Essay on Portrait of the Artist as A Young Man and The Wall

The Artist in Joyces A Portrait of the Artist as A Young Man and Pink Floyds The Wall Foragers, the people who live in hunter-gatherer societies, have no artists. It is only when society becomes complex enough to support a division of labor do artists emerge-first as shamans, then as the painters, singers, writers, etc., that we usually think of today. Society, then, creates the artist, but it can also destroy him. In A Portrait of the Artist as A Young Man, James Joyce describes the particular development of Stephan Dedalus that led to his becoming an artist. Pinks development in Pink Floyds The Wall, mirrors that of Stephen yet concludes in the destruction of the artist. An important similarity between them is†¦show more content†¦Pink Floyd makes this separation into the metaphor of the brick wall that plays a role though out the rock opera. Pink Floyd focuses entirely on its destructive side while James Joyce only touches on its negative aspects as he portrays the artists development and concludes with the constructive side of the separation. The separation begins in both artists while they are very young and becomes most evident in their interactions with their peers and members of the opposite sex. A contributing factor to the development of their separation is the manner in which they were educated. School, a place that is supposed to nurture the minds of children, has devastating effects on the young artists. The teachers, who are supposed to guide their students in unlocking their potential, are harsh and authoritative. Stephen is punished unfairly for having broken his glasses, and Pinks poetry is mocked before the class. Pink expresses his opinion of the education he received in the albums most well know song: We dont need no education We dont need no thought control No dark sarcasm in the classroom Teachers leave the kids alone... All in all youre just another brick in the wall. Also in their family life, neither receive the affection nor sympathy they need in order to learn to identify with or to interact meaningfully with the people in their lives. Stephens mother is a nice mother (9) but she has remarkably littleShow MoreRelatedAnalysis Of Kehinde Wiley s Large Scale, Brightly Colored2992 Words   |  12 Pagesbrightly colored, highly patterned portraits of African American subjects are a salute to traditional portraiture as well as a critique of the art historical focus on the privileged male Caucasian. The artist scouts out ordinary black men of ages 18 to 25 from urban settings to copy poses from works by master Western painters like Titian and Jean-Auguste-Dominique Ingres. 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This essay aims to prove that Wilde’s strategical use of influence from Basil and Henry on Gray ultimately destroy Dorian and lead to his surprising death. The Picture of Dorian Gray opens on a beautiful summer day in Basil Hallwards studio which is filled with the rich aroma of roses and lilac flowers. In the middle of the studio stood a full length portrait that displayed Dorian’s personal beauty with such great detail. Just inches away from the painting sat the artist, Basil, who wasRead MoreArt History7818 Words   |  32 Pageso Exquisite decoration • Aesthetics Ââ€" the love of beauty, the need for beauty o Separates man from the animals o Civilization #61607; Around 5,000BC #61607; Literacy • Writing and reading #61607; Urban Life • Division of labor Ââ€" farmers, merchants, kings, priest, etc. #61607; Organized Religion • Before civilization, there was just shamanism #61607; Monumental architecture • Great Wall, Coliseum o Cradles of Civilization #61607; Cannot trace civilization back any further #61607;Read MoreMona Lisa and Last Supper3080 Words   |  13 Pagesout with his right hand towards it. All of the angles and lighting draws attention to Christ. 4. Damage and restorations. Leonardo painted The Last Supper on a dry wall rather than on wet plaster (Ã'ˆÃ'‚Ã'Æ'Ð ºÃ °Ã'‚Ã'Æ'Ã'€Ð ºÃ °), so it is not a true fresco. Because a fresco cannot be modified as the artist works, Leonardo instead chose to seal the stone wall with a layer of pitch (Ã' Ã ¼Ã ¾Ã »Ã °), gesso (Ð ³Ã ¸Ã ¿Ã'  Ð ´Ã »Ã'  Ã' Ã ºÃ'Æ'Ð »Ã'Å'Ð ¿Ã'‚Ã'Æ'Ã'€Ã'‹ ) and mastic (Ð ¼Ã °Ã' Ã'‚Ð ¸Ã ºÃ °; Ð ·Ã °Ã ¼Ã °Ã ·Ã ºÃ °, Ã'ˆÐ ¿Ã °Ã ºÃ »Ã µÃ ²Ã ºÃ °), then paint onto the sealing layer with tempera. Because of the