Velázquez, the most admired, perhaps the greatest European painter, who ever lived, influenced a miraculous gift for assigning a sense of truth. He gave the best of his talents to painting portraits, which capture the appearance of reality through the effortless handling of aesthetic paint. The greatest portrait painting of the 19th century was, “The Daughter of Edward Darley Bolt” (1882), which was Sargent most remarkable work and made his career as a fashionable portraitist begin to develop quickly. This artwork can be found at the Boston Museum of Fine Arts in Massachusetts. El Jaleo is anther art piece of Sargent that is portraying a Spanish Gypsy dancer performing to the accompaniment of musicians.
Berth Morisot was a French paintmaker and painter, who was associated with impressionism. Born into a family of a government official who was supportive of the arts she was able to openly practice her passion to paint. Through her painting The Basket Chair, she demonstrates her remarkable style of rough to light brush strokes that create a sense of realism in this piece. She was one of the few female painters of her time. The subject matter of her piece is not as interesting as that of Gustave Caillebotte’s The Orange Trees, due to the gender inequality and male superiorism.
After watching the recording version of Shrek the Musical, I consider that it is a successful production if the purpose of this musical is to amuse audiences and bring them an enduring audio-visual feast. As a musical that is created based on a blockbuster, the basic story framework is without novelty – an ugly but kind-hearted ogre experiences lots of dangers with a friend, saves the princess like a hero and wins her heart in the end. However, I have to admit that Shrek the Musical does a fantastic job to convert a movie into a Broadway show, considering the high level of complexity and difficulty for a team to humanize animated characters and imitate scenes. There are a lot of details, including Pinocchio’s growing nose, in the musical that show off the elaboration. Undoubtedly, the scenery is one of the brightest spot in this musical.
After watching the recording version of Shrek the Musical, I consider that it is a successful production if the purpose of this musical is to amuse audiences and bring them an enduring audio-visual feast. As a musical that is created based on a blockbuster, the basic story framework is without novelty – an ugly but kind-hearted ogre experiences lots of dangers with a friend, saves the princess like a hero and wins her heart in the end. However, I have to admit that Shrek the Musical does a fantastic job to convert a movie into a Broadway show, considering the high level of complexity and difficulty for a team to humanize animated characters and imitate scenes. There are a lot of details, including Pinocchio’s growing nose, in the musical that show off the elaboration. Undoubtedly, the scenery is one of the brightest spots in this musical.
The scene marries new technology and the elements of oil painting (such as colour, stroke and brushwork), which creates an aesthetic that realises an abstract world realistically into existence. Homogenising the public’s reaction on seeing moving images around the turn of the twentieth century, the scene elicits astonishment, mesmerizing spectators on seeing paintings in motion, and therefore constitutes the film as a modern cinema of attractions. Labelling What Dreams May Come as an exhibition of technological innovation is cogent, and in reality should not be intrinsically tied to the narrative of the film. Truthfully, audiences should respect the film’s ingenuity as it introduced revolutionary special effect techniques and
Shortly after arriving at Manderley for the first time, the narrator was asked if she would like to see her new suite in which she would share with Maxim. “Have you been making alterations?” I asked. “Oh, nothing much,” said Maxim briefly, “only redecorating and painting the suite in the east wing, which I thought we would use for ours … it’s much more cheerful on that side of the house, and it has a lovely view of the rose-garden…” (71). Throughout the novel, the common metaphors between the east wing and the narrator versus the west wing and Rebecca show a great divide within the house at Manderley. The east wing looks out of the rose-garden and represents a lively and peaceful side, while the west wing represents the dark, more mysterious side of Manderley that has a view of the sea where Rebecca was found dead.
Chase’s work is obviously a product of the movement in which he was a part of; many of the characteristics of the Impressionist movement are apparent in his work. What makes Chase so singular and intriguing, however, are the subtle variations in his work that, though evasive, are distinguishing characteristics. Additionally, the elements of his work that paid tribute to the past masters are evident. This is not to say that he was not revolutionary, however, for he was a part of “a period of transition…having indeed greatly helped to inaugurate it” ,
Baudelaire’s response to Manet complaining about people insulting his work made me laugh specifically, “Have you more genius than Chateaubriand and Wagner? And did people make fun of them? They did not die of it.” Baudelaire is essentially telling him to suck it up and that what critics are saying are not that bad and even trueful. Although Manet’s painting of Olympia still has controversy surrounding it today, the painting is still being talked about more than hundred years after the fact, which is what artist dream about. Controversial art is good art, to an extent, because it brings up issues and start conversations.
There is no better illustration of the roots of Lowbrow Art than Robert Williams’s Graphic Influences (Fig. 25). In this image, Williams lists a number of artistic inspirations for his style of Lowbrow Art. In Williams's paintings, one observes a tension between two conflicting extremes of high art and low art. He practiced the meticulous techniques of old master painters, but, at the same time, he betrayed these abiding techniques by using them to render strippers, geeks, monsters, and other salacious characters who have never defaced the canvas of an academic artist.
Discussion From research it shows that one of the earliest signs of a jukebox musical was John Gay’s creation of The Beggar’s Opera (1728). Before The Beggar’s Opera all popular theatre was opera and the main operas were mostly written by a man name Georg Frideric Handel. The daring storylines and poetry were written in a time when all operas focused on love, romance, gods and heroes. In contrast, Gay took a completely different approach and wrote a performance based on thieves, maliciousness, and set in Newgate Prison. The reason I believe it was daring, is because the popular crowd who visited the theatre were the upper class, who would generally attend the opera to see the romance and perhaps to use this as a form of escapism from the real life happening on the streets of London.
“Nessun dorma! Nessun dorma! Tu pure, o Principessa, nella tua fredda stanza, guardi le stelle che tremano…” (Puccini Lines 1-5).” These famous opening lyrics from the great opera Turandot made by Giacomo Puccini speak to all of us in some way, shape or form. In my life, this song was a reminder that all great things come from risk and hard work, much like the prince in this story had to risk his own life to win the princess’ heart. If the character Edna, from The Awakening by Kate Chopin, ever heard this tremendous masterpiece, I think that she would interpret this as a sign to keep defying the harsh gender regulations that the sexist Creole people put on their people.