Art

The Age of Enlightenment is a period in European history which covers roughly the eighteenth century. It is a stage where human intelligence one gained supreme power over other faculties of man, especially faith. It heralds the beginning of mans quest for knowledge which is not anymore grounded on superstition, mysticism or even religion but rather on the united forces of empirical data and application of reason. New ideas and new approaches were produced and brought significant changes to the society which we now live in.

One of the factors which may have brought mans interest back to his capacity to form, operate and discern upon concepts through the method of abstraction rather than rest all claim of validity to spirituality and the church is Immanuel Kants Critique of Pure Reason. Prior to the Age of Enlightenment, Europe witnessed the slow collapse of the Papacy and the nobility. Gone are the days when the word of the Pope signified obedience and defiance is equivalent to ones demise. Now is the time to dare oneself and know the world. It is not a sin anymore to desire knowledge beyond what our eyes can see rather it becomes mans quest. It also provided a fresh outlook regarding the principles which governs nature, man and society which eventually formed a cosmopolitan solidarity of enlightened intellectuals as seen in the academy and even at coffeehouses. The death of fear of being ostracized produced a bold assault and resentment towards authority which includes the government and the church.
 
Scientists gained support and earned prominent status in society. The Royal Society of London became the home base for intellectual correspondence, criticisms and debates. Academic discussions were now possible thanks to the invention of the printing press which made cheaper books, journals, pamphlets and magazines. It revolutionized the literacy rating of European citizens as a result of everyones desire to learn. Everyone wanted to be educated and saw this as an opportunity to improve their social status. A new ideal form of knowledge was formulated which was largely based on particularities, observable facts and experience rather than the previous appeal to principles and speculation. The scientific method was applied in almost all avenues of inquiry and was accepted as the path towards acquiring knowledge.

Unfortunately, some of the philosophies and ideologies which were introduced during this time lead to bloody and violent revolutions. The introduction of the principles of republicanism, citizenship and rights based on the works of Voltaire and Roussau coupled with John Stuarts Mill division of labor principle in his celebrated book Wealth of Nations resulted to the French Revolution and the death of thousands of Europeans. Huge war debts, the monarchys lack of military credibility, insufficient social services and increasing taxation rates pushed the people to resent the traditional form of government which was royal absolutism. The only remedy they see possible is the restructuring of the government and adherence to the philosophical ideology of Roussau in order to have a general will. The new government will aim solely on the real interest of every member of society and will not be swayed by personal interests which the monarchies and this can only be done if every member enters a new social contract and surrender their individual rights. This movement further supported anti-clericalism in reference to Voltaires ideology which allows freedom of religion to exist in Europe and considered religion as a universal brotherhood rather than the oppressive character which Catholicism exposed to the world.  Fortunately, the blood of those who died during the French Revolution was not wasted. The Revolution made a significant contribution to the world through the language of abstract rights which are still being practiced today. It signaled the end of Feudal System and welcomed the reign of the bourgeoisie class.

The Industrial Revolution provided confidence and power to the middle class. In the work of Adam Smith, Wealth of Nations, he suggests a free market economy is more beneficial to society. In congruence to the principle of humanism and individualism which is one of the major principle highlighted in this era, Smith believed that a natural flow in capital will entail an individual to strive harder in order to make better his own conditions in society. Since man is the captain of his fate, he alone has the power to improve it. The lesser the dictates of government have towards its populace the better will be its growth and development. This analysis regarding flow of wealth and its acquisition formed the foundation of major economic principles which are still being used today like the law of supply and demand.  It is indeed amazing how a century could amass such intellectual and cultural development.

The Age of Enlightenment did not happen on French territory alone yet it made France the focus of attention because of the major events that occurred within the region which eventually reshaped itself as a nation. It has become the source of political, social, scientific and industrial revolutions. It embraced the new ideologies which thinkers freshly crafted and with the slow advancement of scientific discovery paved way to the modernist era. Some of its major contributions to the world can be seen in the American Declaration of Independence, The United States Bill of Rights, and the French Declaration of Man and of the Citizen. One may say that much that we have today is the fruits of labor, blood and lives which were sacrificed during the time of the Enlightenment. The appropriateness of the word enlightenment to the era may still be debatable at some point because it has produced barbaric actions as seen in the Reign of Terror yet there is no doubt to the fact that freedom from the chains of tradition has produced more positive results.

In the 15th century, art was experiencing a religious renaissance in Europe.  This rebirth was founded essentially in the theological, philosophical, and humanistic teachings of the Roman Catholic Church.  By taking a look at two pieces of art, Jan van Eycks Ghent Altarpiece, Saint Bravo Cathedral, Ghent, Belgium (1432) and Masaccios Holy Trinity, Santa Maria Novella, Florence, Italy (1428), one is able to discern the meaning and intention of each artist in regard to the relationship between mortal and divine spheres of existence.  Although both artists are capturing the significance of God in the life of man, Jan van Eyck and Masaccio certainly differ in their artistic expression.  While Jan van Eycks concentration is more centered on modest hierarchy, Masaccio creates a gentler composition and more pastoral scene.  By comparing elements of both works of art, one is able to discern the similarities and differences between Jan van Eycks Ghent Altarpiece and the Masaccios Holy Trinity.

Contextual Scene
In the contextual scenes of both works of art, one notices the similarity of both works in expressing the relationship of God to man, yet the Ghent Altarpiece evokes a sense of stark and simplistic atmosphere while the Holy Trinity exudes a deeper sense of beauty and sensitivity.  In its scenery, the Ghent Altarpiece is minimal and bare.  The background consists of an indoor scene with Roman columns and an archway, devoid of much color aside from some simple reds and blues most noticeable in the clothing of the subjects.  In the context of the Holy Trinity, there is a soft, detailed, and interactive scene including a pastoral landscape, worshippers, and even Adam and Eve.  The use of color in this painting is very rich and diverse, the artist using a full spectrum to create his scene, yet there is also a similarity to the Ghent altarpiece in the artists use of warm red and dark blue for the clothing of the subjects.  The contexts of both paintings call attention to the ways in which atmospheres are set to pay tribute to the relationship between God and man, yet are more interactive and beautiful in the Holy Trinity painting.

Subject Placement
The placement of the subjects within the painting is an important aspect of considering the meaning of a piece of religious art, and both the Ghent Altarpiece and the Holy Trinity use the placement of subjects to tell a story about the relationship of God to man.  In the Ghent Altarpiece, God the Father is looming above all others and the crucified Jesus.  Below Jesus is Mary and Saint John the Baptist, Mary to his right and Saint John to his left.  Further below are the married couple Cardoni, the purchasers of the fresco, with the husband to the right of Jesus and the wife to the left.  In the Holy Trinity painting, God the Father is seated enthroned with Mary and Saint John the Baptist seated only slightly below him to his right and left.  To the right of Mary is Adam and to the left of Saint John is Eve.  Below this upper level is a lower level depicting the sun, the Holy Spirit, descending down onto the Lamb of God in the pastoral scene.  Subject placement in both paintings is highly significant, because it resonates a sense of the order of things.  Here, the subjects placed in the upper, central levels of each painting are represented with a certain kind of significance in being more powerful or preceding others.

Masculine Leadership
When comparing the two paintings, it is also important to consider the traditional idea of male leadership when viewing the Ghent Altarpiece and the Holy Trinity.  In the Ghent Altarpiece, the placement of the subjects within the painting most certainly calls attention to male leadership in the sense of God the Father being placed above Jesus, Jesus above Mary and Saint John, and Mary and Saint John above the Cardoni couple.  However, one must also wonder about the use of color.  The colors are significant, because they call attention to the traditional masculine red and the feminine blue.  It is interesting that the feminine blue is not seen solely on the right side of the Father, as Mary is traditionally seated at the right hand of the Father and Jesus.  Blue is located on the left side of the clothes of God the Father, from his perspective, and also on the left side of the painting in the clothes of the Cardoni wife.  The changeability between sides leads to a distinct ambivalence about male and female dominance.  In the Holy Trinity painting, the traditional hierarchy is not as noticeable.  Although God the Father is placed at the greatest height in the center of the painting, it is interesting that Mary and Saint John, even Adam and Eve, are seated above Jesus depicted as the pastoral lamb.  Perhaps this difference is related not to dominance but to precedence, as Adam, Eve, Mary, and Saint John were all born before Jesus.  In regard to the colors, the masculine red and the feminine blue, the Holy Trinity painting is traditional in the sense that God the Father is clothed in red and Mary in blue, however, the musician to the left side of the Father is clothed in blue and the reader to the right side of Mary is clothed in red, lending a slight disruption to the traditional color scheme.

Conclusion
In comparing the Ghent Altarpiece and the Holy Trinity painting, it is important to consider all elements of each piece and to relate them to one another and the differing perspectives of the time.  Religious art is almost always complex and relating to a certain story and point of view.  By paying attention to elements such as the contextual scene, subject placement, and masculine leadership, one is able to draw conclusions about the particular views of the artist and the message contained in the image of the painting.  The Ghent Altarpiece, although traditional and stark, breaks new ground in its color scheme and subject placement, and the Holy Trinity, beautiful and pastoral, breaks new ground in its emphasis on time and precedence.  The new ideas about religion and the relationship between God and man are told through the minute yet detailed messages contained within each interactive Renaissance painting.

Throughout the 20th century, it is undeniable that the expressionism may appropriately be considered as the forefront of German and European art. Interestingly though, the term expressionism cannot be perceived as strict and unified in fact, the term has been used to collectively categorize a myriad of different styles and approaches while still maintaining the requirement for an emphasis on emotion and perception (Wolf, 2004). In this sense, it would be possible to consider expressionist art as more of a direct manifestation of an artists point of view instead of being a specific style or genre in which a myriad of specific requirements must be met. Regardless of the differences, as noted beforehand, it is essential for immense emotions to be suitably and effectively projected prior to which artist or a specific work would be considered as expressionist in relation to this, it is essential to note that Germans have been known for their capability in infusing emotion into works of art even prior to the 20th century, and thus the emergence of expressionism may have been both expectable and inevitable (Wolf, 2004).

Expressionism may be perceived as an example of unity and at the same time disarray. The approaches of artists considered as expressionist still differed. In relation to this, it would not be surprising to find an artist commonly considered as expressionist to critique the many aspects of expressionist art. In particular, an example of such would be Max Beckmann. Instead of praising the manner in which abstraction have been effectively used for expressionist art to further convey emotions, Beckmann instead criticized the tendency of expressionist artists to forget the vital need to maintain a degree of objectivity (Elger, 2002). Eventually, Beckmann became a foremost example an artist who embodies a new approach to expressionism. Hence, in order to further understand such developments throughout the history of expressionism and art during the 20th century, it is necessary to specifically evaluate and analyze the works of two distinct artists during the period, namely Egon Schieles Death and the Maiden and Max Beckmanns Brother and Sister.  

Death and the Maiden (1915), Initial Appeal
Schieles Death and the Maiden, an oil on canvas painting, is without doubt a highly emotional painting despite the presence of a rather dark imagery. From a quick glance of the painting, the features of both death and the maiden whom he holds become a distinct point for further scrutiny. For one, the it is apparent that the faces of both Death and his maiden are positioned in a pessimistic manner. To further explain, the facial expressions of both figures are clearly filled with sadness, as if parting ways is inevitable. In addition, the manner in which the two are holding each other are indicative of deep emotions as well. Both characters are embracing each other, in a deep yet romantic aspect rather than one that implies sensuality and erotic tendencies. Of course, the foreground and other objects in the painting must be understood as well. Basically, among the most notable aspects of the background is that it is mainly composed of soil. One would develop an idea that the couple are merely residing or hiding in a hollow underground location. Expectedly though, this reflects the common connotation regarding death and the passage to the underworld, specifically its emptiness and barren appearance.      

Aside from the characters and the background, another notable object in the painting is the cloth which covers the area wherein both Death and his maiden is embracing. The presence of the cloth highlights the possibility that sexual manifestations of affection have occurred or would occur despite such, it is still apparent that lust is not among the main themes of the painting. The coarse approach as well as the level of detail and objectivity or realism apparent in the painting is also another point which demands attention. Specifically, the presence of such details allows the audience to establish a more direct connection with the situation through realism. Abstraction is maintained to a degree in terms of style as well. Also, as mentioned beforehand, the choice of rather dark colors, especially earth tones, have further supported the image of sadness as such colors are generally known to be ideal for such purposes. Therefore, in accordance to Nietzsches implied notion wherein both reality and representation exist in an inseparable manner (Cazeaux, 2000), the emotions triggered from viewing Schieles painting is indeed a prime example in terms of how expressionist art may be considered as the unique product of ones perception.  

Roots of Schieles Accomplishment
Aside from providing a raw analysis of the painting, it would be a worthwhile endeavor to discuss Schieles background and the reason as to how the painting came to be. Schiele hails from Austria and has been among those taught and supported by Gustav Klimt in particular, given the nature of Klimt to allow artists such as Schiele to become involved in exhibits to display their accomplishments is undeniably a vital opportunity for Schiele during his earlier years as an artist (Owen, 1998). Aside from such an opportunity, the tendency of the aforesaid artists inclination to detail aspects of anatomy has been historically defined and associated with certain events with his family. Specifically, due to the health concerns of his father, as well as the reasons for his fathers eventual demise, Schiele believed that there is a distinct relation between the ones mind and ones body (Owen, 1998). Hence, it would be appropriate to assume that the aforesaid interest became the basis for most of his works which mainly focused representations and depictions of the human body. However, despite the level of detail placed upon the human figure in the Death and the Maiden, it is still apparent that the human figure is not the focus of the painting.

Specific experiences in his life may have been the main reason as to why he was able to paint the aforesaid piece in such a manner. As the painting radiates both strong emotions in terms of love and despair, it would be most ideal to delineate some of the relationships and affairs in which Schiele was involved in. Of these, Schieles romantic involvement with Wally Neuzil and Edith Harms would be the most important to discuss in relation to the Death and the Maiden. Wally Neuzil has been with Schiele for several years and certainly an essential part of Schieles artistic growth to further expound, Wally assumed the role of the main model for many of Schieles works which focused upon the female anatomy even those with a nude and erotic image (Steiner, 2004). Given such, it would not be a difficult task to understand the importance and impact of Wally on Schieles life in general. However, despite the essential significance of Wally, he soon found an opportunity to be romantically involved with another woman. Specifically, Edith Harms became Schieles love interest during times in which he and Wally are still in a relationship.

Eventually, Schiele decided to marry Edith Harms instead of Wally Neuzil interestingly though, Schiele attempted to maintain close romantic relations with Wally, an effort which did not achieve fruition (Steiner, 2004). Of course, such an ideal outcome, in relation to the needs and wants of Schiele, would not be possible as it would only initiate envy and doubt from both individuals. Hence, instead of complying with Schieles requests to meet from time to time for recreational purposes, Wally completely eliminated the possibility of such as she decided to move away from Schieles life completely (Steiner, 2004). As one may expect, considerable repercussions upon Schieles aspirations was brought forth by such an outcome despite the fact that he was still going to be married to Edith. In addition, realizations of Wallys worth and importance came too late for him and thus resulted in unparalleled grief and pain from which the he painted the Death and the Maiden. Thus, the distinct feeling of grief which may be seen from the painting, as noted throughout the raw assessment of the painting, interestingly is an extension of Schieles emotional state during such times in his life.      

Brother and Sister (1933), Outright Impact
Max Beckmanns Brother and Sister, also an oil on canvas painting, also expresses a theme associated with both romantic and sexual theme. Immediate upon looking at the painting, the combination of bright hues and color choices which express a sense of wealth and royalty express a notion which highlights the fact that the siblings depicted in the painting are of high social status. In addition, the mere appearance of the figures or characters in the painting is of majestic form as well further serving as testament to the aforementioned point. The gestures and movement of the characters also embody intimacy as a message is being carefully and playfully whispered from one to another furthermore, the lack of clothing of course presents a notion that the siblings are being enticed into engaging in mutual sexual pursuits with each other. Expectedly, in the context of the Western world, and throughout the world in general, sexual and even romantic associations between those related in blood are regarded as an unacceptable act. Specifically, it would not be inappropriate to expect that for those with such relationships, regardless of the historical period, societal and legal repercussions would subsequently arise. Therefore, the theme of an unacceptable love between siblings is clearly depicted in the painting.

Interestingly, in all the objects seen in the painting, the most notable and considerably out of place is the sword. In particular, the sword is situated between the siblings as if serving as a barrier which would prevent the unacceptable union of the two. In this sense, the sword may be perceived as either representative of social acceptance or humanitys universal laws which serve as an essential means of prevention for such unholy practices. However, despite the presence of a considerably imposing sword between them, it is still evident that the siblings are still attempting to pursue their wants albeit to a limited extent. Given that expressionism is considered as a form of symbolisms and is an extension of an artists perception and spirit (Harrison  Wood, 2003), then it would not be difficult to understand the reason as to why such a painting is considered as the work of an artist adept in the approach and rationale of expressionism. Despite such though, as noted beforehand, Max Beckmann is not an artist who wills to be regarded as among the expressionist painters of his time.  

Max Beckmanns Interest and Perception
In order to properly comprehend the aforementioned painting of Max Beckmann, it would be vital to further assess his interests as an artist. Throughout his career as an artist, more specifically as a painter, Beckmann eventually transitioned from having to find the style most suitable to his approach to one who expresses his thoughts and searches for his inner being through his own art (Selz  Beckmann, 1987). In this sense, art became the main means for Beckmann to reflect and possibly to chronicle his experiences and thoughts. Furthermore, Beckmanns willingness to let others know of his thoughts became a point of concern for those attempting to unravel the meaning imbued in Beckmanns paintings. Specifically, during the advent of the World War and the rise of the Nazi, Beckmanns tendency to maintain his privacy in terms of his views and thoughts became more evident also, being branded as among the Degenerate Artists further supported such a stance but also initiated a personal reflection upon the tendencies of humanity (Selz  Beckmann, 1987). A direct example or result of the aforesaid changes in Beckmanns perception and personality would be the painting Brother and Sister.  

Interestingly, ancient mythology became the Beckmanns focus throughout his pursuit to understand more of humanitys history. Specifically, his pursuit to highlight and incorporate Greek and Norse mythologies in his art began during the 1930s Brother and Sister was made after Beckmann has accomplished one of his greatest achievements, the Rape of Europa (Selz  Beckmann, 1987). The main theme of the painting, from a personal analysis of the piece, is interestingly in agreement with the views and critical analysis presented in literature. In particular, the painting is actually a depiction of the sibling from Norse mythology, Sigmund and Siglinde whom are known to have a relationship which transcends core sibling-based affection to further expound, in order to prevent the union of the two, the divine sword known as Gram (Selz  Beckmann, 1987). In a way, Beckmann may have perceived such unions or relationships as naturally occurring yet for the better of humanity are suppressed by rules and judgment despite the fact that emotions and desires are affected and unfulfilled in this case the appropriate outcome is emphasized and given priority.      

Conclusion
Both works analyzed Egon Schieles Death and the Mistress and Max Beckmanns Brother and Sister, highlight themes which expresses a strong emotional response without difficulty. As noted beforehand, expressionism, aside from being mainly associated with abstraction, is most importantly a rekindling of the spirit of art which has been partly lost furthermore, the effective incorporation of emotions into art as well as the presence of a more realistic perspective on how art is regarded and appreciated also manifested during the advent of expressionism (Harrison  Wood, 2003). In relation to this, it is undeniable that both Schieles and Beckmanns works as discussed above may be considered as appropriate examples of expressionist art. However, as noted above as well, Beckmann eventually detached himself from being classified as one who champions expressionism. It is important to note though that Beckmann has also been associated with becoming increasingly personal and unwilling to discuss his position and stance throughout his career also, his main argument against expressionism was based upon the excessive use of abstraction of expressionists which became apparent during his time (Selz  Beckmann, 1987).

Hence, it may not be appropriate to assume that Beckmann was against expressionism. Instead it would be most suitable to perceive his decisions as an argument against the trend and changes occurring in expressionism. It is most probable that those who began and furthered the expressionist era such as Schiele have not deviated from a sufficient degree of objectivity.  Nevertheless, despite the such disagreements and concerns, it is without doubt that both Schiele and Beckmann may appropriately be branded as superb expressionists as the key element of expressionism, emotions, have been infused into their achievements.

Fatherhood is a blessing. Not everyone is given the chance to be a father. It is both a privilege and a responsibility. There is no perfect father, but that does not mean one should stop striving to be one. There is no perfect father and yet fathers have many options on how they can make their children love them for who they are, and that is almost as close as being the perfect father in the eyes of those who appreciate them. Fatherhood is complex, the complexities of life that the father is thrust into molds and defines the father. Even with these differences, there is no better father over the other only those who did more and those who did less, those whose actions led them to a particular place and condition, and those who opted for the other path at the crossroads. There is no individual who can claim to be the perfect authority on fatherhood, and yet, what every father has to say about fatherhood has a meaning and significance. These things are borne out of experience, not something that cannot be bought or easily asked for or take from anyone. There are many ways to define the real meaning and the real ethos and essence of being a father and fatherhood. For most people, the likely course of action is finding that one personal experience that encapsulates how the father feels that leads him towards the understanding of what fatherhood and being a father is all about.

Fatherhood means being there for your children, not just as the financial of the things that the children need, but also as a source of emotional and psychological strength especially during formative years. Being a father means knowing the strengths of the children and harnessing them. Being a father means being able to understand the concept of work and play for both the parent and the children, the father acting the role of providing the balance necessary for the discipline of the children (Cosby, 1986, p. 172). All of these things can be seen in an experience. My two sons - Dallas and Tyson - are very smart kids. As a father, I dont push them to just one direction. I am supportive of their educational experience but I also encourage them to enjoy life and do other things, things that they actually want and enjoy doing. One of the things that I noticed about them is that they are both enjoying playing video games. While other parents might restrict them or find this inclination as a point of concern since it may affect school, I encourage them not just to enjoy video games but also to find out for themselves the need to strike a balance between video games and the other aspects of their life. Here, I was able to see how their being smart comes into play again.

They actually understand the responsibility. As a father, it does not mean that I need to be authoritative all the time and that it helps in their healthy growth that I also create an atmosphere of autonomy for my two children as well as for my wife Andrea. Because of this, we all are able to enjoy more life and living - not apart but together. There are less friction to worry about. During weekends when we all sit down and play video games, I can see how smart my two kids are based on how they approach situations in the game. I think this form of critical thinking can also help them form a sound and solid personality as they grow up. As a father, part of my responsibility is to make sure that positive aspects like this remain unhampered to help the child grow and make them confident (Horn, Blankenhorn, Pearlstein, 1999, p. 50). Fatherhood then, means acting and playing many different roles and wearing different hats  guardian, protector, provider or breadwinner which is a traditional role (Parke, 1996, p. 1), friend, the voice of reason and encouragement and the hand of guidance, compassion and love, among others.

Overall, this experience encapsulates the essence of fatherhood - the need to know how to define a sense of balance in everything and to be responsible enough in making sure that this sense of balance is maintained so that the family benefits in the end. Fatherhood is a fulltime job that requires the juggling of many different things. To be successful in it, the key is achieving balance  balance between work and play, balance in being a father and a friend and in being a husband and a father, the balance between exerting authority and providing autonomy, the balance between leading the way and allowing the other members of the family to the beat and rhythm of their own drums, the balance in what the father provides for the children including education, health, welfare and play etc.

I chose to compare and contrast two works of art that featured the god Dionysos. Dionysos was a god of celebration and wine, promoting both the intoxicating power of wine and its social benefits for bringing people together. He was an advocate of peace and a promoter of peaceful civilization. Both The Hope Dionysos and the Triumph of Dionysos and the Seasons Sarcophagus represent why Dionysos was such an important and celebrated figure in mythology, which is why I chose to analyze two works of art that centered on him. My first impression of each piece was of Dionysos as a peaceful, benevolent and joyful figure. I was struck by the calm peacefulness he embodied in The Hope Dionysos and the happiness he shared on the Triumph of Dionysos and the Seasons Sarcophagus. Though there are many elements to compare and contrast, my analysis will show that both pieces are tributes and representations of Dionysos meaning and purpose in Roman art.

The Hope Dionysos, displayed in the Metropolitan Museum of Arts Greek and Roman Art gallery, depicts Dionysos standing and leaning with one arm on a smaller female figure that is believed to Spes, the personification of hope. He is shown without his usual attributes of a drinking cup or a pinecone-topped staff, and both the hand at his side and the hand resting on Spes and reaching out towards the viewer are empty. Spes, however, holds what appears to be a lotus flower in her hand. This image, with the personification of hope, could have been an allegorical representation of the joyful side of Dionysos dual nature. Its also possible that this was meant as a historical representation of celebration of peace, and that the combination of Dionysos as the god of celebration and Spes as the representation of peace were meant to signify joyfulness at the end of a war.

The piece has been sculpted from marble to have a smooth finish, and even the intricate details of the folds in Dionysos cloak and chiton are smoothly sculpted into soft, careful folds of fabric. Spes holds the folds of her chiton in one hand and the fabric is again smoothly sculpted. No part of the sculpture has been left rough, giving the piece an overall smooth, finished, polished effect. No extra color or gilding has been added and the marble is a uniform color, giving it a natural, human feel. The sculpture was sculpted in the late first century AD, but restored in the eighteenth century by Vincenzo Pacetti. The most obvious evidence of the restoration efforts can be seen in the base that Spes is standing on. The base is a slightly rougher, obviously different texture than the rest of the piece. The base is much sharper and more angular than the rest of the details, making the sharply defined corners of the base stand in contrast to the soft folds of the cloak of the figure standing on it.

There are many archaistic details in this sculpture that aid in the overall feel of the piece. The presence of Spes herself is an archaistic detail, as are many of her physical characteristics. Her hair is tightly curled in a series of rows across her forehead, a style frequently seen in archaistic art. There are also heavy pleats and folds in the front of her chiton and much attention given to creating smoothing detail on the front of Dionysos garment, another archaistic detail meant to focus the eye on the center of the sculpture. This is perhaps why the upraised hand of Spes is placed at about the same level as the midsection of Dionysos, so that the viewer would see the flower in her hand.

The size difference between the two figures serves to convey a sense of naturalism to the sculpture also, with Spes female figure obviously smaller and dressed in more feminine apparel than Dionysos, yet still offering him support. Dionysos towers over Spes, indicating masculinity and possibly an older age. The scale of the sculpture, however, is larger than lifelike which detracts from the naturalistic feel of the two figures. The sculpture stands almost seven feet, with the figure of Dionysos filling all of that space. Spes is obviously smaller, but has been given a base that makes her seem almost as tall.

The poses of the two figures suggest a knowing relationship to one another. There is fluidity to the figure of Dionysos, as evidenced in the one arm hanging naturally to the side and the relaxed shoulders. Spes is archaistically stiff and straight, staring straight ahead instead of making eye contact with Dionysos or looking at the object shes holding in her hand. Though their postures are different the two figures support each other, suggesting a caring relationship and making them allies. The figures can be viewed from all angles, but the sculpture is ideally meant to be viewed from the front with the viewer standing still. There is as much attention given to the folds in the clothing and standing postures of the figures in the back of the sculpture as in the front, indicating that while it was probably meant to be viewed from the front, it is accessible from all angles. While the sculpture is a solitary piece instead of a larger faade it was likely that it was intended for public viewing.

The Triumph of Dionysos and the Seasons Sarcophagus is also displayed in the METs Greek and Roman Art Gallery. It was also sculpted out of marble, but it was sculpted around 260. The choice of marble as medium once again allowed the sculptor to create smooth, even lines and rounded curves, allowing for the eye to travel seamlessly from one figure to the next and for all the details meant to represent nature to come to life. The smoothness of the marble works in a similar way to affect the focal point of the viewer with The Hope Dionysos. The sarcophagus depicts the god Dionysos and the four seasons, along with almost forty other animal and human figures, celebrating a victory. Given that this piece is a sarcophagus intended for use in burial it is logical to assume that the characters are celebrating a triumph over death and celebrating eternal life. Conversely, the celebration could also be interpreted as a celebration of life, with Dionysos representing everyday joy and revelry and the seasons representing a sort of triumph over the passage of time. As a sarcophagus like this one would have been very expensive, this sarcophagus represents wealth and prestige. Many sculptors of funerary art sculpted prearranged scenes, so the presence of the seasons and Dionysos doesnt mean that the person being interred had any deep connection with any of them. Either way, this piece serves a much more practical purpose than The Hope Dionysos. The sarcophagus would have been used in funeral services and to lay a deceased person to rest. There was no major restoration done on the sarcophagus, though its lid is missing. This lack of need for repair could be due to the fact that the figures are sculpted deeply into the marble, leaving fewer pieces extended outward to be broken.

The choice of marble works well on the sarcophagus to help create a continuous scene all the way around the piece. All rough edges have been smoothed and the scene flows seamlessly around, the characters all interacting with multiple others around them. Dionysos can be at the center seated on a large cat holding his traditional staff topped with a pinecone. His other hand appears to be passing something else, maybe a flask of wine, to another figure to his left. Larger than Dionysos and flanking him on his left and right are four figures meant to represent the seasons of Spring, Summer, Winter and Fall. These characters are unusual representations for two reasons. First, the seasons were traditionally represented by female figures, while these are clearly male. Second, Dionysos is usually depicted being accompanied by female revellers, and the majority of the figures in this entire piece appear to be male. There is also no evidence of archaistic detail here. The hair is loose and free-flowing, clothing is draped over the shoulders instead of being smoothed over the midsection, and the postures of all the figures are all natural and relaxed instead of rigid and staring straight ahead.

The scale of the sarcophagus is only 34 inches high, making it relatively small in comparison to The Hope Dionysos. While it would have been long and wide enough to house a body for burial, it stands low to the ground in relation to the statue that stood almost seven feet tall. This makes the figures winding around the sarcophagus obviously under life size, but they stand in realistic proportion to one another. The scene feels realistic because all the figures are similar in size. The seasons are taller than Dionysos, and appear younger and more jubilant. This larger stature could be to represent them as forces of nature. Dionysos natural, relaxed stature is similar to that in The Hope Dionysos even though he is much more animated here. Around them are more figures of humans and animals, all smaller than the figures of the seasons but in relatively natural proportion to Dionysos. Age and gender is conveyed here in the youthful-looking hair and physiques of the seasons and Dionysos. Elsewhere in the scene older men are identified by long, heavy beards and heavy-lidded eyes. There are young boys or angels at the feel of the animal Dionysos is riding and at other locations in the scene. They are smaller and often kneel at the feet of the larger figures, signifying youth. Some elements are not entirely realistic on the sarcophagus, like the giant snake that winds around the side or the panther in the front. Other human figures convey realistic poses and expressions and are much more natural.

Overall, the majority of the figures are standing and facing one another instead of facing outward towards the viewer. Unlike The Hope Dionysos in which both figures faced and reached towards the viewer, in this scene the figures appear more concerned with celebrating with one another than looking forward at the viewer. The figures of the characters around the sides of the sarcophagus have turned heads and torsos, indicating that they are moving towards the front and center of the scene where Dionysos and the seasons figures are present. Many of the figures around the sides bear fruit and baskets in their hands, making it appear that they have come to give offerings to Dionysos in his celebration. The poses are all fluid and natural. The use of marble as a medium allowed the sculptor to create a great deal of light and shade with high relief. The Hope Dionysos does not contain this element of high relief, making it realistic but without so much light and shade present.

The viewpoint of this sarcophagus is markedly different than the previous sculpture. While The Hope Dionysos could be walked around and viewed from other angles, there was not as much detail given to the back and sides as to the front. The Triumph of Dionysus and the Seasons Sarcophagus is meant to be viewed from all sides and the detail from any angle is equally richly illustrated. The characters all interact with one another and with the animals around them, even at the rounded corners of the chamber. This continuous scene effectively implies movement and life and encourages the viewer to walk around it and view the full scene. This is an indication that the funeral services it was created for would be an active one, with patrons walking around the sarcophagus while paying their respects. This continuous image functioning as an invitation for movement in the room could also mean that the sarcophagus was intended for public viewing. This sarcophagus would have been meant to stand alone instead of being part of a larger installation. It is meant to be viewed from every angle, and while its function as a sarcophagus required that it adhere to certain dimensions, the artist worked within these dimensions and functional requirements to create a moving work of art.

The Hope Dionysos and The Triumph of Dionysos and the Seasons Sarcophagus have striking differences and similarities. The representation of Dionysos himself is perhaps one of the most evident differences. In the sculpture Dionysos appears as an older man, fully clothed, standing still and leaning on another figure for support. In the scene on the sarcophagus, however, he is young, jubilant, and actively relating to the multitude of other figures surrounding him. He is standing still in the sculpture and seems to evoke an almost sombre air of peacefulness, while in the sarcophagus scene he is happy, free, and all the other figures in the scene seem to be clamouring to get to him. The interaction of the figures is another striking difference between two. In the sculpture Dionysos leans on Spes for support, but does not look at her or interact with her. In the sarcophagus scene he is looking to his side at all the revellers accompanying him and interacting with them all. The two pieces represent two very different sides of Dionysos, which is perhaps fitting because of the dual nature he traditionally represented.

The first paper seems to be done poorly in terms of relevance to the topic and level of creativity reached. The idea behind the poster and the message with relevance to the topic given do not match up that well. There seems to be usage of text types and design in terms of the character, but inventiveness of thought seems to be absent from the posters (with the exception of poster number 2, wherein addition of the ribbon to the tire shows a comparison). The posters of The truth about forever however seem to be in line with the idea you get of a novel named that  especially where flowers are written in flowers. There seems to be lacking congruence in meaning when we talk about what the subject is and what has been depicted in the posters number 6 and 7. If there had been true illustration of thought on paper, the posters had been a lot more meaningful like can be found somewhat in number 8 with the way forever hangs representing the fact that the letters can fall thereby snatching away that reality from the holder. Flat visual language is what the first person has made use of. If this is the syle she wants to adopt then its worthy taking a look at the work of Mario Hugo since that conforms with the beautifu workings of graphic visual language.

The second paper shows Kellinger drawings very beautifully and I should say very nice effort to all the posters in this section. Unlike, the first setoff posters, this second set seems to be high in similarity of thought and design  creativity. The idea of a man destroying the future of a bank has been very well displayed through the use of slogans, fire and a downward sloping graph depicting downfall. However, the use of a flag was a little inappropriate in the first drawing since it depicts victory and conquer, which was not the case in real. Sparks, smoke and rubble and the use of a hand-grenade shows the destruction (figuratively, of course) which completely are in line with the entire idea of these posters. I have to say these posters, each one of them are very well done  both idea  concept wise as well as creativity  design wise.

Statue of a Wounded Amazon and Statue of an Old (Market) Woman
Walking through the hallowed halls of the Metropolitan Museum of Art, one cannot help but be amazed at the breadth and quantity of sculptures that fill its many floors. But of all those sculptures, one cannot help but feel a sense of amazement at the life-like qualities of those created by Greek and Roman artists. Marble in medium, these works of art are the products of a culture surrounded by myth and an appreciation of the human anatomy. For this paper, I shall focus on two of these works, The Marble Statue of the a Wounded Amazon and The Marble Statue of an Old (Market) Woman, whilst applying a critical eye in analyzing the form and function of the pieces.

Unlike the second statue, which we will be discussed in-depth later, The Marble Statue of a Wounded Amazon obviously echoes the Romans fascination with Greek mythology and style. A Roman copy of a Greek, bronze original, it stands at 80  inches and as made 1st-2nd century A.D., though the original Greek work is dated at 450-425 B.C. Brought to life is a depiction of an Amazon, a mythological race of women warriors from Cappadocia. Considered a threat by many Greek polis, particularly that of Athens which they have supposedly conquered for a short time, these women were fought by Greek heroes of great renown such as Hercules and Achilles (Snider n.d.). According to the website of The Met (2010), scholars believe that the statue was once an entry into a competition for the creation of an Amazon sculpture for the temple of Artemis back in the mid-fifth century B.C.

The statue is shown standing up, one arm with a missing hand resting on a pillar and the other placed high above her hand in a position usually associated with either sleep or death (Metropolitan Museum of Art 2010). It is also important to note the intricacy of the lines depicted by the toga as if falls carelessly from the body of the warrior. This clearly shows the craftsmanship of the artist and his understanding of the importance of movement in sculptures. At first glance one wouldnt think of a warrior in battle, but a small bleeding gash under her right breast and a broken strap from her toga implies that she had come from fighting.

But despite a notion of Amazonian women as hard-hitting and brutish, this statue, on the other hand, oozes with quiet femininity, with its sinuous lines and soft curves that can sometimes denote vulgarity and sexuality. And despite having come from battle, there is simplicity with the facial features, almost bordering on stoicism, which is the trend among Greek statues (Metropolitan Museum of Art 2010). Overall, we can imply that the statue depicts the strength and resilience of the Amazon warrior, that despite being badly wounded, she has risen above her plight with quiet serenity. Created to surround the walls of Artemis temple, it is an idyllic representation of what this goddess exemplifies ferocity and chastity (Coffey 1998).

Looking now at the second marble statue, we can assume that it is a depiction of daily Greek life. Dating from A.D. 14-68, during the Early Imperial Julio-Claudian period of Roman history, it is just 49 58 inches or 125.98 centimeters in height and like the previous statue, it is a Roman copy of a Greek work dating from the second century B.C. The statue depicts an elderly woman, hunched over, carrying a basket of fruit and birds that, we assume, are offerings to be made at one of the many temples found in the ancient world. There is also much attention placed on the garment based on the intricacy of the drapery. But, unlike the first statue whose marble surface is smoothened, great detail is placed the depictions of the anatomy that one can almost see the lines of the muscles and the clavicle as it protrudes from the statues marble skin.

It is also important to note that the woman is freely dressed in a thin garb and sandals. She is also wearing a crown of ivy on her hair, a clear association to the Dionysiac cult. According to legend, women make-up the primary retinue of Dionysus (Otto 175), making this statue a representation of the workings of this cult. Her garment also lends insight into her involvement with this cult. According to the website, older women are given more leeway in terms of their actions, and symbolize the kind of freedom they have from usual gender-related restrictions. At the same time the loose, provocative outfit can also be associated with the unrestrained erotic sensuality that defines Dionysus and his sect. Bearing this in mind, it is now easy to assume why the statue was partially destroyed, with the arms hacked-off and the face chipped. In a time of changing religions, the statue represents paganism and debauchery, two qualities that rising Christianity hoped to repress or eliminate.

It is evident that both statues have similarities and differences. Both are Roman copies of Greek statues, thus providing evidence of the ability of the Romans to adopt the best aspects of civilizations they have conquered, particularly their interest in Greek humanities and art. Both date from the Imperial period of Roman history where the art of creating sculptures was at its height. But, they also differ in height, in the state of their dressing, and the emotion that they depicted. But most importantly, they differ in the aspects of life they are portraying. The first statue focuses on the mythology of Greece and how it translates to art. The second focuses on the daily life of Greek citizens, as imbibed by the Roman population, through its cultural and religious aspects as observed through the liberties and restrictions experience by its women. But, overall, the two statues shed light on how Rome has come to assimilate Greek culture, its ideologies and beliefs, and how they have come to treasure it as their own.

Yet, despite these various similarities and differences, both statues can stand on their own as testaments to the talent that could be found in the ancient world. The cultures that they come from have been, and will continue to be, a source of inspiration to countless generations and countries. This is the true purpose of both statues, and the legacy they have left behind.