In Memoriam II by Elisabeth Frink is at once a detailed and subtle piece. Through the use of purposeful and intended lines, geometric structuring, the bronze material and texturing, and many other formal qualities of the piece, Frink is able to capture heavy simplicity and a solemn strength in deep pain.
Elisabeth Frink (1930-1993) was an English sculptor and printmaker. A theme Frink loved to work in was the nature of man, and this piece, In Memoriam II, is one that explores this theme in great depth. Along with In Memoriam I, this piece was gifted in memory of Seymour Boyd, in honour of the 150th anniversary of the Montreal Museum of Fine Arts in 2013. In Memoriam II now sits in the museums outdoor sculpture garden on Av du Musée.
The
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Not only does bronze naturally lend itself to the texturing that is so vital to the piece, but its hard, cold, metallic qualities also add to the hard, unhappy expression on the face. The bronze medium also catches the light in a way that brings a life-like naturalism to the face. It is possible that the artist had chosen to work in bronze knowing that this figure would be situated outdoors with more access to natural light.
This piece has been carved, a method that adds a necessary depth of feature to In Memoriam II. The eyes, nose, mouth, and upper neck have naturalistic shadows and are proportionately indented or protruding from the face. Similarly, features like the subtly sallow cheeks and highlighted cheekbones as well as the ears rely on a method of execution that can subtract minute amounts of material.
These formal qualities all bring understandable and accessible methods of analysis to decipher the meaning behind this face. But there is also an overwhelming sadness and pressure that one feels upon standing before this figure, a feeling inexplicable through careful analysis. In Memoriam II captures the nature of man in a moment of weakness and grief. Despite the internal sadness, man puts on a strong and brave face. Frink’s In Memoriam II is an example of how it sometimes shows
“Pass On” written by Michael Lee is a free verse poem informing readers on grief, which is one of the most difficult obstacles to overcome not only when losing a loved one, but also in life itself. “Pass On” successfully developed this topic through the setting of an unknown character who explains his or her experience of grief. Despite Lee never introducing this character, readers are given enough information to know how they are overcoming this difficult obstacle. In fact, this unknown character is most likely the writer himself, indirectly explaining his moments of grief. One important piece of information Lee provides is the fact that he has experienced loss twice, one with his grandfather and the other a friend who was murdered by the
The plaque shown is a light umber in color, with a funeral scene etched out in black and white engravings into the smooth surface. The figures are very geometric in style and simplified. Even so, each figure seems to still have somewhat differentiating features from one another. How they are places in relation to each other creates a sense of rhythm within the piece. Helping guide the viewer, and lends itself to the illusion of the element of time.
The Resurrection was made by Francesco Buoneri, known as Cecco del Caravaggio around 1619-20. The oil on canvas painting was commission by a Tuscan ambassador. Its new permeant home is in the Art Institute in Chicago. I chose to look at this painting for many different reason. The Resurrection is an amazing painting that through basic size, composition, and theme that captured my attention.
...owing us with her great works. She has led a driven and captivating career. While she has received much controversy in her time she has managed to continue creating great works. She is widely acknowledge, and so far through out her life, has made quite an impact. Her love of nature and in it’s importance is rippled through out all her work, mostly in the freedom of her later works. Her ability to maintain balance between her love for architecture and art, has helped to make her stand out in both crowds. Her sculptures will please viewers for centuries to come.
Many might have been working on Good Friday, but many others were enjoying The Frist Museum of Visual Arts. A museum visitor visited this exhibit on April 14, 2017 early in the morning. The time that was spent at the art museum was approximately two hours and a half. The first impression that one received was that this place was a place of peace and also a place to expand the viewer’s imagination to understand what artists were expressing to the viewers. The viewer was very interested in all the art that was seen ,but there is so much one can absorb. The lighting in the museum was very low and some of the lighting was by direction LED lights. The artwork was spaciously
Crooked Beak of Heaven Mask is a big bird-figure mask from late nineteenth century made by Kwakwaka’wakw tribe. Black is a broad color over the entire mask. Red and white are used partially around its eyes, mouth, nose, and beak. Its beak and mouth are made to be opened, and this leads us to the important fact in both formal analysis and historical or cultural understanding: Transformation theme. Keeping that in mind, I would like to state formal analysis that I concluded from the artwork itself without connecting to cultural background. Then I would go further analysis relating artistic features to social, historical, and cultural background and figure out what this art meant to those people.
Imagine that the person you love most in the world dies. How would you cope with the loss? Death and grieving is an agonizing and inevitable part of life. No one is immune from death’s insidious and frigid grip. Individuals vary in their emotional reactions to loss. There is no right or wrong way to grieve (Huffman, 2012, p.183), it is a melancholy ordeal, but a necessary one (Johnson, 2007). In the following: the five stages of grief, the symptoms of grief, coping with grief, and unusual customs of mourning with particular emphasis on mourning at its most extravagant, during the Victorian era, will all be discussed in this essay (Smith, 2014).
The art piece chosen for analyzing in this essay is from Claude Monet, The Windmill on the Onbekende Gracht Amsterdam oil on canvas painting from 1874. Claude Monet was born on November 14 in 1840 in Paris, French, and he death on December 5 in 1926 in Giverny, France. He was a founder of French impressionist painting, and the most consistent and prolific practitioner of the movement 's philosophy of expressing one 's perceptions before nature, especially as applied to plain air landscape painting. According with the information next to the painting in the museum of art in Houston “on one of his visits to Holland, Monet was intrigued by this charming windmill situated on the small “unknown quayside” in Amsterdam. The mill, built in 1656, produced textile dyes and was demolished in 1876.
The Language of Art by Ann Pelo describes the inquiry-based studio practices in early childhood settings. When I started to read chapter six I traced a lot of words ,as going through the few pages I came across this word called “children’s pursuits” at the very beginning of the first question of how do we grow a culture of inquiry (Pelo,2007,p.109) . I choose this word because it is challenging for me during my first practicum placement, illustrates the heart of this chapter and guides me as an Educator to facilitate my learning for future preparation. It literally impacts our learning and pedagogical styles when we recreate art activities for children.
In the poem “One Art” the thesis statement declared in the first stanza, on the first line as “The art of losing isn’t hard to master” also repeating it again in line 6 and 12. The statement is better interpreted as “The skill of losing is not hard to attain”. Bishop speaks in the poem as if she has successfully mastered the skill of losing. She also goes around in circles admitting that the art of losing is not hard to master as if that is what she is making herself believe is true. She is also helping the reader create a habit as the reader reads and repeats the refrain of “The art of losing isn’t hard to master” not to mention the line 4 where she tells the reader to make it a habit to, “Lose something every day”.
The artwork I chose for the art criticism project was ‘The Survivors’ by Kathe Kollwitz. The piece was created in 1923 in Berlin, Germany, where she resided with her husband. She and her husband resided in a poorer area, and it is believed to have contributed too much of her artwork style. ‘The Survivors’ is currently displayed in two museums, the MoMA and the Kathe Kollwitz Museum. In the piece there is a woman directly in the middle, with sunken in cheek bones is draped in a black cloak. Her arms are around three small children, who look very frightened. On each side of her body there are an additional four small children who convey sadness upon their innocent faces. Also, they are outstretching their arms as if they are begging for her to give them something. In the background, on the top left side, there are two elderly men with their heads down, looking as if they are very sad and
In Memoriam A. H. H.” For example, Canto 83 portrays the culminating anger that the speaker is battling over the loss of his friend. The speaker writes, “For this alone on Death I wreak / The wrath that garners in my heart; / He put our lives so far apart / We cannot hear each other speak” (1525- 1528). Within these lines, the speaker is conveying his opinion that he has somehow been wronged by the death of his friend.
Funeral Blues by W. H. Auden is a short poem that illustrates the emotions that he is dealing with after the love of his life passes away. The tone of this piece evokes feelings that will differ depending on the reader; therefore, the meaning of this poem is not in any way one-dimensional, resulting in inevitable ambiguity . In order to evoke emotion from his audience, Auden uses a series of different poetic devices to express the sadness and despair of losing a loved one. This poem isn’t necessarily about finding meaning or coming to some overwhelming realization, but rather about feeling emotions and understanding the pain that the speaker is experiencing. Through the use of poetic devices such as an elegy, hyperboles, imagery, metaphors, and alliterations as well as end-rhyme, Auden has created a powerful poem that accurately depicts the emotions a person will often feel when the love of their live has passed away.
and ease the pain of his loss. The poem can also suggest to us that at
Katherine Philips is desperately trying to renew her faith in life, but she is struggling to do so because of the death of her son. She is attempting to justify the loss of her child as a form of consolation, while keeping somewhat emotionally detached to the later death of her stepson in “In Memory of F.P.” The differing phrases, words, and language contrast the two elegies and emphasize the loss and pain in “Epitaph” while diminishing the pain in “Memory of FP.”