Describe the work of the sculptor, Henry Moore looking at the influences on his work, his ideas, techniques and personal style. Henry Moore's sculptures were most commonly very simple solid images. Many were of women, perhaps to celebrate their role in society and show their strength. Moore's mother was a strong woman and it is apparent through his work that he viewed women as the crux of the family. The women depicted in his sculptures are sturdy and heavy looking which confirms this. One sculpture which displays this quality of his work is his Seated and Draped Figure crafted in bronze which depicts an exaggeratedly broad woman positioned as the name of the sculpture suggests. Moore looked at the female figure as a landscape and it is possible to see the similarities between the rolling lines of the figures in his sculptures and the moors where he grew up. One of Moore's favoured subject matters is the reclining figure. He has several works depicting the reclining female form done in a variety of techniques and materials. To name a few examples the Reclining Figure is carved out of elmwood, while Recumbent Figure is a stone sculpture. Recumbent figure is also a good example of how Moore was able to synthesise the subject matter of the woman and make the sculpture quite abstract without losing the strong sense of the human form. The Recumbent figure features a hole in its centre which is not uncommon in Moore's work. He likes to focus on negative spaces as he finds them just as important a part of the rest of the sculpture. The void spaces in the sculptures also add a touch of mystery to his work which is the central theme in his bronze Double Oval. Double Oval is also good example of a typical piece...
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"I think I was probably about eleven when I first decided I wanted to be a sculptor. I remember quite clearly the instant. As a boy, at school, I liked the art lessons, I liked drawing. I used to get my elder brother to draw horses and other things for me from as early as I can remember" (The Documents of 20th Century Art, Philip James, 31). Henry Moore was born on July 30, 1898 in the small coal-mining town of Castleford, Yorkshire. His father, Henry, supported his large family as a miner (Henry was the seventh of eight other siblings and his mother, Mary, spent her time taking care of the family). Moore had a humble upbringing but was still determined to become an artist from a very young age. Henry Moore attended his local elementary school, and at age 12. It was then that he received his first real honor, a free place in the secondary school. He had tremendous support from the art teacher, Miss Alice Gostick. She sensed his talent and yearning to learn more, she was also a huge influence on his excitement for medieval sculpture. He then became a teacher at his elementary school at age 18, absorbing everything he came across in the way of art. Henry Moore's father's great-grandfather had emigrated from Ireland, perhaps the driving influence on his Irish-Anglo-Saxon art style. In September of 1919, Moore received a grant that allowed him to study at the Leed's School of Art for two years. Moore stated that he learned nothing from his teachers there, but he spent the entire year drawing from the models and plaster casts. This year was influential in that he was able to truly focus on his art, since he felt he was learning nothing from his art professors. While...
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John Stubbs' essay is an examination of the defense which he believes Henry and Catherine use to protect themselves from the discovery of their insignificance and "powerlessness...in a world indifferent to their well being..." He asserts that "role-playing" by the two main characters, and several others in the book, is a way to escape the realization of human mortality which is unveiled by war. Stubbs thinks that Hemingway utilized role-playing as a way to "explore the strengths and weaknesses of his two characters." Stubbs says that by placing Henry's ordered life in opposition to Catherine's topsy-turvy one, and then letting each one assume a role which will bring them closer together, Hemingway shows the pair's inability to accept "the hard, gratuitous quality of life." Stubbs begins by showing other examples, notably in In Our Time and The Sun Also Rises, in which Hemingway's characters revert to role-playing in order to escape or retreat from their lives. The ability to create characters who play roles, he says, either to "maintain self-esteem" or to escape, is one Hemingway exploits extraordinarily well in A Farewell to Arms and therefore it "is his richest and most successful handling of human beings trying to come to terms with their vulnerability." As far as Stubbs is concerned, Hemingway is quite blatant in letting us know that role-playing is what is occurring. He tells that the role-playing begins during Henry and Catherine's third encounter, when Catherine directly dictates what is spoken by Henry. After this meeting the two become increasingly comfortable with their roles and easily adopt them whenever the other is nearby. This is apparent also in that they can only successfully play their roles when they are in private and any disturbance causes the "game" to be disrupted. The intrusion of the outside world in any...
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The Red Convertible By Louise Erdrich In this story, by Louise Erdrich, two brothers, Lyman and Henry, were inseparable. Growing up on a Native American reservation, the boys did not experience a typical American childhood. However, Henry and Lyman did share a passion with most other teenage boys in the United States, cars. The brothers in this story worked very hard and bought themselves a red Oldsmobile convertible. Henry and Lyman would spend endless days working on their prized possession. They went on to have a very adventurous summer driving all across the country. Henry and Lyman came across a red Corvette and instantly fell in love, using what money the money they had collectively; they were able to purchase the car and enough gas for the way back home. The boys appreciated all that there was to see and cherished every moment of their trip. Once returning home, Lyman and Henry find that the Army has recruited Henry. In fact, the Army was so happy to get him that they made him into a Marine. With Henry out of the house, his bond with his little brother began to weaken. Staying in touch with the occasional letter, the brothers maintained whatever relationship they could. When Henry returned from duty, Lyman noticed just how much he had changed. He was no longer easy going and fun kid he was, the service had morphed him into a serious man. Lyman mentioned that his brother didn't even bother to go see their car. They end up realizing that the brotherhood that they share together is more powerful and important then either of them thought, and that they should never take it for granted, because you never really know what lies for you around the corner. I found this to be a great story, I am unable...
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THE 124-001 Tany Encinas When creating life; becomes your own demise In the film Frankenstein directed by James Whale, the main character, scientist Henry Frankenstein try's to play god in creating a life that turns out to almost kill him. The scientist goes to great lengths to complete his experiment, realizing too late that there are consequences for interfering with the laws of nature. He undeniably brings to life a most unnatural monster and flees in terror from the being that he himself has created. Feeling no responsibility to comfort the creature in any way, he instead wishes to completely abandon it and to forget that it even exists, leaving the monster to struggle alone in a world where it clearly does not belong. For people who haven't seen the entire movie they might wonder: is it really any wonder that his creation becomes slightly enraged at his abandonment and seeks to create for Frankenstein, his creator, a life equal to his own in misery and isolation? The beginning of the film starts out by a tuxedoed gentlemen stepping out from behind a curtain and delivering a friendly warning to the audience, that what they are about to see "may shock them" or even "horrify them." Then after the credits play, the film begins with the scene of a group of people mourning the death of someone. Frankenstein and his assistant Fritz, are hiding about to steal the newly buried fresh corpse for an experiment that Henry is conducting on the secrets of life. After digging up the body Henry sends his assistant Frit to his old medical school to steal a brain. Upon stumbling upon two brains that read normal brain and abnormal brain, Fritz happens to take the normal brain. Then he accidentally falls dropping the brain to the floor, forcing him...
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The novel Absalom Absalom! by William Faulkner is filled with biblical references, from the creation story to Abraham, from David and Goliath to the story of Ham. Faulkner infuses the novel with biblical language, making it impossible to ignore the book's religious undertones. Throughout the novel, one of the central characters Thomas Sutpen is likened to God through his own "plan" and the creation of his homestead, Sutpen's Hundred, which mirrors the creation story in the first chapters of Genesis. An even more striking biblical resemblance, however, is how much Sutpen's first son serves as a Christ-like figure in the book. In the Bible, God sacrifices Jesus for the good of humankind and for the future, so that people will learn from the sacrifice. In Absalom, Absalom!, Sutpen sacrifices his racially mixed son, Charles Bon, by refusing to acknowledge their relationship, in an attempt to preserve his pure white dynasty. Faulkner's word choice repeatedly connects Jesus to Charles Bon, whose name appropriately means "good," particularly in the Christmas scene, in which Henry Sutpen convinces Bon to come home to meet his family. Unbeknownst to Henry however, his family is Bon's family as well. It cannot be an accident that Faulkner had this reunion occur on Christmas, for it's very name contains the word Christ, and the holiday celebrates His birth. This scene marks a type of birth for Bon as well; it is the first time that he is physically seen by members of his long lost family, and the first time that Sutpen sees Bon as a grown man. The entire recounting of the Christmas scene, told in joint perspective by Quentin and Shreve, is wrought with the images of body and flesh. They describe the imagined perspective of Charles Bon, saying: "but there, just behind a little, obscured a little...
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What did Moore mean by the "Naturalistic Fallacy"? What is "naturalistic" about it? Is it really a fallacy? Has either G.J. Warnock or Philippa Foot succeeded in establishing the legitimacy of ethical naturalism? "If I am asked, "What is good?" my answer is that good is good and that is the end of the matter. Or if I'm asked, "How is good to be defined?" my answer is that it cannot be defined, and that is all I have to say about it". G.E. Moore, "Principia Ethica" Indeed, it does appear that this is all Moore has to say about it. The absence of any acceptable "proof" that his position is more tenable than that of the ethical naturalists or metaphysicians makes it necessary for him to make this point so forcibly. The quotation above is the meta-ethical equivalent of the maxim of Bishop Butler's on the title page of "Principia Ethica", "Everything is what it is, and not another thing"; We are here concerned with meta-ethics, that is, the meaning of ethical terms, rather than with ethics proper which, as that branch of philosophy which deals with human behaviour, might be described as the practical application of philosophical ideas. It was only within the field of meta-ethics that G.E.Moore was at all influential. His "ethical" comments to the effect that since no one can know for sure what is good, it is probably wisest to keep to the moral conventions of the society one happens to live in, rather than to rely on one's individual "intuition" which one has no means of testing, were obviously of little help or interest to the moral philosopher or even an interested outsider who was truly concerned with the question of good actions and right behaviour. It is interesting that Moore objected to naturalism on...
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Going to Norton Simon Museum for the firs time was a wonderful experience for me. I was so amazed by collection that this museum owns, so many great artworks. For this assignment I've decided to pick a painting of my favorite artist Edgar Degas and compare is to another very interesting painter Henry Toulouse-Lautrec. First painting that I will going to analyze in next couple of paragraphs was painting done by Edgar Degas. The title of this masterpiece is "Dancers in the Wings and it was done in 1880. Degas used a different variety of media, however to create this piece he had used Pastel and tempera on paper. Work was mounted to the paperboard. By using pastels as a medium he was successful in achieving luminous colors and diaphanous textures. By making very fine texture and using brilliant, expressive clear colors he achieved this, sheer transparent look. Degas used fast, noticeable strokes of color in some parts of his painting, contrasted by non-detailed sketches in others. This piece, like many other Degas works which depicted ballerinas, exemplifies method of arranging figures asymmetrically. None of the dancers were neatly positioned in the center of the floor. Rather, they are portrayed in their natural state of being, usually in the progress of moving. In this painting ballerina that stands in the front of us is partially blocking another one in the back, while the one in the front is also half way vertically cut off by the picture frame. Approximate dimensions of this piece is 27 x 19 inches. Degas was best known as an Impressionist. He initially called himself "realists," which pointed to their interest in drawing inspiration from their own environments and experiences. Within his lifetime, as today, Degas was most celebrated as the painter of one subject: the ballet. Degas was...
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'David Moore has always expressed an interest in city skylines and seeks to depict them in unusual ways.' This can be clearly depicted in his contrasting black and white (gelatin silver) photograph "Western Distributor Forms 1" taken in Sydney, 1979. David Moore grew up near the Harbour at Vacluse and at the age of ten he found the habour environment to be a 'world of delight, adventure and mystery'. And at the age of 11, Moore was given his first camera and it was then that he began to take photographs around the habour. In 1947, at the age of 20, Moore was greatly influenced by his friend and mentor, Max Dupain and began working as a professional photographer. From there he became a photojournalist. During the 1970's Moore's works became more and more extreme. After his 'Up in New York Series' in 1973-75, he reduced the monumental skyscrapers to simple dramatic forms. At that time, hard edge abstract painting also influenced him and he experimented with unusual viewpoints in his Sydney Western Distributor Forms to create images with large area of flat space and carefully arranged tones of planar forms. In his photograph "Western Distributor Forms 1" shows a great contrast between black and white. This photograph is taken outside with an unusual viewpoint. It is lit by natural light to create a clear sharp image, frozen motion and an interesting and unusual angle. The photograph is composed with straight, vertical, horizontal and diagonal lines to create a frozen motion. Squares, rectangle and the use of hard edge to create a clear shape image. Sharp and shiny texture for the objects helps to product an interesting and unusual angle. The photograph has a flat space as it looks like there is no or very little depth. The tone used in this...
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As one biographer claims of Henry Irving, "His career not only spanned the whole history of the Victorian theatre, but it was the Victorian theatre." Born John Henry Brodbibb in 1838, Irving was the son of devoutly Methodist parents—in fact, after he became an actor, which was not considered a respectable profession, his mother neither spoke to him nor saw him again. At age 12, his father, a traveling salesman, took him to a performance of Hamlet and from that moment on, Henry Irving was determined to become an actor. Irving performed in almost every popular play. As Jeffrey Richards writes, "He made no distinction between high and low brow, alternating happily between Shakespeare and popular melodramas, showing all of them equal respect." He not only performed to audiences in the Lyceum—the theatre he was ultimately to manage--but also toured extensively, and is credited with, by Oscar Wilde among others, establishing a truly national theatrical taste. He is associated with Ellen Terry, his leading lady as well as business and most likely private partner—She was the most famous actress of the period, who, at one point, played Ophelia to Irving's Hamlet. (Gordon Craig's mother). Before Irving (same era), Charles Fechter (in London) and Edwin Booth (of the famous Booth family, which included John Wilkes) (in London and America) were the most famous of the actors playing Hamlet. Irving was taking a risk in playing Hamlet; he was famous but not yet considered distinguished enough to be a true Shakespearian actor. In addition, there was a saying in the theatre world, "Shakespeare spells ruin." This association of Shakespeare with ruin came partly because a few theatres had attempted to produce Shakespeare with extremely costly spectacular effects common to the Victorian melodrama, without achieving the same popular success. Hamlet, however, firmly established Irving...
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