Analysis Of A Harvest Of Death

Rory Turner is Formerly Program Director for Folk and Traditional Arts and Program Initiative Specialist at the Maryland States Arts Concil. In Turner’s review “Bloodless Battles,” he iniciates the research with an ending of the American Civil War; “The American Civil War was fought between 1861 and 1865. Over 600,000 died in this multilevel conflict between the Northern states (the Union) and the southern states (the Confederacy)”. As the author explain much else in the United States, after a period of time when the war was over; each year there are many events all over the country, in memorial of The American Civil War and in continues to this day. Civil War reenactments are not just symbolic text that express culture meanings to analytically

Within a painting, the watercolors and each discrete stroke of the brush gives each element a diverse connotation. The Parade By Abraham Rattner, was painted in 1969 to illustrate the protests of the Vietnam war that the United States was involved in.This exceptional piece of art work exhibits the warm colors of the crowd and the fiery blazes colored across the skies, highlighting the widespread conflicts the nation had against this horrendous battle. During this time, individuals were protesting against the government’s actions in order to conserve tranquility. This painting captures the scenery that had taken place during these frightful days of war and the disputes happening internationally.

The purpose of this essay is to compare the of Wendell Berry’s essay, “The Failure of War”, Dorianne Laux’s poem, Staff Sgt. Metz and Damon Winter’s photograph of Sgt. Brian Keith. All three of these pieces represent the controversial issue of War which is a topic for a argumentative piece. In two of the written pieces the writer acknowledges the opposition, however, the picture the opposition is implied. Each piece has a purpose aimed at an audience with an emotional appeal.

“Facing it” by Yusef Komunyakaa and “Dulce et Decorum Est” by Wilfred Owen, are two powerful poems with the graphical life like images on the reality of war. It is apparent that the authors was a soldier who experienced some of the most gruesome images of World War I. In “Ducle et Decorum Est” Owen tells us about a personal experience in which he survived a chemical warfare attack. Although he survives, some of his fellow troops do not. As in “Facing It” Komunyakaa is also a soldier who has survived a war. Komunyakaa response to his war experience is deeply shaped by his visit to Lin’s memorial. Inspired by the monument, Komunyakaa confronts his conflicted feelings about Vietnam, its legacy, and even more broadly, the part race plays in

An artist's job is to interpret, and express the aspects of life in a creative fashion. War has played a big part in shaping our human history, and many artists have portrayed their feelings about art through paintings, and even monuments. Whether it be to show; the joy of victory, the sorrow of defeat, or to educate the public on the gory realities of war. Art about war can also show us a great amount of history of the kinds of weapons that were used at the time. It is necessary for artists to interpret, and criticize all aspects of life; even ones as tragic as war, It can make the public more aware of what goes on in times of war.

In today’s society, art can be described as many things, no longer is art considered just a painting or drawing like it was back in the nineteenth century. One of the most memorable events from the nineteenth century was the Civil War, which was a dispute between the north and south that resulted in many impactful and sentimental works of art. One prime example would be Constant Mayer’s Recognition: North and South, which can be located at the Houston Museum of Fine Arts. This piece of art can be analyzed in many ways such as its structure and the historical background behind this art piece. Recognition:

War can have many extremely harmful effects on nations and the citizens of those nations. Civil War, however, can have especially harmful effects on families. For example, in Liam O’Flaherty’s “The Sniper”, O’Flaherty uses diction, imagery, and an internal conflict within the main character to convey the harmful side effects of civil war on people and families. O’Flaherty’s use of imagery in “The Sniper” conveys the harmful effects of war on people by presenting the audience with images of death. In the story, the sniper waits on top of a building for his targets to arrive.

Painters enormously manipulated the truth in their portraits they painted since they aimed to present a specific meaning or feeling to their observers. One of the results, paintings of America`s wars especially before the Civil War had a

In Otto Dix’s “Shock Troops Advance Under Gas”, Dix presents the brutality of war for everyone to see. From the barbed wire snagging a troop’s arm to the gas masks, this work illustrates true horror. Dix’s illustration of war helps display that war truly is not something to write home about with pride. Thus, I present the argument that war is not something to be patriotic over, and it is not something we should be thanking the troops for. They are brave individuals, but the duties they perform are not – they are the product of cowardly nations. The purpose of this paper is to convey my personal feelings towards this work, war and how it is not the answer, and tying in my visit to the McNay Art Museum back to aspects of war.

This article from the New York Times, published in 1862, criticizes Alexander Gardner’s photographs that were displayed in Mathew Brady’s New York exhibit. It includes insight from the publisher that depicts the effects Gardner gave the public through his photos. This article was written at the time that his pieces were actually displayed, therefore it presents the real-time feedback that Gardner's photographs received. This article is found in the official archives of The New York Times, making it a reliable source.

On Saturday, October 22nd I made the hour and a half trip to the Legion of Honor in San Francisco. Upon arriving I could see the tall ivory pillars surrounding the entrances of the museum, a reminder of the Neoclassical age in art history evident in 18th century Europe. Figures Amongst Ruins (Ruins with Sybil) is a 25.5 inch by 19.5 inch painting (“Figures Amongst”) that hangs in the far corner of the art museum 's Gallery 7. It’s calming colors and stunning depiction of decayed ruins captures my attention. The history for Ruins with Sybil increases the value of its power of captivation.

The violent markings of the photo album and its images, however, produce an equally powerful message that jars the memory as it disrupts and distorts the photographic chronicle of her life and that of her family and friends. The result is a complex visual experience that addresses the use of images in producing knowledge and making history.

Poets frequently utilize vivid images to further depict the overall meaning of their works. The imagery in “& the War Was in Its Infancy Then,” by Maurice Emerson Decaul, conveys mental images in the reader’s mind that shows the physical damage of war with the addition of the emotional effect it has on a person. The reader can conclude the speaker is a soldier because the poem is written from a soldier’s point of view, someone who had to have been a first hand witness. The poem is about a man who is emotionally damaged due to war and has had to learn to cope with his surroundings. By use of imagery the reader gets a deeper sense of how the man felt during the war. Through the use of imagery, tone, and deeper meaning, Decaul shows us the

The journey is a long one “horses loitering stop to drink,” “negligent (riders) rest on the saddles.” However, the most prominent images are of “Scarlet and blue and snowy white” guidon flags and men “brown-faced.” The “Scarlet and blue and snowy white” guidon flags are a symbol for the flag of the American people. In keeping with the time period of this piece’s creation and remaining cognizant of the symbolization of the American Flag, It is easy to discern that the men are “brown-faced” because they are Northerners whom have been fighting in the southern regions. As submitted in the first argument of this paper the speaker is happy to see the Calvary suggesting that he to is a Northerner who is sharing the story of the Yankee Calvary’s return with his audience of peers.

There is clearly an artistic value to this image – it is taken at the location of a massacre of over 200 members of the Great Sioux Nation. However, did Elliot Erwitt intend a ‘deeper meaning’ for this photograph? In an interview recorded on his official website, Erwitt declares, “If it turns out to be entertaining what I do, I’m very pleased. But it’s not conscious.” It seems that Erwitt claims to not possess artistic intent in his photographs. However, it is clear that he simply boasts an unconscious artistic eye. It is obvious that the photograph of this church on hallowed ground falls in the ‘deeper meaning’ category.