...industry, and the left, Mexico, is represented by landscape and the Mexican culture. The painting has variety and unity. I think that if I looked at this painting without knowing the title and the intension I would say that this piece has only variety, but because I understand what Kahlo wants to communicate, the variety is unified. Model with Unfinished Self-portrait has a simpler feel to it. It seems to be more peaceful and relaxed. A painting to look at and enjoy, not deciphering the “true” meaning behind it. I think the most confusing part about this piece is the title. Without looking at an outside source to see what the artist looks like, is the model sleeping or is the model sitting at the table. My first guess would be that the model is the one asleep and the artist is the man at the table. The first thing that I noticed about the two is the bright colors that both artists have used. In Self-portrait on the Borderline Between Mexico and the United States the pink dress and the bright greens and reds really stand out. The rest of the colors in the painting have a monochromatic harmony using shades of browns and greys. The use of these colors makes the painting...
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...I woke up feeling uncomfortably hot. My lower back and cheeks felt flushed and my eyes opened with ease, like I hadn’t slept at all. My thick curtains blocked all sunlight and the dainty Christmas lights that lined my bed all year were twinkling, they created an atmosphere that was typical of my room, no matter what time of day it was. My parents gave me a hard time about sleeping with those lights on but I like having them on, they feel safe. I lay in my intertwined sheets and lush pillows staring at the photos that cover my wall. I had an entire wall filled with photos I took on my 1970 Konica 35mm camera, and I have a drawer filled with rolls of film yet to be developed. I stared at all the smiling faces and all the beautiful scenery. Hundreds of moments in my life that I felt I should capture. For me that’s what photography is about. It’s to remind myself that I am happy. When everything in the world seems awful and dark I have proof right in front of me that I can be ok. Each photo is like a note to my future self, that there are more beautiful memories to be made, and more pictures to be taken. The comforters tangled around my legs became suddenly unbearable and with a flare of irritation I began to make my bed perfectly before crawling back in and trying to fall back to sleep.Unsurprisingly it was to no use. After tossing and turning for what felt like hours I came to the conclusion that I had no idea what day it was or what time it might be. Its crazy how my brain...
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...Jeane Paul Enc 1011 Kristen Clanton 17 October 2012 Peering Through the Curtain Although today’s teens look very much as their predecessors did in 1977, they could not be more different. In physical appearance there is little difference although many of today’s teens are altering their appearance through the use of tooth whitening systems, colored contacts, hair extensions and some teens even going so far as to have plastic surgery to fix the things they do not like about themselves. Peer pressure, low self- esteem and the pressure from social media seems to be causing teens to strive for a physical perfection that can never be achieved. But the most profound changes are those not visible. The rapid growth of technology is behind most of these changes. If one were to peer through the curtain of a 17 year old girl’s bedroom in the year 1977 you would see the normal things, bed, bureau, maybe a desk and night table. On the bureau sits a record player and a small radio. The girl is lying on the bed reading a book and listening to the music on the radio. The pink princess phone rings and the girl reaches over to answer it. Her laughter rings out as she talks to her friend, making plans for the weekend. When the teen hangs up the phone she reaches for her journal and starts to write…..jump ahead to 2012…peering through that same curtain you see a similar girl but nothing else is the same. The girl is sitting in front of her computer posting her latest status on facebook...
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...I’d dressed hurriedly and, like the Hebrews fleeing Egypt, gave scant thought to what I should wear. Only after I’d reached Mercy Hospital did I notice I’d donned a pair of black fleece pants dotted with tiny pink hearts and topped it off with a lime green hoodie. Oh well. Nothing I could do about it now. I squeezed into a narrow parking spot near the ER entrance, certain I’d be sorry, although I suppose it hardly mattered if the other drivers returned before I did, flung their doors open with reckless abandon, and dinged my car. After all, I was driving a ten year old Chevy, a former D-car I’d bought at the city’s auto auction. In spite of my haste, Margery was already at X-ray, which only proved the efficiency of Mercy Hospital....
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...will look even better with my dress. Today is going to be so much fun!” My sister exclaimed. We followed the two other junior bridesmaids to the car and excitedly headed to the wedding. As we walked into the church that summer morning, the sun reflected off of my sister’s perfectly curled blonde hair. We finished getting ready in the basement of the church. My sister was right; when she put on that light pink dress, her hair looked...
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...One other aspect that makes the painting so interesting is the depth. When looking at the painting, there is an orange flame behind the women; this brings the eye towards the background. The curved wall where the flame sits and the lifted floor behind the woman gives the illusion of a vast space. Even though depth is a critical aspect, texture also has an equal role in the painting. There is an abundance of texture in every part of the portrait. The first and most noticeable is the lady’s robes. The viewer can see every dip and curve of the woman’s outfit, which gives a sense of realness. Texture can also be seen in the curtains on the left side of the painting and in the robes of the people behind the women, as well as the walls in the background. Both aspects of depth and texture add reality to the...
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...“home”, let me take you on a visit there. Situated at the end of a dirt road which runs off another, larger county road is the place I call “home”. Here, my mother raised three girls without the help or companionship of a husband. The house set back about 200 feet from the road. As we stroll up the dirt drive lined with rows of wild gladiolas on each side, sits the tidy small, unpainted old frame house. On the porch, I can't help but notice a high-backed rocker on one side and a bench worn smooth by age on the other. Both remind me of the many hours spent here enjoying the weather and view. Turning the door knob and entering the foyer is like taking a step back in time. The door, is the same as when I was a kid, the windows are free of curtains, only shades yellowing from age, pulled at night, as if privacy is needed out here in the boondocks. Mom's big over-stuffed floral couch is set beside the well-stocked bookcase. One lonely picture with the words "Home, Sweet Home" hangs on the wall over the fireplace. Just to the right is a doorway, minus a door, calling us to investigate the sweet smell drifting our way. Upon entering the kitchen, a rich smell of freshly baked bread overtakes the senses. Mom removes the loaves from the belly of the oven leaving them to cool in neat rows on the old marble table. The walls were white and had little kitchen knick knacks like chickens and things of that...
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...A large red sofa, windows full of cream coloured silk curtains, walls painted maroon with pink shaded sponge marks, dim lights hanging on top and to the sides almost keeping the room in a soothing darkness as though creating an environment for two love birds. Windchimes continue to put the music in the scene. Table in front, a honder consisiting of many different coloured candles li and kept on the table, room is full of vass and pots that are blossemed with the lng beautiful white lillies. On the sofa lies our queen in a white sarre, with black blouse in threaded fashion at the back and shoulders, her hair – half of which is hiding het abck and few her shoulders, her hadn resting and supporting her head, eyes gently brown and lashes painted black with a minute tail at the ends and one cute red rose on her ear; maroon shade shaped onto the curves of the lips … candle light falling directly onto her face revealing each and every detail of her shy, tender afce and the awaiting eyes and the song “Lag Jaa Gale …” is playing on an old gramophone. Candles started to burm due to jealousy as our hero, he enters, and the shy eyes take a moment of look of their guest drenched in the rain. He walks towards with a rose hidden behind his hands; background music is on the words “Sayad Phir Iss Janam Mein Mulaqat Ho Na Ho”. He reveals and presents the rose to her, water droplets falling over the rose form his drenched hair, she accepts it with a smile and keeps it near her heart. “Humko Mili...
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...Hawthorne’s Life through Symbolism Nathaniel Hawthorne was an American writer who is very well known for his use of symbolism. In many of Hawthorne’s short stories, he uses symbolism to express the conflicts he faced within his life. Some of these short stories include “Young Goodman Brown,” “Minister’s Black Veil,” “The Birthmark,” and “Rappaccini’s Daughter.” Within his work, Hawthorne tells great tales where each character faces a different issue in which they must make a decision such as one’s that Hawthorne had to make. Some decisions Hawthorne made in his very own life were his families’ beliefs of Puritanism and if he should follow their beliefs, conflicts with learning about his father and grandfather, marrying his wife, and how he remained isolated, a recluse, away from the world. In “Young Goodman Brown,” Hawthorne uses symbolism to tell the story of a young man who goes on a journey from his innocent world into an evil world. In the beginning of the story the reader is introduced to two characters, Young Goodman Brown and his wife, Faith. Hawthorne uses their names as the first piece of symbolism, Young Goodman Brown means a young man, who is good natured, and his last name “Brown” also means he is dull and just blends in the background. Morgan 2 Brown is married to Faith, whose name is also symbolic. Faith’s name is used as not only Goodman Brown’s wife, but it is also used as his faith. This is shown when he says, “My love and my Faith,” (Young Goodman Brown...
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...searching for any sign of emotional instability. It was easy to put on a smile for my teary-eyed parents, promising “it grows back!” Friends claimed to love the change, as long as I did the same. Everyone seemed to have an opinion, but mine was still up in the air. This haircut was exactly what I’d wanted—immediate change—but I still felt my fingers shaking. My hair was drastically different, but I wasn’t. I knelt beneath the sink, throwing open the cabinet a bit too frantically, and knocking aside various half empty shampoo bottles. I grabbed a container of magenta hair dye, twisting off the top before I’d gotten to my feet. Why wasn’t I different? Why didn’t I feel different? I caked pink dye onto my gloveless hands in a panicked frenzy. I’d let myself become vacant behind a superficial curtain—it had never crossed my mind that removal of it might not be the solution. I wasted the hour it took for the dye to set in front of the mirror, staring down the “new me” that was really not so new at all. My haircut became an unavoidable part of me. I attempted to change anything about it that I could, wasting money on cuts, dyes, and baseball caps. I craved change, yet each time I encountered it I was left unfulfilled. This internal struggle had turned into a battle, though I denied this endlessly. To admit my dislike for my hair would be to admit defeat to anyone who had preferred it long. Half asleep in bed, I came to this realization. I stood up, and wandered towards the bathroom mirror...
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...herself to an enemy general, Holofernes, and subsequently beheads him as he lies drunk in his bed (Artlex, 2010). The death of their leader overwhelms the Assyrians and they disband leading many to the conclusion that the widow’s actions save Israel (Artlex, 2010). This representational piece is a two dimensional oil on canvas painting that exhibits soft tones in most of the image. The deeper or more vibrant shades of red near the bottom of the dress worn by the heroin stand out against the earthy browns and greens of the landscape of the scene. The pale pink of the skin of her bare foot which she has propped atop decapitated head of the general emphasizes the grayed and dying body part. The minimum contrast, or gray of the general’s head devalues it and makes it a part of the background while the viewer’s eye is drawn more to Judith and the light to dark shading of red or chiaroscuro of her dress. The landscape behind the courtyard is soft and almost appears monochromatic; it nearly blends into the horizon. There are natural shapes that are prominent in the painting but the sword at Judith’s side has sharp straight lines and details that make an impact when compared to the lines of the rest of the piece. The calmness if the heroin and the stillness of the surrounding courtyard do not indicate the severity of what has just taken place with the murder of the enemy general. The beginning of the Renaissance was filled with religious turmoil, so much of the artwork done during...
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...They went, shutting the door, and locking it behind them. The red-room was a square chamber, very seldom slept in, I might say never, indeed, unless when a chance influx of visitors at Gateshead Hall rendered it necessary to turn to account all the accommodation it contained: yet it was one of the largest and stateliest chambers in the mansion. A bed supported on massive pillars of mahogany, hung with curtains of deep red damask, stood out like a tabernacle in the center; the two large windows, with their blinds always drawn down, were half shrouded in festoons and falls of similar drapery; the carpet was red; the table at the foot of the bed was covered with a crimson cloth; the walls were a soft fawn color with a blush of pink in it; the wardrobe, the toilet-table, the chairs were of darkly polished old mahogany. Out of these deep surrounding shades rose high and glared white, the piled-up mattresses and pillows of the bed, spread with a snowy Marseilles counterpane. Scarcely less prominent was an ample cushioned easy-chair near the head of the bed, also white, with a footstool before it; and looking, as I thought, like a pale throne. This room was chill, because it seldom had a fire; it was silent, because remote from the nursery and kitchen; solemn, because it was known to be so seldom entered. The house-maid alone came here on Saturdays, to wipe from the mirrors and the furniture a week's quiet dust: and Mrs. Reed herself, at far intervals, visited...
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...Les Demoiselles d'Avignon is a celebrated painting by Pablo Picasso that depicts five prostitutes in a brothel, in the Avignon Street of Barcelona. The controversial eye-catching painting now hangs in the Museum of Modern Art in New York City. Les Demoiselles d Avignon work represents a major milestone in the history of modern art. Picasso's controversial and powerful painting broke all traditional concepts and perspective of ideal beauty. It distinguished him from other artists and ushered in the new artistic movement of cubism. In the months leading up to the painting's creation, Picasso struggles with the subject -- five women in a brothel. In 19th century art, prostitutes played a significant role as they were regarded as subversive and disruptive to the social and sexual status quo . Picasso's awareness of this theme must be remembered when examining this work since it aided the painting in becoming the most important artwork of the century. The painting began as a narrative brothel scene on Avignon Street in the city of Barcelona where Picasso was a young up and coming artist. Here he created more than 100 sketches and preliminary paintings before his final design. Initially the painting had five naked prostitutes and two men, a patron surrounded by the women, and a medical student holding a skull, perhaps symbolizing that "the wages of sin are death. " The sailor seemed to be walking into this curtained room where the ladies stand and the woman on the far left now...
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...Ways of Seeing by John Berger On Tuesday, June 5th 2012, I went to the Museum of Fine Arts. The atmosphere was peaceful and quiet even though there were a lot of students from a high school. If you decide to go to a museum you have a special attitude. First of all it is your choice to go there. The museum will not come to you. I spent quite some time walking around to find a picture that was “speaking” to me. Then I came across the “Behind the Scenes: Caring for working of art” room. It is an electrical room with a touch screen under the picture. The screen explains a lot of the different things about the history and background of the painting (picture 1). The painting was of Mrs. Timothy Rogers (Lucy Boylston). I was intrigued by the historical background of the Boylston Family and the timeline (1766 – 1767) during which John Singleton Copley painted six portraits of the Boylston family. It reminded me of a line in John Berger’s essay: “They are declared art when their line of descent can be certified” (150). I wonder how many wonderful and beautiful paintings were just thrown away because they were not of someone important, rich, or famous. There was also information about the cleaning of the painting. I was able to see the difference in the 1921 unclean portrait and the 1950 clean portrait. First, I just saw a nice painting of a woman, but now I can see and appreciate the portrait of Mrs. Timothy Rogers. “The meaning of an image is changed according to what one sees...
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...Westwood’s designs entailed a combination of leather, chains, rubber-wear, bondage gear, safety pins, zippers, and straps. People of the era that were interested in this type of fashion also had outrageous hair and makeup. Printed t-shirts with inappropriate pornographic images were also popular. Westwood and McLaren’s focus shifted to another fashion idea. In 1974 they renamed the store from “Let it Rock” to “Sex”. They decorated the interior of the store with pornographic graffiti, hung rubber curtains, and stocked it with sex and fetish wear. The use of these elements gave their store an overall intimidating and shocking effect. In the early 1980’s McLaren and Westwood wanted to change things up. Their shop was again remodeled and renamed “World’s End”. They wanted the inside to resemble a sailing ship with small windows, a low ceiling and a sloped floor. The front of the store had a large clock displaying 13 hours with the hands moving quickly back in time. Their idea behind the remodel came to the surface because they wanted to get out of the dark feeling in England and do something more historical and romantic. Out of the new shop ideals came The Pirate Collection, which was displayed in Westwood and McLarens first runway...
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