about how he found hope within the camp from the tattoo on his arm. The numbers 64242 add up to 18, which in Hebrew stand for “life.” Jacob decided that it meant he would
live. Finally, it is evident that the younger self’s tattooed number in the painting is semi concealed under the sleeve of his pajamas, in comparison to the larger hand where the number is fully exposed. This could exemplify that as a young boy he was almost ashamed to be Jewish as it was so frowned upon in society and resulted in so many negative consequences. However as he has grown and matured he has accepted and embraced his religion and gained self-confidence with in himself. This painting represents many aspects of the holocaust through the use of different visual techniques. Goldman has effectively created a divergent atmosphere to signify the pain and trauma of The Holocaust, whilst also drawing out hope and continuity.
Wayne, transforms this painting into a three dimensional abstract piece of art. The focal point of the painting are the figures that look like letters and numbers that are in the front of the piece of art. This is where your eyes expend more time, also sometimes forgiving the background. The way the artist is trying to present this piece is showing happiness, excitement, and dreams. Happiness because he transmits with the bright colours. After probably 15 minutes on front of the painting I can feel that the artist tries to show his happiness, but in serene calm. The excitement that he presents with the letters, numbers and figures is a signal that he feels anxious about what the future is going to bring. Also in the way that the colors in the background are present he is showing that no matter how dark our day can be always will be light to
The centre of the piece is the handshake, this handshake represents a lot. The handshake not only being the centre piece of the painting but also is the subject, The Conciliation, this handshake symbolizes
They might not be very prominent, but they exist the painting and serve as the base for creation. For starters, the window pane contains lines that highlight its simple design. Simplicity remains as the core of this work. Moreover, sill is roughly represented by a thick brown line underneath the window as a boundary in a quietly brilliant fashion. The work has a wonderful color allocation to express the mood. The color is limited within the muted palette color range. Grey—the intermediate color of black and white, is the dominate color for both exterior view and the interior part, as a matter of fact, the observer notices that nearly all colors are mixed instead of natural this work. The cloudy sky corresponds to the grey color of the wall, yet the brightness is not influenced. However, this consistency has successfully created a cold, grave and silent environment for a crowded place such as New York. The whole environment of this painting seems to be surrounded by the negative and depressive
The painting is organized simply. The background of the painting is painted in an Impressionist style. The blurring of edges, however, starkly contrasts with the sharp and hard contours of the figure in the foreground. The female figure is very sharp and clear compared to the background. The background paint is thick compared to the thin lines used to paint the figures in the foreground. The thick paint adds to the reduction of detail for the background. The colors used to paint the foreground figures are vibrant, as opposed to the whitened colors of the Impressionist background. The painting is mostly comprised of cool colors but there is a range of dark and light colors. The light colors are predominantly in the background and the darker colors are in the foreground. The vivid color of the robe contrasts with the muted colors of the background, resulting in an emphasis of the robe color. This emphasis leads the viewer's gaze to the focal part of the painting: the figures in the foreground. The female and baby in the foreground take up most of the canvas. The background was not painted as the artist saw it, but rather the impression t...
...hese repeated vertical lines contrast firmly with a horizontal line that divides the canvas almost exactly in half. The background, upper portion of the canvas, seems unchanging and flat, whereas the foreground and middle ground of the painting have a lot of depth to them.
Next they go into further detail about the history of the painting of Adele Bloch-Bauer. They say that it was described as the “Mona Lisa” of the Austrian people to whom it belonged to.
The memories of an individual will give shape to their own identity and how they are able to perceive the world around them; memories allow an individual to look back at where they were and where they are now and to see the contrast of their current life. In the text “Ru”, Kim Thúy, the narrator, finds herself looking back at her memories of her life and dreaming for more. When she arrives at Mirabel airport in Quebec, she is awestruck by the peace and beauty of it compared to her past in in the refugee camps of Malaysia and war torn Vietnam. Throughout her visit, she is able to dream of her future outside of her bleak memories of her past, and imagine a future without the constant strife of living in a post war life. Kim is able to use her memories to shape who she wants to be and allows her to truly admire where she is and where she wants to go, setting a path for her to follow throughout life. In the text, “Ru”, Kim Thúy uses her own past and memories to demonstrate the idea that an individual's memories will shape who they are and show them a life they want to live, whether it is a memory they want to revisit or a memory in which they wish to leave behind. Kim’s present is influenced greatly by her past and allows her to appreciate the little things all that much
In the poem, Harjo portrays the importance of recalling the past to help shape one’s identity. She uses the repetition of the word “Remember” to remind that while the past may be history, it still is a defining factor in people’s lives (l. 1). This literary technique
When I look at this painting of the young man fighting to be born of
images in this painting, all of which have the power to symbolize to us, the viewer, of the painter’s
The picture is a scale in which the female side is higher than the male side. Women have always been since as less than a man, an outlook that can be traced all the way back to the bible. According to the bible, Eve was created from Adams rib, which was supposed to be construed as his loving her because she was made of his flesh has been corrupted that women are less than a man. Even the United States, the pioneer of freedom and rights, still pays a woman less than a man. A women’s opinion is still doubted or in some cases not even listened to especially when they hold positions of power. In third world countries, if a woman is attacked or raped it is her fault, just because she is a woman. Infanticide, the killing of female babies, is still predominant in areas all over the world. Mothers rid themselves of girl children so that they don’t have to worry about dishonor or providing a dowry. This killing of females is also represented in the art. This artwork should remain on Tejon Street as a reminder as how far we have come as women and how we have much work ahead of us in order to get true
Engelhardt, I. (2002). A Topography of Memory: Representations of the Holocaust at Dachau and Buchenwald in comparison with Auschwitz, Yad Vashem and Washington DC. Presses Interuniversitaires Européennes.
To some degree, every artist creates his or her own artistic life preserver, and in doing so resequences and conserves their own artistic DNA so that it may be transferred onto another generation. Vladimir Nabokov’s memoir Speak, Memory, is not only that preserver, but the tug boat that it holds onto, heavy and cramped with the memories and history that Nabokov retells his readers against the currents of time. Speak, Memory operates thematically, not chronologically. Nabokov returns anew to his early childhood and pulls in, as it were, the memories associated with certain themes. Then he turns, changes directions, and sets off again. One such theme that resonates throughout the novel is that of exile and deteterritorialization, both physically and spiritually, acting as the catalyst that drives Nabokov’s feelings of misplacement and nostalgia; an orphan of Russia wishing to reclaim what has been already lost.
Child." The Painter of Modern Life, and Other Essays. London: Phaidon, 1964. N. pag. Print.
The acrylic painting medium is a fairly new addition to the various painting mediums available to todays artists. It has been around since the 1950's and has been continually under development and refinement ever since.