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# 11
– Asfar as attracting a large audience is concerned, I think the obvious choice is the rock concert.
– I 'm not sure... I think a Shakespeare play would also fill the theatre.
– What about a modern art exhibition? Don't forget that there’san Art College in town.
– That’strue. A lot of art students would come.
– But it wouldn't generate as much interest from the generalpublic, would it?
– I suppose not. I like the idea of the stand-up comedy show, too.
– Yeah, something original. If we advertise properly it will besuccessful, I think.
– Sure, so would the jazz concert and the classical musicconcert, but I still think the rock concert is the safest option.
– It doesn’t quite promote the school's image as a place whereart goes on, though, does it?
– It doesn't, really. I'm beginning to think the Shakespeare playismore appropriate.
– That's why I suggested it – it combines certain revenue with anartistic image.
– Yes. okay, l suppose you're right.
# 12
Sargent painted Carnation, Lily, Lily, Rose in Cottonwood, a quaint English town that had once been a major stopping point for horses but declined with the advent of the railroad in the mid-1800s.
Although considered a Realist, during his late twenties Sargent became increasingly enamored by the Impressionist style which originated in Paris, where he completed his artistic training.
Sargent's inspiration for this painting came from a boating trip that he took along the Thames River, in which he saw Chinese lanterns hanging among trees and lilies.
Sargent worked on this composition in the Impressionist manner, using natural light in natural settings (outdoors). However, because that magical moment between sunrise and sunset only happened for a few moments each day, Sargent was forced to paint only for these few minutes each day.
Sargent sought to have an accurate rendering of light and color in an outdoor painting which was a goal of the Impressionists or, like Sargent, Impressionist-inspired artists of the time.
Sargent wanted to appeal to a British audience but at the same time retain elements of his Impressionism-inspired style and show of technical virtuosity. Impressionism was based on capturing things in the moment and it was one of the early modern styles. However, it used the aesthetic style popular in Britain at the time, where beauty was sufficient as a theme and there was no need for moral and social messages.
The way Carnation Lily, Lily, Rose was created was rather unusual; it was not intended to capture the most perfect sunset but more the affect that this perfect sunset has, in terms of color, shadows, and light.
Lighting:
The lighting in this canvas successfully shows the moment in the day where the sun has started setting and twilight and daylight are at equal effect with each other, their unity offset by the orange glow of the lanterns which provides a surreal contrast. The flowers skillfully reflect both the dusk and the lanterns.
Use of space:
At first glance Carnation Lily, Lily, Rose lacks unity: the eye is drawn to so many aspects of the composition: the brilliant clash of light and color of the girls, the vegetation, and the lantern. Although framed by the vegetation, the girls are also removed from it: their white gowns and movements are still, while the grass swirls around their feet and the flowers curl around. The girls are depicted in a shallow space while the surrounding vegetation and lanterns are abstract.
The painting is from a small persons' perspective. The lilies are outsized as if the viewer is seeing them through the eyes of a child, and the light from the Chinese lanterns casts a magical glow over the scene.
Rene Magritte’s painting, The Lovers (1928), is an oil on canvas depicting two individuals locked in an embrace. The figures are kissing one another through veils. They are situated in a room with the back wall, side wall and ceiling showing. The back wall is blue-grey with a lighter shade on the bottom half and a darker shade on the top half. The side wall is brick red with it lighter at the bottom blending to a darker shade through to the top. The ceiling is white and has a decorative trim along the border of the red wall, but it does not continue along the border of the blue-grey wall. The male figure wears a black suit and tie with a solid white shirt. He embraces a woman clad in a red, sleeveless garment with white trim. The woman’s tanned arm is exposed. The man is in a dominant position relative to the woman. She tilts her head up while he leans down to kiss. Both figures have a whitish veil completely covering their faces and necks. On both figures the veils are tight against the front of the face and top of the head and then relax towards the back. The woman’s face is tilted slightly to the left making her lover more prominent and revealing the distinct outline of his nose.
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