John Singleton Copley’s painting called Watson and the Shark dramatizes a horrific event that took place in 1749 where fourteen-year-old Brook Watson was brutally attacked by a shark in Havana Harbor. Shortly after the attack, Watson was rescued from the water by his fellow shipmates. The crew of a small boat, which had been waiting to escort their captain to shore, fought off the shark and rescued Watson. Unfortunately, Watson lost his leg (below the knee) as a result of the accident. He went on to live a full life never forgetting that day. In 1778 he commissioned John Singleton Copley to make a painting about this life changing event. I believe John Singleton Copley put pictorial limitations on his historical painting of Watson and the Shark because of political and personal implications at the time the painting was completed.
John Singleton Copley was born in 1738 in Boston, Massachusetts. His mother Martha Babcock Amory was married to Richard Copley who died shortly after John’s birth. A couple of years later his mother remarried to Peter Pelham. Peter would prove to be a big influence on John’s early career. Pelham, one of Boston’s top engravers, would teach him the intricacies of printing and give Copley a chance to access a large library of prints to work from. These would later be used in the compositions of paintings like The Return of Neptune (fig1.1) and Mrs. Jerathmael Bowers. At first he borrowed poses and backgrounds from his step father's mezzotints, and tricks of color and modeling from his elders in Boston's portrait-painting fraternity. But he soon found he could go farther by paying scant attention to the modes and strict attention to his models. He would spend up to 100 hours on a portrait wit...
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...lying terrified and helpless in the water reaches back for his shipmates to save him. It shows the battle in life over a cause. One side wants to save him (shipmates) while the other side wants him to die (shark) . This parable is a message to the triumphant colonists who fought for liberty and freedom in America. It can be related back to the Tea Party when the colonists stayed together against oppression from the Parliament and won.
Works Cited
{1} Roberts, J. L. (2011). Failure to Deliver: Watson and the Shark and the Boston Tea Party. Art History, 34(4), 674-695. doi:10.1111/j.1467-8365.2010.00841.x
{2} http://en.wikipedia.org/wiki/Watson_and_the_Shark#cite_ref-0
{3} Abrams, Ann Uhry. 1979. "Politics, Prints, and John Singleton Copley's Watson and the Shark." Art Bulletin 61, no. 2: 265. Academic Search Complete, EBSCOhost (accessed March 12, 2012).
The events of March 5, 1770 should and have been remembered as momentous and predictable. Perhaps not the night or city specifically, but the state of affairs in Boston, if not throughout The English Colonies, had declined to the point that British troops found themselves frequently assaulted with stones, dirt, and human feces. The opinions and sentiments of either side were certainly not clandestine. Even though two spectators express clear culpability for the opposing side, they do so only in alteration of detail. The particulars of the event unfold the same nonetheless. The happening at the Custom House off King Street was a catastrophic inevitability. Documents from the Boston Massacre trial, which aid us in observing from totally different perceptions. The depositions of witnesses of the event prove to be useful; an English officer Captain Preston and a colonial Robert Goddard give relatively dissimilar details. In spite of these differences, they still both describe the same state of affairs.
George Hewes’ account of the Boston Tea party is considered a firsthand account of a historically significant event. The Boston Tea party took place the night of December 16, 1773 on three ships anchored in Boston Harbor. Hewes recounts the events leading up to the Boston Tea Party, the actual attack on the ships and its aftermath. He provides descriptive narration thus contributing to the historical context surround the Tea party. This event and many others leading up to it, provide a colorful backdrop on the eve of the American Revolution.
http://muse.jhu.edu/. “Sons of Liberty and Stamp Men.” Boston Tea Party Ships and Museum. Accessed April 3, 2014. http://www.bostonteapartyship.com/sons-of-liberty.
Another piece of art that I found lovely was a painting of John Singleton Copley. Copley painted a portrait of nine-year-old Daniel Verplanck with a squirrel on a leash. I found this portrait adorable especial with the squirrel. Copley painted the portrait in 1771. The colors he
Dorne, Albert. "Is Illustration Art?" Ed. Walt Reed and Roger Reed. The Illustrator in America, 1880-
Most people have heard of The Boston tea party. When American patriots dressed as Mohawk Indians boarded the British ships in the Boston harbor and dumped all of the tea into the ocean. But what most people fail to realize is the great importance behind this protest. To fully understand a topic of history one must first acknowledge the actions behind it. The French and Indian war, the Stamp Act, the Townshend Revenue Act, as well as the Tea Act are all important catalysts of the legendary Boston tea party. Which is why we will discuss these topics before examining the events of the Boston tea party.
In the short story “ The Open Boat,” by Stephen Crane, Crane does an outstanding job creating descriptive images throughout the entire story. With saying this, Crane uses symbolism along with strong imagery to provide the reader with a fun and exciting story about four guys who 's fight was against nature and themselves. Starting early in the book, Crane creates a story line that has four men in a great amount of trouble in the open waters of the ocean. Going into great detail about natures fierce and powerful body of water, Crane makes it obvious that nature has no empathy for the human race. In this story, Crane shows the continuous fight that the four men have to endure in able to beat natures strongest body of water. It 's not just nature the men have to worry about though, its the ability to work together in order to win this fight against nature. Ultimately, Crane is able to use this story, along with its vast imagery and symbolism to compare the struggle between the human race and all of natures uncertainties.
The Russian writer Ivan Turgenev wrote in Fathers and Sons in 1862, "A picture shows me at a glance what it takes dozens of pages of a book to expound” (Turgenev 196). Mark Twain was a living testament to that belief because iillustrations were an integral part of Mark Twain’s published work. They embellished his stories, informed the reader, and often reflected his humor. However, today’s fictional novels rarely include illustrations beyond the cover and fly leaf. This lack of illustrations has become more the norm in the digital publishing world because the illustrations often do not translate well to the digital format. My research paper will delineate the reasons that illustrations were relevant and necessary for the 19th century publication and why they are less relevant in the digital age. I will show that illustrations played an essential part in the success of Mark Twain’s books (1) because he made them an integral part of his writing, giving clarity to his written words; (2) because of the subscription publishing model of his era, and, (3) because of Twain’s dependence on them to describe his characters. However, the digital and audio publishing market of today has lessened the impact of illustrations in modern literary works. In Twain’s 19th century era, books were often a work of art as well as a literary treasure. The books I read today on my e-reader or listen to on “Audible” versions -- even Twain’s books -- almost never have a visual impact like Twain’s books had in the 19th century.
There are four men stranded on a boat who are introduced in the beginning of the story. The cook, the oiler, the correspondent, and the captain are all on a boat that "a man ought to have a bath tub larger than" (360). As the men fight the crest of each wave they encounter, it is obvious that this is a desperate situation. Showing their powerlessness the narrator describes a group of birds as sitting ."..comfortably in groups, and they were envied by some in the dinghy, for the wrath of the sea was no more to them than it was to a covey of prairie chickens a thousand miles inland" (363). Even though the men are in grave danger, the sun rises and sets and a shark even swims by but seems to have no need for the men in the boat. The men even believe that the waves are harsh on them and want to capsize the boat. The narrator explains that "[the waves were] nervously anxious to do something effective in the way of swamping boats" (361). Even though it is obvious that the ocean always has waves, it is hard fo...
The human voyage into life is basically feeble, vulnerable, uncontrollable. Since the crew on a dangerous sea without hope are depicted as "the babes of the sea", it can be inferred that we are likely to be ignorant strangers in the universe. In addition to the danger we face, we have to also overcome the new challenges of the waves in the daily life. These waves are "most wrongfully and barbarously abrupt and tall", requiring "a new leap, and a leap." Therefore, the incessant troubles arising from human conditions often bring about unpredictable crises as "shipwrecks are apropos of nothing." The tiny "open boat", which characters desperately cling to, signifies the weak, helpless, and vulnerable conditions of human life since it is deprived of other protection due to the shipwreck. The "open boat" also accentuates the "open suggestion of hopelessness" amid the wild waves of life. The crew of the boat perceive their precarious fate as "preposterous" and "absurd" so much so that they can feel the "tragic" aspect and "coldness of the water." At this point, the question of why they are forced to be "dragged away" and to "nibble the sacred cheese of life" raises a meaningful issue over life itself. This pessimistic view of life reflects the helpless human condition as well as the limitation of human life.
Since this bond of brotherhood is felt by all the men in the boat, but not discussed, it manifests in small ways as the men interact with each other. They are never irritated or upset with each other, no matter how tired or sore they are. Whenever one man is too tired to row, the next man takes over without complaining. When the correspondent thinks that he is the only person awake on the boat, and he sees and hears the shark in the water, the narrator says, “Nevertheless, it is true that he did not want to be alone with the thing. He wished one of his companions to awaken by chance and keep him company with it” (Crane 212).
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.
In the story "The Open Boat," by Stephen Crane, Crane uses many literary techniques to convey the stories overall theme. The story is centered on four men: a cook, a correspondent, Billie, an oiler who is the only character named in the story, and a captain. They are stranded in a lifeboat in stormy seas just off the coast of Florida, just after their ship has sunk. Although they can eventually see the shore, the waves are so big that it is too dangerous to try to take the boat in to land. Instead, the men are forced to take the boat further out to sea, where the waves are not quite as big and dangerous. They spend the night in the lifeboat and take turns rowing and then resting. In the morning, the men are weak and exhausted. The captain decides that they must try to take the lifeboat as close to shore as possible and then be ready to swim when the surf inevitably turns the boat over and throws the men into the cold sea. As they get closer to land a big wave comes and all the men are thrown into the sea. The lifeboat turns over and the four men must swim into shore. There are rescuers waiting on shore who help the men out of the water. Strangely, as the cook, captain and correspondent reach the shore safely and are helped out of the water, they discover that, somehow, the oiler has drowned after being smashed in the surf by a huge wave. (255-270) “The Open Boat’s” main theme deals with a character’s seemingly insignificant life struggle against nature’s indifference. Crane expresses this theme through a suspenseful tone, creative point of view, and a mix of irony.
One might say we are presented with two fish stories in looking at Ernest Hemingway's The Old Man and the Sea and Herman Melville's Moby-Dick, a marlin in the former and a whale in the latter. However, both of these animals are symbolic of the struggle their hunters face to find dignity and meaning in the face of a nihilistic universe in Hemingway and a fatalistic one in Melville. While both men will be unable to conquer the forces of the universe against them, neither will either man be conquered by them because of their refusal to yield to these insurmountable forces. However, Santiago gains a measure of peace and understanding about existence from his struggles, while Ahab leaves the world as he found it without any greater insight.
The painting was of a river flowing from a lake, surrounded by very tall grass. On each side of the river there are people standing. What was interesting is they were painted all black. They looked like shaded figures. They were all shaped differently but you can tell they were all men. On the top left side of the river there were five men. On the right bottom side of the river there were four men. On each side it looked as though the men were trying to cross over to the other side. They looked tired and scared. It looked as though they were hiding, and getting across the river was the only way to get to that safe haven.