Once in the section of Christian Art, you are drawn to a collector’s piece called, Virgin and Child. The historical importance of this piece is that, it represents one of the few, but many symbolic figures which are valuable and significant to the Christian faith. The significance of the piece is that it represents Jesus as a child being in the arms of his mother, the Virgin Mary. The piece, which is sculpted completely in wood, can trace to the origins of Northern France around the second quarter of the 14th century. This period in the history of France (the Franks) is known as the Capetian Dynasty, which was mostly influenced by the movement of Gothic art.
Peyandane 1 Peyandane Samuel Professor Amanda Miller Art-103 Summer 20xx Eighteenth and Nineteenth Centuries Worksheet 1.Compare and contrast Ingres’ Grande Odalisque with Delcroix’s Odalisque. Please provide the stylistic period for each and list important visual characteristics. Both paintings, from the nineteenth century, portrays nude women. However, the Ingres portrayal, created by 1814, has adopted the neoclassical art style, while the Delacroix represented a Neo-baroque style. They both use oil on canvas; but their styles mentioned earlier was in contrast.
Have you ever experienced the beautiful countryside but just feel isolated? According to dictionary.com literary device is defined as “a literary or linguistic technique that produces the specific effect, esp a figure of speech, narrative or plot mechanism.” In other words, a literary device is a technique used to make a piece of writing more vivid. Edith Jones Wharton was born in New York City on January 24, 1862, into merchants, banks and lawyers. Her most famous novels include The House of Mirth (1905), Ethan Frome (1911), the Pultizer prize winner The Age of Innocence (1920) and Hudson River Bracketed (1929). Wharton died at her villa near Paris in 1937 (Wharton’s authors note).
One of the main influences on Owens’s poetry was his meeting with Siegfried Sassoon, though Owen soon fashioned his own style and approach to the war. The characteristics of Owens’s poetry are the use of the rhyming of two words, alliteration, and assonance. Alfred Tennyson was born on 5th August 1809 in Somersby, Lincolnshire and died on the 6th October 1892 to later be buried in the poet’s corner in Westminster Abby. Tennyson was often regarded as the chief representative of the Victorian age in poetry, succeeding Wordsworth as poet laureate in 1850. Wilfred Owens’s poems are inspired by the horrors of his own experiences in World War One from 28th July 1914 to 4th November 1918, the day that he died 1 week before the armistice.
First of all we need to consider the debate about religious practice and the importance of religion for Christina: 'Religion played a major role in the formation of Rossetti as an individual, and it is oftentimes reflected in her poetry. I would venture to say that religion is a very strongly felt presence in “Goblin Market,” which some critics believe is a Christian allegory'[3]. Her poetry, her fairy tales characters, her use of grotesque can be related to a movement called “Gothic Revival”: 'it's an architectural movement that began in the late 1740s in England [...] In England, the centre of this revival, it was intertwined with deeply philosophical movements associated with a re-awakening of High Church or Anglo-Catholic self-belief concerned by the growth of
How do the poems ‘Valentine’ and ‘Sonnet 43’ compare in their portrayal of love? Two poems written approximately 150 years apart, by two extra-ordinary women of their era: ‘Sonnet 43’, by Elizabeth Barrett Browning, a classic example of a Victorian love poem written as a sonnet, with a flexible rhyming scheme. ‘Valentine’, by Carol Ann Duffy, a controversial expression of modern day free verse; the irregular stanza allowing for the freedom of speech that Browning would not have experienced. Elizabeth Barrett Browning opens her sonnet with a rhetorical question: ‘How do I love thee?’ which she answers with a list to her husband-to-be, expressing how much she loves him. Her father disapproved of Robert Browning and eventually disinherited her; she never saw her father again when she went to Italy.
Chesterton dedicates it to his wife, Frances. “I bring these rhymes to you/ who brought the cross to me.” 5. The two opposing views of life are modern paganism- “pride and a little scratching pen” (false doctrine) that takes joy from “the hearts of men” – and Christianity which gives hope-“a firelight” which takes on to heaven “beyond the loneliest star.” Book I, The Vision of the King: 1. The great age of the Horse is the strong impression produced: “Before the gods made the gods…age beyond age…. The White Horse knew England/ when there was none to know.” 2.
earlymusicla.org laweekly Introduction to Baroque Art and Music (pages 94-102) - It originates first in Rome, as a way to glorify the Counter-Reformation Catholic Church, and then spread beyond Italy to Spain, France, Germany, Austria, the Low Countries and England in the early seventeenth Century. -The artists who created Baroque art worked mainly for the pope and important monarchs throughout Europe. -Baroque is the term used to describe the arts generally during the period 1600-1750. Definition: Taken from the Portuguese word barroco, refering to a pearl of irregular shape then used in jewelry and fine decorations. - Baroque had a negative connotation: It signified distortion, excess, and extravagance... except when we get to Vivaldi and Bach.
Mirabai - One of India's most beloved Bhakti poets (1498-1547), she helped break down the barriers of caste and tradition. SIr Issac Newton - English natural scientist (1643-1727) whose formation of the laws of motion and mechanics is regarded s the culmination of the Scientific Revolution. Protestant Reformation - Massive schism within Christianity that had its formal beginning in 1517 with the German priest Martin Luther; while the leaders of the movement claimed that they sought to "reform" a Church that had fallen from biblical practice, in reality the movement was radically innovative in its challenge to Church authority and its endorsement of salvation "by faith alone." Sikhism - Religious tradition of northern India founded by Guru Nanak Ca. 1500; combines elements of Hinduism and Islam and proclaims the brotherhood of all humans and the equality of men and women.
Poe’s Genre Crossing: From Domesticity to Detection BONITA RHOADS cholarship of the past forty years has repeatedly demonstrated that domesticity emerged as a pervasive cultural ideology in nineteenthcentury America, promoting the feminized household as a spiritual retreat from the instrumental relations of the marketplace. “Domesticity constitutes an alternative to, and escape from, the masculine economic order,” Gillian Brown contended in 1990, recapitulating the groundbreaking studies published in the 1970s and 1980s.1 But despite all its manifest resistance to capitalism, domestic ideology and the popular fiction associated with it have also been prominently linked to consumerism. In her classic 1977 book, The Feminization of American Culture, Ann Douglas leveled a notoriously harsh indictment against domestic ideology as the origin of mass culture. More recently, in Sentimental Materialism, Lori Merish has reexamined Douglas’s argument, offering a more even-handed consideration of the conflicted orientations and complex intellectual history by which domesticity contested the market while nevertheless supplying a crucial logic for consumerism.2 Such internal contradictions have caused a number of critics to conclude that domestic ideology was too aligned with the public sphere to maintain its credibility as a moral counterpoint to industrial society. “A persistent and fundamental paradox of American domesticity,” in Kathleen McHugh’s words, is that “[while] it was constructed ideologically from the beginning as a resistant discourse to market capitalism its resistance functioned conservatively, as an accommodation with or amelioration of threatening market forces rather than a direct contestation of them.” Yet, according to Mary P. Ryan, domesticity’s concessions to commercial culture were not static but progressive.