Surrealism Art Essay Example for Free

Surrealism Art Essay Surrealism is an international art movement, which draws from the depths of the subconscious mind and explores the human psyche. Frenchman Andre Breton, who described Surrealism as ‘pure automatism by which it is intended to express the true function of thought’, championed surrealism in the late 1920s’. In this period of time, the world was inflicted with the two major wars, that filled humanity with horror and unimaginable terror. Some artists of this period were chosen illustrate these horrors by representing a psychedelic of images from the human mind or to seek an altered reality, which created the intellectual playground to these artists, as it aroused the philosophical argument of what is real and un-real. Surrealism is characterised by fantastic imagery and incongruous juxtaposition of subject matter, using a fascination with the subconscious mind. It is a type of Fantasy art that defines a psychological element, attempting to create artworks that explore the artists’ perception of their dreams, fears and imaginings. In turn, Surrealist artists attempt to represent their visions, by Looking through and creating an altered reality. This period of art dominated the art world during the period just before the Second World War, but still is current in the Postmodern world, continuing to flourish in its subjective approach to representing the imagination. â€Å"Surrealism! What is surrealism? In my opinion. It is above all a reawakening of the poetic idea in art, the reintroduction of a subject but in a particular sense, that of strange and illogical. † (Paul Delvaux) This quote is relevant when referring to the artist James Gleeson, as he explores the depths of the human subconscious mind, while creating his own imaginative world. He achieves this through the juxtaposition of seascapes with living organisms, self-portraits from the human fertile mind and the horror of social concerns through distorted imagery. Gleeson works mainly within a subjective context, where highly emotive paintings are drawn from the inner self . Gleeson paints to understand the difficulties faced with the stress and questions unknown in the modern world. James Gleeson is known as one of Australia’s major painter and important poetic art critic. In his long-lasting career that blossomed from the late 1930’s to the 1960’s, Gleeson wrote the first text in Australia that defined the meaning of Surrealism, and was known as Australia’s leading Surrealist artist.. While working within a subjective context, influenced by Salvador Dali, Gleeson’s overriding concept behind his work is that ‘humanity is driven by the subconscious mind’. Gleeson preferred to work in artificial light and avoided working in sunlight so that he was to paint his dreams and surreal landscapes in a more imaginative way. While the application of painting oil on canvas with luxurious textures of paint with a mixture of translucent glazes and rich encrustations, attracts his viewers, Gleeson’s works inspires the imagination of the viewer. In relevance to the quote ‘the reintroduction of a subject in a particular sense’ Gleeson’s works encourage his viewers to look through and beyond Surrealist’s artists concept of what is reality, and not only, the imagination of the subconscious mind. Gleeson presents his viewers with a number of observations so vivid in concentration, in order to tap into our own secret fears; the fear of the unknown. â€Å"We inhabit the corrosive littoral of habit† is presented with geological features of by a secluded beach. In which a man’s facial features and woman’s naked torso dissolve, revealing hollowness inside the figures. It was painted in 1940, just after joined Sydney’s Contemporary Art Society, where Gleeson became fascinated with the writings of famous psychologists, for which became major intellectual influences for his works. â€Å"We inhabit the corrosive littoral of habit† is in a traditional subjective context, with a historical form, as Gleeson’s metaphor for the dissolving figures in this piece, represents the corrosion of the world and the human mind between the world wars. Gleeson, like in almost all of his pieces, uses the method of abstraction to increase the sense of his altered reality and reawaken his audience to his subject matter. He has achieved this through his geometric composition of shapes, for which the placing of the objects is deliberate, yet absurd. The large scaled landscape and close up confrontation of figures attract the viewer. He has used a saturated balance of colours as a visual sensation for his viewers, heightening a realistic feel, but destroying it with the corroded figures. This is a direct relationship in the work between Gleeson’s subjective context as well as the terror of his historical outlook. This painting is an example of how Gleeson encourages his viewers to look through the painting and into the depths behind his altered reality of the horrors of war and the human fertile mind. We inhabit the corrosive littoral of Habit 1940 oil on canvas 40. 7 x 51. 3 cm National Gallery of Victoria, Melbourne Anonymous gift, 1941  © Courtesy of the artist In Gleeson’s piece â€Å"The Arrival of Implacable gifts,† he quotes that ‘The sea deposits all these things that were longed for, that turn out to be things that blind us or even destroy us’. Gleeson’s underlining message lies with the reintroduction of a subject in a particular sense of what draws from the subconscious mind for depicting reality. While a seascape rocky shore is represented, it is juxtaposed with human-like organisms presented in this artwork. This painting was painted in 1985, oil on canvas, in the stage where Gleeson had moved to making large scale ‘Psychoscape’ paintings. These workings had been a way of showing liquid, solid and air coming together directly implying the interface between the conscious and subconscious mind. â€Å"The arrival of implacable gifts† represents a range of distorted rocks, monsters and shells in a twisting state of metamorphosis. The imagery of this painting is abstractly beautiful yet horrific, denoting a feeling of uncertainty for the viewers, and promotes a dialogue with the unimaginable. He achieves this through the use of variance in contrasting colours of earthy tones. The deep space of softened green clouds hovering over the horizon juxtaposed with the swarming mass of rocks and monsters, of diluted earthy reds and browns, allowing his audiences eyes to drift throughout the painting into the imagination of the viewer. He has used a rhythmic texture in the piece; helping to heighten and guide the surrealistic feeling of a dreamlike scenario. Instead of engaging his viewers to look at or in the painting, he creates a strange and illogical scenario to reawaken his audience to look through his altered reality. The Arrival of Implacable Gifts 1985 oil on canvas 198 x 245 cm Art Gallery of New South Wales Sydney  © Gleeson/OKeefe Foundation My Body of Work has and will continue to explore the concept of looking through. Studying the altered realities of dreams, fears and imaginative has helped shaped my artist practice. Through James Gleeson’s outstanding talent of juxtaposing symbolic objects with the use of rhythmic texture, contrasting colours and abstracted landscapes, Gleeson has effectively helped influence in shaping my body of work. The use of juxtaposing objects with landscapes through the representing of these images with a range of gentle contrasting colours and translucent layering also has heightened the altered reality feeling in my works. The wide use of abstraction has also been an effective tool when creating more emotive works for my Body of Work. This has been a Direct influence from Gleeson, and he continues to inspire people all around the world with his outstanding reintroduction of a subject with the use of Surrealistic techniques. Gleeson has reawakened my views of Surrealism, to help paint from the subconscious mind and see way beyond what is seen with your eyes, but what lies within the imagination. â€Å"Surrealism is a word that is applied to those forms of creative art which are evolved, not from the conscious mind, but from the deeper sense of the subconscious†. (James Gleeson) The subjective context denotes works that strongly reflect artist’s experiences, imaginings, feelings and psychological experience. For Gleeson, his artworks tends to explore his mood and imagery of the darker aspects of the world. Exploring the subconscious mind, and for that an altered reality in his eyes; Gleeson’s work is considered so significant because he allows his artworks to have an emotional impact on his viewers. In relevance to the quote; â€Å"Surrealism! What is surrealism? In my opinion. It is above all a reawakening of the poetic idea in art, the reintroduction of a subject but in a particular sense, that of strange and illogical. † (Paul Delvaux), James Gleeson works with his poetic side to create a reintroduction to his altered realities for his viewers. References Art Gallery of New South Whales. (2000). James Gleeson- The arrival of unplaceable gifts. Retrieved 08 15, 2013, from New South Whales Art Gallery: http://www. artgallery. nsw. gov. au/collection/works/225/1985 Donald WIlliams, C. S. (1970). Art Now- Contemporary Art. McGraw-Hill Book Company. Israel, L. (2000). Senior Artwise. Jacaranda.  http://www.all-art.org/art_20th_century/gleeson3.html

Life After Death :: essays research papers fc

Life After Death As the irritating, yet monotonous beeps of the life-monitor in the emergency room began to slowly die away, George struggled to hang on. It's not my time yet, he thought. Please, give me just one more day†¦ The beeps soon became increasingly far in between, while the doctors frantically bustled on in a futile attempt to stabilize the dying man like a bunch of panicking bees trying to save their doomed hive from a pouring rain. The world turned hazy, then completely dark, as George felt himself slowly floating into the darkness. He flew and flew without end. Then there was the light - that infamous "light at the end of the tunnel." (Randles 2) It gave out a strange, comforting warmth that enveloped him, easing his fears and relieving all doubts. George somehow knew what to do - to just let go. He felt quite at home. Back on earth, the rhythmic, mechanical beeps suddenly turned into a solid, continuous high E, signaling the end. George was about to cross over. Being bathed in the strangely comforting light, he was soon greeted by his long- lost friends and relatives, beckoning for him to come, come join them. George wanted to stay. More than anything he cared for, George wanted to stay right here, basking in the light of love. But he felt something pull him back. Wait, not yet, he thought. It's not my time yet... The next moment, George was somehow reunited with his physical body, lying on that uncomfortable hospital bed, amidst the doctors sighing in relief, surrounded no longer by that soft glow, but again by that rhythmic beep, beep, beep†¦ Is there a parallel between George's account of a near-death experience (NDE), and what really happens when we ourselves die? Is there indeed a part of us that conquers death and continues to live a different kind of existence where it has new powers and undergoes unfamiliar experiences? Is there really a heaven, or numerous heavens, full of blissful joys awaiting some of us and a hell, or countless hells, full of different punishments for others? Or is physical death, in fact, the end of life as we know it? Such questions about death and dying has intrigued humanity since the dawn of time. One area to which we might look for some answers to this puzzle is religion. Unlike science, dealing only with the material and tangible, traditional religion takes another view of our reality by recognizing the validity of metaphysical experiences. World's major religions, such as Hinduism, Buddhism, and Christianity, as well

Marketing of Haagen Dazs Essay

ew York City, but soon distribution expanded throughout the east coast of the U. S. , and by 1973 Haagen-Dazs products were enjoyed by discerning customers throughout the United States. n 1976, Mr. Mattus’ daughter Doris opened the first Haagen-Dazs ® Shop. it was an immediate success, and its popularity led to a rapid expansion of Haagen-Dazs ® Shops across the country. in 1983 Mr. Mattus agreed to sell the Haagen-Dazs brand to The Pillsbury Company, which remained committed to the tradition of superior quality and innovation on which Haagen-Dazs ice cream was founded. since then, it has become a global phenomenon, available in 50 countries. the same careful attention to quality that Reuben Mattus built into every Haagen-Dazs product remains today. ce cream lovers the world over now recognize the unique Haagen-Dazs logo as synonymous with the ultimate super-premium ice cream. from the beginning, Haagen-Dazs ice cream has sought to innovate and bring new frozen dessert exp eriences to its customers, including distinctive flavors such as vanilla swiss almond, butter pecan, and dulce de leche, to name just a few. Haagen-Dazs was also the first to introduce the world to ice cream bars for a grown-up palate, with the introduction of the Haagen-Dazs brand ice cream bar line in 1986. other super-premium innovations followed, with frozen yogurt in 1991 and sorbet in 1993. o this day, the Haagen-Dazs brand remains committed to developing exceptional new super-premium frozen dessert experiences, releasing new flavors every year. Origin of brand name Mattus invented the â€Å"Danish-sounding† â€Å"Haagen-Dazs† as a tribute to Denmark’s exemplary treatment of its Jews during the Second World War, and included an outline map of Denmark on early labels. The name, however, is not Danish, which has neither an umlaut nor a digraph zs; nor does it have any meaning in any language or etymology before its creation. Mattus felt that Denmark was known for its dairy products and had a positive image in the U.

Social Media On Real World Friendships And Interactions

Social media does impede on real world friendships and interactions because it takes away from one-on- one emotional experience with close friends which is vital for a happier and healthier life. Social media is ruining true friendships and conversation. Social media takes away from face to face relationships that are so important. Face to face relationships requires commitment, time, and nurturing. Social media sites impede on relationships by threating true friendships. Face to face relationships are very important because through contact we are getting live interaction, trust, honesty, and integrity. Face to face conversations are more positive and more reliable than friendships online. In cyber space you convers ate with friends but some will not acknowledge the friendship in public. Social media is slowly taking away from face to face relationships, because we contact our family and friends on the computer screen. We are typing while looking at the screen instead of seeing facial expressions. Therefore, we aren’t sure if they are interpreting what we are saying in a negative or positive way. Social media such as Facebook, Twitter, MySpace, Instagram, and Flicker was invented to keep us in touch and keep us closer to our family and friends. But according to How Facebook ruins Friendships â€Å"we took our friendship online† (Bernstein). First we began communicating more by email than by phone and then switched to instant messaging or texting. By joining social Medias onlineShow MoreRelatedFriendship Between Friendship And Friendship1405 Words   |  6 PagesFriendship is a form of virtue and is indispensable for human life since man is a social being. There are three conditions necessary for friendship to exist: mutual goodwill, awareness of the other’s feelings in their connection, and awareness of their goodwill and attitude toward the other. 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