Category: Arts
Thursday, 27 January 2011 12:30 No Comments
Sample Essay
Words 1,320
“The gaze” or “Look” is a technical term originated by film theorists, however there is a sense of power attributed by it because the gaze of a character or the actor is such that there is an air of superiority about it. According to Jonathan Schroeder (1998), to gaze at someone in any visual art form, is not just a look it conveys a psychological relationship where the gazer is dominant while looking at an object. Manet’s Luncheon on the Grass, was path breaking and provocative at the same time because in the painting the naked woman is directly gazing at the viewer. Traditionally women in paintings didn’t look at viewers directly, especially nudes, usually the female model looked away mostly in portraits too. In this painting the viewer is confronted by an unflinching gaze of a naked woman. This direct look in Luncheon on the Grass indicates that the woman instead of being an object of dominant male gaze has instead used the female gaze. This gaze is also helped by her sitting position and facial expressions. In my view, the idea of a female looking from a superior vantage point was inconceivable and unacceptable in a patriarchal male dominated society of that time, this was one of the main reasons why it was rejected and ridiculed at that time. In fact a closer look shows that the two fully clothed men are not gazing directly, it is only the woman who appears to be the central focus of the painting.
There is an atmosphere of informal familiarity in the work, each individual is sitting in a very relaxed manner, the men for instance are reclining casually, while the way the woman is sitting is also quite uninhibited manner, not a way that a lady would sit, especially in nude. She appears to be quite comfortable in the way she is sitting, one leg drawn up and the other relaxed down, her hand holding her chin as she gazes interestedly at the object in front of her.
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Thursday, 23 December 2010 05:58 No Comments
Sample Essay
Words 824
Rodchenko’s initial work is formally dazzling, but a little distant and remote, it seems that it is difficult to relate to his earlier work. However, this began to change when he began to mature and reached the pinnacle in a more overall style with his photomontage work. (Hutchings 304) The prime example again, is his photographmontage for Mayakovsky’s Pro eto are interesting. He combined photos of the poet, the latter’s love Lily Brik, assorted items cut out of magazines and originate the visual equivalent of Mayakovsky’s tormented, tragicomic verses. For instance, Rodchenko has arranged a 50-foot Mayakovsky standing gloomily on a bridge, arctic wastes, polar bears, and another shot of the normal-sized poet with his heads in his hands and a boat actually racing through icy waters. The sudden contrast and shifts in scale of Rodchenko’s collection rightly evoke the glowing imagery and graceful rise of Mayakovsky’s poetry. Through the photomontage, Rodchenko first used photography as an expansion of the graphic arts as an unlimited resource of images that seeked variation, repetition, and restructuring. This new, untried technique to the medium continued when Rodchenko started to make photographs of his own. In the photomontage, Rodchenko’s artistry has an alternative of process that was very dramatic in its sharp contrasts. On one extreme, he has condensed pictorial art to methodical appearance of line, form, surface, and shade. On the other extreme, he has merged these essentials with recurring style in service to community design and exhibit.
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Friday, 3 December 2010 05:23 No Comments
Sample Essay
Words 1,140
However, Tae Kwon Do often becomes a lifestyle, a practice that graces each day of the martial artist’s life. Because of its accessibility and relationship to all areas of life, Tae Kwon Do is the strongest and most effective martial art in the world. Tae Kwon Do is more physical and aggressive than “soft” martial arts like Tai Chi, which relies more on inner stillness than on physical force. However, Tae Kwon Do incorporates a fair amount of meditation and awareness techniques, including attention paid to ethics. Therefore, it far surpasses physically stunning arts such as Capoiera and even some forms of Karate. Tae Kwon Do comprises the physical, the mental, and the spiritual arenas, making it one of the most thorough and well-rounded martial arts in the world today. Likewise, it is steeped in a rich historical and cultural tradition unlike some other more modern and amalgamated martial arts like Russian Sambo.
Tae Kwon Do embraces tradition even as it adapts itself for the modern world of competitive sports. After its inclusion in the Olympics, Tae Kwon Do retained its allegiance to core principles and remains removed from the plethora of other martial arts traditions like Judo. Based on Jiu Jutsu, Judo is also an Olympic sport. However, Judo involves far more grappling and potentially harmful moves than Tae Kwon Do does. Participants frequently get thrown, choked, and held in dangerous joint locks. Judo comprises strikes and grapples, but the combination lacks grace and finesse. On the other hand, Tae Kwon Do combines physically challenging kicks with advanced foot work and blocking techniques that makes for a stunning visual display. Emphasis in Tae Kwon Do is more on the self than on conquering the opponent, although competitive martial arts always involve some form of aggression. However, Tae Kwon Do is certainly safer than Judo, Jiu Jutsu, Thai kickboxing, or any other number of physically-focused martial arts.
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Thursday, 11 November 2010 07:36 No Comments
Sample Essay
Words 3,094
It is easy to read history backward, to see the signs of what will come once the end is already known. When we looks at the portraits that Vincent Van Gogh painted of himself in the winter of 1887-88 and in the winter and fall of 1889 – the year before he would take his own life – we see in his own depiction of his face a sense of looking despair. But how much of this is actually in these portraits? If he had not died the next year but had lived on for decade, marrying and having children and grandchildren toast the public recognition that would only come after his death, would we not see instead anguish something more like irony? (Zemel 81). It is, of course, impossible to know, for we view the past through the lens of the present and in that lens Van Gogh is the archetypical misunderstood artist, driven in the end beyond madness to the point at which self-annihilation called with its sweet siren song.
If we look, for example, at the self-portrait that he painted in September 1889, we do not see a man who is obviously full of self-despair. True, he has painted the background that surrounds him in the same light blues with hints of green that his jacket is woven with, as if he were perhaps intent on melting into the background, a man who is intent on finding refuge by hiding.
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