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W.H. Auden's Musee des Beaux Arts and Pieter Bruegel's The Fall of Icarus
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.”
“The Fall of Icarus”, the only one of Bruegel’s paintings mentioned by name in Auden’s “Musee des Beaux Arts”, concludes the final octet of the poem. The plowman in the foreground, not the splashing legs of Icarus, is what the canvas is centered on. Bruegel’s focus on the sim...
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Works Cited
Bible, King James Version. Luke 1-5. 12 Dec. 2005 .
Auden, W. H. ""Musee Des Beaux Arts"" The Longman Anthology. Ed. David Damrosch. New York: Longman, 2003. 2789-2790.
"Daedalus in Greek Mythology." Mythography: The Legend of Daedelus in Myth and Art. Loggia. 12 Dec. 2005 .
Kinney, Arthur F. "Auden, Bruegel, and 'Musee des Beaux Arts'" 7: 529-531. EBSCOhost. Homer Babbidge Library, Storrs. 11 Dec. 2005. Keywords: Auden + Musee Des Beaux Arts.
"Musee des Beaux Arts." 2003. Poetry Pages. 12 Dec. 2005 .
Pieter, Bruegel. The Fall of Icarus. Musee des Beaux Arts. Pieter Bruegel Oil Paintings. 12 Dec. 2005 .
Pieter, Bruegel. The Massacre of Innocents. Musee des Beaux Arts. Pieter Bruegel Oil Paintings. 12 Dec. 2005 .
Pieter, Bruegel. The Numbering at Bethlehem. Musee des Beaux Arts. Pieter Bruegel Oil Paintings. 12 Dec. 2005 .
Carol Armstrong begins her essay by pointing out the two main points that come about when discussing A Bar at the Folies-Bergere. These two points are the social context of the painting and its representation of 19th century Paris, and the internal structure of the painting itself with the use of space. She then goes on and addresses what she will be analyzing throughout her essay. She focuses on three main points, the still life of the counter and its commodities, the mirror and its “paintedness”, and the barmaid and her “infra-thin hinge” between the countertop and the mirror.
Greenhalgh, Paul. "Art, politics and society at the Franco-British Exhibition of 1908." Art History 1985 Dec., v.8, no.4, p.434-452
In the Enseigne, art is also shown to serve a function that it has always fulfilled in every society founded on class differences. As a luxury commodity it is an index of social status. It marks the distinction between those who have the leisure and wealth to know about art and posses it, and those who do not. In Gersaint’s signboard, art is presented in a context where its social function is openly and self-consciously declared. In summary, Watteau reveals art to be a product of society, nevertheless he refashions past artistic traditions. Other than other contemporary painters however, his relationship to the past is not presented as a revolt, but rather like the appreciative, attentive commentary of a conversational partner.
The landscape in Madonna with Chancellor Rolin (1436) (pl. 1) shows Van Eyck’s exquisite eye for detail. The battlements of the palace suggest that it is a fortress, built of the edge of an escarpment. The background is a perfectly formed Medieval city divided by river (pl. 2). Symbolically, the Virgin is seated on the grandiose side of town. On the right hand side there are Gothic buildings, and a cathedral which city dwellers are flocking to, suggesting a mass pilgrimage of faith to the Virgin. The accuracy of the background city have led to many attempts to identify it, with connotations of Bruges. However, it is most like...
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.
Mathias Grunewald (c. 1470-1528) was a German painter who created the Isenheim Altarpiece between 1512 and 1516. This work consists of different wings that fold out to reveal more of the work (Collings, 2007) (including the crucifixion of Christ), is on the display at the Unterlinden Museum at Colmar, Alsace, France, and was commissioned for the Monastery of Saint Anthony in Isenheim, near Colmar. On one of these wings is the figure of Saint Anthony of Egypt, whose temptation has been the inspiration for many works of art as well as literature. Unlike other artists of the Renaissance period, Grunewald’s paintings depict religious figures as artists of the middle ages had done, creating imagery for the Church in Rome. And while the Isenheim Altarpiece, and indeed the Temptation of Saint Anthony, was commissioned b...
Cothren, M. & Marilyn Stokstad. (2011). Art History, Volume 2, 4th Edition. Upper Saddle River, NJ: Pearson Learning Solutions.
Osborne, Harold. The Oxford Companion to Twentieth Century Art. New York: Oxford University Press, 1981.
As I walked into the first gallery, I saw a wood sculpture that stood in the center of the room. This carving depicted “the crucified Christ, flanked by the Virgin Mary and St. John the Evangelist with Angels holding instruments of the Passion”. It was painted oak and very appealing to the eye. It stood approximately 15 feet in the air. The origin of this sculpture is unknown, but it was found in a Belgium church. This kind of sculpture usually stood at the entrance or at the center of the alter in the church facing the congregation. This image of the suffering Christ relates to the Christian ideas of suffering and Christ’s salvation of all mankind.
This painting was an oil canvas landscape of the sun setting in the horizon of the ocean sea, while the ships were sailing throughout the body of water. The focus on humanism during this period is clearly portrayed by the presence of the plowman, shepherd, and fisherman performing their daily task. Lighter colors are used, which differ from the darker colors that were emphasized during the Dark Age or Medieval period. Shadows can be seen on the ground next to the plowman showing the increasing artistic methods that begin to be utilized. Overall Bruegel makes use of the two and three-dimensional techniques to demonstrate the messages he attempts to reveal about changes in life and thought through his work.
South University Online. (2013). HUM 1002: History of Art from the Middle Ages to Modern Times: Week 1: Elements of Design. Retrieved from myeclassonline.com
One pleasant afternoon, my classmates and I decided to visit the Houston Museum of Fine Arts to begin on our museum assignment in world literature class. According to Houston Museum of Fine Art’s staff, MFAH considers as one of the largest museums in the nation and it contains many variety forms of art with more than several thousand years of unique history. Also, I have never been in a museum in a very long time especially as big as MFAH, and my experience about the museum was unique and pleasant. Although I have observed many great types and forms of art in the museum, there were few that interested me the most.
9. Bouguereau, William A. Psyche et L'Amour. 1889. Private Collection. Art In the Picture. 2014. 25 Jan. 2014 .
Barnett, Peter. “The French Revolution in Art”. ArtId, January 7th 2009. Web. 5th May 2013.
Winton, Alexandra G. "The Bauhaus, 1919–1933." The Metropolitan Museum of Art. Web. 03 May 2014.