Pietro da Cortona showed an interest in architecture while he was young, and later his passion was motivated by Pope Alexander VII and other architects. Even though he received inspiration from other architects, much of the knowledge and skills were gained through own effort since there were no formal training and his colleagues such as Bernini and Michelangelo had less architectural education (Merz & Blunt, 2008). However, in 16th and 17 the century, architecture education was developed and Cortona and his colleagues received exclusive training on architecture discipline. Cortona's architecture artwork focused on the Baroque Rome to reflect the Catholic Counter-Reformation art (Merz & Blunt, 2008). Martin Luther was against the Catholicism and he designed a movement to transform the European political and religious beliefs. Merz & Blunt (2008) affirm that religious and social factors influenced Cortona in his artwork since he was baptized in a Catholic church and grew up in a family where the male members worked in the architecture field.
Expert/Historian point of view
Camara (2015) asserts that the artist's intention in the creation of artwork was to respond to the crisis and defend the Catholic doctrines. The author says that the architecture work symbolizes the Catholic doctrines, the virtuous behaviors, and beliefs. The architect also wanted to rebuild the Rome's reputation and proclaim that Rome was not greed and corrupt as Martin Luther asserted, but it was a pure bride. In specific, the purpose of the Baroque architecture was to persuade and to instruct the people about the Catholic's pastoral role, Christ's sacrifice, the Catholic truth, and they also presented a way to celebrate Catholicism (Camara, 2015). The features as large open space, light, sculpted angles, quadrature, painted details and figures, polychrome sculpture, and other features presented the reclamation of Catholic identity, power, and status. The author finds that the Baroque architecture presents significant religious meaning since it reveals how the Roman Catholic Church regained confidence. The art differentiates between the Catholic and Protestant churches by making visible distinctive features such as Christ's suffering, the Virgin Mary, the Biblical painting and other important features that were against the Protestantism (Camara, 2015).
Reaction
According to my point of view, the Baroque art during the Roman Empire in the 17th century represents the Catholic majesty. Despite the remarkable changes that occurred during the Renaissance, the Roman Empire suffered from the Protestant Reformation-a period when the Protestant churches were against the Catholic churches (Merz & Blunt, 2008). My suggestions are influenced by the religious and political backgrounds that during the 16th century, Western Europe had only one church called the Roman Catholic Church that ruled the Papal States. However, other political power from the unified nation states and Italian city-states had more power that enabled them to overrule the Rome Catholic Church. Martin Luther supported the Protestant Reformation as he was against the Roman Church practices and doctrines. With respect to the political and religious context, the artwork message represents the Roman Catholic Church response to the Lutheran idea (Merz & Blunt, 2008). The Roman Catholic Church used images to communicate the religious doctrine, the Christ transfiguration, Christ's suffering, and the realism. Today, the Baroque art of the 17th century show that the Roman Catholic Church redefined its position and Catholic dominance (Merz & Blunt, 2008). The Baroque style has a significant role in the historical period since the Catholic Church triumphed and reformed its religious order.
References
Merz, J. M., & Blunt, A. (2008). Pietro da Cortona and Roman Baroque architecture. New
Haven [Conn.: Yale University Press.
Camara Esperanca. (2015). Baroque art, an introduction. smarthistory. Retrieved from:
The Last Supper is a biblical story in the New Testament that presents Jesus and his 12 apostles. Leonardo interpreted this story in his painting and presented Jesus and his apostles before the crucifixion. Jesus and his apostles are sharing the body and blood and in the painting, Leonardo presents Jesus as the hero (seated at the center) and Judas is presented as the villain and a person who will betray Jesus. Christ is at the center of the apostles and reveals to them that one of them will betray him. The Apostles starts to question each other and shows psychological reaction since they do not who would betray Jesus. The Last Supper account is rooted in the Italian Renaissance where humanists, ancient thinkers, literature, and arts focused on the cultural rebirth in Europe (Vasari et al, 1998). Artists such as Leonard were influenced by the social, cultural and political state of the European states and they focused on defending their states against the power of powerful city-States such as the Papal States. These States were more powerful and had powerful government and the artists applied the humanist principles and intellectual principles in claiming for the man' own achievements.
Historian point of view
Giorgio Vasari was a great Renaissance artist who gives the account of the last supper that was created in the 15th century. Vasari describes Leonard as a great, genius, creative thinker, courageous, and a royal man who represented the Italian High Renaissance in his Last Supper painting. The expert affirms that Leonardo reflected humanism by arguing that human beings in the painting show human emotions and human feelings toward solving human problems. Leonardo was influenced by social and political factors in that during the 14th century, Black people were killed in the European population and the death led to an intellectual movement in Italy where people came up with new ideas of human development (Vasari et al, 1998).During the Renaissance, individuals expressed their ideas through different methods such as artwork and literature. In expressing the ideas of humanism, The Last Supper Painting represented the pop culture and the human need for freedom from pain and suffering (Vasari, 1998). The social and cultural factors played a significant role in the development of Renaissance art since in the 14th century, European suffered from a great crisis and they focused on reinvigorating their society. The only way they could express their grievances is through art, architecture, literature and other methods, to claim beauty and power (Vasari et al, 1998). The author states that the Last Supper painting depicted the humanism, individualism, classism, secularism, and versatility.
Reaction
According to the historical context, the Last Supper reflects the Italian Renaissance during the 14th century- a period when there was a demand for a cultural rebirth. The cultural rebirth in the reformation movement was expressed using different methods such as painting, literature, sculpting, music, science and more to demand a cultural change (Vasari et al, 1998). My opinion is influenced by the socio-economic background that Italy was under the Roman Empire and a number of social and economic factors influence the demand for a cultural change. The Leonardo painting expressed the humanists' ideas and depicted Classism and realism to emphasize the noble values, ideal beauty, and the State interest. To combat the great crisis that European was suffering, artists such as Leonard expressed his feelings by created the Last Supper painting that shows how individuals presented their emotions and feelings (Vasari et al, 1998). I agree that during the intellectual movement, humanism was an important element and for this reason, artists focused on the society rebirth and human freedom, potentials, and achievements.
Reference
Vasari, G., Bondanella, J. C., & Bondanella, P. E. (1998). The lives of the artists. Oxford University Press.
Symbolism ofArtemisia Gentileschi’s - Self-portrait as Allegory of Painting
Introduction
Artemisia Gentileschi in her inconceivable piece of art Self-portrait as Allegory of Painting made a bold assertion with respect to the principal of artistic convention in creating a completely new portrait that was quite factually symbolic in nature and inaccessible to all male artists of the time. According to Harper (1), the art is one that portrays an image full of authority as she shows herself as a professional artist in a period when females were not given an active role in the act. Her seemingly unassertive self-image was, in addition, a symbol of a refined awareness of art theory through her general identification with art profession on a level of high self-familiarity, intelligently and traditionally than previously recognized. This paper, therefore, presents an in-depth analysis of symbolism as presented in Self-portrait as Allegory of Painting by Artemisia Gentileschi.
Through the symbolic artistic piece, Gentileschi asserts that she did not just serve as a female artist in a period when females were not recognized or enrolled into artistic schools but as a woman artist she is the personification of art itself. Her posture as portrayed in the image, with her lifted chin and changing aspects of portraying herself as intensely absorbed by the painting deed also symbolizes a strong sense of superiority. In addition, the symbol underlines the ideology of her artistic commitment thus portraying herself in chase of the principled objections of realization of individual success and happiness using her personalized means.
In the act of art, Gentileschi portrayed several symbols as related to Allegory of painting even though not all. First, the painting personified of a female who is wearing a gold chain in the incorporation of a pendant mask that represents the ability of the artist to imitate everything that takes in life as well as from experiences. The other symbol is her disorderly hair representing the godly passion of creative personality which also shows the ability of the artist to express strongly with stimulation and emotions through the work of art. In the art, the hair is presented as loose and unorganized which further justifies the symbol. Moreover, in the image, her dress is of changing color which is an additional symbol. It is rather challenging to establish all the modern depictions of the piece, but this dress has shifting colors within the folds that show faintly (Harper 1). However, it is worth noting that one of the leading symbols that appears more commanding is the absence of a silenced mouth. Her mouth is not as tight which symbolizes that she is violating the rules that females were supposed to adhere to during the renaissance period.
Gentileschi’s free mouth and the portrayal of her art engagement in the self-portrait uncovers a theoretical superiority and mature commitment to high-end art, expertise, philosophy as well as practice. In that, the consistent engagement of the artist in her painting symbolizes studio practice and at the same time, her considerate mediation on the unseen mirror suggests and symbolizes the cerebral elements of art. For her contrary, to male artists who fear to enlighten their hands while working within the art field, she demonstrates her perfect capability to capture the actual essence of what makes an artist as well as incredible artistic images that defy the odds of time and societal gender roles (Harper 1).
Another symbolic piece that is well illustrated in the art piece is painter’s tools such as brush and palette. They are shown in use while the artistic handles them directly which is rather unique given that in most common allegorical images the tools were carefully placed close to the subject but never in actual use. This, therefore, symbolizes her commitment and dedication to what she does as an artist. Despite defying the set rules she personalizes the image to portray her personality as well as an artistic pursuit. She, therefore, conveys the idea that she is the representation of art in which she is ready to defend with her own image to ensure that she emerges successful. This can also be interpreted as a form of authority in which she suggests that women were entitled to during the period but were unable to benefit due to the domination of male which had, in turn, silenced their creativity and ideologies. However, there is also a piece of cloth that fixes the allegory mouth that is missing normally intended to symbolize the non-oral ways of being expressive of the fact that painters are limited as well similar to other professions (Harper 1). This, therefore, results in the thought that the artist defies the norms of keeping quiet as a silenced woman and chooses to pursue artistic achievements and self-fulfillment.
In conclusion, it is evident that the art piece by Gentileschi is one that incorporated symbols in conveying a strong message. Through symbols such as loose hair, golden chain, color shifting dress and a free mouth the artist is able to defy the odds of time and portray an incredible personification through a self-portrait. These symbols are important as they help to understand the focus of the image and what drove the artist to make such an art.
Work Cited
Harper, Sarah. A Self-Portrait of Remarkable Strength. Armstrong Graduate, Journal of History. 2018. Retrieved from: https://www.armstrong.edu/history-journal/history-journal-a-self-portrait-of-remarkable-strength
Artwork Images
Figures 1: Artemisia Gentileschi’s - Self-portrait as Allegory of Painting
Figure 2: Artemisia Gentileschi’s - Self-portrait as Allegory of Painting
During the Great Depression, writers played a significant role in recording the comprehensive account of life histories. Note that during the Great Depression, U.S experienced a high rate of unemployment and in addressing the difficulties, President Roosevelt established a New Deal work-relief programs to support the people who lost their jobs. Programs include the Federal Art Projects that employed experienced artists such as graphic artists, sculptors, muralists and others who created visual arts. It is worth saying that the Federal Art Projects was good government investment in that today, there are many paintings, murals, fine prints, sculptures and objects of craft which are found in modern municipal buildings, hospitals and other areas in the American states (Davis, 2009). Second, it was a good investment in that there are many community art centers and galleries. Another program of the Works Progress Administration is the Federal Writers' Projects. The latter served a significant role in employing writers, lawyers, teachers and other white-collar workers who recorded oral histories and wrote many books. The Federal Writers Project was a good investment since the project produced Cultural Revolution by producing guidebooks that contained topics like Native American culture, ethnic elements and more. Another program is Federal Theater Project that funded the artistic performance. The program was a good investment in that today; there are theatres in different regional centers such as Chicago and New York. Currently, the U.S government support the arts through; direct public funding and the most public agency is the National Endowment for the arts that provides annual funding for the development and preservation of visual arts, museum, literature and more. Second, the government supports the art through federal departments which supports the art directly or indirectly. Federal department agencies include; Arts Endowment's sister agency and. The Institute of Museum and Library Services. Third, art is supported through private giving where non-for-profit groups and individuals donate money to cultural organizations (Davis, 2009).
I agree with the perception of Abstract Expressionism as exemplifying individualism and freedom. This is because, in the 20th century, the Abstract Expressionism involved self-expression and subjective emotions. The artists were against the impressionism, and they expressed their resentment through spontaneous expression (Anfam, 2016). The Expressionists demanded individuality and freedom and they expressed their demand through myth and archetypal symbols.
In comparing between the models in Zbrush by Michael Mozolewski to musical compositions by John Cage, it worth saying that both focus on self-expression in that in his compositions, John Cage resists the art process and he shows unshakable determination toward individuality. Also, Cage was not interested in being engaged with a bunch of, but he focused on freedom and individuality (Hermes, 2000). Similarly, the Abstract Expressionist visual art by Mozolewski portrays personalities and emotions with jarring subjects to show individuality and need for freedom (Anfam, 2016). However, both artists differ in that John Cage does not deal with feelings or emotions but he is interested in changing his ways of seeing. Cage believed that art connected people and argued that art reinforces the ego and he focuses on anti-art antics that is based on individual creativity (Auster, 2014). Conversely, Mozolewski deals with feelings and sad situations. These elements represented the self-expression and demand for freedom and individuality (Anfam, 2016).
On the assertion ‘my kid could paint that,' the abstract expressionist artist could respond that a child couldn't paint that. This is because, the abstract expressionist artist are professionals and at first glance, they would notice a difference regarding quality and the goal of the painter. Note that emotions and intentions matters and since the traditional and modern abstract art are painted at different times, the abstract expressionist artist will notice the difference by looking at the artistic intentions and the state of mind (Mccrary, 2011). Similarly, I would also disagree with the assertion since by looking at the signs, planning, skill, the value of the art, the body language and sense of intentionality, I would notice the professional and nonprofessional.
Reference
Mccrary L. (2011). My Kid Could Draw That.The American Conservative
Hermes Will. (2000). The Story Of ‘4’ 33’’’. NPR Music
Auster, P. (2014). The music of chance. London: Faber & Faber
Anfam, D. (2016). Abstract expressionism. London: Royal Academy of Arts.
Davis, A. P. (2009). New Deal art in North Carolina: The murals, sculptures, reliefs, paintings, oils and
frescoes and their creators. Jefferson, N.C: McFarland & Co.
Last Supper is an artwork by Leonardo da Vinci which presents a dramatic scene which is closely connected to the Gospels. The last supper painting captures a unique moment in which Jesus tells the disciples that one of them will betray him. The painting captures the tense moment that shows how the disciples are shocked and astonished and reacts and express emotion. The Apostles are on the same side of the table, and they are grouped into four groups (Mannering, 1989). The first group comprises three apostles (Bartholomew, James, and Andrew) who are surprised; the second group comprises three apostles; Judas who will betray Jesus, John and Simon Peter. The third group three apostles who are shocked and the fourth group also comprise three apostles who are discussing the matter. All the disciples are shown on the same side of the table to show there varying psychological reaction toward the matter (Mannering, 1989).
Leonardo gives more realism to the painting by abandoning the traditional method and using a realistic style. First, he used a dried plaster to cover the wall and attended a lead white oil painting to make the painting look brighter. The technique was effective as it created a chromatic brilliance where the art featured intensity and lightness. In general, rather than using the fresco painting where artists applied in painting the plaster, he used the tempera on dry plasters (Mannering, 1989). One of Leonardo's invention that most fascinate me is the Parachute. The fascinating thing is that it has a wooden pyramid structure and it can allow a human being to jump from great height and arrive on the Earth safely.
I can compare Leonardo with some modern figure such as Steve Jobs of the 20th century. The latter has brought innovations and technology such as Macintosh (consumer computer), Mouse, iMac, iPod, and iPad; he founded Apple and PiXar Pixar among many things. Steven and Leonardo have similar characters in that they focus on art and science, beauty and design. They had knowledge and passion and showed their ability in technology and innovation. Another modern figure is Walter Russell of the 20th century. He introduced a new concept of the universe and technology and innovation such as the artificial lift pup discharge, surgical drape system, flexible medical intubation, and more (Mannering, 1989).
Reference
Mannering, D. (1989). The art of Leonardo da Vinci. New York: Gallery Books.
The archaeological sites in Benin City and Angkor reveal the ancient history of these regions. In Benin, there is benin plaque which presents different scenes like battles and court ceremonies with male figures. An example of the historical evidence in Benin City is the Benin bronze which is known to be the art work of Ife or Owo. There is also a museum in the Benin City which contains historical and cultural artifacts for tourists’ attractions and provision of information based on art and culture. However, the Benin City experienced a ‘punitive expedition' when the British government destroyed the city and stole the goods from the Benin museum. There is a reconciliation between Benin and Britain to return the goods such as the bronze sculptures (Barley, Lovelock & Row, 2010). Similarly, Angkor's art and artistic expression focus on providing knowledge and education on the cultural legacy and assist people in securing the future. Also, the museum serves the purpose of art education and preservation of ancient traditions. Other similarities are that the art in both regions expresses religions which play an important role in their cultures. However, the art in both regions is different in that Benin art is characterized by court art whereas Angkor art comprises an ethnographic description where material, culture are based on the indigenous people. They also differ in religious beliefs in that Benin artwork is connected to the Roman Catholic Christianity whereas Angkor's artwork represents Hinduism and the temple was built for the Hindu God, Vishnu. Also, the king (oba) allowed only artisans in the city to perform art work (Stierlin, 1997). Up to date the royal art of Benin only allow the Yoruba people to perform the artwork. On the other hand, the Angkor king ruled the territory and other regions such as China and the Bay of Bengal. Angkor art work was an influence from Western art which gave rise to the Hindu art. The Khmer people use the ancient religious ideas to re-construct the Angkor Wat. They build a wat that appears more real and which presents the Hindu Cosmology.
Reference
Stierlin, H. (1997). Angkor and Khmer art. Bournemouth, Eng.: Parkstone.
Barley, N., Lovelock, K., & Row, M. (2010). The art of Benin. London: British Museum Press.
Van Eyck and Analyzing Art in the Northern Renaissance
The Jan Van Eyck's portrait present visual images and different interpreters of these images have presented different views with the aim of creating the meaning of the work. However, to understand the work, interpreters need to have an accurate identification of the figures. In this case, I agree with Sayre's interpretation of the painting since he does not use formal analysis in interpreting the portrait but he analyses the subject matter and in specific, the symbolic elements. I agree that the painting is representing a betrothal or engagement (Seidel, 1995). Two important symbolic elements support the persuasive part of this interpretation. The first symbolic element is that the man and the woman are linking their right and left hands and this symbolized an agreement to wed. The second symbolic element is a text written on the wall that ‘Jan van Eyck was here’ (Seidel, 1995). This means that there is a legal witness (the painter) to the event. Other important features that support the interpretation is that the woman lifts her green dress using the left hand to signify the female beauty, the white color signify wholesomeness and the red curtains are symbols of love. The dog near the couple's feet signifies faithfulness as well as marital fidelity (Seidel, 1995).
Assuming that people will interpret my portrait, I would include symbolic elements which would assist them to gain knowledge and make meaning beyond the picture on the surface. Example of symbolic elements that I could employ are; light- to symbolize a positive mind and focus on reality. Blue, red and purple color to signify confidence, power, and royalty respectively. Day and sun to signify opportunities, knowledge and new life. A golden gown-to indicate the change of identity or to change the behaviors to achieve goals.
Reference
Seidel, L. (1995). Jan van eyck's arnolfini portrait. Cambridge: Cambridge Univ Press.
This artifact can be found inside a royal tomb and acted as a monumental coffin where a prince mummy or his wife’s mummy was placed. The sarcophagus has engraved pattern of areas to decorate the surface, whose designs imitate those found on palace walls. This alludes to the work of the sarcophagus as being the final resting place of the deceased. The niche front wall can be said to have its basis on the palace since this is where a body of a deceased royal was believed to live eternally. The ancient Egypt had a common belief that the physical body was still useful to the deceased in after life. Hence, it was very necessary for the body to be kept in a safe or secure place. The kinds of niches on the artifact are similar to others at Khasekhemwy found at Abydos in terms of funeral enclosure (Brooklyn, n.d).
The concept of in façade is likely to have been derived from a similar idea used in palace architecture. The reinforcement of the floor on which it rest indicates that it is very heavy and it should be a stone carving done at the time. It is probably that it belonged to AKhet-hotep, a person in the lineage of the 4th Dynasty. Akhet-Hotep, probably Pharaoh Khafre’s kin was an important figure who was buried close to Khufu, a great pyramid (Brooklyn, n.d). This individual can be seen wearing a short kilt, which may indicate a young person full of activities. The sarcophagus does not have a mommy inside, which means that it could possibly belonged to a prince who body was never placed inside.
The sarcophagus lid and the rest of its parts are made if red granite. Actually the box and its over are carved from the same granite material. It is likely that the granite was acquired in quarries in Egypt but it must have needed a lot of effort to move it. The lid has some holes on it, probably for the purpose of placing it properly or the holes could have been drilled to make the heavy lid easily maneuverable. May be poles could be placed into the holes or some ropes used to close the sarcophagus after the owner’s death. A closer look at its sides reveals some repeated lines which, as aforementioned, make the artifact appear more like the palace walls. The ate-fact also has façade paneling found around all the exterior surfaces of this box and lacks any inscription (Brooklyn, n.d).
It is upright; every end of it over runs full width and having two drilled holes. The cover itself is not decorated and this probably means that it was not finished. Three corners of the box appear to be chapped with some scattered chips all along its base. Generally, the sarcophagus appears to be an excellent condition (Brooklyn, n.d). While some other sarcophagus together with their structures appears to have greatly been destroyed, this one seems to have been held in place with minimal damages to its patterns and carvings. The important questions that person would actually want to be sure of is for whom the royal tomb was built and the appropriate time when it was built. Its carving is similar to other sarcophagus found in the same region even though patterns may differ.
Architecture that’s built to heal | Michael Murphy
Background
Michael Murphy is an architect who spearheads designing of programs and related research and has helped in transforming architecture into a healing profession though construction of hospitals.
Genre
An oral presentation
Purpose
To show how the architects can contribute to the healing process of patients by designing hospitals that provide an environment that promotes the healing process.
Audience
Attendances at TED conference with architects as the main target
Medium
An oral presentation in video form
Key concepts
Architect can have a human touch through transforming designing of hospitals in ways that encourage the healing process including mental health issues.
Summary
The architectural design of hospitals should aid in the healing process of patients. Architecture profession has a role in transforming the health sector including provision of mental health services.
The article titled the Fine Art of Gentrification authored by Deutsche and Cara (1984) explores the subject of gentrification. Gentrification refers to an occurrence in which low-leveled, physically depreciated neighborhoods are involved in physical renovation thus increasing the property value alongside invasion of richer residents who are likely to displace the previous occupants. In the article, Deutsche and Cara makes a strong argument involving the struggles in the West Village and highlights a time when the artists in the community were being used to serve the interests of real estate developers by driving communities of color and poor communities. The author portrays a period when there was acute political consciousness in the New York arts community. They represent the New York’s art business as having invaded the poorest neighborhoods in the city, which was packaged as in the process as a combination of “Poverty, punk rock, drugs, arson, Hell’s Angels, winos, prostitutes and dilapidated housing” (Deutsche and Cara, 93). This article derives its strengths from the representation of how New York art was enabling the process of gentrification and driving out the poor community from the poor neighborhoods like the West Village. It is evident that, art has played a crucial part in gentrification as more and poorer people are living in the suburbs than in the cities as the wealthier community has occupied the places that are characterized by a more monetary value.
In my opinion, Deutsche and Cara make a strong argument that Fine art is utilized by real estate developers with the motive of driving the poor residents and communities placing subjecting them to more struggles in the urban setting, but the argument would have been more if they considered the inevitability of modern development and modern living demands. The artistic representation served to portray the neighborhoods as a place for adventure for the artists, but this concealed a brutal reality, that of a strategic war of position wrought against a local population that is increasingly isolated and impoverished (Deutsche and Cara, 93). The writers present gentrification as being driven by real estate developers with big capital with an immediate goal of dislodging a working class that is largely redundant by taking away the neighborhood housing and property. As real estate developers are focused on creating higher monetary gains for themselves by creating favorable places for their target consumers being the wealthy persons more and more people are being subjected to more struggles. Unarguably, most poor people cannot afford to acquire for better housing as the living cost has risen rather fast in the past years, thus most of them end up in the slums and other locations that they can afford and still sustain their survival tactics. This state is not only poorly equipped by a major reflection of what the venerable communities are going through based on their vulnerability.
The other issue that the artistic representation helped was to encourage a full –scale development of the desired housing conditions so that to sustain the labor force of capitalism consisting of the white working class who would serve the post-industrial society in America. The main aim of the gentrification of Lower East Side was to bring the working middle class, majorly white, closer to their working places but ignoring injustice meted on the people of color leaving poor neighborhoods. As such, the people with loads of money were playing with futures and lives of individuals with so little hope (Deutsche and Cara, 94). In addition, the authors present a unique argument on the need for artists to avoid aligning themselves with capitalist forces promoting the destruction by first understanding the entire gentrification process. An understanding of gentrification aligning with the destruction is that of Latin and Black American communities who view it as a way for the white population to reclaim inner cities by moving into their neighborhoods. A true definition of gentrification would require the setting of the economic forces that were bringing about destroying cities, neighborhoods and even the traditional working classes. The expansion of capitalism was to blame for the increasing poverty among the working class since the introduction of new machines rendered many people jobless or their wages declined (Deutsche and Cara, 94). The higher increase in blue collar jobs than white collar jobs over the decades is an indication of the existing gap between the then generation and the previous one, who largely provided labor to industries. While jobs and wages declined over the period, the profitability of private organizations increased which was a clear proof of true capitalism. Many people who found themselves unemployed were victims of their own inability to adapt, an incapacity that is attributed to the division of labor (Deutsche and Cara, 96).
The authors depict gentrification as a significant factor in the entire impoverishment strategy, where housing is created and hence, neighborhoods that can only be afforded by white-collar workers. The conditions necessary for the survival of many poor people are destroyed in the process. Moreover, investment in new housing aimed at benefiting low-income people in big cities adds ups as a loss (Deutsche and Cara, 97). The investments that are most profitable are the ones that destroy the homes of poor families to create room for high-income families and businesses. A moral contention arises basically on the issue of who really owns the land in the Lower East Side, and the authors note that truly, it belongs to the poor who were struggling when other people did not want to live in such areas. A difference is also noted between the earlier European immigrants and today’s minorities. While the European immigrants were gradually assimilated, the minorities underwent attrition. The whites who moved from the affluent cities did so only because the landlords had deserted the dilapidated buildings and these who initially moved to the poor neighborhoods could be considered as the rejects of the affluent neighborhoods. They form new slums in the poor neighborhoods, but slums in Lower East Side are undergoing a radical transformation as investments of millions is done by the affluent classes so that they can live there themselves(Deutsche and Cara, 99). The result is a displacement of people who have nowhere else to relocate a process called revitalization.
The authors see an issue with the failure of the art press to remark the gentrification process which occurs concurrently with the unfolding of the present art scene. The treatment of the issue of the interrelationship between the gentrification process and unfolding art scene happens in two ways including ignoring it altogether or being presented as a side issue that can easily be dispensed. Artists such as Richard and Moufarrege failed to call the problem by its true name, gentrification, even though Lower East Side plays an important role in the promotion of their scene (Deutsche and Cara, 99). Even various East Village art apologists like Walter Robinson and Carlo McCormick fail to pay sufficient attention to the issue only indicating how gentrification is influenced by their work but immediately reverting to the business of lavishly illustrating the scene’s pleasures. The artist is seen to care less about the issue as long as their work is showing good art. The artists form an alliance with the real estate developers through their advertisement and validation of East Village scene products in the press coverage. Few others like Craig Owen attempted to draw attention to the role of East Village scene, social or economic, that previous commentators had suppressed and thus creating a way for true questioning of the impact of artists in gentrification process (Deutsche and Cara, 99).
The artists also exploit these poor neighborhoods through their sensationalist connotations that deflect the attention away from the ills affecting the society, including economic, political and social problems. Such an attitude is similar to the one that enables affluent residents in the city to continue being indifferent to the problem of the displacing the poor; poverty is assessed as a natural thing and gentrification is shown as inevitable and in some instances as being desirable (Deutsche and Cara, 101).The artists assume they are exempted from social responsibility in their efforts to present their work and approach this neighborhood with a possessive and dominating attitudes of trying to be part of its transformation to an imaginary site(Deutsche and Cara, 105). The authors question the easiness with which considerations for social issues affecting these neighborhoods are pushed aside.
However, I find the arguments by the authors to be having some limitations since they fail to consider the full work of artists and this seems to make their arguments increasingly complex. No doubt that artist should observe a great high level of responsibility so that they promote the advancement of their society. However, I would strongly consider that artists should have the freedom to create scenes and images by having a right to independently expressing personal views. The issue the authors should also have considered whether the New York artists in Lower East Side should conform to a given social norm so as to appease the public; or are they supposed to follow personal beliefs while creating their artworks which makes it possible for them to attain a sense of satisfaction? Art is normally a personal creation and artists should be allowed the right to present their views without being judged by other people. In addition, the authors’ argument complicates the discussion because the personal interpretation of viewers differs greatly in the contemporary art. Eventually, some viewers may disregard the intention of the artists if their intent is to be judgmental and labeling of the artists as not being responsible. Furthermore, the presentation of the by the artist of the East Village transformation could also be viewed as a way of sending a message on the need to have decent housing for all citizens and not only when the rich class is interested. The artists can be allowed to develop a fascinating and wonderful representation of the benefits of a new transformation of poor neighborhoods.
Conclusion
In summing up, gentrification is evidently one of the subjects that cannot be avoided in the contemporary society. As fine art is being utilized in the low valued places to renovate and create higher value for the wealthier people to be accommodated more and more people particularly the poor populace is being subjected to poverty daily. These people have not only become homeless but a significant number is living in the impoverished state but the phenomenon is one that cannot be stopped.
References
Deutsche, Rosalyn, and Cara Gendel Ryan. "The fine art of gentrification." October 31 (1984): 91-105.
Mona Lisa remains to be unquestionably the most popular masterpiece historically and today. There are a number of factors that contribute to the wide acknowledgment of the period. Through Mona Lisa, Leonardo explored the human ideal illusion in the creation of a unique piece that holds a smile from a perspective through the use of shadow painting (Zolfagharifard, 2015). Leonardo painted the art in a manner that Mona Lisa’s eyes are central to the viewer’s attention while the mouth is peripheral. Mona Lisa has created such a reputation for being the most debated and famous art. Mona Lisa is a representation of unique and innovative painting techniques through which Leonardo redefined the contemporary art practices.
It is the unique features of the Mona Lisa painting such as the smile, landscape, and glamour that intrigues every individual. I believe that Leonardo decided on keeping the piece all his life based on the expression and the skills that the pain demonstrated. To begin with, the piece redefined what was considered standard in the art world by creating a unique and highly appealing piece. The facial expression of Mona Lisa offers a mysterious appearance as it leaves some viewers trying to figure out who she actually was and why she appears sad and happy to others (Tovrov, 2011). The glamour of this art shows that Leonardo was not only a painter but an inventor and the controversy that the pain revealed remains to be a major attraction point for most individuals (Rome, 2010). Leonardo utilized some classic techniques that created such a popular art but also sought to explore the human illusion from different perspectives.
References
Rome, N.P. (2010). Mona Lisa painting 'contains hidden code’. The Telegraph. Retrieved from http://www.telegraph.co.uk/culture/art/art-news/8197896/Mona-Lisa-painting-contains-hidden-code.html
Rosalyn Deutsche and Cara Gendel Ryan makes a strong argument involving the struggles in the West Village and highlights a time when artist in the community were being used to serve the interests of real estate developers by driving communities of color and poor communities. The author portrays a period when there was acute political consciousness in the New York arts community. They represent the New York’s art business as having invaded the poorest neighborhoods in the city , which was packaged as in the process as a combination of “Poverty , punk rock , drugs , arson , Hell’s Angels , winos , prostitutes and dilapidated housing” (Deutsche and Cara, 93). This article derives its strengths from the representation of how New York art was enabling the process of gentrification and driving out the poor community from the poor neighborhoods like the West Village. The artistic representation served to portray the neighborhoods as a place for adventure for the artists, but this concealed a brutal reality, that of a strategic war of position wrought against a local population that is increasingly isolated and impoverished (Deutsche and Cara, 93). The writers present gentrification as being driven by real estate developers with big capital with an immediate goal of dislodging a working class that is largely redundant by taking away the neighborhood housing and property.
The other issue that the artistic representation helped was to encourage a full –scale development of the desired housing conditions so that to sustain the labor force of capitalism consisting of white working class who would serve the post-industrial society in America. The main aim of the gentrification of Lower East Side was to bring the working middle class, majorly white, closer to their working places but ignoring injustice meted on the people of color leaving poor neighborhoods. As such, the people with loads of money were playing with futures and lives of individuals with so little hope (Deutsche and Cara, 94). In addition, the authors present a unique argument on the need for artists to avoid aligning themselves with capitalist forces promoting the destruction by first understanding the entire gentrification process. An understanding of gentrification aligning with the destruction is that of Latin and Black American communities who view it as a way for the white population to reclaim inner cities by moving into their neighborhoods. A true definition of gentrification would require the setting aside the economic forces that were bringing about destroying cities, neighborhoods and even the traditional working classes. The expansion of capitalism was to blame for the increasing poverty among the working class since the introduction of new machines rendered many people jobless or their wages declined (Deutsche and Cara, 94). The higher increase in blue collar jobs than white collar jobs over the decades is an indication of the existing gap between the then generation and the previous one, who largely provided labor to industries. While jobs and wages declined over the period, profitability of private organizations increased which was a clear proof of true capitalism. Many people who found themselves unemployed were victims of their own inability to adapt, an incapacity that is attributed to division of labor (Deutsche and Cara, 96).
The authors depicts gentrification as a significant factor in the entire impoverishment strategy, where housing are created and hence, neighborhoods that can only be afforded by white-collar workers. The conditions necessary for survival of many poor people are destroyed in the process. Moreover, investment in new housing aimed at benefiting low-income people in big cities adds ups as a loss (Deutsche and Cara, 97). The investments that are most profitable are the ones that destroy the homes of poor families to create room for high-income families and businesses. A moral contention arises basically on the issue of who really owns the land in the Lower East Side, and the authors note that truly, it belongs to the poor who were struggling when other people did not want to live in such areas. A difference is also noted between the earlier European immigrants and today’s minorities. While the European immigrants were gradually assimilated, the minorities underwent attrition. The whites who moved from the affluent cities did so only because the landlords had deserted the dilapidated buildings and these who initially moved to the poor neighborhoods could be considered as the rejects of the affluent neighborhoods. They form new slums in the poor neighborhoods, but slums in Lower East Side are undergoing radical transformation as investments of millions is done by the affluent classes so that they can live there themselves(Deutsche and Cara, 99). The result is a displacement of people who have nowhere else to relocate a process called revitalization.
The authors see an issue with the failure of the art press to remark the gentrification process which occurs concurrently with unfolding of present art scene. The treatment of the issue of the interrelationship between the gentrification process and unfolding art scene happens in two ways including ignoring it altogether or being presented as a side issue that can easily be dispensed. Artists such as Richard and Moufarrege failed to call the problem by its true name , gentrification , even though Lower East Side plays an important role in promotion of their scene (Deutsche and Cara, 99) . Even various East Village art apologists like Walter Robinson and Carlo McCormick fail to pay sufficient attention to the issue only indicating how gentrification is influenced by their work but immediately reverting to business of lavishly illustrating the scene’s pleasures. The artist is seen to careless about the issue as long as their work is showing good art. The artists form an alliance with the real estate developers through their advertisement and validation of East Village scene products in the press coverage. Few others like Craig Owen attempted to draw attention to the role of East Village scene, social or economic, that previous commentators had suppressed and thus creating a way for true questioning of the impact of artists in gentrification process (Deutsche and Cara, 99).
The artists also exploit these poor neighborhoods through their sensationalist connotations that deflect the attention away from the ills affecting the society, including economic, political and social problems. Such an attitude is similar to the one that enable affluent residents in the city to continue being indifferent to the problem of the displacing the poor; poverty is assessed as a natural thing and gentrification is shown as inevitable and in some instances as being desirable (Deutsche and Cara, 101).The artists assumes they are exempted from social responsibility in their efforts to present their work , and approach this neighborhood with a possessive and dominating attitudes of trying to be part of its transformation to an imaginary site(Deutsche and Cara, 105). The authors question the easiness with which considerations for social issues affecting these neighborhoods are pushed aside.
However, I find the arguments by the authors to be having some limitations since they fail to consider the full work of artists and this seems to make their arguments increasingly complex. No doubt that artist should observe a great high level of responsibility so that they promote advancement of their society. However, I would strongly consider that artists should have the freedom to create scenes and images by having a right to independently expressing of personal views. The issue the authors should also have considered whether the New York artists in Lower East Side should conform to a given social norms so as to appease the public; or are they supposed to follow personal beliefs while creating their artworks which makes it possible for them to attain sense of satisfaction? Art is normally a personal creation and artists should be allowed the right to present their views without being judged by other people. In addition, the authors’ argument complicates the discussion because the personal interpretation of viewers differs greatly in the contemporary art. Eventually, some viewers may disregard the intention of the artists if their intent is to be judgmental and labeling of the artists as not being responsible. Furthermore, the presentation of the by the artist of the East Village transformation could also be viewed as a way of sending a message on the need to have decent housing for all citizens and not only when the rich class are interested. The artists can be allowed to develop a fascinating and wonderful representation of the benefits of a new transformation of poor neighborhoods.
References
Deutsche, Rosalyn, and Cara Gendel Ryan. "The fine art of gentrification." October 31 (1984): 91-105.
Chinese Creativity? - Defending and expanding on Lederose’s thesis that Chinese creativity is an on-going process rather than a onetime even which differs to creativity conceiving by the West.
Introduction
In the book, Ten Thousand Things The author Lothar ledderose, argues that Chinese conceive of originality of creativity differ from that of the western. The western and Chinese arts have rather opposing traditions in regard to their creativity and representation of the world (Ledderose, 2000). While the western art creativity from the renaissance period in depicting the world has always held the central objective and concentration on salience regarding scenes and items, Chinese creativity is more focused on contextual information. The western art traditions that commenced with the influence of Genesis derived from the bible, which implying that creativity originates as a form of creation that involves the development from nothing driven by objectivity thus placing premium on such things that lead to the breaking of the created norms, overturned traditions and focus on uniqueness by creating and reaching points that no one has attained prior. On the other hand, according to Ledderose Chinese creativity traditions mainly asserts on gradual transformation (Ledderose, 2000). The emphasis of these traditions is based on evolutionary distinction where artists are focused on improving and furthering to the well accepted and popular artistic styles rather than creating new ones like the west in search of uniqueness. The Chinese approach mainly asserts on differentiation within a given genre or pattern. In this context, while the Chinese creativity is a progressive procedure the western one is a one-time thing. I agree with Ledderose’s thesis that the Chinese creativity originality differs with that of the west which seeks to create fresh patterns that are objected and seek to achieve differentiation via unique patterns while the Chinese one improves the existing styles but assert on differentiation.
Leddrose in his quest to demonstrate the gradual nature and the one-time artistic style utilized by Chinese artists and western based respectively focuses on discussing the development of art, images creation, themes design, originality and creativity of artists (Ledderose, 2000). It is through detailing this subjects that he does an appealing contribution to the Chinese artistic industry which has grown to place most of its concentration and effort to the issues of recognition, acceptance, historiography and socio-economic forces. Based on the authors emphasis on this differences the primary theme that he offers from the theory is related to the manner in which the creation and manipulation of the popular and accepted units in every aspect in art ranging from writing to paintings has enhanced the artists capability to high quantity production of art pieces in China thus shaping the state of Chinese thinking, creativity, and society in general. His argument is accounted as influential and yet contentious as he made a full comparison of the originality and creativity that of the western region (Keane, 2013).
Although, the western has acquired substantial success in their artistic venture in regard to the production of differentiated and unique artifacts the concentration of Chinese artists on improving popular and accepted art has influenced their ability to produce in large quantity while still adhering to differentiation (Keane, 2013). Chinese has not accomplished this by being unique rather by centering on what has already been established in the market. As shown by the Work Pan Tianshou (1897-1971) by a Chinese artist, Chinese are well known for their commendable art that is categorized as origin even though the ideas are mainly borrowed from the already existing materials (Chang, 2011). On the other hand, Ledderose’s thesis is accurate because the western is not the only objective in its arts but mainly assert on uniqueness which is achieved by reaching heights which have not been achieved before.
Chinese creativity is one that appears to be grounded in conventional Chinese calligraphy while that of the western region is more of abstract manifestation. This can best be demonstrated by the art of the modern artist Tian Wei Verde that was published in 2013 (Keane, 2013). Although her art is primarily driven by the western and Chinese influence it is easy to view the difference. The primary difference amid China’s art and the western one is grounded on conventional calligraphy. The Chinese based art is mainly driven by ideographic sense and over the centuries the artifacts have grown to fit more into abstraction. The Chinese artist's thinking and creative attempt to do mainly is to innovate as well as develop a differentiated manner of generalization. On the other hand, shifting to the western region the abstract expressionism that mainly became stringer from the 60s explains it all since the artistic energy is mainly in opposition of the western one which is well illustrated by Joan Miró (1893-1983) by a Spanish artist (Chang, 2011).
Western creativity mainly encourages realism and mastering of skills and concepts but the Chinese one relies on the influence of abstraction (Keane, 2013). The western style of art is mainly grounded in the real world based on everything that is happening, the freedom, oppositions, experiences, feelings and everything that one comes across (Keane, 2013). This incorporates honesty as art is personalized generally. However, for the Chinese art is basically differentiated from the ideas that are in the industry and have been accepted and embraced in general. The west and the Chinese creativity are rather two major different systems that are highly competitive. According to Dunhuang Frescos a Chinese based work, this difference is based on the gradual change concept that is utilized by Chinese artists that have slowly increased its capability to focus on mass production on the grounds of diversification (Keane, 2013).
To the western creativity is perceived as a form of skill that should be expressive of the real world while Chinese artists uphold on the general concepts of improving everything that is in existence (Justice, 2012). In that, the western follows a style that is more focused on adhering to certain trends due to the need of utilizing art as a means of expressing societal or an individual’s life. Chinese art is not one that is customized based on reality but based on the existing needs in the market. Chinese art creativity can be differentiated from the western generalization and expressionism via the incorporation of writing and focus on meaning. To the western language is particularly important and authoritative since it can be utilized in transmitting, precise communication and without its presence, the concepts and description can be misunderstood. Language primarily affects almost every characteristic of the artistic life ranging from written art to painting (Justice, 2012). In this context, it is worth noting that the western creativity focuses on the consistent search for the general meaning of art while focusing on the appearance, exposing the authority and replicating on the unseen (Keane, 2013).
Chinese calligraphy has over the centuries evolved rather gradually from a distinguishable system developed of graphic characters into characters abstraction that is being utilized today (Keane, 2013). Chinese creativity sense tends to be more influential based on Ledderose’s view which has been proven to be true as it is driven by language and differentiation. The western is mainly driven by 26 English alphabetic number while in Chinese there are thousands of characters which create the whole difference in regard to mass production (Chang, 2011). The western abstraction has not evolved because it is mainly based on consistent change. Rather than adding or adjusting to everything that is already in existence it is evident that the western mainly focuses on achieving rather new concepts that have not been achieved before by which is a form of searching uniqueness and differentiation simultaneously. From the western notion, abstraction is the primary means of developing art which seeks to emphasize that the viewers can easily recognize the intended message from the real life (Justice, 2012). The Chinese creativity has evolved up to modern abstraction which is utilized to triggering fresh concepts that are relevant although not easily visible. Chinese creativity is grounded on the need to consistently comprehend the hidden power that is related to artifacts on the ground of rhythm and attitude (Keane, 2013).
The western conceive creativity as a one-time thing and rarely focus on gradual growth and change. In that, while Chinese arts is developed from the existing concepts and ideas the western one is mainly grounded on the uniqueness that seeks to create customized pieces based on different thoughts (Tsao & Ames, 2011). This is usually the case because the focus is primarily on realism. Every artistic holds different views based on their differentiated experiences, knowledge, and skills which therefore fuels objection. In this context, it becomes rather evident that both artistic grounds are characterized by different based on their attitude and perception of creativity. While the western tend to encourage individuality and customization, the Chinese one mainly encourages change from what has been achieved. This has led to the consistent and gradual evolution of the conventional Chinese calligraphy (Tsao & Ames, 2011).
Ledderose utilizes Chinese writing and creative thinking as the standard for comprehending the logic behind modular systems while highlighting the Chinese language made of extensive characters each with a differentiated representation (Keane, 2013). He makes the assertion that the design of the current artistic system that mainly supports the production of distinguishable pieces in large quantities with a rather commendable dimension is the highest achievement that has occurred for the Chinese populace. In this context, the Chinese creativity is mainly driven by their capability to invent, draft and recognize the most accepted pieces through the organization of limited components as a way of standardizing its general production (Chang, 2011). In this context, it becomes clear that the west is mainly limited by its language borders and perception that tends to oppose gradual changes and evolution of its abstractive expressionism.
The stylishness and the inventiveness of Ledderose’s argument evoke mainly based on quality and the nature of Chinese thinking (Chang, 2011). The western is widely recognized for its differentiated development which is mainly focused on customized thinking while Chinese although being categorized under the originality category mainly depend on their potential to develop what has already been created. This to them is a form of the invention that assertions more on growth, diversity, and differentiation. The west mainly focuses on innovation and invention rather than the development of all that is in existence. This shows the two words differences. In that creativity to the west is not an evolution but is an aspect that it is to be utilized uniquely to represent the real world as a form of representation and expression (Pang, 2012).
Essential to the difference between Chinese and western creativity perception are the aspects of harmonization, expectedness, and standardization. These principles are mainly associated with the Chinese creativity (Pang, 2012). In other words, it is easy to predict art growth and change in the Chinese industry rather than that within the west region. Chinese artists mainly work in regard to creating standardized pieces that create a form of harmony. This means that although the creativity tends to be different it is mainly grounded some form of resemblance. This is the case since the development mainly grows from the ground that their creativity is gradual and similar. Harmony from the western region is not to be matched in particular because it is not harmonies as it expresses different subjects that relate directly to the real world in general. To predict the creativity of the west is not possible based on the assertion of customization and the need to reach levels that have not been attained before (Pang, 2012).
Chinese creativity is perceived as a collective measure that seeks to assert of standardization. These are not present in the west as creativity is conceived to be mainly acquired from reality as well as personal experiences. This trend has mainly facilitated the growth of mass production in the Chinese context (Keane, 2013). The western creativity takes time to develop and design substantial pieces which affect the capability to generate items in masses. In addition, even after the concepts are developed in general they are only utilized for a single time and gradual development. Chinese creativity is assumed to be a form of an army that works based on certain and specific aspects that mainly seek to grow the existing achievements. The Chinese production is mainly grounded on the conventional elements of architecture as something that evolves gradually. As demonstrates by leaders, China's art is mainly reliant on the replication of the modular pieces (Chang, 2011). Individuals mind plays a critical role in regard to creativity in China contrary to that of the west that is dependent on experiences, expressions, and reality.
In summing up, according to Ledderose calligraphy is the most valued art among Chinese artists which differs from the abstract expressionism from the west. In China, art is mainly driven by aesthetic ambition. This means that the thing that has the highest value the artist’s capability to overcome the limitation of art and invent unique, differentiated and acceptable pieces. This differs from the west based one that mainly focuses on standardization, and creativity uniformity through customization. While the Chinese creativity is gradual the west one transforms consistently based on artist’s experiences and realism.
References
Chang, C. (2011). Creativity and Taoism: A Study of Chinese Philosophy, Art and Poetry. London: Jessica Kingsley Publishers.
Justice, L. (2012). China's design revolution. Cambridge, Mass: MIT Press.
Keane, M. (2013). Creative Industries in China: Art, Design and Media. Hoboken: Wiley.
Ledderose, L. (2000). Ten thousand things: Module and mass production in Chinese art. Princeton, NJ: Princeton University Press.
Pang, L. (2012). Creativity and its discontents: China's creative industries and intellectual property rights offenses. Durham, NC: Duke University Press.
Tsao, H., & Ames, R. T. (2011). Xu Bing and contemporary Chinese art: Cultural and philosophical reflections. Albany: State University of New York Press.
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