Master-Pupil Pairs

The descriptive background to left concluded my decision to believe it is the original. The intrinsic grass next to the pot of plant reveals the advance skills of the artist. The lock of hair is portrayed elegantly and loose, while the portrait to the right appears to wrap on her shoulders tightly. The features of the lady on the left seem to have more details. Take a closer look of the hands, and eyes. It is drawn so lively from the palms to the tips of her fingers. The one to the right come across as lifeless due to the lack of expression I get from it. The layers of the dress on the right presents a feel of the fabric while the ‘”copy-cat” detects none. An advance artist offers more then just a piece of art. It expresses and expands one’s individual mind.

Rostropovich/ Yo-Yo Ma

Beethoven’s Rostropovich piece starts out soft and calm. The cellist and pianist harmonize gently together. Until three minutes and twenty- seven seconds later, it transforms to a strong and aggressive tone. It becomes an argument between the cellist and the pianist. The consistency to play soothingly together is no longer there. The temper between the two had grown into a dispute. The bickering goes on throughout the rest of the song. At the end, the pianist and cellist bitterly compromise their differences.

Yo-Yo Ma begins gentle with a faster pace then the Rostropovich. The two instrument’s temper seems to get along quite fine. The cellist tries to over power the pianist when the pianist becomes more aggressive. The reason to overpower the pianist is to calm the temper down. The pianist seems to play a refrain line to remind the cellist every time. The tone begins aggressive in the refrain and ends calm and gentle. The cello’s tone seems to be understanding and patient. It attempts to keep the pianist calm.

Romeo and Juliet

The Romeo and Juliet play located in the Globe Theatre did not give me a positive perspective of the act. The past Romeo and Juliet plays have been in a more serious note and it was serious but persuasive enough to intrigue me. I cannot say the same for this act. I left the play with disappointments. The connection between the hopeless lovers did not appeal to my expectations. Juliet sounded congested throughout the play. Romeo pranced around when it was not necessary.

His confident and strong attitude made up for the prancing. If the two main characters did not have a connection, the play will not be good. This act proved it. I detected a comedy feel to the play. It seemed more towards the comedic field than the dramatic and serious field. The act did not catch my interest at all. The atmosphere of the act tends to be merry in serious parts. I was just not drawn to their performance.

Great Court & Elgin Marbles

The Great Court takes my breath away each time I set foot into the museum.  The dome is compiled of endless triangles throughout the glass surface. I see people gaze upon it in amazement. The Great Court has a sense of welcome. It comprises a grand staircase wrapped around an open pillar with a settle, off-white color to acquire a mesmerizing impression. The top of the pillar is what drives one’s curiosity to climb up the grand staircases.Satisfying one’s mind to find out what is on top is quite surprising. It is rare to find any museums with its very own restaurant. Court restaurant takes reservations only and can easily be booked online. The restaurant is located in the center of the Great Court and high enough to appreciate the glass roof closely.

The Elgin marbles of “The Battle of Lapiths and Centaurs” displays the fight between the two. The Lapiths seems to have a hold of the Centaur in most of the pieces. The Centaur appears to be struggling while the Lapith has full control of the so call “beast.” All of the pieces but two had no heads. The heads did not last because it was not connected to the marbles. It was only connected to the body. The two heads that I have seen is connected to the marble piece and the body. It is obvious the marble indicates durability. The define abdomen, chest, and legs of the Lapith and Centaur is fascinating. They appear to be a challenge to each other and in battle shape form.

Bloomsbury Group

·        Virginia Woolf: Novelist and Critic that lived here from 1907-1911. 


29 Fitzroy Square, W1 
Camden 1974

·      E. M. Forster: Novelist who lived in Arlington Park Mansions, Sutton Lane, Turnham Green, W4 
Hounslow 1983

·      Mary (Molly) MacCarthy: English writer

·      John Maynard Keynes: Economist, lived here 1916-1946. 
46 Gordon Square, Bloomsbury, WC1 
Camden 1975

·      Duncan Grant: Scottish painter

·      Vanessa Bell: English painter and interior designer

·      Roger Fry: English artist and an art critic. He was more developed in French paintings.

·      Lytton Strachey: Critic and Biographer lived here. 
51 Gordon Square, WC1 
Camden 1971

·      Desmond MacCarthy: English literary Critic 

·      Clive Bell: English Art Critic. 50 Gordon Square, WC1

·      Leonard Woolf: English political theorist, author, publisher, Hogath House,civil servant, and best know as the widower of Virginia Woolf.  34 Paradise Road 
Richmond Upon Thames 1976

Located Lytton Strachey and John Maynard Keynes

The Photographers' Gallery

The Photographers’ Gallery had a phenomenal collection. I tried to fathom every piece attentively. The most interesting piece had to be Wolfgang Tillmans’ color papers. It had a reflection of me while I interpreted each piece. It tells a bit of what my mind wants to think of it. My thought of the black print had me thinking about Jack the Ripper. I was a victim awaiting for Jack the Ripper. I guess it had a lot to do with the gruesome readings of Jack’s murdering spree. The blue print brought me back to the Hawaiian Islands. It brought back a memory and another vacation I’d like to book. The water in Hawaii was so clear and blue that it became my interpretations. My first thought of the black/blue print was Freud’s Structural Model, the id, ego and the super ego. The id is the uncoordinated and unorganized drive of the mind. The ego organizes and separates what is real. It is the reality part of the mind. The super ego is the mindset of perfection with goals and resolutions to aim for. When I saw the black part, my mind categorized it as id. When I stood between the middle of the black and blue it became my ego and the blue became part of my superego. It drove my mind a little crazy because my mind started talking to myself. The red/silver print game me a thought of another world or spectrum. The world was hot pink ad the sky was pink. The fold was land. It gave me hope of another world and a new millennium, if earth no longer exists. The last print from Tillman gave me a strange thought. My evaluation of the pink portrait had to do with a woman’s vagina. I saw the clitoris out of the creases. I hope that was what he was thinking too.

            My favorite artist from the Photographers’ Gallery is Alina Szapocznikow. She photographed the gum series. My first thoughts of the images from left to right were from grossed out to “oh!” I began looking at it as a skinned moose, leather torn fabric, torn keychain holder, a ceramic loose- hung face, and then, “Oh, it’s gum this whole entire time!” It tricked me and it was also creative. That is what made me enjoy it the most. So it became my favorite! Now I have more use of my gum after I’m don’t with it. :D!

            Another photograph that interest me the most was by Gerhard Richter. It was the over painted pieces. The two pieces that stood out the most were the London Bridge and the Leaning Tower Pizza. The Leaning Tower looks as though it has a horse coming out of the picture. The sides look as if it was galloping in water and splashed it to all sides. The London Bridge looked like it was incinerating. It was bound in red and red in my mind means burning and hot.

            

I was unable to find any photographs directed towards my interpretations. But he one on the very top is the galleries main advertised photograph and the other one is a photograph I encountered when I was there.

Victorian "Underclass"

The underclass consists of “sunken people” who lived in poverty. (Victorious: Victorian Era) The underclass was located in East London, which is now the city of White Chapel. The Victorian lower class was divided into two sections; the working class who did labor and the poor. The poor were people who did not relatively work, did not work at all, or received public charity. “The lower class contained men, women, and children performing many types of labor, including factory work, seamstressing, chimney sweeping, mining, and other jobs. Both the poorer class and the middle class had to endure a large burden of tax. This third class consisted of about eighty-five percent of the population but owned less than fifty percent of the land.” (Victorious: Victorian Era) In the working class, skill and unskilled workers categorized people. Skilled workers obtain power to create Trade Unions, which helped them improve and move up the social class. While the skilled workers progress, the unskilled workers and underclass became vulnerable in exploitation and resulted in exploitation. During the 1850s, 750,000 women were left without men because there were 4% more women then men. These women were called “superfluous women.” (Victorious: Victorian Era) --Women who were not married because there were not enough men. This resulted in many women to be known as “fallen woman.” They were prostitutes and were paid to have sexual relations with men. They worked as domestic servants. Prostitution became a social problem and some were murdered brutally by Jack the Ripper. “In London during this time, there were approximately 50,000 prostitutes out of a population of 1.1 million.” (Suit101: Post-Jane Austen Novels) that is about 4% of the population. The underclass was a violent and exploited class to live in.

• http://victorious.pbworks.com/Victorian-era#Prostitution
  
• http://en.wikipedia.org/wiki/Victorian_era
  
• http://recommended-fiction.suite101.com/article.cfm/postjane_austen_novels
  
• http://www.britannica.com/EBchecked/topic/627776/Victorian-Age