Two Works Of Art Essay Example for Free

Two Works Of Art Essay Italy experienced a massive art boom in the early fifteenth century, or as Italians themselves call it â€Å"Quattrocento†. This especially concerns the art of painting, deeply affected by changes, inspired by approaching Renaissance. It is hard to say, that paintings of that time belonged to pure Renaissance, however, their style already could not be attributed to earlier Gothic. The transition period generated a number of painters and entire painting schools each of them with it’s own original manner. This paper is to compare and examine the similarities and differences between the paintings of Gentile da Fabriano (1370-1427), as representative of late Gothic iconographic painting and Paolo Ucello (1397-1475), whose paintings more likely include Renaissance trends. Fabriano’s â€Å"Coronation of the Virgin† (1420) and Ucello’s â€Å"Madonna and Child† (1470) shall be taken as examples. Both paintings can be found in the The J. Paul Getty Trust museum, Los Angeles, California. The theme of coronation of Virgin Mary by her Son Jesus as Queen of Heaven was quite popular in the medieval painting. Almost all the artists of the time, including Michele Giambono Lorenzo Monaco and later Raphael and Velasques   have once tried to depict this event[1]. Fabriano himself turned to it for a few times. The â€Å"Coronation† being described here belongs to one of his late paintings and should not be confused with the most famous â€Å"Coronation of the Virgin and Saints†, painted in 1400. The style of the â€Å"Coronation of the Virgin†, painted by tempera and gold leaf on panel may be called both Gothic and Renaissance. It can be noticed, that Fabriano has been strongly influenced by the Byzantine style, which has been accepted in Southern Europe for many centuries[2], and made artist’s paintings in a way similar to Orthodox icons of Byzantium and Russia. The main characteristics of such combined style, often called International Gothics, are the strict situation of figures and groups, flat plain background and absence of perspective, special set of brightly contrasting colors, including usually yellow, golden, red and blue, as well as vivid symbolism of each object, being depicted. Especially the Italian Gothic, which arose in during the second quarter of the fourteenth century, is characterized by balanced forms and a grave mannerism. Figures are painted against monochrome or gold backgrounds in a formula that barely hints at a third dimension, but never shows it.   Nevertheless, this style appeared to be much more realistic, than the one of earlier centuries. This panel of Christ crowning his mother, Mary, originally formed the front of a two-sided processional standard carried in religious ceremonies in Gentiles native town of Fabriano. In this shimmering image, Gentile makes effective use of the complex patterning and wealth of surface ornamentation that is characteristic of the International Gothic style and that recalls the rich fabrics woven in Florence. â€Å"Madonna and child†, painted by Paolo Ucello 50 years later by tempera on panel demonstrates a breakaway from international Gothic and turning to Renaissance. Ucello belongs to painters, who first started experimenting with one of the basic elements of new art style – linear prospective. This even caused the famous Italian expert of arts Vazari to call Ucello â€Å"an eccentric† and add, that he has been â€Å"intoxicated† by prospective. At the picture we can see the green meadows, yellow fields and blue skies, spreading up to horizon behind Virgin’s back. In contrast to Byzantium and Gothic art, which is almost always â€Å"frozen out of time and space†, now it is possible to identify the place, time of year and often even time of day, which brings an element of action and development to the painting, although prospective   still remains more an element of decoration. The new style is also characterized by increased volume of figures, and a depth of emotion which suggests human feeling instead of static and passive icons[3]. The medieval tradition of using religious subjects is now combined   with classical ideals of the human figure and an increased interest in depicting nature. In contrast to International Gothic, the colors become more varied and not so dramatic, with more overtones being used. â€Å"Coronation of the Virgin† belongs to one of the few surviving Fabriano’s masterpieces, since most of his early paintings and frescos have been destroyed[4]. Gentiles most famous surviving works were made during a short but influential stay in Florence in the 1420s, where he probably encountered the austere realism of his younger contemporary Masaccio. This golden picture is almost entirely taken up by the symmetrical figures of the seated Christ on the right, placing a bejeweled golden crown on the inclined head of the Virgin Mary, who sits on the left, her hands crossed over her chest. Above them, centered in the rays of a golden sunburst, hovers a white dove with grey-tipped wings and bearing a halo. Standing below and beside the figures, three miniature angels are aligned in two vertical rows. The Christ is wearing a medieval-style tunic of gold gathered at the waist by a narrow golden sash. The garment is embroidered with five-pointed golden stars, surrounded by stars of blue, and encircled by red stars. Falling from his shoulders as he raises his arms is a rich burgundy gown bordered in patterned gold, bearing vines with golden leaves and five-petaled golden flowers with hearts of blue. The Virgins gown, which she holds close to her, has tightly-clustered seven-petaled floral pinwheels of gold over a background of royal blue. Behind the two figures, from their shoulders down, flows a patterned dark green tapestry reminiscent of Christs robe with its five-pointed snowflakes of red and gold. The figures and the background, absent of depth, are laid virtually flat against each another. Standing in the lower corners on either side, the angels, partially obscuring each other in descending columns, look upward toward the figures of Mary and Christ, their lips open in song, their hands holding an unfurled white parchment ribbon with musical notes and Latin words that wind in and out of view. The hands and faces of the principal figures are painted realistically in a greyish pink, making their skin ashen, and their placid, almost expressionless features, look otherworldly, in great contrast to the richly-tooled golden crown, the embossed halos, and opulent, embellished fabrics. Presiding over all this, Christs uplifted hands, in the moment between setting the crown and blessing the Virgin Mary, are set against a broad sheet of pure gold that rises behind the figures until it vanishes under a gilded arch of carved leaves supported by spiral columnsan ornately-carved wooden frame through which we view the coronation. To create a sumptuous surface resembling tapestry, Gentile da Fabriano used extensive tooling, decorative patterning, gold leaf, and rich pigments. Considerable features of International Gothic Style can be noticed on the painting, including complex patterning, elaborate materials, and long flowing lines of the robes of the Madonna and Christ[5]. At the time the gold-encrusted panel functioned as a processional standard held aloft in parades that honored the Virgin Mary and originally depicted The Stigmatization of Saint Francis on the reverse. The centre of the composition is formed by the hands of Saviour, raised to bless his Mother and put a crown on her head, which contrasts to the painting of Ucello, where centre is formed by faces of Mary and Christ. The two pictures represent different approaches towards position of head and eyes of the figures. The Gothic style pays almost no attention to eye contact of the depicted person with a spectator, and the eyes of the Saints are always in a way divert. In Fabriano’s case the Virgin is looking down, vailing before her Son, while Jesus is looking directly at Mary. In contrast, the painting by Ucello brings in a brilliant example of fresh Renaissance relationship between the figure and the spectator. His Mary and Child are looking closely at the spectator and it seems, that they are trying to see that what is behind his outlook and spot his soul. Both paintings are deeply symbolic. The most recognizable Fabriano’s symbol is, definitely, the white dove over Madonna’s head, symbolizing the Holy Spirit, descending upon her. The red color of the gown, falling down from Christ’s shoulders, is a symbol of His Oblation to the humanity and it’s green backing, noticeable on top, is to point on the Resurrection. Finally, the golden color of Jesus tunic is to prove him as the Heavenly King. The clothes of the Virgin are depicted golden and blue, symbolizing   divinity, combined with purity and faith. The nimbuses of both figures are almost invisible in the golden light, streaming through heaven. The symbolism of Ucello’s â€Å"Madonna† is not so sophisticated as Gothic one. The divine Child is depicted, holding his mother’s clothes with his fingers, which is to hint the connection between them. The nimbuses of both figures differ, since the nimbus of Christ includes a cross – a traditional element of earlier iconographic schemes. This cross is red, once again symbolizing Christ’s Oblation[6]. In the years which passed between the creation of these two paintings, the ideas of humanism changed the attitude to human’s body. Fabriano covered the corpses of both figures with reach adorable dresses, leaving no space to any bodily features. In contrast, Ucello’s Madonna and Child displays a type of hushed beauty lost with the advent of the High Renaissance style in Italy. Her face and the body of the child are still pallid and far from Raphael’s vision, however, the Maid is depicted as a beautiful woman with golden hair, appearing from under her modest mantle. While Fabriano used medieval monochromic background, Ucello is one of the first artists, who used landscape to underline prospective in three well-rounded dimensions. Painting now becomes a window on the physical world rather than merely the spiritual one. In an effort to open up the scene, the artist from Paolo Uccellos workshop placed a landscape behind the Virgin and Christ. Instead of trying to show depth, however, the countryside simply forms a pattern of almost abstract trees and zigzags. The resulting design has a flatness and regularity that subtly enlivens the picture and complements the elusive three-dimensionality of the figure group.   Summarizing the overstated one can say that the two discussed may be found both similar and difficult. They are noticeable examples of corresponding painting styles – namely International Gothic and Early Renaissance. Being connected by the religious topic and symbolic filling, they differ in attitude between the characters and the spectator, the special position of figures and attempt to use a prospective in the later work, as well as use of more pigments and tones. It should be pointed, that Ucello’s   perspective studies were to influence the Renaissance art treatises of artists such as Piero della Francesca, Leonardo da Vinci, and Albrecht Dà ¼rer[7]. Due to the changed attitude and eye contact, Jesus and Madonna by Ucello seem to be much closer to us and more human, than Jesus and Madonna by Fabriano, which embodies the ideals of upcoming era of Renaissance. REFERENCES Bernhard Berenson., The Central Italian Painters of the Renaissance. 2nd New York: G. P. Putnams Sons, 1909 Germain Bazin., Italian Painting in the XIVth and XVth Centuries. New York: French and European Publications, 1938 Michael Levey., A Concise History of Painting: From Giotto to Cezanne. New York: Frederick A. Praeger, 1962 Linda Murray, Peter Murray., The Art of the Renaissance. New York: Praeger, 1963 Frank Jewett Mather Jr., A History of Italian Painting. New York: Henry Holt, 1923 [1] Bernhard Berenson., The Central Italian Painters of the Renaissance. 2nd ed. New York: G. P. Putnams Sons, 1909, at p. 131 [2] Germain Bazin., Italian Painting in the XIVth and XVth Centuries. New York: French and European Publications, 1938, at p. 26 [3] Bernhard Berenson., supra note, at p. 133 [4] Michael Levey., A Concise History of Painting: From Giotto to Cezanne. New York: Frederick A. Praeger, 1962 at p. 44 [5] Linda Murray, Peter Murray., The Art of the Renaissance. New York: Praeger, 1963, at p. 257 [6] Germain Bazin., supra note at p. 29 [7] Frank Jewett Mather Jr., A History of Italian Painting. New York: Henry Holt, 1923, at p. 144

Generations Essay -- Sociology, Baby Boomers

Generations at Work The dynamics associated with working with people in an office, department, or organization are difficult to classify or explain. Also, personalities, positions, ages, and values are all aspects of how people relate in order to get the job done. Moreover, each generation brings elements and distinct predilections to the work environment. Thus, the four generations represented in today’s workforce is examined. My Generation People born between 1946 and 1964 are classified in American society as baby boomers. I found out in my thirties that I was part of this generation. While I had heard of the term growing up it never occurred to me that I was a member, especially since I barely qualify. According to a survey conducted by Pew Social & Demographic Trends Project, baby boomers are the gloomiest generation. Moreover, their outlook on everything from health, finances, and quality of life is bleak (Cohn, 2008). However, some experts refute this assessment. They maintain baby boomers also referred to as the â€Å"Me† generation, are competitive, self-sufficient and are called are considered workaholics. Hence, their serious work ethic prompted many to remain in the workforce longer than expected. Consequently, baby boomers stay on the job in some capacity typically as part-time workers to sustain a certain level of income to support hobbies and other non-career interests (Cordington, 2010). Clearly, some baby boomers have a sense of despair heightened by a combined dread of aging and loss of income (Cohn, 2008). Although this generation’s median household income is more than adults 25 to 44 ($53,000) and adults 65 and over ($30,000), transitioning to a fixed income with increased medical bills is... ... â€Å"While older workers make more errors, perhaps due to declining physical attributes, they hardly make an severe errors, perhaps due to more experience,† (Fernandez, 2011, p.1). Ironically, the skills older workers have are too specific and unique to fit the needs of today’s multi-layer positions. Therefore, multi-dimensional, computer savvy younger workers, weaned on cutting edge technology are preferred (â€Å"The New York Times,† 2009). Conclusion The four generations represented in today’s workforce have tendencies perceptions and misconceptions about the other that can hamper work relationships. However, each group brings capabilities, beliefs, and values necessary to make a company successful. Hence, the creativity, innovations, and ingenuity indicative of the American workforce are due in no small part to tolerating the gaps perceived in each generation. Generations Essay -- Sociology, Baby Boomers Generations at Work The dynamics associated with working with people in an office, department, or organization are difficult to classify or explain. Also, personalities, positions, ages, and values are all aspects of how people relate in order to get the job done. Moreover, each generation brings elements and distinct predilections to the work environment. Thus, the four generations represented in today’s workforce is examined. My Generation People born between 1946 and 1964 are classified in American society as baby boomers. I found out in my thirties that I was part of this generation. While I had heard of the term growing up it never occurred to me that I was a member, especially since I barely qualify. According to a survey conducted by Pew Social & Demographic Trends Project, baby boomers are the gloomiest generation. Moreover, their outlook on everything from health, finances, and quality of life is bleak (Cohn, 2008). However, some experts refute this assessment. They maintain baby boomers also referred to as the â€Å"Me† generation, are competitive, self-sufficient and are called are considered workaholics. Hence, their serious work ethic prompted many to remain in the workforce longer than expected. Consequently, baby boomers stay on the job in some capacity typically as part-time workers to sustain a certain level of income to support hobbies and other non-career interests (Cordington, 2010). Clearly, some baby boomers have a sense of despair heightened by a combined dread of aging and loss of income (Cohn, 2008). Although this generation’s median household income is more than adults 25 to 44 ($53,000) and adults 65 and over ($30,000), transitioning to a fixed income with increased medical bills is... ... â€Å"While older workers make more errors, perhaps due to declining physical attributes, they hardly make an severe errors, perhaps due to more experience,† (Fernandez, 2011, p.1). Ironically, the skills older workers have are too specific and unique to fit the needs of today’s multi-layer positions. Therefore, multi-dimensional, computer savvy younger workers, weaned on cutting edge technology are preferred (â€Å"The New York Times,† 2009). Conclusion The four generations represented in today’s workforce have tendencies perceptions and misconceptions about the other that can hamper work relationships. However, each group brings capabilities, beliefs, and values necessary to make a company successful. Hence, the creativity, innovations, and ingenuity indicative of the American workforce are due in no small part to tolerating the gaps perceived in each generation.

Euthanasia: Suffering and Powerful Pain Relief

One of the reasons that some people believe that euthanasia is morally okay is that if people with a terminal illness want to die, you should let them. Others will argue that life is a gift from God and that another human shouldn’t interfere with God’s will even if they are begged to help. An example of this is in the Bible. Thou shalt not kill is one of the Ten Commandments so it is therefore a fundamental tenet of the Christian and Jewish religions, but is it really murder?Euthanasia can help family members, relatives and carers to end the dreadful pain and suffering that their loved ones have to endure. It sometimes seems the kindest thing to do. However one could argue that with more powerful pain relief and dedicated hospices, pain should be controlled. Another reason against euthanasia is that in hospitals it could destroy the relationship and trust between the patient and the doctor. Also is it really fair to put the Doctor in the position of having to make such a key decision?Surely if God gave life then only he can decide when to take it back. The major argument against euthanasia in my opinion is that if it is legal it could be subject to a great deal of abuse, such as relatives not wanting to bother anymore or getting their hands on someone’s will. Even Doctors could be tempted to hurry along a patient’s death in order to harvest their organs for a younger patient. It is a bit like the argument for Capital punishment, what if you hang the wrong man, similarly what if the man who has been in a coma for years suddenly awakes?Life is precious and it should not be devalued and if taken to it’s extreme in the hands of a person such as Hitler, euthanasia could stop being a choice but something that is enforced. In conclusion I think euthanasia should be allowed as if people want to die and they cannot do it for themselves they should be given help to die with dignity, surrounded by their loved ones, in their own home, not in some impersonal clinic in Switzerland. At the end of the day I believe in freedom of choice.

Key Executive Choice Points For Retroactive Claim Processing

As the Chief of the Process Program Management (PPM) for Individuals in Accounts Management (AM), I successfully provide consistent critical guidance, direction, and support to the AM Field directorates as well as the WI headquarters executive staff. I also provided outstanding leadership to ensure several of the PATH Act components were enacted and implented. I developed the key executive choice points for retroactive claim processing that were elevated and approved by the commissioner for the retroactive claim processing. I also created instructions, manager talking papers, and technical guidance for the ITIN deactivation. I have worked collaboratively with my peer stakeholders such as the Office of Taxpayer Correspondence (OTC),†¦show more content†¦Due in part to these efforts, AM was able to maintain a 100% closure to receipt ratio for the IMF programs for the year and a 119% ratio in the July-Sept period when we were out in the field. This has been accomplished d espite hiring challenges, maintaining a high Level of Service for our telephones through the filing season, and the staffing deficits on the PPM team. Customer Service and Collaboration I continuously keep communication open within all operations in WI and often take the lead by scheduling meetings or conference calls with areas such as Communications, Compliance, and Submission Processing (SP) when procedural gaps are identified or a collaborated effort is needed. I ensured all of the IMF IRM content was updated and posted timely for the new filing season and I specifically oversaw the input of the ACA material to ensure it was accurate and available for the training and processing. I also lead my staff in several discussions and provided in-depth actions and suggestions to OPCI on how AM could providing â€Å"customer service† to the HCTC enrollment site. We worked with our AM HQ partners to create a new phone line for HCTC and provided the instructions to put in our IRM. I am the headquarters co-lead for the IRM Improvement team where we addressed multiple employee concerns and issues with the IRM formats and content. We have received nothing but posi tive feedback with the activities we have completed thus far from CSRs and the