HUM 200: Applied humanities due Saturday at 7pm

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HUM 200: Applied humanities due Saturday at 7pm

HUM 200: Applied humanities due Saturday at 7pm
10/9/21, 1:08 AM HUM-200 – Page 5.1.1 – Defining the Humanities https://www.webtexts.com/courses/45794-olearyrockey/traditional_book/chapters/4887216-module-five-impact-of-the-humanities/pages/4868334-defining-the-huma … 1/4 Appli e d Hum an it ie s W hat I s A rt? D efin ing t h e H um an it ie s Pla n f o r t h is l e a rn in g b lo ck t o t a k e a b ou t 1 .1 h ou rs t o c o m ple te . 5 M od u le F iv e: I m pact o f t h e H um an it ie s / P ag e 5 .1 .1 D efin ing t h e H um an it ie s On t h is p ag e: 0 o f 4 a tte m pte d ( 0 % ) O bje ctiv e : R eco gn iz e w hat w e s tu dy w hen w e s tu dy t h e h um an it ie s. F or t h e p ast f o u r w eek s w e’v e p ra ctic ed d oin g t h e w ork o f t h e h um an it ie s, b u t w e haven ’t y et p au se d t o a sk w hat t h e h um an it ie s a ctu ally a re . A s a c a te g o ry , t h e hum an it ie s n ot o n ly g ro u ps s im ilar d is cip lin es l ik e a rt, l it era tu re , a n d m usic , b u t a ls o d is tin gu is hes t h em f r o m o th er d is cip lin es, s u ch a s t h ose in t h e s c ie nce s. C om parin g S cie n ce a n d t h e H um an it ie s The s c ie ntif ic d is cip lin es e x ce l a t m ea su rin g, m ak in g o b je ctiv e c la im s, a n d d ev elo p in g te ch n olo gy— th at is , a t f o cu sin g o n t h e “ h ow -to .” W e u se s c ie ntif ic m eth od s t o id en tif y ty p es o f t h in gs ( r o ck s, o rg an is m s, s ta rs ), d esc rib e f u n ctio nal m ech an is m s ( s e ro to n in upta k e), a n d m ea su re h ow t h e w orld w ork s ( th e b oil in g p oin t o f a n y s u bsta n ce ). F un dam en ta lly , s c ie nce is t h e s tu dy o f n atu re ( in clu din g t h e c h em ical a n d b io lo gic al fu n ctio ns o f t h e h um an b od y), w here a s d is cip lin es in t h e h um an it ie s f o cu s o n u n iv ers a l h um an e x p erie nce s l ik e l o ve, h um or, a n d t h e s e a rc h f o r m ea n in g. P ut a n oth er w ay, w e ca n u se p h ysic s t o c a lc u la te t h e f lig ht p ath o f a p ers o n s h ot f r o m a c a n non , b u t w e u se th e h um an it ie s t o e x p lo re w hy s o m eo n e w ou ld b e s h ot f r o m a c a n non , o r w hy th ou sa n ds o f p eo p le w ou ld g ath er t o s e e s u ch a s p ecta cle . D iscip lin es in t h e s c ie nce s u se e q u atio ns a n d f o rm ula s t o e x p la in n atu ra l p h en om en a, b u t t h ese a re f a r l e ss u se fu l in t h e h um an it ie s. F or e x am ple , if w e’r e d is cu ssin g w hat m ak es t h e T V s h ow The W alk in g D ea d s o c o m pellin g, w e c a n ’t s im ply s a y “ T he f o rc e o f a s to ry is e q u al t o t h e n arra tiv e c o n sta n t m ult ip lie d b y h ow d if fe re n t it is f r o m o u r l iv es a n d d iv id ed b y h ow w ell w e c a n id en tif y w ith it .” E xp la in ing a c o m pellin g s to ry in s c ie ntif ic t e rm s m ak es n o m ore s e n se t h an e x p la in ing g ra vit y b y s a yin g o b je cts f a ll b eca u se t h ey w an t t o r e tu rn t o M oth er E arth . O bje cts d on ’t h ave f r e e w ill, s e lf – a w are n ess, l o n gin g, o r a n y o f t h e t h ou sa n ds o f o th er u n iq uely h um an e x p erie nce s t h at th e h um an it ie s a re m ea n t t o e x p lo re . SH O RT-A N SW ER Q UES TIO N Listen 10/9/21, 1:08 AM HUM-200 – Page 5.1.1 – Defining the Humanities https://www.webtexts.com/courses/45794-olearyrockey/traditional_book/chapters/4887216-module-five-impact-of-the-humanities/pages/4868334-defining-the-huma … 2/4 Writ e a q uest io n t h at is gro und ed f ir m ly in t h e sc ie n ces. T hat is, w rit e a q uest io n t h at c an b e b est a d dre sse d u si ng t h e m eth o d s of sc ie n tif ic in q uir y . S H O RT-A N SW ER Q UES TIO N N ow w rit e a q uest io n t h at is gro und ed f ir m ly in t h e h um an it ie s. T hat is, w rit e a q uest io n t h at c an b e b est a d dre sse d u si ng t h e m eth o d s of in q uir y m ost o ft e n u se d in t h e h um an it ie s. J u st a s e x p lo rin g s c ie nce c a n t e a ch u s t h e m eth od s o f b io lo gic al in vestig atio n, h ow t o c a lc u la te m ea su re m en ts , a n d t h e m ech an ic s o f o p era tin g a m icro sc o p e, e x p lo rin g t h e hum an it ie s c a n t e a ch u s t o c lo se ly e x am in e a rt o r w rit in g, in te rp re t c lu es, g en era te a n d ev a lu ate p ote n tia l e x p la n atio ns, a n d c o n sid er a lt e rn ativ e p oin ts o f v ie w. W rit in g t o L ea rn Y ou c a n l o ok a t a w ork o f a rt f o r o n e s e co n d a n d p ro b ab ly h ave s o m eth in g t o s a y a b ou t it . B ut if y o u l o ok l o n ger a n d h ave t h e in te rn al d ia lo gu e w ith y o u rs e lf t h at w e c a ll “ th in kin g,” y o u ’l l h ave m ore t o s a y a b ou t it . A nd if y o u s e ek t o c o m mun ic ate t h at th in kin g t o a f r ie nd, y o u ’l l l e a rn e v en m ore a b ou t w hat y o u t h in k a s y o u h ea r w hat yo u ’r e s a yin g. W rit in g t a k es y o u r l e a rn in g o n e s te p f u rth er s til l. T his is w hy w rit in g is s o c o m mon in c o lle g e, e sp ecia lly in h um an it ie s c o u rs e s. W rit in g l e ts y o u r in str u cto r s e e w hat y o u ’r e u n ders ta n din g, b u t it a ls o l e ts y ou s e e w hat y o u ’v e l e a rn ed . A s y o u r e v is e y o u r w rit te n d ra ft s , y o u ’l l p ro b ab ly d ev elo p q u estio ns a n d s e ek a n sw ers t o b u il d o n y o u r k n ow le d ge. N o r e sp onse sa ved ye t. N o r e sp onse sa ved ye t. Listen 10/9/21, 1:08 AM HUM-200 – Page 5.1.1 – Defining the Humanities https://www.webtexts.com/courses/45794-olearyrockey/traditional_book/chapters/4887216-module-five-impact-of-the-humanities/pages/4868334-defining-the-huma … 3/4 Rea d in g y o u r o w n w rit in g c rit ic ally w ill h elp y o u s e e w here g ap s in y o u r k n ow le d ge e x is t an d e m pow er y o u t o f il l t h em . Con sid erin g a rt w ithou t t h in kin g, r e a d in g, s p ea k in g, a n d w rit in g is a b it l ik e a s c ie ntis t m en ta lly c a ta lo gin g t y p es o f a n ts b u t n ev er g ath erin g s p ecim en s, t a k in g m ea su re m en ts , o r m ak in g n ote s: in b oth c a se s, t h ere is v ery l it tle s o lid k n ow le d ge, o n ly w isps o f m em ory . B y c o n sid erin g a n d d is cu ssin g c re a tiv e w ork s, y o u ’r e e x p an din g y o u r un ders ta n din g o f y o u rs e lf a n d o th ers , l e a rn in g h ow o th er p eo p le e x p re ss t h em se lv es, a n d e x p lo rin g o u r s im ilarit ie s a n d d if fe re n ce s. W rit in g h old s u s t o a h ig her s ta n dard t h an t h in kin g d oes, r e q u ir in g o u r a rg u m en ts t o b e bette r s tr u ctu re d a n d t o h old u p o ver a l o n ger c h ain o f c la im s. T o s e e s o m eth in g a n d s a y to a f r ie nd “ O h y es, I w ro te a l e n gth y p ap er a b ou t t h at l a st y ea r” is r e a lly t o s a y “ I’v e d on e a l o t o f r e a d in g a n d t h in kin g a b ou t t h at a n d h ave c o m e t o u n ders ta n d m y pers p ectiv e o n it .” T his c o n tr a sts s h arp ly w ith s a yin g “ W ell, o ff t h e t o p o f m y h ea d I t h in k… ,” w hic h in dic ate s t h at y o u ’v e g iv en s o m eth in g v ery l it tle t h ou gh t. ( B y t h e w ay, t h is p h en om en on o f “ w rit in g t o l e a rn ” h old s t r u e in s c ie nce c la sse s a s w ell. Y ou ’r e h um an , a ft e r a ll, a n d “ k n ow in g” a n d “ w rit in g” a re g ro u n ded f ir m ly in t h e hum an it ie s. S o e v en if w hat y o u ’r e s tu dyin g is a m ech an ic al s y ste m o r a c o m pu te r la n gu ag e, s e ein g y o u r o w n d esc rip tio n o f it w ill h elp y o u a sse ss a n d d eep en y o u r un ders ta n din g.) S H O RT-A N SW ER Q UES TIO N In yo ur o w n w ord s, w hat d oes it m ean t o “ w rit e t o le arn ”? R ES PO NSE B O AR D C ho ose o ne w ork o f a rt a n d e xp la in w hat it m ean s in t e rm s of b ein g b oth a p ro d uct o f it s sp ecif ic c o nte xt a n d a lso a n e xp re ssi on o f t h e u nive rsa l h um an e xp erie n ce. N o r e sp onse sa ved ye t. Listen 10/9/21, 1:08 AM HUM-200 – Page 5.1.1 – Defining the Humanities https://www.webtexts.com/courses/45794-olearyrockey/traditional_book/chapters/4887216-module-five-impact-of-the-humanities/pages/4868334-defining-the-huma … 4/4 clo se N o r e sp onse sa ved ye t. Listen
HUM 200: Applied humanities due Saturday at 7pm
10/9/21, 1:09 AM HUM-200 – Page 5.1.2 – A Window on Culture https://www.webtexts.com/courses/45794-olearyrockey/traditional_book/chapters/4887216-module-five-impact-of-the-humanities/pages/3897145 1/3 Appli e d Hum an it ie s W hat I s A rt? A W indow o n C ult u re 5 M od u le F iv e: I m pact o f t h e H um an it ie s / P ag e 5 .1 .2 A W indow o n C ult u re O n t h is p ag e: 0 o f 3 a tte m pte d ( 0 % ) O bje ctiv e : A naly ze a p h oto t o u n ders ta n d h ow a rt n ece ssa ril y e m bod ie s c u lt u re . This photo shows Cam Newton, wearing full football gear, smiling in celebration with his fists on his chest. Carolina Panthers quarterback Cam Newton celebrates a play. Grant Halverson/Getty Images E very a rtif act o f o u r h um an it y e m erg es f r o m a c u lt u re a n d c a rrie s e v id en ce o f t h at cu lt u re w ith it . W e n eed t o k n ow a b ou t t h at c u lt u re t o u n ders ta n d a n a rtif act, w hic h is w hy w e l o ok in to t h e c o n te x t o f c re a tiv e w ork s l ik e p ain tin gs, s o n gs, a n d p oem s. S im ilarly , e x am in ing t h ese w ork s— whic h s u bje cts t h ey p ortr a y, a n d h ow — help s u s bette r u n ders ta n d t h e c u lt u re s t h ey c a m e f r o m . Tak e a l o ok a t t h e im ag e a b ove. Y ou r t h ou gh ts a b ou t t h is p h oto — what’s h ap p en in g in it , w hat it in te n ds t o s h ow , w hy it w as w orth t a k in g— dep en d o n h ow m uch y o u k n ow a b ou t th e c u lt u re t h at u n derlie s it . Y ou n eed o n ly a p assin g f a m ilia rit y w ith s p orts t o r e co gn iz e Listen 10/9/21, 1:09 AM HUM-200 – Page 5.1.2 – A Window on Culture https://www.webtexts.com/courses/45794-olearyrockey/traditional_book/chapters/4887216-module-five-impact-of-the-humanities/pages/3897145 2/3 th is p ers o n a s a n N FL p la yer. B ut y o u n eed a l o t m ore s p orts k n ow le d ge t o r e co gn iz e him a s C am N ew to n o r t o k n ow t h at h e’s t h e q u arte rb ack f o r t h e C aro lin a P an th ers . If y o u d on ’t k n ow m uch a b ou t N ew to n , y o u m ight w on der w hat h e’s d oin g h ere . I s h e th um pin g h is c h est? T uggin g o n t h e s tr a p s o f im ag in ary o vera lls ? A bou t t o f is t- b u m p him se lf ? B ut if y o u d o k n ow s o m eth in g a b ou t h im , o r if y o u d id a l it tle r e se a rc h , y o u co u ld s a fe ly a ssu m e t h at t h is g estu re is p art o f h is s ig natu re v ic to ry d an ce in w hic h h e pre te n ds t o o p en h is s h ir t l ik e C la rk K en t d oes w hen t r a n sfo rm in g in to S u perm an . O f co u rs e , r e co gn iz in g t h e r e fe re n ce t o S u perm an r e q u ir es f a m ilia rit y w ith a p artic ula r cu lt u re . I f y o u k n ow n oth in g a b ou t S u perm an , A m eric an f o otb all, o r C am N ew to n ’s p ers o n alit y, y o u m ay n ot u n ders ta n d t h e m om en t o f c e le b ra tio n t h at t h e im ag e in te n ds to p ortr a y. N ow t h in k a b ou t w hat t h is im ag e s a ys a b ou t t h e c u lt u re it ’s b ase d in . N ew to n ’s c h oic e t o c o m pare h im se lf t o S u perm an r e v ea ls t h at h is c u lt u re h old s S u perm an in h ig h r e g ard . A nd it r e v ea ls s o m eth in g a b ou t N ew to n h im se lf . H e’s a p ro u d m an w ho w on ’t h esit ate t o r e m in d y o u a b ou t h is g re a tn ess a ft e r h e d oes s o m eth in g a m azin g. A v ie wer c a n in te rp re t th is im ag e in m ore t h an o n e w ay; m ayb e N ew to n is a h ero , o r m ayb e h e’s a b ra g gart. I f y o u a lr e a d y t h in k o f N ew to n a s a h ero , t h at’s p ro b ab ly w hat y o u ’l l s e e in t h is im ag e. B ut if y o u t h in k o f h im a s b ein g f u ll o f h im se lf , h e’l l p ro b ab ly l o ok a rro gan t t o y o u h ere . PO LL Q UES TIO N In lig ht o f h is Sup erm an g est ure , h o w d o yo u vi ew C am N ew to n? T he h um an e x p erie nce , in clu din g e m otio ns l ik e p rid e, c a n ’t b e p ortr a yed in t h e a b str a ct. I t n eed s t o b e s h ow n in a n im ag e o r n arra tiv e t h at e m erg es f r o m a p artic ula r t im e a n d cu lt u re . T hin k b ack t o “ T he C olo n el” b y C aro ly n F orc h é. W e c a n u n ders ta n d t h is p oem b ette r if w e k n ow s o m eth in g a b ou t t h e c o n te x t— th e r e v o lu tio ns a n d c iv il w ars t h at ra va g ed C en tr a l A m eric a in t h e l a te 2 0 th c e n tu ry . A t t h e s a m e t im e, w e c o u ld s tu dy th ose c o n flic ts f o r y ea rs w ithou t c o m in g f a ce t o f a ce w ith t h is d esc rip tio n o f a m an w ho brin gs o u t a s a ck o f e a rs t o r e p re se n t w ho h e is t o a v is itin g p oet. F ro m h is a ct, w e l e a rn a b ou t t h e b ru ta lit y o f t h e c iv il w ar in E l S alv a d or. C on te x t c a n s h ed l ig ht o n w hat’s h ap pen in g in a c re a tiv e w ork , a n d t h e w ork it se lf c a n b rin g t o l if e t h e c u lt u ra l c o n te x t in w hic h it w as c re a te d . H e’s ju st a n o th er p la ye r, p ho to gra p hed h ere in a t yp ic al N FL p ose . He’s a m an w ho is to o e ag er t o c ele b ra te h is ow n g re atn ess. H e’s a sp ir it e d p la ye r w ho is to ta lly ju st if ie d in c ele b ra tin g g re at p la ys. Listen 10/9/21, 1:09 AM HUM-200 – Page 5.1.2 – A Window on Culture https://www.webtexts.com/courses/45794-olearyrockey/traditional_book/chapters/4887216-module-five-impact-of-the-humanities/pages/3897145 3/3 RES PO NSE B O AR D N am e a c re ative w ork t h at yo u f e el c o nve ys th e h um an e m otio n o f p rid e. RES PO NSE B O AR D T hin k a b out w hat yo u’ve le arn ed a b out t h e c o nte xt o f o ne o f t h e w ork s yo u’r e f o cu si ng o n in t h is c o urse . W hat is im porta n t t o k n o w a b out t h at c o nte xt? c lo se N o r e sp onse sa ved ye t. N o r e sp onse sa ved ye t. Listen
HUM 200: Applied humanities due Saturday at 7pm
10/9/21, 1:09 AM HUM-200 – Page 5.1.3 – The Villain Gap https://www.webtexts.com/courses/45794-olearyrockey/traditional_book/chapters/4887216-module-five-impact-of-the-humanities/pages/4887214 1/3 Appli e d Hum an it ie s W hat I s A rt? T he V illa in G ap 5 M od u le F iv e: I m pact o f t h e H um an it ie s / P ag e 5 .1 .3 T he V illa in G ap O n t h is p ag e: 0 o f 4 a tte m pte d ( 0 % ) | 0 o f 3 c o rre ct ( 0 % ) O bje ctiv e : E xam in e t h e w ays in w hic h f il m s p ortr a y c u lt u ra l p ers p ectiv e. O ne f in al e x am ple o f h ow a rt p ro vid es in sig ht in to c u lt u re is s e en in f il m s f r o m t h e C old W ar e ra . T he t e rm “ C old W ar” r e fe rs t o t h e n ucle a r a rm s r a ce , p ro xy c o n flic ts , a n d gen era lly a g gre ssiv e p ostu re b etw een t h e U nit ed S ta te s a n d t h e S ovie t U nio n in t h e se co n d h alf o f t h e 2 0 th c e n tu ry . ( I t is k n ow n a s a “ c o ld ” w ar b eca u se t h e t w o c o u n tr ie s nev er e n gag ed in a d ir ect s h ootin g w ar w ith e a ch o th er d u rin g t h is t im e.) I n t h e U nit ed S ta te s, t e n sio ns w ith “ th e R ussk ie s” f o rm ed a p ro m in en t p art o f t h e n atio nal c u lt u re . P olit ic ally , d oin g a n yth in g t o “ b ea t t h e R ussia ns” c a rrie d r e a l w eig ht: I t w as t h e s u cce ssfu l l a u n ch o f a R ussia n s a te llit e, S p utn ik , t h at m otiv ate d N ASA t o g o t o th e m oon , f o r e x am ple . G overn m en t s p en din g b allo on ed in t h e p ost- W orld W ar I I e ra a s t h e P en ta g o n p u sh ed t o e n su re “ p ea ce t h ro u gh s u perio r f ir ep ow er.” B eca u se t h e C old W ar w as o n A m eric an ’s m in ds a l o t f o r a l o n g t im e— fr o m t h e im med ia te a ft e rm ath o f W orld W ar I I t o t h e f a ll o f t h e B erlin W all in 1 9 8 9— it’s n ot su rp ris in g t h at it s h ow ed u p o ft e n in f il m , w ith R ussia ns o ft e n p ortr a yed a s v il la in ou s pro p on en ts o f a r e p re ssiv e id eo lo gy. A nd y o u m ight e x p ect t h at R ussia ns h ad v ery s im ilar f e elin gs a b ou t A m eric a, a n d t h at t h eir a rt w ou ld a ls o r e fle ct t h e s a m e k in ds o f fe a rs a n d s e lf – r ig hte o u s a ttit udes. B ut d id t h ey ? T he V illa in G ap U se t h e f o llo w in g e ssa y t o r e sp on d t o t h e q u estio ns b elo w . The V illa in G ap : W hy S ovie t M ovie s R are ly H ad A m eric an B ad G uys T he A .V . C lu b, Ig n atiy V is hn ev ets k y ( M arc h 3 1, 2 0 16 ) MULT IP LE -C HO IC E Q UES TIO N T his artic le is ab out f ilm s m ad e o ve r d ecad es, b ut it c en te rs on a c o nve rsa tio n a t a n e ve nt t h at to ok p la ce in w hic h o f t h e f o llo w in g t im e p erio d s? in t h e m id -1 960s in t h e la te 1 980s Listen 10/9/21, 1:09 AM HUM-200 – Page 5.1.3 – The Villain Gap https://www.webtexts.com/courses/45794-olearyrockey/traditional_book/chapters/4887216-module-five-impact-of-the-humanities/pages/4887214 2/3 MULT IP LE -C HO IC E Q UES TIO N A cco rd in g t o t h e a rtic le , w ho w ere t h e t yp ic al vi lla in s in S ovi et c in em a o f t h e C old W ar e ra ? M ULT IP LE -C HO IC E Q UES TIO N A cco rd in g t o t h e a rtic le , h o w w ere A m eric an s in S ovi et f il m s fr o m t h e C old W ar e ra c h ara cte riz e d ? RES PO NSE B O AR D T he a u th o r st ate s, “ A s th e A m eric an s m ad e f a n ta si es of t h re at, t h e U SSR m ad e f a n ta si es of st ab ilit y an d g lo b al st an d in g .” H ow d oes th is help e xp la in t h e d if f e re n t w ays each si de p ortr a ye d th e o th er in f ilm s? th is past ye ar in t h e e arly 1990s A fg han s C hrist ia n s A m eric an s N azis a s ig no ra n t vi ctim s le d a st ra y as lo ud , r u d e, w ealt h y bra ts a s peo p le w it h lo w m ora ls an d a n o b se ssi on w it h f r e ed om as co ld k illin g m ach in es N o r e sp onse sa ved ye t. Listen 10/9/21, 1:09 AM HUM-200 – Page 5.1.3 – The Villain Gap https://www.webtexts.com/courses/45794-olearyrockey/traditional_book/chapters/4887216-module-five-impact-of-the-humanities/pages/4887214 3/3 You m ust c o m ple te a t l e a st o n e m ult ip le -c h oic e q u estio n o n t h is p ag e b efo re y o u c a n re se t. c lo se Listen
HUM 200: Applied humanities due Saturday at 7pm
10/9/21, 1:14 AM HUM-200 – Page 5.1.5 – What Is It a Picture Of? https://www.webtexts.com/courses/45794-olearyrockey/traditional_book/chapters/4887216-module-five-impact-of-the-humanities/pages/3897161 1/13 Appli e d Hum an it ie s W hat I s A rt? W hat I s I t a P ic tu re O f? B y J am es R om ain e 5 M od u le F iv e: I m pact o f t h e H um an it ie s / P ag e 5 .1 .5 W hat I s I t a P ic tu re O f? O n t h is p ag e: 0 o f 3 a tte m pte d ( 0 % ) O bje ctiv e : U nders ta n d h ow m in or d if fe re n ce s c a n h ave m ajo r e ffe cts o n t h e m ea n in g of a n im ag e. V an G ogh ’s Cop ie s an d C om posi tio n s In t h e f a ll o f 1 8 89, V in ce n t v a n G ogh b eg an t o m ak e p ain te d c o p ie s o f w ork s b y a rtis ts h e a d m ired , in clu din g R em bra n dt v a n R ijn , E ugèn e D ela cro ix , a n d J ea n -F ra n ço is M ille t. T here a re m an y r e a so n s V an G ogh m ay h ave d ecid ed t o d o t h is . F or o n e, in a n ag e b efo re c o lo r p h oto gra p h y, c o lo r r e p ro d u ctio ns h ad t o b e m ad e b y h an d; t h ro u gh ou t art h is to ry , a rtis ts h ave m ad e c o p ie s o f e a ch o th er’s w ork s a s a f o rm o f h om ag e o r in a n atte m pt t o id en tif y w ith t h e t r a d it io n e sta b lis hed b y t h e o rig in al a rtis t. F urth erm ore , a rtis ts h ave l o n g m ad e c o p ie s o f “ m aste rp ie ce s” in m use u m s a s a w ay o f l e a rn in g (a lt h ou gh b y t h e f a ll o f 1 8 89, V an G ogh w as a m atu re p ain te r w ho h ad d ev elo p ed h is ow n u n iq ue a rtis tic v o ic e). Listen 10/9/21, 1:14 AM HUM-200 – Page 5.1.5 – What Is It a Picture Of? https://www.webtexts.com/courses/45794-olearyrockey/traditional_book/chapters/4887216-module-five-impact-of-the-humanities/pages/3897161 2/13 Swirls of blue and yellow make up the night sky in this oil painting. A yellow crescent moon is in the upper right corner. Venus, the morning star, is to the left of center surrounded by rings of yellow and white. Other stars are scattered among the swirls of blue, each surrounded by various sized rings of white and yellow. Under the sky is a village with its church and steeple centered and prominent. Mountains undulate in the background. The mountains are darker shades of blue. In the village, windows in various locations have lights in their windows. There is a green cypress tree in the left foreground reaching almost to the top of the painting. The Starry Night by Vincent van Gogh. Oil on canvas, 1889. 2′ 5″ × 3′ 0.25″. Click to enlarge Digital Image © The Museum of Modern Art/Licensed by SCALA/Art Resource, NY In w ork s s u ch a s T he S ta rry N ig ht , w e s e e a v is ual l a n gu ag e o f u n m ixed c o lo rs , o ft e n a p plie d t o e sta b lis h v is ual c o n tr a st ( m ost p ro m in en tly y ello w s n ex t t o b lu es, c o lo rs t h at are n ea rly o p posit e o n t h e c o lo r w heel) . H is b ru sh m ark s a re v ig oro u s a n d e x p re ssiv e. I n fa ct, t h e p re v io us 1 8 m on th s ( b etw een F eb ru ary o f 1 8 88, w hen V an G ogh l e ft P aris f o r th e s o u th o f F ra n ce , a n d t h e f a ll o f 1 8 89) h ad b een t h e m ost a rtis tic ally s u cce ssfu l perio d o f h is c a re er. T here fo re , o n e p oss ib le m otiv atio n f o r V an G ogh ’s p ro je ct o f m ak in g c re a tiv e c o p ie s m ay h ave b een t o t e st o r m ea su re h is n ow -m atu re a rtis tic m eth od a g ain st t h at o f s o m e o f t h e a rtis ts f r o m w hom h e h ad b orro w ed a lo n g t h e w ay. W hat w ou ld it l o ok l ik e t o r e p ain t a w ork b y M ille t in t h e v is ual l a n gu ag e o f V in ce n t v a n G ogh ? C ou ld h e m ak e t h ese im ag es h is o w n b y g iv in g n ew in te rp re ta tio ns t o in herit ed su bje cts ? Listen 10/9/21, 1:14 AM HUM-200 – Page 5.1.5 – What Is It a Picture Of? https://www.webtexts.com/courses/45794-olearyrockey/traditional_book/chapters/4887216-module-five-impact-of-the-humanities/pages/3897161 3/13 In a d dit io n t o t h e v is ual d elig ht a n d h is to ric al in tr ig ue t h at t h ese c o p ie s p ro vid e, t h ey a ls o a llo w u s t o c o m pare t w o w ork s t h at d ep ic t t h e e x act s a m e s u bje ct b u t e m plo y d is tin ctly d if fe re n t v is ual m eth od s. I n e v ery w ork o f a rt, t h ere is a r e la tio nsh ip b etw een th e s u bje ct d ep ic te d a n d t h e v is ual l a n gu ag e t h at t h e a rtis t e m plo ys. T his v is ual la n gu ag e is c o m pose d o f e le m en ts s u ch a s c o lo r a n d c o m posit io n, t h e c o n tr a st o f l ig ht an d s h ad ow , b ala n ce a n d r h yth m . I n in te rp re tin g t h e w ork o f a rt, w e s h ou ld n ot o n ly c o n sid er t h e s u bje ct d ep ic te d b u t a ls o p ay a tte n tio n t o h ow t h e s u bje ct is d ep ic te d . T he ad va n ta g e o f V an G ogh ’s c o p ie s o f w ork s b y M ille t a n d D ela cro ix is t h at t h e s u bje cts r e m ain t h e s a m e b u t t h e v is ual l a n gu ag e, a n d t h ere fo re t h e c o n te n t v is ualiz ed , is c h an ged . L ookin g a t t h ese w ork s, w e c a n a sk , “ H ow is o u r r e a d in g o f t h e w ork s h ap ed b y th e w ay in w hic h t h e s u bje ct is d ep ic te d ?” C om parin g V an G ogh ’s p ain tin gs w ith t h ose b y M ille t a n d D ela cro ix , w e c a n s e e t h at V an G ogh m ad e d if fe re n t t y p es o f m od if ic atio ns t o h is m od els . W here a s t h e c o p y o f M ille t’s w ork is b asic ally u n ch an ged c o m posit io nally , o n ly r e p ain te d in t h e c o lo rs a n d te ch n iq ue o f V an G ogh ’s m eth od , t h e t w o c o p ie s a ft e r D ela cro ix r e v ers e t h e co m posit io n, c re a tin g a m irro r im ag e o f t h e o rig in al. Fi rst S te p s Listen 10/9/21, 1:14 AM HUM-200 – Page 5.1.5 – What Is It a Picture Of? https://www.webtexts.com/courses/45794-olearyrockey/traditional_book/chapters/4887216-module-five-impact-of-the-humanities/pages/3897161 4/13 In this painting, a farmer crouches with his arms outstretched toward his baby daughter, who is attempting to walk. The daughter is being supported by the farmer’s wife, who is a few steps away and holding the baby’s arms. All three figures are out in a garden. There is a wheelbarrow behind the farmer and a shovel lying on the ground in front of him. Behind the garden there is a fence, two trees, and a cottage First Steps by Jean-François Millet. Black chalk and pastel, ca. 1858–1866. 11.5″ × 1′ 6″. The Cleveland Museum of Art, Gift of Mrs. Thomas H. Jones, Sr. 1962.407 Click to enlarge The Cleveland Museum of Art, Gift of Mrs. Thomas H. Jones, Sr. Lik e m uch o f h is a rt, J ea n -F ra n ço is M ille t’s F ir st S te p s v a lo riz es t h e d ail y l if e o f ag ra ria n l a b or. I n m id-1 9 th -c e n tu ry F ra n ce , w hen a rt w as e x p ecte d t o d ep ic t s u bje cts o f h is to ric al o r r e lig io us im porta n ce , M ille t t r e a te d e v ery d ay e v en ts a s if t h ey w ere j u st a s sig nif ic an t. M ille t’s s u bje ct is im med ia te ly r e co gn iz ab le . A f a rm er h as l a id a sid e a s h ovel w ith w hic h he s e em s t o h ave b een f il lin g ( o r e m pty in g) t h e w heelb arro w b esid e h im . H is w ife a n d ch ild h ave c o m e o u t o f t h e h ou se w ith t h e e x cit in g n ew s t h at t h e t o d dle r h as b eg u n t o w alk . T he s im plic ity o f t h is s u bje ct s e em s a lm ost b an al, a n d in t h e h an ds o f a l e sse r a rtis t t h an M ille t it m ay w ell h ave b een . T he c h arm o f M ille t’s w ork c a n d is gu is e t h e ca re fu lly c o n str u cte d c o m posit io n t h at g u id es t h e v ie wer’s r e a d in g o f t h e m otif . R eco gn iz in g t h at in W este rn a rt w e r e a d a n im ag e f r o m l e ft t o r ig ht, M ille t s it uate s t h e fa rm er a t t h e l e ft . H e is a s u rro gate f ig ure — th at is , o n e w ith w hom t h e v ie wer m ight Listen 10/9/21, 1:14 AM HUM-200 – Page 5.1.5 – What Is It a Picture Of? https://www.webtexts.com/courses/45794-olearyrockey/traditional_book/chapters/4887216-module-five-impact-of-the-humanities/pages/3897161 5/13 iden tif y. W e n atu ra lly r e a d t h e i m ag e m ovin g t o w ard t h e m oth er a n d c h ild. F ro m t h is poin t, l ik e t h e c h ild, w e a re o n o u r o w n. I t is u p t o u s t o im ag in e, m ovin g f r o m r ig ht t o le ft , t h e c h ild’s w alk t o w ard t h e f a th er’s o p en a rm s. W ill t h e c h ild m ak e t h is j o u rn ey w ithou t f a llin g? W ill s h e s tu m ble a n d r e co ver? T he s u btle a n tic ip atio n b u il t in to t h is im ag e is p alp ab le . T hro u gh c a re fu l c o m posit io n, M ille t h as s u cce ed ed in c re a tin g a m on um en ta l e v en t o u t o f a m om en t t h at w ou ld o rd in aril y o n ly b e o f in te re st t o it s partic ip an ts . There are two paintings juxtaposed in this image. In the first painting, a farmer crouches with his arms outstretched toward his baby daughter, who is attempting to walk. The daughter is being supported by the farmer’s wife, who is a few steps away and holding the baby’s arms. All three figures are out in a garden. There is a wheelbarrow behind the farmer and a shovel lying on the ground in front of him. Behind the garden there is a fence, two trees, and a cottage. The second painting is nearly identical to the first, but it has been painted with different, brighter colors, and there is laundry hanging over the fence in the background between the farmer and his wife. First Steps by Jean-François Millet (left) juxtaposed with First Steps, after Millet by Vincent van Gogh (right). Cleveland Museum of Art/Art Resource, NY In m ak in g M ille t’s w ork h is o w n, V an G ogh m ad e s e v era l c h an ges. M ost n ota b ly , h e alt e re d t h e c o lo rs , w ith t h e f a th er a n d m oth er b oth a p pea rin g d re sse d in b lu e. T his w as o n e o f V an G ogh ’s f a vo rit e c o lo rs , a n d it c a u se s t h e f ig ure s t o s ta n d o u t a g ain st t h e back gro u n d o f b u sh es a n d t h e h ou se . T he t w o f ig ure s a re a ls o n ow v is ually c o n jo in ed ; ev en t h eir p ose s ( th e f a th er l e a n s t o t h e r ig ht a n d t h e m oth er l e a n s t o t h e l e ft ) l in k t h em . They a ct l ik e c o m posit io nal p are n th ese s f o r t h e s p ace t h at t h e c h ild m ust w alk . T he fa th er a n d m oth er a re a ls o v is ually c o n necte d b y t h e l a u n dry t h at h an gs b eh in d t h em . The r h yth m c re a te d b y t h e r e p ea te d v is ual u n it s o f e a ch p ie ce o f l a u n dry o n t h e l in e, w ith it s b il lo w in g s h eets , a cts l ik e a v is ual s u rro gate f o r t h e c h ild’s s te p s. Listen 10/9/21, 1:14 AM HUM-200 – Page 5.1.5 – What Is It a Picture Of? https://www.webtexts.com/courses/45794-olearyrockey/traditional_book/chapters/4887216-module-five-impact-of-the-humanities/pages/3897161 6/13 In this painting, a farmer crouches with his arms outstretched toward his baby daughter, who is attempting to walk. The daughter is being supported by the farmer’s wife, who is a few steps away and holding the baby’s arms. All three figures are out in a garden. There is a wheelbarrow behind the farmer and a shovel lying on the ground in front of him. Behind the garden there is a fence, two trees, and a cottage. Laundry hangs over the fence between the farmer and his wife. First Steps, after Millet by Vincent van Gogh. Oil on canvas, 1890. 2′ 4.5″ × 3′. Click to enlarge Art Resource, NY Van G ogh ’s c o m posit io n is n ea rly id en tic al t o M ille t’s , a n d w e r e a d t h e t w o w ork s t h e sa m e w ay: f ir st a cro ss t h e im ag e f r o m l e ft t o r ig ht, a n d t h en , in o u r im ag in atio n, f r o m rig ht t o l e ft . A nd y et t h e t w o w ork s c o n vey o p posit e im pre ssio ns o f t h e s a m e m om en t. I n M ille t’s w ork , t h e s p ace b etw een t h e f a th er a n d m oth er s e em s e x p an siv e, g iv in g a s e n se o f h ero ic d ra m a t o t h e in it ia l s tu m blin gs o f a c h ild. B y c o n tr a st, V an G ogh m ak es ev ery a tte m pt t o v is ually c lo se t h e s p ace b etw een t h e a d u lt s , e m ph asiz in g in tim acy a n d th e b on d o f a f a m ily. In h is l e tte rs t o h is b ro th er T heo , V in ce n t v a n G ogh o ft e n l a m en te d n ot h avin g a w ife an d c h ild. I n r e in te rp re tin g M ille t’s im ag e, h e a ch ie ved in a rt w hat h ad e lu ded h im in l if e. P ie tà Listen 10/9/21, 1:14 AM HUM-200 – Page 5.1.5 – What Is It a Picture Of? https://www.webtexts.com/courses/45794-olearyrockey/traditional_book/chapters/4887216-module-five-impact-of-the-humanities/pages/3897161 7/13 Both of these paintings depict the dead body of Jesus Christ leaning against the sloping ground. A white cloth is draped over his body from the waist down. Behind him, the Virgin Mary stands over him with her arms outstretched around and slightly over him. Her palms are open and she stares downward, but not directly at him. Her expression is sad and calm. Christ’s head leans in toward Mary. In the first image, Christ’s body is lightly colored and Mary is dressed in blue. Christ’s body leans to the right and Mary stands slightly to the left. In the second painting, Christ’s upper body is shrouded in shadow, while Mary’s is more in the light. She is also wearing red cloth around her neck. In this version, Christ’s body leans to the left and Mary stands slightly to the right. Pietà (after Delacroix) by Vincent van Gogh (left) juxtaposed with Pietà by Eugène Delacroix (right). Art Resource, NY/Wikimedia In r e in ven tin g E ugèn e D ela cro ix ’s P ie tà , V an G ogh w en t e v en f u rth er t h an h e d id w ith th e M ille t p ain tin g, a ctu ally r e v ers in g t h e co m posit io n. 1 I n D ela cro ix ’s w ork , t h e d ea d b od y o f C hris t is f r a m ed b y t h e o u ts tr e tc h ed a rm s o f h is m oth er, M ary . T he p u rp ose o f th e w ork is t o e v o ke w ithin t h e v ie wer a s e n se o f s a cre d p it y f o r M ary ’s s u ffe rin g. T o ach ie ve t h is e n d, D ela cro ix e m plo ys b oth c o lo r a n d c o m posit io n. L ik e M ille t’s w ork , t h is pain tin g is m ea n t t o b e r e a d f r o m l e ft t o r ig ht. H ow ev er, b eca u se C hris t is in s h ad ow an d M ary is in l ig ht, w e v is ually l e a p o ver h im t o l o ok a t h er. H er o u ts tr e tc h ed a rm s a re w hat r e d ir ect o u r g aze t o w ard C hris t a n d m ight e v en b rin g t o m in d C hris t’s c ru cif ix io n, su ggestin g h ow t h e s u ffe rin g o f t h e s o n h as b eco m e t h e a g o n y o f t h e m oth er. Listen 10/9/21, 1:14 AM HUM-200 – Page 5.1.5 – What Is It a Picture Of? https://www.webtexts.com/courses/45794-olearyrockey/traditional_book/chapters/4887216-module-five-impact-of-the-humanities/pages/3897161 8/13 In this painting the dead body of Jesus Christ leans to the left against the sloping ground. A white cloth is draped over his body from the waist down. Behind him, the Virgin Mary stands over him with her arms outstretched around and slightly over him. Her palms are open and she stares downward, but not directly at him. Her expression is sad and calm. Christ’s head leans to the right toward Mary. His upper body is shrouded in shadow, while Mary’s is more in the light. Pietà by Eugène Delacroix. Oil on canvas, 1850. 1′ 1.75″ × 10.75″. Click to enlarge Wikimedia Dela cro ix ’s u se o f t h e c o lo r r e d is s tr a te g ic . R ed is a v is ually a g gre ssiv e c o lo r, a n d t h e re d b eh in d M ary v is ually p u sh es h er t o w ard t h e v ie wer. E very th in g a b ou t D ela cro ix ’s v is ual t r e a tm en t o f t h e s u bje ct a im s t o c o n nect t h e v ie wer a n d M ary . I t is t h ro u gh h er th at t h e v ie wer is t h en r e m in ded o f C hris t. Listen 10/9/21, 1:14 AM HUM-200 – Page 5.1.5 – What Is It a Picture Of? https://www.webtexts.com/courses/45794-olearyrockey/traditional_book/chapters/4887216-module-five-impact-of-the-humanities/pages/3897161 9/13 In this painting the dead body of Jesus Christ leans to the right against the sloping ground. A white cloth is draped over his body from the waist down. Behind him, the Virgin Mary stands over him with her arms outstretched around and slightly over him. Her palms are open and she stares downward, but not directly at him. Her expression is sad and calm. Christ’s head leans to the left toward Mary. Pietà (after Delacroix) by Vincent van Gogh. Oil on canvas, 1889. 2′ 4.75″ × 2′. Click to enlarge Art Resource, NY In m irro rin g t h e c o m posit io n o f D ela cro ix ’s p ain tin g, V an G ogh a ls o r e v ers e d t h e r o le s o f M ary a n d C hris t. M ary is n ow in b lu e, a c o lo r t h at V an G ogh a sso cia te d w ith sp ir itualit y. B ut s h e is n ow d ark er, a n d C hris t is in l ig ht. A s w e r e a d V an G ogh ’s p ain tin g, s ta rtin g f r o m t h e l o w er l e ft c o rn er, w e a re a lm ost im med ia te ly v is ually d ra w n to C hris t’s b od y. M ary is a b ack gro u n d f ig ure . S h e is im porta n t a n d t r e a te d w ith r e sp ect, b u t s h e is n ot c e n tr a l t o V an G ogh ’s c o m posit io n. O ne o f V an G ogh ’s f a vo rit e b ooks w as T he I m it a tion of C hris t b y T hom as à K em pis . That 1 5 th -c e n tu ry d ev o tio nal g u id e e n co u ra g ed t h e r e a d er t o id en tif y w ith t h e s u ffe rin g of C hris t. T his is w hat V an G ogh ’s P ie tà a ch ie ves— not o n ly f o r t h e v ie wer, b u t f o r h im se lf : C hris t’s f a ce in t h e p ain tin g is in f a ct V an G ogh ’s o w n. A s a R om an C ath olic , D ela cro ix h ad a g re a t r e v ere n ce f o r t h e r o le o f t h e V ir gin M ary a s sp ir itual in te rc e sso r. A s a P ro te sta n t, V an G ogh b elie ved t h at h e c o u ld h ave d ir ect a cce ss Listen 10/9/21, 1:14 AM HUM-200 – Page 5.1.5 – What Is It a Picture Of? https://www.webtexts.com/courses/45794-olearyrockey/traditional_book/chapters/4887216-module-five-impact-of-the-humanities/pages/3897161 10/13 to C hris t. W hile t h e t w o p ain tin gs d ep ic t t h e s a m e m otif a n d a re v ery s im ilar, t h ey v is ualiz e v ery d if fe re n t t h eo lo gic a l a p pro ach es t o t h eir s u bje ct. T he G ood S a m arit a n In this painting, the good Samaritan character from a parable told by Christ is helping a hurt man down from a horse. The hurt man leans heavily on the Samaritan and has his arm wrapped around the Samaritan’s neck. The horse stands patiently to the right of the two men, looking slightly toward them. The Samaritan is leaning back under the weight of the hurt man. Behind the men and to the left of them there is a road winding through a field and out of sight over a low hill. Two other vague human figures walk along the road away from the men, one near the men and the other in the distance. There is also an open and empty chest on the ground to the left of the men. The lighting in this painting is very light. The Good Samaritan (after Delacroix) by Vincent van Gogh. Oil on canvas, 1890. 2′ 4.75″ × 1′ 11.5″. Click to enlarge Album/Art Resource, NY In h is v ers io n o f T he G ood S a m arit a n , V an G ogh a g ain m irro re d t h e o rig in al co m posit io n, r e v ers in g t h e d ir ectio n o f t h e a ctio n ( a n d t h ere b y t h e id en tit y o f t h e prin cip al a cto r). I n h is p ain tin g, D ela cro ix e m plo ys c o m posit io n t o v is ualiz e w eig ht, w hic h c a n b e d if fic ult t o m ea su re b y o b se rv a tio n a lo n e. T he w ork f o cu se s o n t h e tr a n sfe re n ce o f o n e m an ’s w eig ht f r o m a h ors e t o a n oth er m an . A s w e r e a d t h e im ag e Listen 10/9/21, 1:14 AM HUM-200 – Page 5.1.5 – What Is It a Picture Of? https://www.webtexts.com/courses/45794-olearyrockey/traditional_book/chapters/4887216-module-five-impact-of-the-humanities/pages/3897161 11/13 f r o m l e ft t o r ig ht, w e f o llo w t h e m ovem en t o f o n e m an ( w ho h as b een a tta ck ed b y ro b bers a n d l e ft f o r d ea d ) f r o m a h ors e t o t h e a rm s o f a n oth er m an ( th e g o od S am arit an w ho h as c o m e t o h is r e sc u e). N ote h ow t h e S am arit an ’s l e g s a re p osit io ned t o r e ce iv e t h e w eig ht. T hro u gh ou t h is oeu vre , D ela cro ix d ep ic te d f ig ure s in p ose s s u ggestin g p h ysic al s tr a in , inclu din g m an y t h at s h ow f ig ure s w re stlin g o r f ig htin g. I f w e d id n’t h ave a t it le o r k n ow th e s to ry s h ow n in The G ood S a m arit a n , w e m ight w on der if t h e t w o m en w ere e n gag ed in s o m e s o rt o f s tr u ggle . In this painting, the good Samaritan character from a parable told by Christ is helping a hurt man down from a horse. The hurt man leans heavily on the Samaritan and has his arm wrapped around the Samaritan’s neck. The horse stands patiently to the left of the two men, looking slightly toward them. The Samaritan is leaning back under the weight of the hurt man. Behind the men and to the right of them there is a road winding through a field and out of sight over a low hill. Two other vague human figures walk along the road away from the men, one near the men and the other in the distance. There is also an open and empty chest on the ground to the right of the men. The lighting in this version of the scene is dark and shadowy. The Good Samaritan by Eugène Delacroix. Oil on canvas, 1849. 1′ 2.5″ × 11.75″. Click to enlarge Wikimedia Listen 10/9/21, 1:14 AM HUM-200 – Page 5.1.5 – What Is It a Picture Of? https://www.webtexts.com/courses/45794-olearyrockey/traditional_book/chapters/4887216-module-five-impact-of-the-humanities/pages/3897161 12/13 Van G ogh t r a n sfo rm ed D ela cro ix ’s m otif f r o m o n e o f u n ders ta te d s tr u ggle t o o n e o f co m passio n. I n V an G ogh ’s c o m posit io n, t h e S am arit an is a s u rro gate f o r t h e a rtis t; a s w ith t h e C hris t f ig ure in P ie tà , V an G ogh h as g iv en t h e m an h is o w n f a ce . T he S am arit an is n ow a n a ctiv e r e sc u er, p u llin g t h e w ou n ded m an f r o m t h e h ors e r a th er t h an s im ply r e ce iv in g h is w eig ht. V an G ogh a ls o a d ded t w o m en w alk in g a w ay in t h e b ack gro u n d w ho a re n ot p re se n t in D ela cro ix ’s p ain tin g. W e c a n id en tif y t h ese f ig ure s f r o m t h e p ara b le o f t h e g o od S am arit an a s r e lig io us l e a d ers w ho w alk ed b y t h e w ou n ded m an w ithou t h elp in g h im . The p oin t is c le a r: C om passio n m ust b e a ctiv e t o b e r e a l. T o V an G ogh , D ela cro ix ’s f ig ure o f t h e S am arit an a s a r e ce iv er m ay n ot h ave b een s u ffic ie ntly p ro activ e. V in ce n t v a n G ogh ’s r e in te rp re ta tio n o f w ork s b y E ugèn e D ela cro ix a n d J ea n -F ra n ço is M ille t s e rv e a s u se fu l e x am ple s o f t h e w ays c o m posit io nal s tr u ctu re a n d c o lo r c a n su ggest c e rta in r e a d in gs o f a m otif . I n a rt, r e co gn iz in g w ha t th e a rt d ep ic ts ( th e s u bje ct) is o n ly h alf o f w hat w e n eed t o u n ders ta n d t h e w ork . W e m ust a ls o l o ok a t h ow t h e su bje ct is d ep ic te d ( th e v is ual l a n gu ag e) t o r e a d t h e w ork ’s m ea n in g. SH O RT-A N SW ER Q UES TIO N G ive o ne e xa m ple o f h o w V an G ogh’s use o f c o lo r su ggest s a n ew r e ad in g o f P ie tà S H O RT-A N SW ER Q UES TIO N G ive o ne e xa m ple o f h o w V an G ogh’s re ve rsa l o f t h e im ag e in T he G ood S am arit a n c h an g es h o w w e r e ad t h e p ain tin g . N o r e sp onse sa ved ye t. N o r e sp onse sa ved ye t. Listen 10/9/21, 1:14 AM HUM-200 – Page 5.1.5 – What Is It a Picture Of? https://www.webtexts.com/courses/45794-olearyrockey/traditional_book/chapters/4887216-module-five-impact-of-the-humanities/pages/3897161 13/13 RES PO NSE B O AR D L ist so me c h ara cte rist ic s of V an G og h’s st yle o r vi su al la n g uag e. 1 I t is l ik ely t h at V an G ogh m ad e h is p ain tin g u sin g a p rin t o f D ela cro ix ’s o rig in al f o r re fe re n ce . B efo re t h e w id esp re a d u se o f p h oto gra p h y, p rin ts w ere o n e w ay t o r e p ro d u ce a n im ag e, b u t t h e p rin tm ak in g p ro ce ss w ou ld r e su lt in a r e v ers a l o f t h e c o m posit io n. K now in g t h is , V an G ogh c o u ld h ave u se d a m irro r t o c o rre ct t h is r e v ers a l; in ste a d , h e em bra ce d t h is n ew o rie nta tio n a s h is o w n. clo se N o r e sp onse sa ved ye t. Listen

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