Human Form Through The History Of Art

Human Form Through The History Of Art Spanning across centuries of art movements, the human form has been depicted and developed in numerous ways. It can be seen that it has been illustrated according to specific ideologies of an era. Also, quite a significant point is looking in the past at the human form and the large amount of times that artists choose to depict it and how they have rendered it. One can look at two periods, the past -where have we been? and the present where are we now? according to the cultural, ideology and time influences on form. In this essay I firstly looked at how the human body has been portrayed, and secondly, the medium used in which to render the painting/ sculpture. Egyptian artists painted in a very simple, 2D manner, using only a set number of colours to depict their form of a human being. All of their appendages, such as hands and feet, are portrayed as flat and front on. Their eyes also appear to be a frontal view instead of the conventional side on view of the eye when looking at the face from the side angle. (Figure 1) These images are perfect examples of an art form that has been influenced by culture and ideology. The Egyptians lived relatively simple lives yet they were a very precision driven race, for example the pyramids. This is reflected in their art. Barry Kemp extensively researched the Egyptian ideologies and culture. In his book called Ancient Egypt: Anatomy of a Civilisation, he argues that ideologies have become one of the shaping processes of the modern times. Kemp stated that it would be appropriate to use the word ideology when referring to the Egyptians vision and use of symbolic terms in their artwork. The Egyptians beli eved that it was of central importance to keep the reflection of a divine order within their lives. (Kemp, 2006: 61) The use of simplistic form and symbols depict their idea of a true representation of a humans form and lifestyle at that time. Greek The Greeks worked in a variety of styles and mediums. From sculpture, to painting, to prints as seen below (Fig 2 3) a similar thread runs through of the Greek ideology. Their appearance is analogous in style to Egyptian art. Both representing 2D forms with very simple, reserved use of colour and no 3D qualities at all. These two examples represent prime facets to the violent Greek lifestyle of war and quarrel forever ending in gruesome death. Although when researching Greek art, it is impossible not to talk about sculpture. The Greeks were known for their sculpture and architecture. The central subject matter in Greek art is the human form and it is displayed in many ways. Static sculpture, such as the example below (Fig 4) (Home School, n.d.) represents the very early form of Greek sculpture. There is no movement in the artwork what so ever; the only difference / variety is the fact that the one leg is put forward. The Greek lifestyle and ideologies at this point in history was vital in the exploration of the human form. The sculptors started to differentiate their works by adding texture and movement. Or Mobile Sculptures: The Greeks believed in resolving issues with violence, as mentioned above. Therefore this was an ideology of their time. Their art no matter how static it appeared always carried connotations of viciousness and passion. This particular sculpture (Fig 5) is a demonstration of pure strength and domination of the male form in the Greek ideology. Every muscle is emphasized and their facial expressions tell a story of their own. Baroque In the Baroque movement there is a complete change to what has already been looked at. Art had evolved into more realistic renderings and the majority of work was completed in paint. The word Baroque has the original meaning of irregular, contorted, grotesque (Janson, 1982: 483). Which when speaking about the movement as a whole, is a largely out-dated explanation. The new style actually originated in Rome during the late 1500s. In Rubens painting, The Union of Earth and Water (Fig 6), it is evident that many, many hours of painting were put in to produce this work. The forms have a soft, gentle shape. The females bodies in this era were always described in the paintings as full and plump but not over-weight in any sense. In more modern terms their bodies would be considered to be shapely. The Ideal woman/ bodily form in this era in terms of the ideology of form was seen as more romantic in observation. It was not seen as in the more modern times of a slender, fit looking woman ideologies of the perfect woman of our time this is how their perfect woman appeared. The conventional way of portraying a human body with the face forward or to the side was challenged and explored by placing a form with his back to the observer. This could indicate deeper connotations of social changes or standards. With the male being the one to turn away, it could indicate his confidence in his own authority. Neo-Classicism Known as one of the first movements to be in the Modern World of universal art movements, Neo-Classicism brought forth new dimensions of the portrayal of the human body. Similarly to Baroque, the figures were rendered mainly in paint, with a more realistic emphasis. However there is one noticeable change in the human form when moving onto the Neo-Classicism era. It is visible that the form has been revised more in terms of muscle shape and the actual realistic shape of the body. For example, the men posed in the painting have very muscular bodies and are standing in a very blatant, upright position; which differs greatly to the style in which the artists portrayed their forms in the previous movement. Every muscle is defined and emphasized; every proportion is correct; nothing is removed from the composition and their forms are depicted in a very realistic manner. Looking also at the women in the background, it is apparent too that their shape and form is much more refined and calcul ated. This movement is described as a new revival of classical antiquity (or ancient) (Janson, 1982: 557). This movement spanned over a near century in length. A good example to illustrate this movement is Davids painting, The Oath of Horatti. (Fig 7) Impressionism is the next period towards the present. The term Impression means (in painting) to make a mark with paint to give the idea (impression) of something. It does not mean that the observer can see the exact object it is a suggestion using colour through emotion. In the case of the artwork below (Fig , lighter shades of the same colour are almost dotted on to the canvas to give the effect of dappled shade. The impression of shade is evident. Scenes from the world of entertainment (Janson, 1982: 608) such as dancing halls, side cafà ©s, concerts and the theatre were the main subject choice of the impressionist painters. To look at a good example of form and its depiction in this movement, The Tub by the impressionist artist, Degas (Fig 10), is a great instance. A woman is bathing in a round bath tub. As the subject in the painting, her body utilizes the majority of the space. The brush strokes are quite harsh and quick, in a way that just by looking at the image they are clearly seen. This in turn causes a hazy, or out of focus effect to the painting. Even through this however, the observer can clearly see her form. Her shoulder bone is distinct causing a line of shadow on her back. Her ribs can too be seen from the way that she is bent over they are easily exposed under a persons skin. The harshness of the brush strokes in a way emphasizes her form. The use of light and dark (chiaroscuro) has the same effect. Although, when compared to Davids Oath of Horatti (Fig 7), there is a great difference in the way in which the artist painted. The Neo-Classicist work expresses static definition, where as in The Tub (Fig 10) more of an impression of the emotion of the painter (and subject) are conveyed through the rough brushstrokes and colour use. Moving on from paintings and routine sculptures comes the reasonably broad movement of Modernism/ 20th Century painting and sculpture. There are thousands of examples of a modernistic artwork. It has been debated whether or not this was a turning point in how and what artists considered art. Research in this topic shows a definite turning point in one artists work. Anthony Gormley is his name. The image below is of one of his most famous works, a human being lying on the ground in the foetal position on his/her back. Constructed in small, rectangular, metal blocks put together in such a way as to take on / imply the human form. In a way the figure looks almost lost and out of place, on what looks like a sidewalk. The fascinating fete about Gormleys work is that even though it is highly unrealistic, it is too perfectly realistic at the same time in that you can see all the essential details of human form. This of course refers to a more simplistic approach of the interpretation of the body, which in turn could speak about how the form was perceived and/or appreciated in this time. At this stage the depiction of the human form was already moving at a steady pace towards unrealistic simplicity. The movement of Cubism followed shortly after Modernism and materials being used, in fact, completely differed to that of most modernistic works. Picasso, being one of the most famous artists of all history for his cubist works, painted the human form countless times. This particular painting of his is a picture-perfect example of a cubist artwork. The woman is barely capable of being observed properly. The true form in this case as in most artworks of this movement has been lost and only shape (2D) is left behind. The completely angular rendering of the undeveloped figure again hints towards the use of more and more simplicity and basic form in artworks. Most of Picassos cubist works were painted around 1908 1910 (Janson, 1982). This was therefore a few short years before World War 1 began in the summer of 1914 (Janson, 1982). If one looks at the history, there was much tension and social upheaval evident. This was a turning point that changed artists views and opinions which only continued changing due to World War 2. Lastly, the final movement being discussed is the Pop Art movement. A lot of Pop Art pieces were done by the method of silk-screening. This places layers of different colour onto the page to obtain a bright, cartoon-like image. Nowadays you can see them in almost all comic strips for example. It is clear that the human form appears entirely two dimensional for the majority of the time (Fig 14). In (Fig 13) however a rare occasion of tonal value is evident. The form also only appears by itself, with no detailed background, focusing all of the observers attention on the subject. Subsequently, the depiction of the human body has developed and changed. This was due to the ever changing influence of specific ideologies current in each time period. By looking through all the movements mentioned above, there is evidence to state that even though there has been development artworks have gone back to their original state. There has been a loop of progress, yet we still arrive at the same conclusion. In early times before Christ, artworks and sculpture consisted of only necessary form. Now, in the present day, there is the same result.

Rocket Boys Memoir Passage Analysis

Rocket Boys Throughout the memoir about his youth, Homer Hickam in Rocket Boys demonstrates excellence in prose. Hickam, a former aerospace engineer from NASA, credibly and masterfully crafts his memoir so as to bring the reader into his mindset. His insightful descriptions of action enable the reader to experience the moment firsthand with him through their imagination. He carefully selects his words in order to create an image in the mind of the reader through his deliberate syntax, powerful diction, literary devices, and imagery. The following passage is an example of his powerful prose: Sherman wanted to light the fuse, but I worried whether he could get away from it fast enough. ‘Don’t you worry about me,’ he said with such intensity that I instantly gave in. In a lot of ways, Sherman was the least handicapped person I’d known. He lit the fuse and ran back to a rock. Flames burst from Auk II. It sat for a moment spewing smoke and sparks and rocking on its fins. Then it jumped ten feet into the air, turned and zipped into the woods behind us, ricocheted off an oak tree, rebounded back to the slack, twisted around once, twanged into the boulder Quentin and I were hiding behind, jerked twenty feet into the air, coughed once, and dropped like a dead bird. (Hickam 91) This passage is excellent because it displays literary excellence while also revealing a moment of self awareness in Hickam’s thoughts. There are two key portions to this quotation. The first is the momentary reflection that Hickam had concerning his friend, and the second being the description of Auk II’s flight. In the first half of the passage Hickam displays a moment of self awareness. Sherman Siers, a member of Hickam’s BCMA, had a left leg that had been damaged due to polio. Hickam states that at first he worried that Sherman that Sherman might not be able to retreat quickly enough after lighting the fuse to Auk II, but he gave in due to the confidence and zeal that Sherman possessed. In retrospect he writes â€Å"In a lot of ways, Sherman was the least handicapped person I’d known. † (91) Here Hickam realizes that what many people label as handicaps may be in fact the opposite. Sherman’s handicap caused him to rise to the challenge and in doing so he gained a confidence that empowered him through other challenges that everyone in life may face; to Sherman handicaps were merely a state of mind. The second half of the portion, which describes the flight of the rocket, is teeming with literary goodies; the first of which being the syntax of the sentences. The first of the goodies is the sentence syntax. In the sentences leading up to the rockets takeoff, you can see the sentence lengths are short and excited. Then it changes when it reaches the sentence: â€Å"It sat for a moment spewing smoke and sparks and rocking on its fins† (91). Just as the rocket is delayed sitting for a moment on the ground, the sentence length increases from that of the past sentences to show the delay through syntax. The final sentence is lengthy and jumbled with verbs all throughout it. The constant usage of verbs each following the other gives a very staccato rhythm making the sentence very quick paced and full of action. This final sentence has a whopping total of ten verbs that show the actions and path of the rocket. By looking at the structure of the sentence, one can almost see the rocket flying all over the place jerking this way and that and finally hitting the ground with a thud at the period. Other goodies in the later portion of the passage include the strong choice in diction and literary devices he employs. Hickam superior choice in diction is evident in the final two sentences. Hickam carefully chose each word according to its sound and meaning. He did not try to sophisticate his word choices to make himself seem intelligent. Instead he searched carefully for words that though simple to understand, create just the description for the rocket’s action. Some of the words like â€Å"twanged† (91) and â€Å"zipped† (91) are even examples of onomatopoeia; that is the words sound like what they mean. At the end of the final sentence Homer employs the simile â€Å"dropped like a dead bird† (91). This simile has a dual purpose as both a simile and a pun. This sentence brings an abrupt end to the crazy flight path of the rocket and creates a visual of the rocket plummeting to ground in the minds of the readers, yet at the same time it is a play on words. A pun is the usage of a word which has two meanings to invoke humor. In this case the word which has two meanings is the word â€Å"bird† (91). The name of the rocket, the Auk II, is an allusion to the Great Auk which is an extinct, flightless seabird. When Hickam used the phrase â€Å"dropped like a dead bird† (91), he meant to show the rocket’s rapid descent while also humorously referring back to the origin of he rocket’s name. The last sentence from the passage is an excellent example of imagery. Instead of merely telling the readers about the rocket’s launch, Hickam shows the rocket’s launch to his readers. Using phrases like â€Å"twanged into the boulder† (91) and â€Å"jerked twenty feet into the air† (91), Hickam invokes the senses of seeing and hearing to bring the reader firsthand into the action. Overall I really enjoyed reading Rocket Boys. The passages really brought me into Hickam’s mindset and I was able to see the world from his point of view. The frequent literary devices entertained my mind, while my imagination was absorbed in the imagery in the book. I was inspired by Sonny’s determination to succeed and make something of himself. I did not find any truly weak parts of this memoir as I personally was absorbed in every moment in it. However I can understand if some people were to find it dull or boring at times due to lack of action. Unfortunately many readers today read only for action and violence, so due to a general lack of these in Rocket Boys, many people might find it unentertaining. I would only recommend this to a person who reads to be inspired and not merely to be entertained. Personally I found myself captivated by the book’s imagery and unknowingly I found myself on a mission to find every little literary device possible. Throughout my reading I always viewed the book positively and eagerly read ahead to find out what would happen next. Rocket Boys is an excellent book that I found to be truly inspirational and has positively impacted on my view on my own life. Now I truly believe that if I work hard enough, I can achieve just about anything.

Essay on The History of Punishment - 1108 Words

Punishment is a brutal, severe feeling that has been around for centuries. Since the oldest civilizations till Today punishment has impact the world and how people live their life. Throughout generation to generation civilizations, countries have grown in crimes and punishment. Ancient punishments were harsher than Today’s punishments. In Middle ages, Ancient Greece and Rome, Mesopotamia they’d cruel punishments that were more harsher, severe than Today’s. In the oldest civilizations people were inhumane. They’d committed the most brutal punishments. Today, we have jails and a faster way to die without pain. Before any jails, or guns people we chopped, cut into pieces, burned to death or boiled. They also were tortured to death in the†¦show more content†¦This code had about three hundred laws that discuss a range of subjects. Like divorce, adoption, homicide, assault, and other more. The Code of Hammurabi applied to three classes: amely, musking and ardu. The most significant law or rule of the Hammurabi’s code was â€Å"an eye for an eye.† The legal language, name is Lex Talionis. Lex Talionis (â€Å"eye for an eye†) covered many crimes such as bearing false witness. If a person falsely accused another person, the accuser would be punished instead. The Code of Hammurabi influenced legal system throughout Persia and the East for several centuries. Egypt developed a system of law that view right and wrong. The Egyptian justice belief was Maat. By the Maat, the pharaohs who authorize the punishments were expected to view everyone equal, except slaves. The pharaoh was who decided the most serious cases. They’d considered tomb robbery one of the most extremely wicked crimes but, this crime became so rampant that during the rule of Ramses IX they began robbing the pharaohs. Egyptian had variety of punishment such as beating, cutting ears, nose and hands. If a women was caught cheating she had her nose cut off. 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A Study On The Collaboration Process - 1529 Words

Throughout our collaboration, it was hard to often see the impact that we were having on the community. A lot of other groups were actively engaged, while we were sitting behind a computer screen, creating specialized planning charts to plan out and prep for the future semesters. As important as we knew that this was, it was often hard to accept this and feel as if we were doing something that was important. Every time when we would have a meeting, I would feel as if I was two steps behind, even when I had prepared more than I felt necessary. I soon discovered that this was because in order to collaborate you need to spend a great amount of time engaging with others (even if over email) in order to be prepared. You may not have always thought about every possible aspect and including different perspectives allows you to then view a situation from multiple perspectives instead of just your own. 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