"Early Abolitionist Art and Literature"
From the reading of Chapter 26, write one paragraph of 125 words or more and chose an autobiographical or fictional account by a slave. Within the paragraph identify the autobiographical or fictional account by a slave and explain whether you think an autobiographical or fictional account by a slave (such as Phyllis Wheatley and Olaudah Equiano) is more persuasive than a biographical or fictional account by a white author (such as John Gabriel Stedman or Aphra Behn). (Compare and Contrast).
Olauduh Equiano, was a native of Benin in West Africa when he was enslaved at the age of eleven in the year of 1756. Freed in the year of 1766 at the age of twenty-one he became literate and educated and wrote about the horrors he experienced and witnessed the treatment of the stolen nation (Africa).
During his accounting (The Interesting Narrative of the Life of Olaudu Equiano), he reminisced and wrote about the eventful trip (Middle Passage (slavery )) that stole his freedom. His portrayal of the unmitigated torture, conditions and deplorable acts caused a stir and his book became one of the most sought after books to help fight slavery in England and America. Whereas John Gabriel Stedman’s narrative (Narrative of a Five Years’ Expedition Against the Revolted Negroes of Surinam) also relayed the horrors, condition of treatment, torture of slaves he still did not support the freedom of slaves because he supported the institution of slavery but felt sorry for the misery and treatment that was slavery. In a sense it was a necessary evil because of the profit to be had. Olaudu wrote the narrative to try to help free slaves.
Olauduh is more persuasive than John Gabriel Stedman because his is an actual biography whereas John’s is an accounting with pro-slavery supportives throughout. Therefore, both narratives assisted in the freedom of slaves despite the differences.
Use critical thinking (the objective analysis and evaluation of an issue in order to form a judgment) and write one paragraph of 125 words or more that explain whether you believe the representations of slavery in the visual arts (such as William Blake’s illustrations, William Hackwood’s cameo, or John Singleton Copley’s painting) were more compelling and convincing of the injustices of slavery than the literary representations already mentioned. In your explanations, use two specific examples and consider both audience and the content and nature of the work. (Compare and Contrast).
The representation of slavery in the visual arts (William Blake’s illustrations, William Hackwood’s cameo, John Singleton Copley’s painting) although compelling and shocking to witness acts of brutality, atrocities committed that alluded to indecency and less than above-the-board activities dealing with the business of slavery. Both the visual and expressive narratives of (Olauduh Equiano and John Gabriel Stedman) supported the horror of slavery with John Gabriel Stedman supporting slavery as an institution.
Although, visually seeing an atrocity is sometimes more clarifying to the eye and mind and cements the acts of cruelty into depths of reality. Whereas written depiction of detailed precise accounts are more rigid, correct and allows the judgment of objectivity to rein first. Therefore of the two (visual display vs written accounts) written accounts were more convincing, conductive to the end of slavery with the injustices portrayed with such eloquence that none could stop the eventual end of slavery. For example, the portrayal of a Surinam planter in his morning dress by William Blake relays an unwritten message alluding to power. Power that was previously not had but is realized now and has caused jealousy, resentment and other emotions to help eradicate slavery because of the viewing and interpretation and resulting conclusion.
The Narrative of Olauduh Equiano caused an emotional support for the end of slavery and was used avidly by the abolitionists.
Use the Resource Center at the top of your Blackboard course shell and find one article that identifies or discusses a literary or art form in modern times that you think is most effective at depicting injustice and write one paragraph of 125 words or more. Within the paragraph briefly describe what the article says and give examples of the articles reasons for the injustices.
Graphic Art
This artistic form of art has many outlets to express disagreement with ongoing injustices as follows: variety of media, fine art, street art, cartoons, graffiti art, etc. Since censorship is a huge factor that affects all expressions of outrage limits the types of expressive messages sent out to positively connect people to the reality of the situation that is occurring and exposing the injustices fully. The depiction of injustices fly high in the sky as a flag and trumpets loudly with the knowledge of exposure.
Therefore, because of this corrections are done, empathy sought is received, caring develops and the recruits come to assist. Consequently, in modern times this is idea because of mass exposure and the ability to address the situation as a whole in segmented divisions.
This article uses war as an example to display graphic art as a contributor to fighting injustices and further discusses the effects on all and who ultimately comes to the rescue when injustices are done. The reasons for the injustices done are lack of knowledge, more exposure is needed, exploitation, emotional detachment, fear, intimidation, life altering occurrences, inadequate support, inability to adjust back into society normally and ineptness.
Because of this art is used as an emphasis and a way to help and assist those in getting back and merge successfully into society. Lastly, the influence art has is tremendous, incalculable and very effective.
http://artofinjustice.org/index.php/graphic-art#!
co-student reply
I agree with your findings that Olaudah’s recounting of the horrific episode in his life was too detailed to not be true. Further, because other narratives became available this supported his as not fiction because of similarities and not the expression of naïve person of African heritage. Fortunately, he became literate and educated to accomplish his expression and wish to help other slaves. Envisioning an experience of this magnitude is impossible for even the most literate of persons to grasp without pictures, reportings, etc and ongoing protests is what caused a change in thought and freed the slaves.
Thank you.
Felicia
Thursday, June 16, 2016
Discussion Week 2 - Humanities 112
The Arts and Royalty
1)After reading about Rubens and Poussin from your textbook (or eChapters in the Student Center) and how royalty used the arts for political purposes, write one paragraph of 125 words or more to discuss the dispute of the French Royal Court. Then compare and contrast one painting by Poussin and one painting by Rubens that were used for political purposes. In the paragraph, explain which you prefer and use at least two examples of each painting to persuade your comparison of each painting.
The disputes in the French Royal Court were initiated by tension between the members of the court and differing favoritism of artistic expression. The choice between classical art and the emotional drama of the Baroque made it necessary to choose between the two because of these tensions and the political need to not reflect excess and prevent a showing of lasciviousness, lewdness or that a tendency to be overtly sensual existed. Therefore, the classical approach was embraced publically and the sensual Baroque in privacy.
Peter Paul Rubens, The Kermis (La Kermesse). Ca. 1635.
Nicolas Poussin, The Shepherds of Arcadia (also called Et in Arcadia ego). 1638-39.
Both paintings are of excellent depiction, the Ruben uses a different pattern in painting with lots of sensuality, fleshy content, and various subjects modeled in differing viewing whereas the Poussin uses decorum and restraint and all subjects are decently clothed. Conformity to decency and composition using geometrical horizontals and verticals is strongly evidenced in the Poussin but not in the Ruben. Restraint is the Poussin while in the Ruben excess is clear.
A political tout for the Ruben was that Louis XIV purchase settled the tension of who was the best painter when he purchased The Kermis. As per his reputation he was owner of Europe’s greatest painter work with a slight for Poussin since he won his work by wager and not purchase. I prefer “The Kermis” even though levels of sensuality exist I am not adverse to the viewing of it or find it offensive. Clarity is very detailed and I feel more skill is reflected with the differing subjects included in the painting (of the two I would purchase “The Kermis” also). The Shepherds of Arcadia is detailed but it is a different style of painting and it reflects honor and decency that does not offend me either.
2) Continue your understanding of how Louis XIV used the various arts to settle disputes between playwright Moliѐre and Parisian and write one paragraph of 125 words or more to discuss the dispute and/or resolution.
Louis XIV being an apt appreciator of arts (plays, painting, dancing, musicals) and being the leader whose pursuit of the exquisite was legendary. He was also aware of the competitive nature of artists and writers who clamored avidly for the king’s patronage. Having the King as champion was the key to any resolution or dispute as to who was favored. One such dispute was the clash between Moliѐre and Madame de Rambouillet (Parisian) where she and her followers were savagely ridiculed by satirical thrusts that made her and her ladies a joke. The mockery of herself as a target drove her to intense anger which caused her to retaliate and try to drive Moliѐre from the city by having the theater torn down.
Unfortunately for her, the King was so delighted with Moliѐre’s quips, portrayals and sharp barbs of mockery that he rewarded him with a large monetary award and the privilege and right to perform in the Theatre du Palais Royal. Therefore the King protected him and ended the strife and clash.
3) Do a Google search to find one example of a modern political leader who uses the arts to further his political agenda. Write one paragraph of 125 words or more and compare the modern day political leaders approach to Louis XIV approach.
Louis XIV used the arts as a measure of control. Whoever was rich enough to associate and purchase the same caliber of expenditures on the “the arts” was welcome in the leader’s circle.
This allowed the king’s interest in the arts to support him politically and his patronage to be seeked constantly. Because the King only became a patron of exemplary talent…this and wise decisions allowed him to declare himself the greatest king and helped him exert control over his subjects.
Art became a lingo all its own with eloquence, class, distinction and produced memorable art that is priceless today. Therefore, his political clout was awesome and allowed the absolutism approach to be facilitated with ease with no constraints or strife.
Compared to Louis XIV, George Bush’s collection of artistical expression (his goal to me) was not to facilitate absolutism but an expressionist approach and tribute to the political world leaders portrayed. Therefore, asserting political clout is a natural continuance of his position in the political arena without the need to use art as a leveling board. I believe that other political leaders do not use the arts as a major maneuvering point when dealing with politics.
http://www.theguardian.com/artanddesign/2014/apr/04/george-bush-portraits-world-leaders
Isn't the Classical era after the Baroque era?
The Baroque is first and then the Classical era.
Reply to co-student
1) From the reading of the textbook (or eChapters in the Student Center) choose Hobbes side or Locke's side (be brave perhaps; take a side you actually disagree with) and write one paragraph of 125 words that identify the points (reasons) of political authority (view) by the chosen philosopher.
2) Using the writings of each given in our class text or at the Websites below, write one paragraph of 125 words and give two reasons why you chose one side over the other side. (Compare and Contrast)
3) Do a Google search of "philosophers" and give an example of one (1) modern philosophers who has a similar situation in the world where the modern philosopher agrees with either Hobbs or Locke. (Do these philosophies apply to todays modern politics?)
I agree with your points on Locke’s Theory of how the human mind is, consist of and methodology of evolution. Several aspects are singularly impressive and support Locke’s approach and that is the quality of mind is intricate, complicated and indeterminable in the understanding of what it is capable of and the untapped limitless ability.
Also, I agree with my own argument in this manner and that is “we are therefore I am” which essentially means as we exist, we are capable of learning, expansion and the pure evolution of a mind that will never cease in the acquiring and expansion. Therefore, our nature being true allows that self-government is natural as breathing and that humans at birth are new to the reality of now and what we learn becomes an inherent characteristic and therefore usable and allow us to be people of good reason.
Based on the true status of modern times, the divine right should be refuted for no one deserves the right of totality and absolute finality because as Locke stated we are humans and equitably by nature free, equal and independent.
Further that in order for society to function properly the submission to governmental rulings is necessary and apt to have structure to fulfill social norms and have a sense of normalcy. Also, that based on experience and perception comes understanding and clarity of thought enhanced by learning and change.
In consequence, absolutism is such an encompassing state of being that “heads will roll” is not a theatrical quip but an actuality that could be fulfilled as “do so” in the royal decree and it is done and no one could help you and mitigate the order. Unlike absolutism, liberalism gives all the right to be free thinking individuals with choice and freedom of the oppressive yoke.
Thank you.
Felicia
1)After reading about Rubens and Poussin from your textbook (or eChapters in the Student Center) and how royalty used the arts for political purposes, write one paragraph of 125 words or more to discuss the dispute of the French Royal Court. Then compare and contrast one painting by Poussin and one painting by Rubens that were used for political purposes. In the paragraph, explain which you prefer and use at least two examples of each painting to persuade your comparison of each painting.
The disputes in the French Royal Court were initiated by tension between the members of the court and differing favoritism of artistic expression. The choice between classical art and the emotional drama of the Baroque made it necessary to choose between the two because of these tensions and the political need to not reflect excess and prevent a showing of lasciviousness, lewdness or that a tendency to be overtly sensual existed. Therefore, the classical approach was embraced publically and the sensual Baroque in privacy.
Peter Paul Rubens, The Kermis (La Kermesse). Ca. 1635.
Nicolas Poussin, The Shepherds of Arcadia (also called Et in Arcadia ego). 1638-39.
Both paintings are of excellent depiction, the Ruben uses a different pattern in painting with lots of sensuality, fleshy content, and various subjects modeled in differing viewing whereas the Poussin uses decorum and restraint and all subjects are decently clothed. Conformity to decency and composition using geometrical horizontals and verticals is strongly evidenced in the Poussin but not in the Ruben. Restraint is the Poussin while in the Ruben excess is clear.
A political tout for the Ruben was that Louis XIV purchase settled the tension of who was the best painter when he purchased The Kermis. As per his reputation he was owner of Europe’s greatest painter work with a slight for Poussin since he won his work by wager and not purchase. I prefer “The Kermis” even though levels of sensuality exist I am not adverse to the viewing of it or find it offensive. Clarity is very detailed and I feel more skill is reflected with the differing subjects included in the painting (of the two I would purchase “The Kermis” also). The Shepherds of Arcadia is detailed but it is a different style of painting and it reflects honor and decency that does not offend me either.
2) Continue your understanding of how Louis XIV used the various arts to settle disputes between playwright Moliѐre and Parisian and write one paragraph of 125 words or more to discuss the dispute and/or resolution.
Louis XIV being an apt appreciator of arts (plays, painting, dancing, musicals) and being the leader whose pursuit of the exquisite was legendary. He was also aware of the competitive nature of artists and writers who clamored avidly for the king’s patronage. Having the King as champion was the key to any resolution or dispute as to who was favored. One such dispute was the clash between Moliѐre and Madame de Rambouillet (Parisian) where she and her followers were savagely ridiculed by satirical thrusts that made her and her ladies a joke. The mockery of herself as a target drove her to intense anger which caused her to retaliate and try to drive Moliѐre from the city by having the theater torn down.
Unfortunately for her, the King was so delighted with Moliѐre’s quips, portrayals and sharp barbs of mockery that he rewarded him with a large monetary award and the privilege and right to perform in the Theatre du Palais Royal. Therefore the King protected him and ended the strife and clash.
3) Do a Google search to find one example of a modern political leader who uses the arts to further his political agenda. Write one paragraph of 125 words or more and compare the modern day political leaders approach to Louis XIV approach.
Louis XIV used the arts as a measure of control. Whoever was rich enough to associate and purchase the same caliber of expenditures on the “the arts” was welcome in the leader’s circle.
This allowed the king’s interest in the arts to support him politically and his patronage to be seeked constantly. Because the King only became a patron of exemplary talent…this and wise decisions allowed him to declare himself the greatest king and helped him exert control over his subjects.
Art became a lingo all its own with eloquence, class, distinction and produced memorable art that is priceless today. Therefore, his political clout was awesome and allowed the absolutism approach to be facilitated with ease with no constraints or strife.
Compared to Louis XIV, George Bush’s collection of artistical expression (his goal to me) was not to facilitate absolutism but an expressionist approach and tribute to the political world leaders portrayed. Therefore, asserting political clout is a natural continuance of his position in the political arena without the need to use art as a leveling board. I believe that other political leaders do not use the arts as a major maneuvering point when dealing with politics.
http://www.theguardian.com/artanddesign/2014/apr/04/george-bush-portraits-world-leaders
Isn't the Classical era after the Baroque era?
The Baroque is first and then the Classical era.
Reply to co-student
1) From the reading of the textbook (or eChapters in the Student Center) choose Hobbes side or Locke's side (be brave perhaps; take a side you actually disagree with) and write one paragraph of 125 words that identify the points (reasons) of political authority (view) by the chosen philosopher.
2) Using the writings of each given in our class text or at the Websites below, write one paragraph of 125 words and give two reasons why you chose one side over the other side. (Compare and Contrast)
3) Do a Google search of "philosophers" and give an example of one (1) modern philosophers who has a similar situation in the world where the modern philosopher agrees with either Hobbs or Locke. (Do these philosophies apply to todays modern politics?)
I agree with your points on Locke’s Theory of how the human mind is, consist of and methodology of evolution. Several aspects are singularly impressive and support Locke’s approach and that is the quality of mind is intricate, complicated and indeterminable in the understanding of what it is capable of and the untapped limitless ability.
Also, I agree with my own argument in this manner and that is “we are therefore I am” which essentially means as we exist, we are capable of learning, expansion and the pure evolution of a mind that will never cease in the acquiring and expansion. Therefore, our nature being true allows that self-government is natural as breathing and that humans at birth are new to the reality of now and what we learn becomes an inherent characteristic and therefore usable and allow us to be people of good reason.
Based on the true status of modern times, the divine right should be refuted for no one deserves the right of totality and absolute finality because as Locke stated we are humans and equitably by nature free, equal and independent.
Further that in order for society to function properly the submission to governmental rulings is necessary and apt to have structure to fulfill social norms and have a sense of normalcy. Also, that based on experience and perception comes understanding and clarity of thought enhanced by learning and change.
In consequence, absolutism is such an encompassing state of being that “heads will roll” is not a theatrical quip but an actuality that could be fulfilled as “do so” in the royal decree and it is done and no one could help you and mitigate the order. Unlike absolutism, liberalism gives all the right to be free thinking individuals with choice and freedom of the oppressive yoke.
Thank you.
Felicia
Discussion Week 1 - Humanities 112
Baroque Style
1) From the reading of the textbook (or eChapters in the Student Center) write one paragraph of 125 words or more that identify the artist, date, and title. In addition, include in the paragraph the Key Terms from the textbook reading to describe the Baroque painting by identifing specific key aspects of each painting that fit the Baroque style. The goal is to demonstrate an understanding of Baroque style painting.
Caravaggio, The Crowning with Thorns, 1602-04, oil on canvas, 165.5 x 127 cm (Kunsthistorisches Museum, Vienna) is my selection. This selection portrays the play of light in a geometrical shape of triangular direction from the right corner to highlight the unfairness of impalement of thorns.
Depicted in this painting is the purpose of using religious scripture to teach and inspire the faithful as it reflects Jesus suffering for our sins. Not only does it relay an unspoken testament of faith it reflects an audible, intelligible and realistic emotional stimulus to piety and the expectation of suffering for our faith.
Foreshortening is not a technique used but palpable is light highlighted on the two impalers and on Jesus partially covered torso and the leather jerkin of the Spanish officer. Relaying mystery is the hidden countenance from light and shaded in the dark to prevent full revelation and yet still reflect the horrendous torture of having thorns impaled.
The revealatory power of light reflects detail in stark rendition and allows tenebrism to be dramatized. Contrasting with harmonic blends is the depth of thought relating piousness in Jesus soul for his compliance and allowed the solidification of faith in the service of God. Transcending upward allows the Baroque method to capture and emphasize victory blatantly and reflect the true establishment of Catholic Faith and resistance to Protestant Faith with triumph of Christianity over all. Spatiality is allowed as the chiaroscuro method is employed allowing a portrayal of depth to the room so vivid that the painting reflects almost 3D imagery.
2) After you have demonstrated your knowledge of the Key Terms of Baroque paintings in the first paragraph, use those Key Terms to write one paragraph of 125 words or more to explain what you liked or disliked about your chosen painting. The goal is to demonstrate an understanding of Baroque paintings Key Terms.
My chosen painting reflects awesome detail that I like of skin texture showing a lighter colored ivory paint then mixed with other colors to reflect skin exposed to sun and outdoor activity. This was achieved by using revealatory power of light which created the look of pallor and shadows of Jesus and mixture of paint to the others darker skin with light exposed on other sections to give a look of credence and possibility. Harmonic blends compel the eye to look closer and closer noting the details and abject misery of Jesus as he is treated horribly.
Foreshortening which gives the look of subjects flying from the sky is not used. But the chiaroscuro method along with tenebrism method is used and allows the richness of Jesus robe to be impossible to be obscured or overwhelmed and reflect an almost tangible presence of reality and spatial depth using graduation of light and dark. This in itself reflects the status of richness of his family.
Another reason I picked this painting is to renew my faith with the realization that others who view this painting like myself are affected with determination to stay faithful and true.
3) Do a Google search to find a modern film that uses elements (Key Terms) of Baroque style and compare and contrast the film to your chosen painting in one paragraph of 125 words or more.
Movie – Jane Eyre, starring Orson Welles and Joan Fontaine (1944).
As with the painting, forshortening is not utilized in the movie (Jane Eyre) but what is similar is light, shadows and darkness used for emphasis that project emotional level of piety in the movie and painting. Starkness, coloring, shadows and darkness are corresponding and relational in both painting and movie but more expanded in the movie because of lack of color. Cinematographic history reflects tenebrism in several segments in the movie whereas the painting is very limited in its ability to show different phases of the tenebrism method as in the movie. Chiaroscuro is creatively used relaying more depth than actually exist in both painting and movie. Revealatory Power of Light corresponds as similar in both movie and painting but expanded in the movie to deploy and reflect mystery.
Reply to co-student
I also am impressed with the painting for his hands are held in supplication and spiritual worship because the Holy Spirit has descended upon him. Enthralled is his soul as he is filled within and this is what Caravaggio has captured the essence of the Living God saving him.
Noted, tenebrism is utilized as opposed to chiaroscuro and foreshortening. Revealatory power of light is used to reflect that the power of God was upon him and show emphasis to Christians. Further, I agree with you that the emotional involvement was revealed and that love of God was embraced.
I also loved the movie “The Girl with the Pearl Earring”.
Thank you.
Felicia
1) From the reading of the textbook (or eChapters in the Student Center) write one paragraph of 125 words or more that identify the artist, date, and title. In addition, include in the paragraph the Key Terms from the textbook reading to describe the Baroque painting by identifing specific key aspects of each painting that fit the Baroque style. The goal is to demonstrate an understanding of Baroque style painting.
Caravaggio, The Crowning with Thorns, 1602-04, oil on canvas, 165.5 x 127 cm (Kunsthistorisches Museum, Vienna) is my selection. This selection portrays the play of light in a geometrical shape of triangular direction from the right corner to highlight the unfairness of impalement of thorns.
Depicted in this painting is the purpose of using religious scripture to teach and inspire the faithful as it reflects Jesus suffering for our sins. Not only does it relay an unspoken testament of faith it reflects an audible, intelligible and realistic emotional stimulus to piety and the expectation of suffering for our faith.
Foreshortening is not a technique used but palpable is light highlighted on the two impalers and on Jesus partially covered torso and the leather jerkin of the Spanish officer. Relaying mystery is the hidden countenance from light and shaded in the dark to prevent full revelation and yet still reflect the horrendous torture of having thorns impaled.
The revealatory power of light reflects detail in stark rendition and allows tenebrism to be dramatized. Contrasting with harmonic blends is the depth of thought relating piousness in Jesus soul for his compliance and allowed the solidification of faith in the service of God. Transcending upward allows the Baroque method to capture and emphasize victory blatantly and reflect the true establishment of Catholic Faith and resistance to Protestant Faith with triumph of Christianity over all. Spatiality is allowed as the chiaroscuro method is employed allowing a portrayal of depth to the room so vivid that the painting reflects almost 3D imagery.
2) After you have demonstrated your knowledge of the Key Terms of Baroque paintings in the first paragraph, use those Key Terms to write one paragraph of 125 words or more to explain what you liked or disliked about your chosen painting. The goal is to demonstrate an understanding of Baroque paintings Key Terms.
My chosen painting reflects awesome detail that I like of skin texture showing a lighter colored ivory paint then mixed with other colors to reflect skin exposed to sun and outdoor activity. This was achieved by using revealatory power of light which created the look of pallor and shadows of Jesus and mixture of paint to the others darker skin with light exposed on other sections to give a look of credence and possibility. Harmonic blends compel the eye to look closer and closer noting the details and abject misery of Jesus as he is treated horribly.
Foreshortening which gives the look of subjects flying from the sky is not used. But the chiaroscuro method along with tenebrism method is used and allows the richness of Jesus robe to be impossible to be obscured or overwhelmed and reflect an almost tangible presence of reality and spatial depth using graduation of light and dark. This in itself reflects the status of richness of his family.
Another reason I picked this painting is to renew my faith with the realization that others who view this painting like myself are affected with determination to stay faithful and true.
3) Do a Google search to find a modern film that uses elements (Key Terms) of Baroque style and compare and contrast the film to your chosen painting in one paragraph of 125 words or more.
Movie – Jane Eyre, starring Orson Welles and Joan Fontaine (1944).
As with the painting, forshortening is not utilized in the movie (Jane Eyre) but what is similar is light, shadows and darkness used for emphasis that project emotional level of piety in the movie and painting. Starkness, coloring, shadows and darkness are corresponding and relational in both painting and movie but more expanded in the movie because of lack of color. Cinematographic history reflects tenebrism in several segments in the movie whereas the painting is very limited in its ability to show different phases of the tenebrism method as in the movie. Chiaroscuro is creatively used relaying more depth than actually exist in both painting and movie. Revealatory Power of Light corresponds as similar in both movie and painting but expanded in the movie to deploy and reflect mystery.
Reply to co-student
I also am impressed with the painting for his hands are held in supplication and spiritual worship because the Holy Spirit has descended upon him. Enthralled is his soul as he is filled within and this is what Caravaggio has captured the essence of the Living God saving him.
Noted, tenebrism is utilized as opposed to chiaroscuro and foreshortening. Revealatory power of light is used to reflect that the power of God was upon him and show emphasis to Christians. Further, I agree with you that the emotional involvement was revealed and that love of God was embraced.
I also loved the movie “The Girl with the Pearl Earring”.
Thank you.
Felicia
Dance: American Art 1830 - 1960 ESSAY ON MUSEUM DISPLAY
Dance: American Art 1830 - 1960
1
Dance: American Art, 1830 - 1960
Strayer University
Felicia McCaw
Professor Cynthia Creel
Hum 112
Online Spring 2016
May 22, 2016
Date Visited: May 17, 2016
Exhibit: March 20, 2016 – June 12, 2016
Dance: American Art 1830 - 1960
2
This impressive exhibit is housed within the Detroit Institute of Arts in Detroit, Michigan which is an astounding beautifully designed building inspired by French architecture. A visual display that is superlative to appreciation and reflects American artists who have contributed to the symbolic challenge of capturing forms of dance from the most simplistic to extreme choreographic performance. Each painting speaks a language all its own in the portrayal of dance and ensuing joy in the differing depictions using ambiguity and clearness as themes. Various approaches of the painting range from romanticism expression, impressionism, realism and modernism.
As dance is an art form the expressive capture is indeed an imaginative explosion of emotional outburst in creating visual artworks as representative. Aesthetically correct is the approach in the documentation of present and historical interpretation of dance, mimesis, expression and communication of sentimentality or emotion when dealing with dance as a theme or subject.
One of the selections that is symbolic of expressive art that convey messages all its own is Dances, 1914-15, by Arthur Bowen Davis displayed at the museum. Reflective of grace of form, litheness and suppleness it virtually simmers with latent sensuality bathed in ricocheting colors of asymmetrical splashes blended and combined to compose female forms in dance. Enthralling the eye it captures the interest because of its intriguing hidden and clarity and its ability to capture rhythms and life. Expressing joy, fruitfulness, nubileness it is almost a ceremonious dance of richness in fertility in comparison to Les Demoiselle d’Avignon by Picasso that is a visual sensuality that is apparent without discretion.
Dance: American Art 1830 - 1960
3
The difference between the two is symbolic of innocence versus a worldliness and weariness compared to a youthfulness and beginning. Les Demoiselle d’Avignon is also composed of asymmetrical application and splashes of color to define female form but have more of an angular approach to reflect the carnality of their trade and the ambiguousness of their future and daily existence. As conceptualized the appearance of faces are differentiated to reflect masks covering two of the women faces and the others express sadness, tension and despair of their life circumstances. As hidden by the masks this could be reflective of the desire to hide their identity because they have been forced into the trade of prostitution and its inner disgrace. Both paintings are reflective of a combination of classicism and surrealism that have been intertwined to compose both Les Demoiselle d’Avignon and Dances and are imagery and volumes of communication.
The next painting selection that was displayed at the museum is Rustic Dance After a Sleigh Ride, 1830, by William Sidney Mount, which is reflective of a scene of high stepping merriment at an evening soiree. Expressive is emotions that dramatize the moment as highly enjoyable with the utmost of respect given to the women as they are politely asked to dance.
The coloring and details are refined and indicative that a fine brush was used to relay the station of life of the participants at the soiree. The historical value of preciseness and dress is captured for reference and referral. Further this scene also indicates that scenario is based upon Southern life because the entertainers are black slaves with one black slave onlooking.
In comparison Negro Life in the South (Kentucky Home), 1859, is highly ambiguous for it relays a picture of black slaves being content, at rest and at ease with their situational slavery. Although realism was utilized in its composition with real models to help in portrayal it is
Dance: American Art 1830 - 1960
3
underlining the pushing point against slavery for none felt that slaves should be so content in their lot and have time for song and dance and nothing indicative of work to earn a living while others labored hard to survive every day. Although the difference in the quality of the state of dress of the mistress and the slaves is in contrast and reflect the level of life it is not reflective of the true wrongness of slavery. The startling point in this painting is that the mistress is associating closely with slaves and as taboo or violation of rules it is not permissible for her to be there because it was considerable unseemly and below her to associate with black slaves and be there unescorted. Further the richness and detail is finely done and indicative of a fine brush being used to capture coloring, facial images and mood as the other painting. Both painting are excellent relayances of a time period that has passed and follow the classical approach.
In contrast, Rustic Dance After a Sleigh Ride is an all Caucasian scenario with three black slaves enjoying the good life while the Negro Life in the South reflects a snapshot in the life of black slaves but with many underlining undercurrents and emotional drama that is a thrust at freeing the slaves to ensure that they are made to work as others with only one Caucasian person visible
Every painting selected is of such excellence that the viewing in person is a worthy endeavor for the pure visual enjoyment and the speculative appreciation and intriguing thoughts and attractant that arise from the almost stimulative interaction with the viewing and conceptive thoughts that arise. In conclusion, the theory of artistic benevolence is presented with excellence and is an exemplary example of mentorship and a highly enjoyable view.
REFERENCES
Sayre, H.M. (2014) The Humanities: Culture, Continuity and Change, Boston, MA: Pearson
Page 1120, Page 967
Arthur Bowen Davis: Dances (27.158) – The Detroit Institute of Arts
http://www.dia.org/object-info/67d4ce9b-88f6-40a9-851f-adfd38d9b326.aspx?position=3
Museum of Fine Arts, Boston
http://www.mfa.org/collections/object/rustic-dance-after-a-sleigh-ride-33204
Monday, May 23, 2016
Shadows in the Soul
Forward I walk in the shame and pain
Throughout my time I care not for gain
I am neither or two for I have insight and not insane
Glorying each day in my skin I feel
Looking inward I place all aside and walk forward still
Ignoring all I remember the cruel
Passing through I fell no spell
For justice is real and true
By
Felicia McCaw
Throughout my time I care not for gain
I am neither or two for I have insight and not insane
Glorying each day in my skin I feel
Looking inward I place all aside and walk forward still
Ignoring all I remember the cruel
Passing through I fell no spell
For justice is real and true
By
Felicia McCaw
Harlem Renaissance Poets
1
Harlem Renaissance Poets
Strayer University
Felicia McCaw
Professor Cynthia Creel
Hum 112
Online Spring 2016
May 5, 2016
Harlem Renaissance Poets
2
A time and era of cultural awakening for Black Americans helped provide a cultural identity in the 1920s and 1930s. This allowed a turning point where the Negro Movement helped open the door and allowed the flourishing of creative expression and caused an alteration from disillusionment to racial pride known as the Harlem Renaissance (originally called the New Negro Movement). Opportunities that never existed opened even though racism was evident with scarce economic avenues available.
During this timeframe Black owned magazines and newspapers became readily available and freed Black people from the confines and influence of White society. Expressions of art, song, dance, literary forms of poetry, music and books by Black authors became the new influence on Black society.
Like a true phenomenon this evolving and uplifting of a race was a great achievement and a founder of music greats, e.g., Duke Ellington and singer Bessie Smith. The Great Migration of African Americans contributed to the rise of the Harlem Renaissance whose period ranged from 1918-1935 and was located in Manhattan, New York. During the migratory time African Americans relocated from the South to the North where levels of increased literacy was allowed. Harlem was one of the most concentrated segments in this country that attracted Black intellectuals, talent and promoters of Black expressionism resulting in a tremendous influence on Black writers or artists that allowed them to become famous or was affected by the explosive growth, popularity and interest.
Although a black ghetto, it was a prosperous ghetto with cosmopolitan live entertainment and became the benefactor of new writers with two of the most famous writers being Claude
Harlem Renaissance Poets
3
McKay and Hughes Langston who were very influential in the fostering of ethnic pride and expressiveness.
One of Harlem’s poets who was significant and beneficial to the blossoming of Harlem Renaissance was Claude McKay who was born in Jamaica but relocated to the United States in 1912. His best works are his poems which emphasized, celebrated and supported Proletariats and called for racial militancy. He glorified the state of blackness in the face of White hostility and urged resistance of oppression unto death. Another writer of poetry and prose that was highly popular was Langston Hughes who was born in Joplin Missouri whose empathetic approach in writing supported and focused on the little people triumphs over adversity with heartfelt urgings to keep the American Dream alive. Even though his depictions are defeated, humiliated they are still survivors and heroes for others. Unlike Claude McKay’s poetry, Langston’s renditions proclaim a different approach of desire to save democracy for all and an establishment of universal values with no racial preference.
Both Claude McKay and Langston Hughes were very influential in the attracting of new writers for being authentically Black. Their popularity and talented display of literary ingeniousness was the impetus for the incredible growth, prosperity and investments of White literary to promote, teach and train new writers and allow publishing due to its physical location.
McKay’s feelings of social consciousness is clearly evident in the first six lines “Although she feeds me bread of bitterness, And sinks into my throat her tiger’s tooth, Stealing my breath of life, I will confess I love this cultured hell that tests my youth!, Her vigor flows like tides into my blood, Giving me strength erect against her hate” (“America” 1-6). His feelings of being hurt, disillusioned by racism, bigotry is evident in the outporing of sentiments reflecting
Harlem Renaissance Poets
4
that a race is being oppressed in a country that is relatively young but still able to grow and evolve to include the Black race as a complement and asset. Further even though his youth is being expended he will continue to endeavor to fight for equality. His goal was to express a desire for understanding that his race although accepting of the conditions of living still profess love for their adopted country with trueness and honesty. Also, that her strength is like an aphrodisiac in his blood clamoring and encouraging him to stand anyway against discrimination even though there is fear.
Langston approach is different but still reflects social consciousness that is evident in the entire poem “I am the darker brother, They send me to eat in the kitchen, When company comes, But I laugh, And eat well, And grow strong, Tomorrow, I’ll be at the table, When company comes, Nobody’ll dare, Say to me, “Eat in the Kitchen”, Then, Besides, They’ll see how beautiful I am, And be ashamed, I, too, am America” (“I, Too, Sing America” 1-17). His portrayal signifies and reveals the treatment of one race (white) and another (black) personifying discrimination, bigotry, tolerance and resentment and it is evident that he is socially conscious of his place in society when he is sent out to eat in the kitchen because he is not white and is considered unacceptable to eat with them. Because of his being conscious of his place that he is being regulated to he hopes to be treated equally in the future and allowed the same treatment as White people. Further that he would be seen as human, as unique and beautiful and worthy of equal treatment as White people.
Supportive of this time with corresponding a theme is McKay’s poem “Stealing my breath of life, I will confess, I love this cultured hell that tests my youth!, Her vigor flows like tides into my blood” (“America” 3-5) of love of a country with bitter sweetness and
Harlem Renaissance Poets
Page 5
sadness of inequality and the effect of prejudice and bigotry. In a parallel thought, Langston’s theme reflects that he too is mournful, bitter with being treated as less than an equal in his poem “I am the darker brother, They send me to eat in the kitchens, When company comes” (“I, Too, Sing America” 1-3) because he hopes to be thought of as worthy, unique and receive the same treatment as White people. Both are contributory to an alteration of feelings as the laments are voiced in inequivocally intelligent outcries against the unfair, injustice of oppression and suppression.
Reflective of the educational level obtained and expressed by writings, poems and prose are supportive and evidential that the Black race is quite capable of assimilative abilities. Further even though the dangers were there these two were able to be great facilitators, encouragers and nurturers of the Harlem Renaissance and the evolution of free thought and deed. As with all, there has to be someone willing to take a chance and try anyway.
REFERENCES
Sayre, H.M. (2014) The Humanities: Culture, Continuity and Change, Boston, MA: Pearson
Shaduri, G. (2010) “Double Consciousness” and the poetry of Langston Hughes on the example of the Weary Blues (1923). IBSU Scientific Journal, 4(1), 89-98.
Berg, S. C. (2015). Harlem Renaissance. Salem Press Encyclopedia,
Shuman, R.B. (2003). Claude McKay. Salem Press Biographical Encyclopedia,
"Harlem Renaissance." International Encyclopedia of the Social Sciences. 2008. Retrieved May 05, 2016 from Encyclopedia.com: http://www.encyclopedia.com/doc/1G2-3045300994.html
Biography.com Editors, Langston Hughes Biography. Retrieved from
http://www.biography.com/people/langston-hughes-9346313
Weebly.com, Countee Cullen, Contribute to the Harlem Renaissance. Retrieved from
http://counteecullen.weebly.com/contribute-to-the-harlem-renaissance.html
Rowen, B. & Brunner, B., Great Days In Harlem. Retrieved from
http://www.infoplease.com/spot/bhmharlem1.html
Poemhunter.com, Claude McKay’s Poems. Retrieved from
http://poemhunter.com/claude-mckay/
Poemhunter.com, Langston Hughes’s Poems. Retrieved from
http://www.poemhunter.com/langston-hughes
Saturday, May 7, 2016
God is Perfect and Infinite
God is Perfect and Infinite
1
God is Perfect and Infinite
Strayer University
Felicia McCaw
Professor Cynthia Creel
Hum 112
Online Spring 2016
April 11, 2016
God is Perfect and Infinite
2
Rene Descartes’ Discourse on the Method, Part IV, discusses the profession of faith and his lack of true perfection and God’s perfection and basis in truth. For indeed reality cannot exist without the imaginative thought and dreams that pervade the senses but is still affective to conscious thought. Further realization concludes that senses are not the establishment of true faith but proof of reality cannot be sustained physically but it is not possible to negate or interfere with the conclusionary thought that God is real.
The theoretical thought of “I am (existence), I am thinking and I exist) does justice as a beginning thought but as per further study it relates relationary value that this methodology of thinking pertains to a higher entity which prevails the establishment of investigation and contemplative thought that assisted in eradicating doubt. For as rightful is thought that beguiles a man to feel the flourishing of ideas and initiation of quests of instilled ability and where the fountain of riches manifest from for I am equal now.
For nothingness was not valid enough to substantiate with authority that ideas of God was false but became a finality in thought in assistance of establishing faith. Contradictory to view of perfection of self allowed humility, humbleness and allowance of acceptance of God’s gifts and wish for a state of perfection to exist in self. For indeed the lack of human failings is evident and absent in God and is a quality wanted and desired by all of who wish perfection.
As with nothingness as a state of the senses this state corresponds with the confused state of minds (mind sets). For indeed confusion is relevant and without imaginative ability that reflects the perception of relative existence garnered by the senses and sight.
God is Perfect and Infinite
3
The possibility of perfection in humans is not possible for compared to God our flaws are many and encompass sins of all nature. Because of this realization of human frailty and failing it is evidentially apparent and reflects the visibility of the inability to be flawless.
Therefore, yielding to the inevitable of being flawed acknowledges the lack of perfection and inability to accomplish a state of glorious perfection. Because I am flawed, realization comes of the knowledge that an entity of higher thought and perfection exist who teaches all.
Another supportive that helped in the culmination of the theory of God and his perfection is the use of analytical study (Geometry) that was used as proof of consequence and evidence of a God that teaches, loves and fulfills his promise. Consequently, God’s existence is perfection. For perfection is the manifest of all and desire that therefore allows the submission and leading of people to the service of God and belief.
In conclusion, realization based on evidential thought is that doubt has been discarded and faith and belief in God has been established. Further that confused state of mind correlates to nothingness and nothingness is a simile of faith. Therefore, it renders the primary and proven conclusion that God is Perfect and Infinite.
REFERENCE
Discourse on the Method of Rightly Conducting one’s Reason and Seeking Truth in the Sciences, Rene Descartes. (Jonathan Bennett) (Part IV)
http://www.earlymoderntexts.com/assets/pdfs/descartes1637.pdf
Felicia McCaw
Hum 112
God is Perfect and Infinite
I. Perfect and true is the proof of reality without imaginative thought to interfere that God is real
A. Faith found with basis of existence Equal I Am
B. Nothing could be something as contradictory to view of perfection of self
II. Confused States of Mind correspond to nothingness
A. Views of Possibility of Perfection In Humans
B. Yielding to inevitable of being flawed with lack of perfection
C. Using of analytical study (Geometry) to prove the consequence and evidence of God
III. Realization based on evidential thought God is Perfect and Infinite
1
God is Perfect and Infinite
Strayer University
Felicia McCaw
Professor Cynthia Creel
Hum 112
Online Spring 2016
April 11, 2016
God is Perfect and Infinite
2
Rene Descartes’ Discourse on the Method, Part IV, discusses the profession of faith and his lack of true perfection and God’s perfection and basis in truth. For indeed reality cannot exist without the imaginative thought and dreams that pervade the senses but is still affective to conscious thought. Further realization concludes that senses are not the establishment of true faith but proof of reality cannot be sustained physically but it is not possible to negate or interfere with the conclusionary thought that God is real.
The theoretical thought of “I am (existence), I am thinking and I exist) does justice as a beginning thought but as per further study it relates relationary value that this methodology of thinking pertains to a higher entity which prevails the establishment of investigation and contemplative thought that assisted in eradicating doubt. For as rightful is thought that beguiles a man to feel the flourishing of ideas and initiation of quests of instilled ability and where the fountain of riches manifest from for I am equal now.
For nothingness was not valid enough to substantiate with authority that ideas of God was false but became a finality in thought in assistance of establishing faith. Contradictory to view of perfection of self allowed humility, humbleness and allowance of acceptance of God’s gifts and wish for a state of perfection to exist in self. For indeed the lack of human failings is evident and absent in God and is a quality wanted and desired by all of who wish perfection.
As with nothingness as a state of the senses this state corresponds with the confused state of minds (mind sets). For indeed confusion is relevant and without imaginative ability that reflects the perception of relative existence garnered by the senses and sight.
God is Perfect and Infinite
3
The possibility of perfection in humans is not possible for compared to God our flaws are many and encompass sins of all nature. Because of this realization of human frailty and failing it is evidentially apparent and reflects the visibility of the inability to be flawless.
Therefore, yielding to the inevitable of being flawed acknowledges the lack of perfection and inability to accomplish a state of glorious perfection. Because I am flawed, realization comes of the knowledge that an entity of higher thought and perfection exist who teaches all.
Another supportive that helped in the culmination of the theory of God and his perfection is the use of analytical study (Geometry) that was used as proof of consequence and evidence of a God that teaches, loves and fulfills his promise. Consequently, God’s existence is perfection. For perfection is the manifest of all and desire that therefore allows the submission and leading of people to the service of God and belief.
In conclusion, realization based on evidential thought is that doubt has been discarded and faith and belief in God has been established. Further that confused state of mind correlates to nothingness and nothingness is a simile of faith. Therefore, it renders the primary and proven conclusion that God is Perfect and Infinite.
REFERENCE
Discourse on the Method of Rightly Conducting one’s Reason and Seeking Truth in the Sciences, Rene Descartes. (Jonathan Bennett) (Part IV)
http://www.earlymoderntexts.com/assets/pdfs/descartes1637.pdf
Felicia McCaw
Hum 112
God is Perfect and Infinite
I. Perfect and true is the proof of reality without imaginative thought to interfere that God is real
A. Faith found with basis of existence Equal I Am
B. Nothing could be something as contradictory to view of perfection of self
II. Confused States of Mind correspond to nothingness
A. Views of Possibility of Perfection In Humans
B. Yielding to inevitable of being flawed with lack of perfection
C. Using of analytical study (Geometry) to prove the consequence and evidence of God
III. Realization based on evidential thought God is Perfect and Infinite
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