Analysis Of Leyster The Last Drop

This portrait is related to the manuscript because the manuscript is a love story about a man who loves a woman named Rose but is walled off from seeing her and guards are sent to protect her from him, and in the portrait, Rose is seen lying down on a bed with a guard watching over her. And on the outside of the wall is the man who loves her standing on top of a building with a love arrow through his hand. Rose is not only portrayed by the women of whom the man loves but it is also portrayed by the flowers the curl on the vines in the background. This is one of many illuminations located in this text; however, this is the one with the most detail. This painting unlike the others in the manuscript is large and very detailed, where the others are all small and

Emily Dickinson is one of the most important American poets of the 1800s. Dickinson, who was known to be quite the recluse, lived and died in the town of Amherst, Massachusetts, spending the majority of her days alone in her room writing poetry. What few friends she did have would testify that Dickinson was a rather introverted and melancholy person, which shows in a number of her poems where regular themes include death and mortality. One such poem that exemplifies her “dark side” is, “Because I Could Not Stop for Death”. In this piece, Dickinson tells the story of a soul’s transition into the afterlife showing that time and death have outright power over our lives and can make what was once significant become meaningless.

That’s the thing about death: it sneaks up and robs a person of their life, taking away all of their happiness. People indulge themselves in the idea of fearing death rather than facing it. Death is an unknown territory where no survivors have ever came back to share their experience. The US Army Private, Roy Scranton’s article “Learning How to Die in the Anthropocene” shines hope where he explains how fear can be conquered if the idea of dying is accepted. It is fear that paralyzes people from moving toward the idea of death. If people started to embrace the present, they will understand the inevitability of death and start discrediting fear.

Each individual has a unique way of coping with death, and this is evident throughout Christina Rossetti’s, “Remember” and W. H. Auden’s “Stop all of the Clocks”.

By biological logic, we human beings will face death sooner or later in our life and death has its very own ways to approach us - a sudden deadly strike, a critical sickness, a tragic accident, a prolonged endurance of brutal treatment, or just an aging biological end. To deal with the prospect of death come different passive or active reactions; some may be scared and anxious to see death, some try to run away from it, and some by their own choice make death come faster. But Viktor Frankl, through his work Man’s Search for Meaning, and Bryan Doyle; in his essay “His Last Game” show us choices to confront the death, bring it to our deepest feelings, meaningful satisfaction. To me, the spirit of the prisoners at deadly concentration camps, Frankl’s Logotherapy theory of “. . . striving to find a meaning in one’s life is the primary motivational force in man.” (99), as well as the calmness of Doyle’s brother on his last ride, like an awaken bell, remind us of how precious life is, how we should find the significance in every act of living, determine to live a meaningful life at any circumstances; hence, when death comes, we can accept it without anxiety nor regrets.

In “The Last Stop” Brian Cable gives his rendition of what death is like and how we as human beings cope and handle it. Cable started the essay with his own view of death. In the first part he says, “Death is a subject largely ignored by the living. We don’t discuss it much, not as children, not as adults, and not even as seniors.” (104) Cable then gives a description of the mortuary he visits to interview a funeral director and its licensed mortician. He describes the building as, “a bit like a church, tall, with gothic arches and stained glass.” (104) He goes on to say that “it was not what I expected. I had thought it would be more like Forest Lawn, serene with green lush lawns and meticulously groomed gardens.” (104) However, instead

My first art portfolio, my favorite keychain, my broken bike…1.2.3. No one ever speaks to you about your own ending. How you die is left up to your own imagination. To you, your death can maybe either be due to a glorious, heroic act in which you met a righteous end or a pathetic closing to what you may believe to be a pretty uneventful existence. No one speaks about endings in general, though. Endings only tend to make us feel anything but content. Yet we dream on, foolishly writing silly ends to our lives, forgetting that the ends we create may be plausible one day. College, family, career…1.2.3. My breaths get weary, my heart slows from boisterous thuds to faint, lethargic thumps. Bright rays gleam above, showering me in what is meant to be warmth, but all I feel is cold. My freezing limbs waft slowly within the water, my feet dangling below, my hair flowing behind. My mother’s laughter, my father’s tears of joy, my friends’ bright smiles…1.2.3. I never dreamt my foolish imagination would collide with the inevitable so soon. My days of compiling were over, my good days, my sad days, my sweet, sweet mundane days, would soon come to an end…Air, air, air, air,

For thousands of centuries, Japanese artists had been breaking the boundaries with their relentless creations of shocking pieces that made people question if there was a life after death. The popular subject of restless spirits or dark beings drove many artists from the Heian Period to modern-day times to express their stylistic techniques and narrative stories through woodblock printing and other alternative forms of art. Unlike most Western art, Japan’s disturbing representations of decaying bodies and death did not promote unrealistic, commercial expectations of death that commonly exists in art today. While handling such abstract ideas of the afterlife alongside the uncensored authenticity of death, each piece arouses fear and empathy for

Tintoretto’s portrayal of the Last Supper is one of dramatic Metaphysicalism. It features the dinning table diagonally along the left half of the work behind it Jesus and his Disciples before the table there is a woman cleaning and in the area above them are the angelic presence of cherubs. There are a number of smaller scenes present within the artwork and there are a number of focal points, which lead the viewer’s eyes over them. The work is full of emotion and is largely unbalanced this is reflective of the time in which the work was created when there was a lot of social outrage and anger. Tintoretto used fantasy, to the point of surrealism in this work; Cherubs and halos are used to emphasize the religious significance of the event. This work has the presence of women. There is a strong contrast in this work with very deep shadows and vibrant bright highlights due to the dramatic lighting. There is an extremely strong use of colour and chiaroscuro.

In Diana’s collage “Life Surrenders to Death” the images are taken of life’s nature and death each image signifies a part of death the mountains, the waterfall, the cliffs, and the graveyard we are all surrounded by it. Everywhere we look, and people die every day. But we survived. We are the lucky ones who are still breathing the air, who can

Death is a controversial and sensitive subject. When discussing death, several questions come to mind about what happens in our afterlife, such as: where do you go and what do you see? Emily Dickinson is a poet who explores her curiosity of death and the afterlife through her creative writing ability. She displays different views on death by writing two contrasting poems: one of a softer side and another of a more ridged and scary side. When looking at dissimilar observations of death it can be seen how private and special it is; it is also understood that death is inevitable so coping with it can be taken in different ways. Emily Dickinson’s poems “Because I Could Not Stop for Death” and “I Heard A Fly Buzz When I Died” show both

Regardless of race, caste, religion, or age, every human has wondered about the one fact of life that unifies us all: What is death? Both poems, “Death of a Young Son by Drowning” by Margaret Atwood and “Because I could Not Stop for Death” by Emily Dickinson share a common subject of death. Using figurative language, both poems illustrate distinct takes on a similar topic.

“We understand what it is. We understand that there is no one-way to mark somebody’s death. It is a post-modern contemporary coping mechanism. One day you’ll be the shape under the sheet.” (Sottile 172).

Death is a topic that unites all of humanity. While it can be uncomfortable to think about, confronting death in unavoidable. “Dying” addresses that discomfort and universal unwillingness to consider the inevitability of death. Pinsky’s use of imagery, symbolism, and tone create a poetic experience that is like death, something every reader can relate to. In “Dying,” Pinsky describes how people are oblivious and almost uncaring when it comes to the thought of death. Pinsky is trying to convince the reader that they shouldn’t ignore the concept of death because life is shorter than it seems.

In the early Seventeenth Century, Dutch painting underwent a transformation that may be attributed to influence of Italian Baroque art. After traveling to the heart of mannerism, Flemish artists worked directly from Italian Masters such as Michelangelo and Caravaggio. Judith Leyster’s The Last Drop (The Gay Cavalier) c. 1639, oil on canvas, displays several aspects of the influence that Caravaggio had on Dutch painting as well as individual development that extended from Italian influence. First, Leyster embraced Caravaggio’s use of affetti to let the characters within the scene narrate the story through small gestures and physiognomy, a technique directly influenced by his work.