Orphaned at the age of sixteen, Robert Morris was alone in a new continent. Future signer of the Declaration of Independence, Morris thrived at a young age and was able to make a living for himself. Although many are not familiar with his name, and how he contributed to the revolutionary war, he played an essential role in the success of the war against England. Morris, almost single handedly financed the Revolutionary War, and the development of the Bank of the United States following. Like many others of his time, Morris was born in England in 1734, and at the age of 10 came to the Chesapeake Bay.
Both came from a creative background. Ruskin was an author, poet, artist, and art critic, while Morris was known for his poetry, designing abilities, and as a socialist reformer (O 'Brien, Hussey, & Sabonis-Chafee, 2012). Prior to this movement was the Industrial Revolution. During this time, products that were commonly made by hand were then mass produced in factories ("The Industrial Revolution", n.d.). Mass producing products allowed for elaborate designs that were for decoration (Baldwin & Floyd, 2016).
It was said by Linda Parry (William Morris and the Arts and Crafts Movement 1989:5) that “his designs provided a mirror to his soul, reflecting his greatest artistic interests and influences”. His interests related to the arts and crafts movement are demonstrated by the simplicity yet beauty of The Strawberry Thief design .Its purposefulness and handcrafted quality add to the idea of rejecting mechanization and the idea of making products to better society .The repetition of patterns are also common in Morris’ works as it creates a relaxed feeling and environment that he wanted to introduce in the homes of many .The stylized technique used was a way for Morris to express a feeling of class and lavishness without making the design overly decorative or
Emily Dickinson lived a large period of her life isolated from the outside world, surrounded by her close family and friends. It is apparent that, with most of her spare time, she wrote poems and letters. The Gothic Movement and her fascination with nature heavily influenced Dickinson’s poems during the 18th century in America, this is exhibited by her continuous use as nature as a source of joy and pain as a theme within her work. Both Dickinson’s curiosity about nature, and the Gothic Movement, influenced the recurring theme in her poems, which is evident in the analysis of “Because I Could Not Stop for Death”. The Gothic Movement heavily influenced Emily Dickinson’s poetry.
Through the use of art, Hitler promoted the view that the primary creative impulse was more of political than artistic . The work of art can be a very powerful weapon in influencing and changing what people believe in and love. People enjoy various forms of art and, therefore, artists have the power to manipulate the beliefs and the desires of people visually. Most politicians before the 21st century such as Hitler used art to gain the support of people as well as to control their beliefs. Art can also change the morals of people positively or negatively depending on the message the artists are trying to convey.
The Rebellion is organized mainly by young men, many of whom are members of the upper class, but use their own status to help mobilize the less fortunate. Building upon the angers of the marginalized masses Marius and his allies make the social conflicts apparent in France by showing the people how wide the gap is between the echelons and the drudges of society. With the necessary tensions and uneven distribution of resources, status, and power, the Parisians appeared ready for social change as Marius and his fellows took to the streets, however the sway of the upper class proved too powerful and eventually the bulk of the student protestors were butchered by the police in the defense of civil order. Valjean, Fantine, and Marius are the main instances of social mobility within Les Misérables as they show how one could move up or down depending on their status and actions, Marx’s theory of social conflict works for this portrait of France in the 1800’s but it is applicable to modern Hong Kong? (Crossman,
1. INTRODUCTION C.Wright Mills was one of the important and fundamental sociologists of all time. His work had a significant impact on society as a whole. He was committed to social change and was infuriated by the coercion and tranny of his environment (Smith 2009). C.Wright Mills (1916-1962) used the theory of social imagination to describe how people decide what affects them in their daily lives and to link the individual with society.
Francesco’s works “had a very considerable impact on the visual arts in Italy” (Morris). Petrarch had gained a title for himself by publishing many famous poems, sonnets, stories, and more. “By this time Petrarch had attracted attention to himself as a first-class Latinist. But what distinguished him from his contemporaries was his attitude to the classics and his reasons for immersing himself in them” (Morris). Petrarch’s writing also shaped the italian language (Petrarch).
He says “I suppose that the practice of the arts must be mainly kept in the hands of a few highly cultivated men” which is foreshadowing the final argument he makes clear in his last sentence, that the arts should be available to everyone. But first he explains why he thinks the arts play an important role in people’s lives before explicitly stating that final point; “pleasure for the eyes and rest for the mind”. This demonstrates that Morris does not simply think the arts are aesthetically pleasing but he also believes that they can provide a break from everyday
Far from being helpless victims of the whims of more powerful groups, he argued that ritual specialists employed their 'spiritual labour' (healing, rain-making and game control) (Lewis-Williams 1982) as a means to gain influence and material goods. Campbell (1987: 22) believed that "changes in the social and economic life of the artists must have influenced their ideology and therefore their art". Consequently, the history he produced was a structural Marxist one, one of power and prestige, but power and prestige couched in terms of process and group, rather than agency and