Stranded Ship on East Hampton Beach
Thomas Moran is known for his oil paintings of the natural world. He captures nature at the moment in which he sees it; this may, in turn, be serene but also show the dramatic and violent natures of his momentary surroundings. In the compositions chosen he illustrates, as the title infers, a vessel caught in the turbulent, tumultuous sea. As he captured this image, he kept in mind the destructive nature of water also the constructive nature of water. Water has the ability to enable cultures to thrive and to barely survive. Water was the main source transportation of goods, ideas and communication in prehistoric times. In his composition, Moran displays the solid and life-depending aspect of water as well as the frail nature of water which has the potential to be life-threatening. Thomas Moran’s Stranded Ship on East Hampton Beach displays an image of a tumultuous beach and the interaction of people with the natural world. The intent of the piece is not to portray a stormy beach on realistic terms. Instead, Moran’s art is a production of an artist whose intent was to translate and communicate the necessity of interaction between humans through the dramatic scene. Through the basic art principles of medium selection, form, and content, the audience of this piece is better equipped to understand Moran’s intent in creating this work of art.
Moran’s oil painting entitled Stranded Ship on East Hampton Beach; a vessel taking the blows of the rough beach tide is definitely the predominant, but not exclusive, visual element. On the left side of the composition, we see the exposed sand bar because of the retreating wave. In the distance, a symbol of constancy and valor stands the American flag, protect...
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Moran, Thomas. Stranded Ship on East Hampton Beach. 1895. Oil on Canvas. Museum of Fine Arts Houston, Houston.
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Joseph Mallord William Turner, 1775-1851, born the son of a London Barber and Wigmaker, is considered one of the greatest European artists of the 19th century. Turner, the English romantic landscape painter, watercolourists and printmaker, was regarded as a controversial and revolutionary figure by his contemporaries despite his training being similar to other artists of the time. His work ‘Walton Bridge’, Oil on Canvas 1806-10, reflects much of his training as a young artists as well as his well-known Romantic style. In this essay I will follow the beginnings of Turners artistic life, showing how his influences, training and opinions surrounding landscape painting have influenced his work ‘Walton Bridge.’ I will further explore how art critics, fellow artists and the wider public of the 19th Century received ‘Walton Bridge’ and his Landscape paintings in general.
The juxtaposition of the Titanic and the environment in the first five stanzas symbolizes the opposition between man and nature, suggesting that nature overcomes man. The speaker characterizes the sea as being “deep from human vanity” (2) and deep from the “Pride of Life that planned” the Titanic. The diction of “human vanity” (2) suggests that the sea is incorruptible by men and then the speaker’s juxtaposition of vanity with “the
Robbins, Jim. Last Refuge: The Environmental Showdown in Yellowstone and the American West. New York: Morrow, 1993. Print.
Some of the most intriguing stories of today are about people’s adventures at sea and the thrill and treachery of living through its perilous storms and disasters. Two very popular selections about the sea and its terrors are The Perfect Storm by Sebastian Junger and “The Wreck of the Hesperus” by Henry Longfellow. Comparison between the two works determines that “The Wreck of the Hesperus” tells a more powerful sea-disaster story for several different reasons. The poem is more descriptive and suspenseful than The Perfect Storm, and it also plays on a very powerful tool to captivate the reader’s emotion. These key aspects combine to give the reader something tangible that allows them to relate to the story being told and affects them strongly.
West 31st Street, NY: Chelsea House, 2009. Print. Fitzpatrick, Virginia. Art history: a contextual inquiry course.
To inspire the visualization of the idyllic Florida’s fields, this canvas is sized to produce that impression of your presence in the coast. With a sense of solitude that is accompany by the magic of the discovery of a beautiful romantic peace, this canvas transmits you the desire to be there. The scene makes you feel that you have found that special site where you want to be for the rest of your life in concordance with nature. It is easy to spot in this paint how diverse and unreceptive subtropical locality in early Florida define the subjective state of being. In this art he totally complies with one of the most delightful characterizations of Romanticism, he puts together the heart and the mind to idealize the authenticity of the wilderness in the scene according to what the artist considered relevant to present.
Cox, P. W., & Leslie, P. (1999). Texas Trees: a Friendly Guide.. U.S.A: Corona Pub. Co..
Shea, R. 2004. Marcia Myers: Twenty Years Paintings & Works on Paper 1982–2002. Manchester, United States: Hudson Hills.
The nineteenth century produced a large number of works of art from numerous of artists. Since I have been to the Art Institute in Chicago, I decided to walk through this gallery online. Remembering that when I went there I liked a lot of the artwork that I saw. There I stumbled upon an artwork by Claude Monet called “The beach at Sainte-Adresse’. This painting caught my eye because of the beach scenery. The beach has always been my favorite place to go, where I am able to relax and clear my mind. This is what I was able to feel when I saw this artwork.
This painting was an oil canvas landscape of the sun setting in the horizon of the ocean sea, while the ships were sailing throughout the body of water. The focus on humanism during this period is clearly portrayed by the presence of the plowman, shepherd, and fisherman performing their daily task. Lighter colors are used, which differ from the darker colors that were emphasized during the Dark Age or Medieval period. Shadows can be seen on the ground next to the plowman showing the increasing artistic methods that begin to be utilized. Overall Bruegel makes use of the two and three-dimensional techniques to demonstrate the messages he attempts to reveal about changes in life and thought through his work.
This essay will also compare the work of Thomas Moran, another Hudson River School artist working with the same subject matter, and will attempt to clarify the artist’s similarities and differences in regard to both technique and contributions. The work of Winslow Homer, a contemporary of Church, will be briefly discussed in relation to the impact the Civil War had on subject matter in relationship to nati...
From the beginning, the four characters in the aftermath of a shipwreck do not know "the colour of the sky" but all of them know "the colours of the sea." This opening strongly suggests the symbolic situations in which human beings are located in the universe. The sky personifies the mysterious, inconceivable cause of reality , which humans cannot understand, and the sea symbolizes the earthy, mundane phenomenon, which humans are supposed to perceive. The symbolic picture generated by the above conflict implies the overall relationship between the individual and nature. In fact, the daily life of human beings is at the mercy of the uncontrollable waves of the sea; while, at the same time, the essential part of reality remains unknown to feeble, helpless humans.
The story’s theme is related to the reader by the use of color imagery, cynicism, human brotherhood, and the terrible beauty and savagery of nature. The symbols used to impart this theme to the reader and range from the obvious to the subtle. The obvious symbols include the time from the sinking to arrival on shore as a voyage of self-discovery, the four survivors in the dinghy as a microcosm of society, the shark as nature’s random destroyer of life, the sky personified as mysterious and unfathomable and the sea as mundane and easily comprehended by humans. The more subtle symbols include the cigars as representative of the crew and survivors, the oiler as the required sacrifice to nature’s indifference, and the dying legionnaire as an example of how to face death for the correspondent.
A. C. Danto, Beyond the Brillo Box: The Visual Arts in Post-Historical Perspective, (University of California Press, U.S.A, 1992), p.53
Fear has taken a hold of every man aboard this ship, as it should; our luck is as far gone as the winds that led us off course. For nights and days gusts beyond measure have forced us south, yet our vessel beauty, Le Serpent, stays afloat. The souls aboard her, lay at the mercy of this ruthless sea. Chaotic weather has turned the crew from noble seamen searching for glory and riches, to whimpering children. To stay sane I keep the holy trinity close to my heart and the lady on my mind. Desperation comes and goes from the men’s eyes, while the black, blistering clouds fasten above us, as endless as the ocean itself. The sea rocks our wood hull back and forth but has yet to flip her. The rocking forces our bodies to cling to any sturdy or available hinge, nook or rope, anything a man can grasp with a sea soaked hand. The impacts make every step a danger. We all have taken on a ghoulish complexion; the absence of sunlight led the weak souls aboard to fight sleep until sick. Some of us pray for the sun to rise but thunder constantly deafens our cries as it crackles above the mast. We have been out to sea for fifty-five days and we have been in this forsaken storm for the last seventeen.