Art

Romanticism appeared in Germany and England in the latter part of the eighteenth century as a means of revolting against the times present government. It was concerned with the Industrial Revolution as well, as there were many rebellions at the time against the social and political norms of the Enlightenment period. Romanticism transformed poetry, the novel, drama, painting, sculpture, all forms of concert music (especially opera), and ballet and was deeply connected with the politics of the time, echoing peoples fears, hopes, and aspirations (Brians, 2004).  Unlike the previous movements, works on Romanticism focused on the more negative emotions of the people such as fear and horror. Artworks of the period also focused on more realistic and less fantastic subject matters such as nature, as shown in the works of some famous.

    Ferdinand Victor Eugne Delacroix is one of the most famous names in Romantic art.
Many, if not all, of his works showed the passion and emotion that have become associated with the periods themes. Delacroix used different colors, brushstrokes and figure renditions in his paintings which revealed his insights on the periods events.

    Delacroix used mathematical calculations in his work, but was still able to maintain a certain level of spontaneity. He did this by using color. The first part of Delacroixs career used mainly the color black. Later on, he expressed that Gray is the enemy of all paintings, and finally he wrote, Banish all earth colors ((Ferdinand Victor) Eugne Delacroix, 2006). He experimented with many different colors, saying that, for example, a blue object was not solely blue and that it would always have other colors. He developed a color theory called a flochetage. Rather than blending the colors, Constable left the spots juxtaposed, requiring more participation from the viewer  (Classicism and Anti-Classicism in the Quintessentially Romantic, 2008). He used this way of thinking as a means to express his emotions in his paintings.

    In his work Cleopatra and the Peasant (1838), for example, there is a contrast between dark and light. The painting has shades of dark browns and blacks surrounding Cleopatra. The peasant is painted with darker colors, while Cleopatra is painted with lighter colors such as white, pale pink and flesh tones.The whole painting is seen as dark, but Cleopatra stands out because of the colors used on her. Therefore, the audiences focus on her, and through this, Delacroix is able to express his feelings on death, about how it is inevitable and cannot be escaped from, and a sad and dark event in mans life (Valenti, n.d.).

    Secondly, Delacroix uses unique brushstrokes in the expression of emotions and passion. The Enlightenment period focused on art that did not have obvious brushstrokes. Artists back then preferred more subtle strokes. Delacroix, however, deviated from this.

In his work A Death of Sardanapalus (1827), Delacroix used bold and heavy strokes to promote drama. It showed his ideas and feelings towards death and lust. Delacroix was against the many killings and murders of the time. A Death of Sardanapalus depicted an evil king sending his men to murder people and even animals.  His brushstrokes emphasized the intensity of the situation, and yet used these all throughout the painting that it did not alarm the audience at first glance (Rivera-Resto, 2009). Indeed, this painting astounded many people as they saw Delacroixs open hostility towards violence.

Lastly, Delacroix used different figure renditions in his work. He put forth the more significant and more impactful characters in order to convey his messages. For example, Delacroix was inspired by some artists works such as  HYPERLINK httpen.wikipedia.orgwikiThC3A9odore_GC3A9ricault Thodore Gricaults Raft of Medusa (1819). He repositioned certain characters on these artworks in his own, such as in Liberty Leading the People (1830). Whereas Gericault used a shipwreck scene n his work without any main figures or focal points, Delacroix decided to put Liberty forward as the central character in Liberty Leading the People. Liberty faces forward and the figures are more evenly arrayed around her than the figures in Gericaults painting (The Art of Revolution Romanticism, n.d.). Alongside the aforementioned unique uses of color to convey meaning and emotion, Delacroix painted Liberty with the brighter colors of red, blue and white (the colors of Frances flag), which put her even more as the focal point of the painting, making Liberty a symbolic center piece, provoking yet subtle in the background, unthreatening yet profound.  He also made her heightened as compared to the other characters. This figuring rendering expressed his views on freedom and liberty, which was, he believed, foremost in every society and country, particularly since the Romantic period was dotted with numerous violent and oppressing events, which resulted to a degradation of a human being which was unacceptable to the artist. Redemption even in the most abominable existence appeared the theme of art  the ability to rise above the quagmire of the worst of society.

Unlike many painters prior to him, Delacroix openly expressed his emotions in his works. He was not afraid of the possible effects or repercussions his works might have on his reputation or the people around him once these were analyzed. Consequently, ee inspired many to show their own feelings in subtle ways such as color, brushstrokes and figure positioning. This made them rather safer than being direct, yet enabled to speak out, handling the contradictions in life and in art in a creative manner, through art  something which universally uplifts people pushes them beyond what they are given the limitation of a human being. Delacroix gave great influences as well to the artworks of the modern period, wherein artists have altered the use of elements such as color and figures to express their emotions in subtle but very meaningful ways.

The Statue of Eros sleeping is an excellent example of the type of artwork prevalent in the few last centuries BCE. It very well fits in with other artwork from the Hellenistic Period in ancient Greece, where artwork reflects the standard religion. In the 5th century BCE, when Eros became popular, sculptures were also one of the main artwork types created. Following are relations between this statue and the art period that it was created within (Hellenistic) and also its exhibition of the erotic style. Because of its posture and the subjects at hand the artwork serves as a fundamental piece of Hellenistic art.

    Hellenistic sculpture artworks had a unique style and romance about them. Rarely were figures seen in plain, everyday poses or situations, but many ancient artists liked to show action and undulation in their artworks. Hellenistic sculpture has a certain classical feel to it as well three dimensional sculptures were created, allowing the statue to be seen and relished from each side draping techniques were also exhibited in these sculptures. Designs also mean to show a certain transparency of attire, which allowed for viewers to see the body of the subject, and recognize its pose. The statue of Eros sleeping much resembles these other features found in many of the artworks of the period.

    Art in the Hellenistic period demonstrated the exact and efficient characterization of the times. Young children were demonstrated in exotic and unique poses, whether in mythological statue form, as the baby Eros, or, in larger scenes that exhibit many activities of many deities and notable Greeks and Romans, frolicking and playing with one another, or seen dealing with animals. The god of love Eros has been brought from Olympus to earth and made into the figure of a normal-looking person, a conception that is quite different from the deity that had been described in many mythological works. Here, Eros seems peaceful and loving, and much like a small, drowsy boy, who is seen in a very humanly pose, resting. This is one of the bronze sculptures to have survived from the time of its original creation in the period of antiquity, and this statue is directly of an overweight baby that is completely relaxed and without care as he sleeps, and this statue conveys a sense of the actuality and certain personal detail that the medium used (which was bronze, like many sculptures and statues of the time) made possible. Eros is obviously based on an actual observation of a sleeping baby, which the artists would have used as a sort of template. Likely, the original artwork would have had a base made of stone upon which the sculpture of the sleeping baby would have rested. His wings were delicately crossed or folded across his back in the sculpture, and his curly hair is done very well. This statue seems to designate a soft side of the art period, as some other artworks from the same period were more extreme or seemingly resulting of war and toil in nature.

    This small statue is one of the finest examples of Hellenistic art that we have today. Perfectly preserved, and perfectly human, Eros activities are not questionable. He is resting, just as would any other boy. The Hellenistic art period was very concerned with making things seem personal and real, at the same time as making them exotic and interesting, and clearly this statue of the young god exhibits all of those characteristic qualities. In this sculpture, Eros body is contorted much to resemble many of the other artworks of the period, but at the same time, he was supposed to be resting on something. Though the original base is lost, the god of love clearly cannot be resting upon a bed, or his body would not be in the draped position that it is. The object which the original statue rested upon likely also has some significance that relates directly to the Hellenistic period.

    The boy in the sculpture is lying upon his back, with his legs hanging over something, and his feet fallen over the side, and his upper body is contorted to the side. He is twisted, in a sort. He has wings on his back, and one of his arms is draped over an adjacent side of the object upon which he rests, adding a certain human and imperfect attribute to the sculpture. This type of sculpture, where gods were participating in humanly activities, or at least striking un extraordinary poses were very common in the period. Many replicas of this statue, and others that are very similar in style were also found.

    The medium used in this statue was bronze. This metal was used for many things during the time in which the artwork was constructed, including weapons and shields. This medium is very typical of the age, although stone also had a significant presence. However, the Hellenistic age showed the use of more copper than did years to come, and this statue of bronze is clearly very typical of the time and region in which it was created. The bronze has been subjected to oxidation over the years, and the sculptures rust has turned it a deep green color.

    The Metropolitan Museum of the Arts in New York City also has much the same to say about the statue, and its resemblance and devotion to the art period. In this Hellenistic statue of Eros, were are confronted with an image of the great Greek god of love - represented as a sleeping child, a Loggia (exploring art and humanities organization) writes of the modest Hellenistic statue.  Indeed, the bronze image charmingly captures the innocent slumber of an exhausted child, complete with details such as pudgy limbs and tousled hair. The only thing that distinguishes this statue from being a startlingly lifelike depiction of a baby, in fact, is the addition of tiny wings. One can easily imagine that the artist who created this statue delighted in their ability to humanize the irresistible god of love and desire.

While the ancient Greeks regarded Eros as one of the most powerful deities in their pantheon, it is interesting that the god underwent a transformation in art over the centuries. During the Archaic and Classical periods, Eros was commonly represented as an idealized, handsome youth. However, as artists during the Hellenistic era began to experiment with different, less idealized images, depictions of both old and young people were introduced into art. One result was that Eros was portrayed increasingly during this period as a child, in both art and mythology.

    One statue that goes hand in hand with the statue of Eros in representation of the Hellenistic art period is that of the Gaul dying. An article by Greek Landscapes summarizes the period, and very well designates how the statue of Eros and the statue of the Gaul represent the period. The Hellenistic period begins in 323 with the death of Alexander the Great and ends with the battle of Actio in 31 BC. While Philip of Macedon conquered and united the Greek city-states, his son Alexander the Great embraced on a campaign that found him the conqueror of a vast empire which included Greece, Persia, the Near East, and Egypt. During this period the city-states begin to give way to a more global culture, and the entire Mediterranean sea and the Middle East flourish in a background of conflict, commerce, and cross-cultural influence, with the Greek ideals and language dominating the scene. During the Hellenistic period art underwent dramatic transformations and evolved on the road paved previously by the Classical artist. While the Classical Greek concepts were not entirely abandoned, the artist of the Hellenistic era expanded his formal horizons with dramatic posing, sweeping lines, and high contrast of light, shadow and emotions. The conventions and rules of the classical period gave way to the experimentation and a sense of freedom that allowed the artist to explore his subjects from different unique points of view, which summarizes the freedom of artists, and their abilities to create flowing, life-like statues and sculptures. Because of the statue of Eros certain style and exhibited humanity, it is likely from between 250 BCE and 150 BCE, a period when many other artworks exhibited a similar style.

    Another style that this statue exhibits is that of the erotic. In the Hellenistic period, this style included mostly nude, or partially nude subjects, many of whom were striking exotic poses that demonstrate a sort of sexual nature. Nude subjects were seen in paintings, sculptures, statues, and these ideally represented aspects of ancient life. A great example of Hellenistic erotic art is the statue of Laocoon and his sons, which was constructed of white marble, and lies in a museum in Venice. Though this statue came from Italy during the period, it very much demonstrates erotic style in a revered artwork.

    The erotic nature of many of the artworks from the Hellenistic period may be attributed to peoples reverence to the human body, and its activities at the time. This brought out ideals in artwork, which were already held by people in ancient society. The human condition and state of mind became a popular subject and inconsequential moments of life were transcended into universal signs and immortalized in stone. The sleepy satyr, the old woman, the swing of Aphrodites sandal, a twist of the torso, a humorous grin or a surprised expression gave life to cold marble and bronze, Mark Koulos writes of the period. In the Venus, Eros, and Pan, statue the voluptuous Aphrodite (Venus) contrasts sharply with the grotesque appearance of Pan who tries to seduce her as she attempts to repel him with a smile and a swing of her sandal. This demonstrates the reverence which people feel toward everyday normal poses and actual eroticism within art of the period.

    Her immense erotic power personified by Eros has a firm grasp of the creatures horns playfully guiding the theatrical setting towards an impossible conclusion that we are left to create ourselves. Eroticism gained popularity during this period and statues of Aphrodite, Eros, Satyrs, Dionysus, Pan, and even hermaphrodites are depicted in a multitude of configurations and styles. Statues of female nudes became popular in Hellenistic art and statues of Venus in various poses and attitudes adorn the halls of many museums around the world. Venus de Milo (Aphrodite of Melos) is still admired today as the personification of Beauty itself with its ideal proportions, the high waste, the sharp twist of the leg, and the seductive Praxitelean S curve of the torso. Seductive poses seem commonplace in the Hellenistic art of the period. The statue of Eros, though of a boy, does not fail to embrace the erotic, as the mostly-naked child sleeps with his body twisted and flowing.

    Other statues, paintings, and sculptures of Greek gods, including Eros and Aphrodite often have seductive and provocative natures as well. Postures exhibited in some of these sculptures are actually intended to seduce, in a way. Plain sculptures that have little action or contortion in the body of the subject are not seen from this period as much. People laying sprawled about, naked or mostly unclothed, and those striking purposeful seductive poses are most common seen from the Hellenistic period. Action poses, in addition to those purely erotic in nature also had a major presence in the Hellenistic art movement, and these sculptures seem to show allusions to war and fighting. The dying Gaul is a mix of the romantic, erotic style of sculpture seen in the sleeping Eros statue, and the action one, as a man lays dying, apparently struggling for his last breath. This type of art was prevalent in the movement, and it nicely compliments the peaceful art seen in statues of love and eroticism.

    Although there have been many statues from the period that did not directly try to capture seductive poses and eroticism, many of the artworks from the period tried to capture a certain realism that was evidenced in such provocative works. Almost every artwork containing the goddess Venus, as well as many containing other gods and goddesses showed subjects in curious and sexual poses that indicated the undulating and flowing abilities of the human body. The statue of Eros sleeping is no exceptions, as it had much that very style. It showed a young, nude god, who was plump and healthy looking, slumped, or draped over some unknown structure, with his body contorted to the side in an almost sensual fashion. Made of bronze, and exhibiting these qualities of realism, the statue of Eros, on display at the Metropolitan Art Museum in NYC is the perfect and fundamental example of erotic, and Hellenistic art from the last few centuries BCE.

ARTlacks a satisfactory definition. It is easier to describe it as the way something is done -- the use of skill and imagination in the creation of aesthetic objects, environments, or experiences that can be shared with others(Britannica Online)-- rather than what it is.

Art analysis is one of the most difficult jobs.

Claude Monet was born on 14 November 1840 on the 5th floor of 45 rue Laffitte, in the ninth arrondissement of Paris.

On the first of April 1851, Monet entered Le Havre secondary school of the arts. Locals knew him well for his charcoal caricatures, which he would sell for ten to twenty HYPERLINK httpen.wikipedia.orgwikiFranc o Franc francs. Monet also undertook his first drawing lessons from HYPERLINK httpen.wikipedia.orgwikiJacques-FranC3A7ois_Ochard o Jacques-Franois Ochard Jacques-Franois Ochard, a former student of HYPERLINK httpen.wikipedia.orgwikiJacques-Louis_David o Jacques-Louis David Jacques-Louis David. On the beaches of Normandy in about 18561857 he met fellow artist HYPERLINK httpen.wikipedia.orgwikiEugC3A8ne_Boudin o Eugne Boudin Eugne Boudin, who became his mentor and taught him to use oil paints. Boudin taught Monet  HYPERLINK httpen.wikipedia.orgwikiEn_plein_air o En plein air en plein air (outdoor) techniques for painting.

The above painting is my favourite one as yet.
Considering all what has been mentioned above to analyze a drawing, I draw the following conclusions
What I love about Monets work is that he expresses things in such a realistic way that a 2-dimensional picture shows as if we are looking at the scene through a window.

When we look at the picture, the first thing our eyes go is The Sun, around which the whole picture revolves, as the name defines, it expresses the impression of Sun-Rise. Color saturation in the sun creates a psychological effect. This is something really appreciable about this work of Claude Monet that he has been successful in assigning more significance to what the whole idea is about. He has defined the sun through such a bright shade of orange that it does not take a minute for one to realize that this picture conveys something about the Sun.

I am passionate about art and have seen a lot of artists work. That is why, I know water-art is among the most complex and intricate portraying arts. In the above picture, the way Claude Monet has portrayed the shadows in the water speaks of his immaculate talent.

To portray shadows of the sun and the boats, Claude has marked the areas in broken lines with the respective colors of sun and boats. Shadows are broken exactly the way they do when looked at in waters in real life.

In the picture, it can be noticed that the two boats sailing in the water are colored black because Claude has shown the time of sunrise, before which everything appears nothing but black.

We can notice in the picture that there are some poles trees on the river-shore. But that would be always a guess because Claude wants to portray mist which blurrs everything early in the morning.
We see alternately shades of orange and blue when the sun rises as shown in the picture.

One color can have thousands of shades. But to choose among all those, the shade that most honestly describes the real situation is a big art. The combination of colors chosen by Claude Monet in this picture is the most deserving for portraying the time of sunrise.

The most critical concept which is the most difficult to portray always is the Right Proportioning of the sizes of all elements of a scene, so that the lines speak of the distance each item has with respect to others, without having to mention their mutual distance in numerics. In the picture displayed, Claude has been so careful in assigning the sizes to each element, that make the picture seem like if some real sun-rising scene has been applied effects on.

In the picture, lines showing waves in the water grow in size as we move towards the right-down portion of the picture, which speaks of the exact location from which the image was captured.
Brightness of the orange used to define sun complements the dullness offered by black used to define the time when night is transforming into day.

Hats off to Claude for he had such a deep observation.

 Many artists are known to express that the mood they are in while creating the portrait greatly influences the feelings that originate from the finished product. Even a happy song if played during portraying would convince the artist to portray happiness in the scenario, and a sad one can do it the other way round. Many artists have worked all their life portraying sadness or happiness. This is done through the selection of the shades of colors to define the scenario. The work of an artist is a reflection of his point of view on matters. We can easily judge if an artist is optimist or a pessimist just by looking at his work. An artists work speaks of his mentality, what he is interested in, what his personality is like.

One cannot expect a peace-loving artist to portray war. This would be like asking an architect to deign a building from a Civil engineers point of view.

Before I go into the detail of what idea the painter would have tried to convey through this picture, it is rational to realize that many times, it so happens that people find paintings attractive, although they interpret their meaning in their own way. Many times the idea being conveyed through a painting is multi-directional and covers various social, political, and religional aspects and is complex to understand. Many a times, we fail to do justice to the integrity of the art we art looking at, when interpreting the meanings of shades of colors, orientation of lines, and sizes of elements that are used to define the situation.

Since most of Claude Montes work portrays nature, it can be said that Claude was a true admirer of beauty. he might be a very religious person because almost everybody likes beautiful natural scenes, but if one loves them so much as to capture them in ones art, that means one really appreciates the creator of those scenes. Moreover, like many of his paintings, Claude has portrayed the sunrise and not the sunset, and this is considered to be a positive sign, therefore speaks of Claudes optimism and positive approach.

Role of an artist
I truly think the words I have used to describe this picture do not at all do justice to the grace of the picture, but as we know one picture is worth one thousand words. Therefore, artists can play a big role in the making or breaking of a society. Just like poets, who influence people with careful selection of words and appropriate sentence construction, artists influence society through integrating carefully selected shades into a picture that conveys an idea in a unique and effective style that leaves a long-lasting impact on peoples minds, and can magically transform views of individuals from positive to negative and vice versa.

Issues of artists
Today, we have artists with tremendous talents in our society, but there are a lot of issues that keep them from surfacing and getting fame, among which are lack of awareness, finances, education, and the status artists enjoy in a society. Many talented artists like poets are known to have lived from hand to mouth in Eastern culture, because of less exposure to opportunities. Therefore converting good artists into bad engineers and doctors who are in search of a secure future.

Question 9
As a performative artist, critics see Laurie Anderson as a musician or performer whose work has transformed throughout the decades into a creative proclamation of life through her eyes. For each on stage presentation, Anderson encompasses the moment of the decade dressing the part and capturing audiences with her hippie gowns of the 70s and sci-fi, punkish dress of the 80s. Both appearance and spoken words capture the time period. Critic John Howell describes her, saying, This glittering concert character, like all pop persons, has changed clothing to update her assumed role, that of symbolic stand-in for the collective unconsciousness of the moment.
    In relation to culture and technology in contemporary society, critics describe Anderson as an artist who has moved forward with technology. In the early 70s, Anderson performed on street corners wearing ice skates with her feet engulfed in a block of ice. She used visual props to attract audiences and ensure her words were heard. As society progressed into the more contemporary setting of today, Anderson added advanced props such as slide shows and video footage during performances. Ann Sargeant-Wooster says Andersons use of technology has brought out the ever present theme of loneliness and the alienation rendered by our modern technological world. Wooster uses words and phrases such as elegiac mood and the musics quality of mourning as well as describes the lush opulence formed by Andersons electronic tableaux when she surrounds herself onstage with the accoutrements of high technology.
    In all, Andersons work both captures the culture of the time period as well as the personalities of the individuals of that time. She doesnt trap herself within one decade, but grows as an artist with time and presents those changes through her works both on and off stage. Critics also praise Anderson for the simple use of audio recordings during her onstage performances. Anderson recognizes the need to preserve performances in order to capture the time, setting, technology, and most importantly her voice and character at the time. Wooster writes, as the beauty of life performance soon vanishes from memory as does its flawswe can think of the importance of records for performance artists of all kinds.

Question 10
Janet Fishs Up In Smoke, captures a contemporary scene of a family celebrating what appears to be the 4th of July with a family or community picnic. It appears the subject of this large painting is the movement of freedom from truly being free to enjoy life to the conflict that comes from too much freedom, which ensues in fighting and discourse. For instance, the left side of the painting is crisp, clear, and colorful. The children in this part of the painting are playing and enjoying their day. The table of food on the left side is organized and neat. Some of the food has been touched and some is still sitting neatly in place. It represents a carefree time with no worries and the simple freedom to gather and enjoy a picnic in peace. In contrast, however, the right side of the painting is literally up in smoke. The smoke from the grill presents the chaos that develops when people seek freedom in different perspectives. What one side says is free is not anothers idea of freedom and fights break out. On the right side of the painting, the picture is not clear. The children who were once playing without a care in the world have run into others and conflict occurs. Fight ensues whether over a toy, name calling, or just a simple this is my side of the yard. The picnic table on the right side is also in discord. There is an empty soda bottle that has fallen over on the table. The plastic wrap on the food at the right edge of the table is falling away. Theres a sense of the picture perfect picnic becoming a reality of imperfectness. The peacefulness of the left side of the picture has disappeared within the smoke. Freedom has been compromised and what is free or who is free is no longer black and white, but instead an image of gray areas.

Its not surprising that women make up such a small percentage of this list. We must remember that womens rights were never really finalized in the west until the 20th century. Prior to that, women were not even allowed to vote and were basically just seen as wives and mothers, not as people who can excel in their craft.  The dutiesresponsibilities expected from them might have also kept them from producing good work. When they werent busy taking care of the kids or of the household, they were busy with church or community activities. Women did not have time to write or do things for themselves. I remember Oprah immersing herself in a simulated 18th century world (where she was expected to fulfill the responsibilities of a woman had she lived in the 18th century) and concluding in the end, Now I know why womens liberty took so long. They didnt have time to fight for it This is of course, in contrast with the literary men, who had established writing careers.
Although, I suppose there must have been women who expressed themselves either in art or in writing. But their work might have been dismissed as from that of an amateur. If women were writing about the simple joys and sorrows of everyday life, or the pain of love, the mainstream publishers of that time might have thought of it as written musings and not really literature. Besides, if youre a woman, your emotions would appeal to women. Now if majority of the women in your time are not interested in good literature or do not have time to read, then your work stands a mighty good chance of going unappreciated.
For visual artists, I think to be considered great has something more to do with their stature at that time. The people who made it on the list are people from good families, with established educational backgrounds or literary careers. Visual arts, I have to say, require a little craziness. And although we in our generation have come to be tolerant of craziness that inspires creativity, I dont think past generations have. A stunning work of a visual artist may have been easily dismissed as a normal looking painting back in the day simply because the artist has very modest backgrounds.
Anyway, this is my favorite work written by a female poet. Its by Sappho, probably the first known lesbian poet. I like her work because even though you know its personal and she wrote it for a specific person, her themes are very universal and very relatable.
To me he seems like a godas he sits facing you andhears you near as you speaksoftly and laugh
in a sweet echo that joltsthe heart in my ribs. For nowas I look at you my voiceis empty and
can say nothing as my tonguecracks and slender fire is quickunder my skin. My eyes are deadto light, my ears
pound, and sweat pours over me.I convulse, greener than grass,and feel my mind slip as Igo close to death,
yet, being poor, must suffereverything.

Expressionism is an art movement emphasizing an art style capturing raw, powerful emotions (Strickland 142) in their artworks. The vivid color palette, distorted figures and bold brush strokes characterize the style of Expressionism (142) and one of the artists that best represents this art style is Edvard Munch.
Edvard Munch was a Norwegian artist born on December 12, 1863 to Christian Munch, an army doctor, and Laura Bjolstad he was the second of five siblings. (Prideaux 3) Edvards artistic inclination was influenced by his equally artistic mother (4) and was inherited from the Munch lineage. His relative, Jacob Munch studied under Jean-Louis David, was Norways first neo-classical artist. (4)
Edvards childhood was marked with memories of scarcity in their family, forlorn images of his mother and her slow deterioration until she succumbed to death. (11, 13) Effects of these memories and his unstable mental condition were evident in his paintings and Expressionism had provided him the right atmosphere to convey his childhood recollections and his mental state that were so strong that these thoughts had poured out into his artworks.
Some of Munchs works that are characteristically Expressionist are The Dead Mother and the Child and his well-known piece, The Scream. The Dead Mother and the Child depicts a child clutching her head painted in varying hues of red with an almost formless shape of a woman lying on the bed behind her and other figures of women with faces also undefined. (357)  The painting was Munchs portrayal of his sister Sophie when their mother died, (211) this piece exemplifies the fundamental character of Expressionist painting because Munch effectively captured the fright and dilemma of the child after witnessing her mothers death as well as the deep grief of the women. Munch purposefully employed colors to emphasize the emotions of the grieving women by using shades of grey, the predicament of the child well represented by the red tints and the motionless mother accentuated by using paler colors as well as crude lines that seemingly signify that the form was lifeless. The choice of subject for this painting shows the individuality of the artist since the subject is a recurring memory of her mother that had greatly affected the artist throughout his life.
Relatively, The Scream that features a vaguely shaped figure of a man that appears to be in sheer panic or anxiety set against an orange red and blue background while the cause of the figures intense emotion is unclear. (Bischoff 52) Munch once more utilized colors on this painting to highlight the agitation felt by the figure by applying varying shades of blue, green, red and yellow on the face while using darker hues on the body thus the viewers eyes focuses on the disconcerted face of the figure. The colors used on the background sets off the disquieting figure by reflecting the inner turbulent state happening in the figures mind. Munch was evidently having psychological problems (Prideaux 17, 116) during his artistic career and The Scream reveals his mental state exhibiting the individuality of the artist that created this oeuvre.

The complex relationship between art and architecture has always been a defining feature for both fields. Architects, like artists, are always striving toimpact and transform the lives of those who experience their work.This was no different with the construction projects behind the Tate Modern and Saatchi Gallery, however,Tate Modern went on to become oneof the most popular attractions in Great Britain whereas the Saatchi Gallery did not. Again,a variety ofdifferent but specific factorsmust be present in order to successfully blend art and architecture into a popular attraction, like Tate Modern.
    To begin with, the Tate Modern galleries are currently housed in what was the Bankside Power Station, located on the south bank of the River Thames. The plant was commissioned following a severe power shortage during the late 1940s, despite strong public opposition due to the main chimneys height rivaling that of St. Pauls Cathedral. Bankside was commissioned to be an oil-fired power station, which in 1947 was one of the few models that could be used to develop mass amounts of power needed to supply a city. However, the fact that it was an oil-based power plant, it also pumped out massive amounts of industrial air emissions. Not only that, numerous toxic chemicals were dumped in the surrounding grounds as part of the ongoing process of the plant. The station eventually closed in 1981 due to the fact that the station was simply uneconomical with the rising oil prices at the time (DCSE 2009). Looking at it from a glance, this place didnt exactly shout that it had the potential to becoming one of the most famous modern art galleries in the world.
    In fact, for many years the Bankside Power station stood at great risk of being demolished by potential developers. It remained in a state of limbo for years as many people campaigned for the building to be saved, putting forward numerous possible new uses for the structure (Silna 2009). However, its future continued to be undetermined. Ultimately, the buildings fate appeared doomed in 1993 as contractors began work knocking a large hole in the side of the building and removing much of the redundant plant. Just as the end of the station looked eminent, though, Tate Gallery announced in 1994 that the Bankside Power station would be the home for the new Tate Modern. Something about Bankside was just right they said (DCSE 2009).
    Due to it being in a condemned state for a number of years, there were also a number of pollution issues to deal with before Tate Modern would be able to begin construction. The ground had to be purified due to the chemicals that had seeped into it from the plant, and the oil-fed burners also had to be cleaned and sanitized in order to be safe to the public. Along those same lines, much of the interior architecture had to be strengthened and reinforced due to disuse, and multiple new installations built to accommodate the increased public presence that would be there, i.e. gallery space, bathrooms, etc (DCSE 2009).
    What Tate Modern did that would become one of its defining qualities with Bankside is that the architects opted to use much of the remaining structure as is in the creation of the art gallery. The original design of the Bankside, created by Sir Giles Scott, while industrial, also sported a powerful 99m chimney which highlighted the London skyline. Herzog and du Mueron took note of this as well as the overall popular support of the structure and decided to keep much of the original building intact (Glancey 2006). A similar power plant, the Battersea Power station, was also being considered at the time due to the similarities it had with what Tate Modern wanted to accomplished, but since Bankside was less dilapidated and less polluted, it was chosen.
    The vast building was remodeled at considerable cost however, the most obvious external change to the building was only the blocky two-story glass extension on one half of the roof. Much of the internal structure actually remains, including the incredibly cavernous main turbine hall, the hall retaining its original overhead travelling crane (Silna 2009). An electrical substation also remains on-site, owned by the French power company EDF Energy.
Basically, although the massive block, with its huge central tower, has been essentially smartened up, its overall industrial character still asserts itself.
    There were numerous reasons behind keeping Bankside in a relatively preserved state for the gallery. For one, the power station was designed by architect Sir Giles Scott as aforementioned, who also designed the Liverpool Cathedral, and he incorporated many cathedral elements into its construction. This type of design allows for easy utility transition for buildings. However, the Chairman of the Tate Trustees explained it best when, in his words, told what this huge building will be for the future, In 1962 when you last visited this building, it was a great oil-fired power station giving power to Southwark and light to London. Now, in its new guise, it will generate no less power, energy, light and electricity than the old one (Glancey 2006). What this building was to embody was the new light and life of art, and in what better place than an abandoned power station designed somewhat like a cathedral
Now, Tate Modern defines the London skyline with a two-story beam of light that runs along the top of the building, known as The Swiss Light. Inside, the cathedral-like Turbine Hall, spanning the whole height of the building, showcases three gallery floors, shops, and cafes built into the compact bank on one side. Visitors can enjoy the views down into the Turbine Hall from the mezzanine bridge and from other various galleries, and seating is included between the two suites on each floor for views of the Thames and across London. Tate Modern also boasts one of the most awe-inspiring entrances to any gallery in the world, and simply walking down a ramp this visitor is confronted with Turbine Hall, a massive enclosure which once housed the power stations heart. The caf on Level 7 boasts panoramic views across the river to St Pauls Cathedral, the very cathedral aforementioned, as well as south London (Balka 2009). Tate Modern captures art, it doesnt just exhibit it. Tate Modern fully utilizes the architectural design and location of the power station to maximize what it deems to be the artistic experience.
    Saatchi Gallery, on the other hand, in both locals, has been set up in a palace-like museum with no remarkable qualities like Tate Modern indicative of its design. Saatchis collection had a gallery, which opened in 2000, just miles down the River Thames from the Tate Modern. However, eventually the Saatchi moved to Chelsea due to competition with that Tate. As a quick historical summary, the Saatchi Gallery is a rival London gallery that focuses in contemporary art, opened by Charles Saatchi in 1985. It has occupied several premises, first in North London, then the South Bank by the River Thames and Tate Modern, and now currently in Chelsea (Black 2008). Each location failed to meet popular expectations, however. What did Tate offer, and continues to offer that Saatchi Gallery cannot replicate
    As aforementioned at the Tate, viewing galleries from the upper floors of the Tate gives the visitor another stunning exhibition of the huge crane that runs the length of the building, simultaneously looking down on the exhibitions. Its breathtaking views over the Millennium Bridge to St Pauls are truly as inspiring as any other Tate exhibit. Saatchis County Hall, on the other hand, while a massive complex in and of itself, has only a small portion of it taken up by the Saatchi Gallery. This building also, consequently, shares its space with two hotels, an aquarium, an arcade centre, and numerous other cafes and restaurants. The building that houses Saatchi Gallery oozes the Edwardian, oak-paneled feel of some institution for Londons worthy municipal men and women as well, giving off somewhat of an irreverent feeling against the controversial art exhibited (Black 2008). Where Tate Modern exposes a natural relationship to art and atmosphere and architecture, Saatchi Gallery seeks to contrast its controversial artworks with its atmosphere.
     In that same light, the type of art displayed at each art also differs widely. For example, when the Queen toured the newly-open Tate Modern, she was taken on a safe route around the building, a route that distinctly avoided some of the gallerys more controversial art exhibits. However, this would be impossible in Saatchi gallery due to its dominance of controversial selections. It would be incredibly hard to ignore Marcus Myras giant portrait of the child killer composed of Childrens handprints, or the series of disembodied body parts hanging from a tree, the Chapman brothers Great Deeds Against the Dead (Saatchi 2009). That Tate, on the other hand, contains more family friendly works that can be enjoyed by all classes of artists and avid spectators of the field. Of course, Tate Modern does has its fair share of art that is shocking and contemporary, but it also boasts a much broader and wider selection of works, as would befit a much larger and public institutions. Tate Modern feels much more old fashioned than Saatchi Gallery in many respects.
    The cost is another important factor behind the success of Tate Modern. Tate Modern is free for general admission, although it does charge occasionally for some exhibitions. Saatchi Gallery, on the other hand, at its South Bank location costs 8.50 for adults. For tourists and the general public touring the South Bank, the choice is not a hard one to call, especially if they have children. Since its free, Tate Modern simply is the perfect end or beginning if you will, to a walk along the Thames. The new Saatchi Gallery located in Chelsea, however, will also be showcasing its exhibitions for free now as well. Saatchi himself stated that Free entry can only help spread the interest in contemporary art. (Saatchi 2009) Theres really little doubt that the Saatchi Gallery will become popular though, it has the atmosphere for mystique and the publicity of controversial pieces.
    All this added up to that Tate Modern boasted an impressive 3.2 million visitors in just its first 6 months of opening (DSCE 2009). This number was substantially larger than even the original projections and has incited talk of increasing the grounds even further to incorporate the added public popularity. Education facilities and more gallery space have been the two hottest topics in regards to Tate expansion, both of which could be easily incorporated within the space. The Saatchi Gallery, though, boasted less than 1 million during that same time frame.
    The new Saatchi Gallery in Chelsea, however, does boast a number of new ways to reach the gallery in hopes of increasing visitors. Now, it is accessible by foot, car, bus, train, or even by underground through Victoria, District, and Circle Lines (Saatchi 2009). Again, however, Tate Modern is looking a river transportation design to make their galleries even more accessible despite the disadvantage they have to Saatchi in regards to ease of accessibility.
    Tate Moderns Turbine Hall commission has always been the talk of the London art world. This annual, highly-anticipated fixture of the art scene, ranging from a giant egg-clutching arachnid through a vast shimmering sun to a fissure that zigzagged across the floor has captivated London in a way that Saatchi doesnt have the facilities to do. Miroslow Balka went on to say that
The Turbine Hall often feels like an indoor playground. I was thinking about how to create limits, to bring calm and quiet to the place, to discipline peoples gestures. I also wanted to create something like a photographic black hole... Every day millions of photographs are taken in London. I wanted to create a place, a situation, where people would not be able to take good pictures. Their experience will be more intense. (Balka 2009)
    Ultimately, despite some of their obvious common grounds, these two galleries offer a very different artistic experience. The vast Tate Modern will undoubtedly continue to be one of the best British institutions, an approachable showcase to any visitor because of its huge range of material on display. Not only that, it is itself much more than just a gallery, its a destination. With its unique incorporation of architecture and art, its become a blend of artistic experience thats virtually unforgettable. In contrast, the Saatchi, limited by its size and strict contemporary nature, can only offer a much more tightly-focused exhibition. While this can be thrilling and challenging, its simply not something that is everyones taste like the Tate.

Art and business are two fields I have deep connection with. Coming from two majors in my current college, communication and business administration, are evidenced to this. I have found a perfect amalgamation of these in one field though, Museology. My interest in Museology blossomed from my internship experience in the International Relations and PR Department of the National Museum of Korea. My tasks were newspaper clipping, updating the Museums blog, and assisting both ordinary museum viewers and VIPs in watching exhibitions. The internship enabled me to practice my communication skills in dealing with various kinds of people. It also made me appreciate art more as it made me realize that each art piece was not only a mirror of Korean art and creativity but also of history, culture, architecture, contemporary influences, point of view, and experiments. More importantly, I learned the basics of operating and managing a museum because I was rubbing elbows with the administrators and employees.
    Moreover, my unique passion and reason for choosing Museology has stemmed from my curiosity on the relationship between visual elements and visitors movements. During exhibitions, I observed visitors and took note of the art works viewed frequently and the reactions elicited from each piece. From these, I laid out a proposal that unfortunately did not materialize. However, I was deeply appreciated for my enthusiasm and honesty. Because of these, I aspired to continue my interest in the field by choosing to learn more about museum exhibition and efficient management. I specifically chose this University as I believe its Museology program offers practical experience for me to apply my skills in internship and in employment. Furthermore, I have a lot to learn in terms of museum history, philosophy, marketing, and effective operations, which I know this program, will equip me with. Also, museums around the world are houses of cultures and civilizations and sometimes tie up with other museums to foster cultural awareness and knowledge. With this, I aspire to know how the actual process of cultural exchange transpires as I want to share Korean culture to the rest of the world, and at the same time learn other cultures. Finally, the program will also provide me with information on how museums work not only to gain profit but also to sustain itself and be of help in preserving culture and reaching out to communities. 
    I am more than prepared to enter the program and adapt to a new environment as evidenced by the activities I have participated in. My communications skills came in handy when I took part in a group wedding for the aged in a municipal settlement house in Korea where I took pictures of the elderly and when I made an information campaign for the non-profit group, Sign-Q through its User Created Content program. Moreover, my societal awareness made me involved in programs for children. In fact, I am currently sponsoring a child in Mali as part of the World Vision program, mentored a girl from North Korea on how to adapt to Korean society and discussed about museums and life, and assisted disabled children through Samsungs equestrian teams therapy riding sessions for the disabled. Finally, I have shared my time in cooking for and serving the elderly in a program called Freefood. These activities have taught me about life and have developed me fully as an individual. With the values of giving back, responsibility, and sharing of talent, time, and skills, I can say that I am fit to enter the Museology program.