Das Gedicht von Rainer Maria Rilke, verfasst im Jahr 1906, wird in diesem Essay analysiert. Es gehört zu den Neuen Gedichten, die 1907 veröffentlicht wurden und spiegelt Rilkes Erfahrungen während seines Aufenthalts in Paris wider. Besonders hervorgehoben wird die Beobachtung eines Karussells im Jardin du Luxembourg, das als zentrales Motiv dient. Der Essay untersucht die literarischen und thematischen Aspekte des Gedichts und beleuchtet dessen Bedeutung im Kontext von Rilkes Schaffen.
Das Gemälde "La Strada entra nella Casä" von Umberto Boccioni, ein herausragendes Beispiel der futuristischen Malerei, zeigt eindrucksvoll die Dynamik und den Lärm des urbanen Lebens. Auf einer nahezu quadratischen Leinwand von 1911 vermittelt das Ölgemälde eine lebendige Verbindung zwischen der Straße und dem Innenraum eines Hauses. Heute gehört es zum Bestand des Sprengel Museums in Hannover und spiegelt die künstlerische Vision Boccioni's wider, die Bewegung und Energie der Moderne einzufangen.
The seminar paper explores the unique presentation of paintings in the picture room of Sir John Soane's Museum, highlighting its innovative design with openable panels that allow for dynamic viewing angles. Despite its modest size of approximately 13 by 12 feet, the room accommodates over a hundred artworks. The collection primarily consists of pieces acquired at auctions, along with some commissioned by Soane himself, showcasing the intersection of art, architecture, and the personal tastes of one of the 18th century's notable figures.
Focusing on the classic period of Pop art from 1956 to 1968, this essay explores its origins in the urban environments of London and New York City. It highlights how the movement, characterized by its use of popular culture imagery from advertising and comics, lacked formal organization and was met with significant criticism from art critics, despite its widespread appeal among the public. The analysis provides insight into the cultural dynamics that shaped and defined this influential art movement.
Essay from the year 2012 in the subject Art - History of Art, grade: 1,7, University of Essex (Art History), course: The High Renaissance in Italy, language: English, abstract: In 1508 Michelangelo began with his working on the ceiling of the Sistine Chapel, he completed it four years later. His frescoes show stories of the Old Testament about creation and fall of humankind and give an anticipation of salvation through Christ. Michelangelo at first did not want to paint the ceiling because he saw himself as sculptor and thought of the commission as trap of his rivals. Moreover, it was unusual for ceiling frescoes to show narration, they were in general regarded as minor compared to walls. Michelangelo, undeniably, taught art history better, his artwork became a masterpiece of High Renaissance. This essay is going to examine Michelangelo's concerns in decorating the ceiling, especially in regard to the representation of narration and how successful his attempts were.