Cubism and Henry Moore: A Comparison

Cubism and Henry Moore: A Comparison The 20th century comprised of artists with a broad array of interests and fortes, causing an overlap of stylistic features in artworks ranging from the drawn, the sculpted and even the assemblage works. Sculptures during this era were radical in nature due to their loosening grip of the conventional sculptures that were prior constructed from marble or bronze and the divergence from representing figures. Henry Moore was a well-known sculptor of this period living nearly 90 years who demonstrated this avant-garde emancipation from the standard. In juxtaposition to Moore, Pablo Picasso was associated with the emergence of the Cubism a movement he is noted for. Both artists incorporate themes in their artworks that are both similar and different to one anothers stylistic specialty. The deviation from high-art materials to low-art materials, the influences of both artists from prehistoric to primitive, and the shared and unshared aesthetic qualities of their artworks have been discuss ed in relation to the comparison of Cubism (Picasso) and the sculpture of Henry Moore. Materials were a radical and trans-figurative aspect of both Pablo Picasso and Henry Moore. Both artists had rejected the conventions of traditional art and materials, which were mainly associated with high-art. The aforementioned, Picasso and Moore created their works by breaking these standardizations of the old masters by incorporating materials of low art: an avant-garde aspect that personified this era. Cubism uses every day commercial materials such as newspapers, wallpapers, cardboard, and metal, whereas Henry Moore takes a leap isolating himself from the rest of the sculptors and uses unusual and unique materials in his sculptures. Moores list of materials include: for stone alabaster, ironstone, Corsehill stone, African wonder stone, birds-eye marble; for wood ebony, beech wood, walnut, lignum-vitae; for metals- lead and bronze. It also includes terra cotta and cast stone and various combinations of string and wire with wood and metal (Blackshear, 46). For Picasso and Mo ore, materials were used to provide a contrast; In Moores case paint was not applied or used like the cubists did on their canvases; the use of a variety of materials replaced the act of applying the paint directly in favor of an element of colour interest often lacking in the accumulated work of a sculptor. (blackshear, 46). Both Picasso and Moore also believed to give truth to their materials, which later came to be known as the reduction of means (Kirschenbaum, 169). To extrapolate, both artists believed that the material used, should represent itself rather than insinuating an exterior notion paint should look like paint, wood like wood and stone like stone (Kirschenbaum, 169). The colonization of the African continent by the European powers was a stepping-stone for the emergence of primitive cultures and their influence on the Modern art. It was through this massive bloodshed of the colonization and trade, that the African Tribal Masks made their way to Europe. These masks were merely seen as wooden carvings until the hands of Picasso, Braque and Derain and many more were laid on them. The masks had become a hot commodity in the realm of art aiding in the growing interest of Primitive Art. One of these artists was Picasso, whom surprisingly in different accounts has denied his fascination with these Primitive artifacts. However, this subject is still controversial, because Picasso  remains silent about it and his friend, the art dealer Kahnweiler,  has denied in his writings that the Cubists borrowed from  African art. Despite Picassos refusal to discuss this subject, it is  known from the reminiscences of some of his artist-friends that  he was greatly impressed by and collected African art. He may be touchy about this matter, since Gertrude Stein once reproached  him of using African art as a crutch (Alfert, 391 393). Although Picasso disagrees with those who state that he is in fact indebted to primitive art, his artwork exemplifies otherwise. His early Les Demoiselles DAvignon of 1907 would have been incomplete without the primitive aspects of the mask- the shading, the rough contours, and the explicit twisting of bodies. On the contrary, Moore, who too was influenced by these masks, acknowledges that he borrowed from primitive art (Alfert, 391). In 1930 and just before, he [Moore] produced a number of stone figures  whose facial features are characterized by a concave, heart-shaped  form in which the eyes protrude as small, raised craters. Such a  configuration is common among the works of several African tribes,  notably the Ba-Lega of the North- Eastern Congo. (Alfert, 391) Inevitably, with African sculpture acting as a catalyst in 20th century art, the struggle in art became one for directness, immediacy, and economy of means. (Kirschenbaum, 169). The works of Picasso and Moore have come a long way since their initial exposure to the works of their forefathers of Modern art namely Cezanne and Rodin. (Elsen, 355). Picasso borrowed many of Cezannes pictorial techniques and integrated them into his early cubist works (lecture). He always looked up to Cezanne and admired him greatly since he had initially-before the Cubist movement-deviated from the legacy of the Old Masters; Cezanne instead epitomized new radical practices such as the flattening of the image and the abolishment of perspective-laying the foundation of the Cubist movement. Similarly, Moore looked up to Auguste Rodin who is believed to be the progenitor of Modern sculpture. (ucker, William (1974). Early Modern Sculpture. New York: Oxford University Press. ISBN 0-19-519773-9). It was from Rodin, that Moore developed an interest in the integration of nature and body -a repetitive theme of his works. Moore has explicitly accredited Rodin at many instances: Rodin taught me a lot about the body; its asymmetry from every point of view, how to avoid rigid symmetry, the flexible parts of the body, the head, jaw, neck, thorax, pelvis, knees etc., and that these axes should not parallel each other. These were the ways of giving the figure vitality. (Elsen, 355) Nature, for Moore became an imperative theme in his sculptures. He frequently places his pieces in a horizontal position, which devaluates the importance of the head and stresses the abdomen as the compositional center (Arnheim, 31). By targeting the abdomen, Moore emphasizes his continuous theme of nature, which is also seen in Fauconniers Abudance painting of 1910. Fauconniers piece is a masterful representation of the womb being the center of life regurgitating the role of the woman as being the body in which a growing fruit is held for nine months. This theme of nature used by Moore, is also proven by his favorite theme of the Mother and Child seen in many of his series. Through the integration of Cezanne and Rodins techniques and styles into their artworks, both Picasso and Moore demonstrate how they utilized what they learnt from their Masters to create a bridge towards their individual breakthrough. Aesthetic concepts in the works of Cubism and in the sculptures of Moore are similar in nature. The artists incorporate a sense of uniformity, balance, vitality and emancipation to their pieces to create a dynamic space for it to occupy. The Cubists and Moore have interpreted the occupancy of space by an artwork as being comprised of the relationship of negative and positive space (blackshear, 46). The Cubists believed the non-Euclidian theory where space is not comprised just of the first, second, or third dimension but also the fourth, which symbolizes the notion of timelessness, and simultaneity (textbook). In conjunction to the Cubists idea of space, Moore too has come to use space in all its forms (Blackshear, 46): he uses the dot (zero dimension), line (first dimension), shape (second dimension), volume (third dimension), and movement (form of fourth dimension) (Blackshear, 46). In contrast to cubist works, in which negative spaces cease to exist, Moore makes the use of positiv e and negative space- a tenacious quality of his sculptures (blackshear, 46). Moore utilizes the hollows created in his sculptures the Reclining Figure as the negative space and relates it to another punctured hole to create uniformity. The holes filled with dense air of its surrounding created in his carvings are concave in nature, reminiscent of the concave perforation in Picassos Guitar of 1914 (the Guitars concavities have been influenced by the Grebo Mask). Moore resists using convexities in his pieces because they would obstruct the space aggressively, countering his obsession with coherency. In accordance of invading space, the Guitar is comprised of protruding planes, which jut out in play of substance and void into the air, disrupting its surrounding space. Homogeny in Moores pieces is further achieved through the flow of his units the dead ends of the hands and feet [of the body] merge with each other or stream back into the body of the figure, permitting the circulat ion of energy to continue (Arnheim, 30). Regularity is also attained by the balance and assimilation of the two antagonistic tendencies the internal and external thrusts (Arnheim, 35). Vitality another aesthetic aspect of the work of Picasso and Moore is not achieved in cubist works because the works are to be seen as what they represent, and nothing more meaningful. The shattered fragments of cubist works deny the possession of energy, in favour of embracing spatial incongruity. To compare, for Moore: A work must first have a vitality of its own. I do not mean a reflection  of the vitality of life, of movement, physical action. Frisking, dancing  figures and so on, but that a work can have in it a pent-up energy,  an intense life of its own, independent of the object it may represent. When a work has this powerful vitality we do not connect the word Beauty with it. (3 way piece, 238) For both artists, the labeling of a work with the word Beauty was unacceptable. They both believed that a work should be viewed simply as what it is, similar to how they brought their materials to reductionism, so that they represented what they were and nothing else. Therefore, through the presence of uniformity, balance and the invigorating vitality in Moores works, he complements the surrounding air, by capturing the energy, absorbing it, and then allowing it to evaporate and disseminate into infinity.

Jimi Hendrix and His Life Accomplishments Essay

Jimi Hendrix was one of the most influential and talented musicians of the 20th century, and through his work he made rock music what it is today. His talent with a guitar was what made him so popular in his own time. The reason he became a rock and roll legend in the 20th century was because of his new style, outrageous performances and his powerful lyrics which captivated his audiences. His new style of music involved, â€Å"†¦the extensive use but sensitively nuanced use of feedback, distortion, and other electronically manipulated sound effects.† (â€Å"Hendrix, Jimi†). Some found the performances he put on to be crazy or insane, but his fans found them to be inspiring. Nevertheless, â€Å"The true power of his genius lay in his musical and lyrical candor.† (Fricke). On November 27, 1942 at 10:15 Johnny Allen Hendrix was born in King County Hospital. Johnny’s name was changed 4 years later to James Marshal Hendrix, the name he is better know by today. Just a few months after Jimi turned 16 his mother Lucille died. Jimi got his first guitar later in the year of his mother’s death. (â€Å"Time Line†) Many people think his heartbreak over his mother’s death is why Jimi turned to the guitar and writing music because, â€Å"At its core, Hendrix’s music was all about the blues.† (Fricke). A year later in 1959 Jimi played in his first concert with â€Å"The Velvetones†. Then Jimi dropped out of high school to join the army. He was only in the army for about 3 months because he got injured during a mission and was discharged. Less than a year after being discharged from the army Jimi began to play on the R & B circuit. After about 4 years of that Jimi formed his own band called â€Å"Jimmy James and The B lue Flames†. In this band is where he was discovered by a man named Chas Chandler. (â€Å"Jimi Hendrix Biography†) Then on October 6, 1966 Jimi Hendrix’s most popular band was formed, â€Å"Jimi Hendrix Experience†. Over the course of about 2 years the Jimi Hendrix Experience released their 1st, 2nd and 3rd singles. They also toured in the UK, US, with the Monkeys and Jimi had his now legendary performance at the Monterey Pop Festival. In late 1968 and early 1969 Jimi received Artist Of The Year, Performer Of The Year, and World Top Musician awards. Jimi Hendrix’s career then began a downfall as the Jimi Hendrix Experience broke up and Jimi got arrested in Toronto. Jimi formed his last band called Band Of Gypsys and they played a few big concerts in 1970. Then Jimi played his  biggest concert in front of 500,000 people at the Atlanta Pop Festival on July 4, 1970. Jimi Hendrix’s last concert was at the Isle of Fehmarn in Germany. Jimi died on September 18, 1970 and just the day before Jimi wrote his last song entitled â€Å"The Story of Life†. (â€Å"Time Line†) There were many great musicians in the 20th century, and some people believe that they have had a greater influence than Jimi Hendrix on rock today. There were the Beatles, Elvis Presley, the Rolling Stones and many other amazing musicians. Each of these artists also produced anywhere from 10-30 albums in their careers and, â€Å"†¦in his life time Jimi Hendrix officially released only three studio albums† (Fricke) With so little music produced for the public how could he have influenced rock in any way at all. There are also other people who think Jimi Hendrix was a bad influence. Jimi Hendrix ran into many problems with the law involving his use of drugs and his anger problems. Some people feel that if someone influential is using drugs or committing violent acts this is influencing fans and followers in a wrong and potentially harmful way. There are also people who probably just didn’t like his music. â€Å"The furor Hendrix created upon his arrival on the London pop scene was unprecedented.† (Fricke) His new style of using lots of electronic sound effects was very different and new, and to some people probably it just sounded like a bunch of noise. If anything, some felt his influence changed rock for the worse. It is definitely true that there were many great musicians that played a part in influencing rock music and making it what it is today. Those musicians also wrote more albums and had more popular songs than Jimi Hendrix. But having many albums and popular songs isn’t what really influenced the development of rock music or the people who played and wrote rock music. What really influences something is a new and unique style, and that is exactly what Jimi Hendrix provided. He, â€Å"did not conform to British fantasies of sharpdressing soul belters grizzled old bluesmen, who played rock & roll guitar†¦Ã¢â‚¬  (Fricke). The way he took control during a concert using his pure talent with a guitar and the new style he had in his heart, changed the way concerts were to be performed forever. Jimi Hendrix did have a few flaws in his personality, but that doesn’t change his influence in the  slightest. His influence came directly from his music and this part of him was flawless. â€Å"†¦simply pulling sounds out of the air and taming them into one seamless whole, accomplishing it with unassailable daring.† (Mitchell) Jimi Hendrix was one of the most influential and talented musicians of the 20th century, and through his work he has made rock music what it is today. The combination of that creative drive with his stunning technique, sonic imagination and ingenious, painterly exploitation of effects like wah-wah, feedback, distortion and sheer earthquaking volume transformed rock & roll — and its primary instrument, the electric guitar –forever. Hendrix left an indelible, fiercely individual mark on popular music, accelerating rock’s already dynamic rate of change in the late Sixties with his revolutionary synthesis of guitar violence, improvisational nerve, spacey melodic reveries and a confessional intensity born of the blues. (Fricke) Although Jimi Hendrix didn’t affect any other fields other than rock music directly, his influence on rock music continues to effect the world today. Many people have various aspects to their personality and Jimi Hendrix was definitely one of them. On his one side he had serious drug and anger problems. This side of him, obviously the bad one, was not the side his fans thought of when they saw his poster on their wall. They thought of his flawless other side in which he was an amazing guitarist, song writer and performer. Jimi Hendrix loved to write music and play his guitar more than anything else in the world, â€Å"For Hendrix it was the substance of life.† (Fricke). Work Cited Fricke, David. â€Å"Jimi Hendrix: The Greatest Guitarist of All Time.† Rolling Stone. February 6, 1992 â€Å"Hendrix, Jimi.† The Columbia Encyclopedia, 6th ed. New York: Columbia University press, 2003. â€Å"Jimi Hendrix Biography.† We’ll Always Remember Jimi Hendrix. (1 December, 2003) Mitchell, Elvis. â€Å"Jimi Hendrix Again, Going Out With a Bang.† New York Times. October 6 2001, :A20 â€Å"Time Line†. Jimi Hendrix Online Archive. (3 December, 2003)

To Live by Yu Hua - 1068 Words

â€Å"Better a live coward than a dead hero†, a proverb passed down by the Chinese since ancient time, it coexisted with China’s constantly in volatile state and periodical social unrest. Coincidentally, the saying resonates with the life of Fugui in the novel â€Å"To Live† by Yu Hua, a prominent novel which touched many souls and emotions within and outside China. Meanwhile life, a key component and a main theme of the novel, is being valued and portrayed vividly through Fugui’s life, demonstrated by the use of literary devices and among them characterization evident. Fugui first had the thought of taking his life when he lost his family fortune to gambling, driven to the edge of despair, â€Å"He wanted to hang himself [myself] with his [my] belt and be done with it.† (P28) However, Fugui did no implement this into action when he â€Å"realize [d] that he [I] had not the slightest inclination to take off his belt.†(p28) Life still had a me aning for Fugui at that point, taking away his own life was merely a way to â€Å"punish himself [myself]† (p28), he was confound and did not know the direction of life, the impulsion of taking away would only lead to more desire to live, the moment when life is eminent to death a human being would come into realization that life is precious. However fugui’s value of his life did lower due to the misfortune, as he sates: â€Å"When your life has been reduced to the level mine had, you really dont care all that much.† (p47) Fugui once was a man at the very top ofShow MoreRelatedEven though Yu Hua, the author of novel To Live, is also the scriptwriter of Zhang Yimou’s film To1500 Words   |  6 PagesEven though Yu Hua, the author of novel To Live, is also the scriptwriter of Zhang Yimou’s film To Live, the philosophies of life in the novel and the film are apparently different. The most impressive part of the novel is the â€Å"excavation† o f humanity: having experienced the loss of wealth, family and friends, Fugui is still attempting to live in this world. By telling the readers the miserable life of Fugui, the novel actually more wants to show the dark side of Chinese society. 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One may think of the juicy cheeseburger they recently ate for lunch, or the exceptionally greasy state fair cheese curds they ate last summer, or maybe even the repellant garden salad their mom shoved down their throat last night at supper. Whether good or bad, most people think of food as something they consume rather than an idea. To Live by Yu Hua illuminates this notion that food is more than justRead MoreLiterary Analysis : Red Sorghum 1223 Words   |  5 Pagesonly bring wealth to the people, but also become a symbol of Gaomi. The development of the story is also along the sorghum to carried out. During the War of Resistance Against Japan, the sorghum was a good place to cover the Yu Zhanao’s troops. The love relationship between Yu Zhanao and Dai Jiulian also started from the sorghum land: â€Å"Ã¥ ¥ ¶Ã¥ ¥ ¶Ã¥â€™Å'çˆ ·Ã§Ë† ·Ã¥Å" ¨Ã§â€Å¸Ã¦Å" ºÃ¥â€¹Æ'å‹Æ'çš„é «ËœÃ§ ² ±Ã¥Å" °Ã©â€¡Å'ç› ¸Ã¤ º ²Ã§â€º ¸Ã§Ë† ±Ã¯ ¼Å'ä ¸ ¤Ã© ¢â€"蔑è §â€ Ã¤ º ºÃ©â€" ´Ã¦ ³â€¢Ã¨ §â€žÃ§Å¡â€žÃ¤ ¸ Ã§ ¾ Ã¥ ¿Æ'ç  µÃ¯ ¼Å'æ ¯â€Ã¤ »â€"ä » ¬Ã¥ ½ ¼Ã¦ ­ ¤Ã¦â€žâ€°Ã¦â€š ¦Ã§Å¡â€žÃ¨â€šâ€°Ã¤ ½â€œÃ¨ ´ ´Ã§Å¡â€žÃ¨ ¿ËœÃ¨ ¦ Ã§ ´ §Ã£â‚¬â€šÃ¢â‚¬  Mo Yan using a lot of Chinese folk culture elements in the novel, such as Ã¥ ¨ ¶Ã¤ º ²Ã£â‚¬â€šAncient Chinese wedding custom is aRead MoreYu Hua s Original Work1400 Words   |  6 PagesTo Live has a same general plot as Yu Hua’s original work To Live. It takes about the lives of Fugui and his family in twentieth century China. It explores a lot of aspects such as the filial piet, persona growth, political policies and personal life. It also talks about traditional Chinese culture and Communist policies in a criticism standing point. 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The most intriguing aspec t of the film is the similarity between Yu Ji’s life and Cheng’s. As Director

The World Intellectual Property Organization Essay

Intellectual property is an asset to an individual or a business. Even though intellectual property is intangible, it is very important to protect it. Protection of intellectual property can be one of the most important business decisions one can make. The World Intellectual Property Organization (n.d.) states intellectual property refers to creations of the mind. This can include inventions but also includes literary and artistic works, as well as symbols, names and images used in commerce. The World Property Organization (n.d.) categorizes intellectual property into two categories, which are industrial property and copyright. Industrial property includes trademarks, patents for inventions, and industrial designs and geographical indications. Copyright includes music, films, literary and artistic works (World Intellectual Property Organization, n.d.). The World Intellectual Property Organization (n.d.) helps one understand the importance of protecting intellectual property. They have spelled out several reasons of this importance including inventing new works in technology and culture, which allows progress to be made that, can be utilized worldwide. In addition, the legal protection of intellectual property encourages the commitment of additional resources for further modernization. Finally, promoting and protecting intellectual property encourages economic growth. It creates new jobs and industries. Protecting intellectual property also enhances the quality andShow MoreRelatedThe World Intellectual Property Organization1357 Words   |  6 Pagescounterfeiting terms refer to the goods that come into the market with no permission from the owner. Therefore, to protect the individual comes in â€Å"intellectual property which refers to the creations of the mind: inventions, literary and artistic works; and symbols, name and i mages used in commerce†. (World Intellectual Property Organization. What Is Intellectual Property?N.p., n.d. Web. 25 July 2016). 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