The Incredible And Sad Tale Of Innocent Erendira And Her...

Erendira was bathing her grandmother when the wind of her misfortune began to blow. The enormous mansion of moon like concrete lost in the solitude of the desert trembled down to its foundations with the first attack. But Erendira and her grandmother were used to the risks of the wild nature there, and in the bathroom decorated with a series of peacocks and childish mosaics of Roman baths they scarcely paid any attention to the wind. The grandmother, naked and huge in the marble tub, looked like a handsome white whale. The granddaughter had just turned fourteen and was languid, soft-boned, and too meek for her age. With a parsimony that had something like sacred rigor about it, she was bathing her grandmother with water in which purifying†¦show more content†¦Around eleven o clock, when she was changing the water in the ostrich s bowl and watering the desert weeds around the twin graves of the Amadises, she had to fight off the anger of the wind, which had become unbearable, but she didn t have the slightest feeling that it was the wind of her misfortune. At twelve o clock she was wiping the last champagne glasses when she caught the smell of broth and had to perform the miracle of running to the kitchen without leaving a disaster of Venetian glass in her wake. She just managed to take the pot off the stove as it was beginning to boil over. Then she put on a stew she had already prepared and took advantage of a chance to sit down and rest on a stool in the kitchen. She closed her eyes, opened them again with an unfatigued expression, and began pouring the soup into the tureen. She was working as she slept. The grandmother had sat down alone at the head of a banquet table with silver candlesticks set for twelve people. She shook her little bell and Erendira arrived almost immediately with the steaming tureen. As Erendira was serving the soup, her grandmother noticed the somnambulist look and passed her hand in front of her eyes as if wiping an invisible pane of glass. The girl

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Comparative Essay between La Goulue Les Girard Free Essays

The city of lights was all about fun and the nightlife during the 19th century. Fortunately enough, Jules Cheerer and Henry De Toulouse-Ululate were able to perfectly capture the essence of Parish’s blooming nightlife through their posters. Generally speaking, both posters are the same style, however, each artist was able to create different visual effects and atmospheric perspective using their own aesthetic sense. We will write a custom essay sample on Comparative Essay between La Goulue Les Girard or any similar topic only for you Order Now In this situation, both posters are advertising to the viewer the exhilarating nightlife n Parisian cabarets back in the 19th century. Yet, Latter’s poster managed to capture a distinctive and sensual atmosphere compared to Cheerer’s joyful atmosphere. Louise Weber, the female dancer In Latter’s poster, can be seen performing the provocative cancan dance, which exposes her undergarments as she kicks her legs. The audience in the background looks as if they are interacting with the dancer even if they are Just watching her. Meanwhile, the dancers in Cheerer’s poster are cheerfully dancing with their hands in the air with no audience around. Even though the figures depicted in both posters are 2-dimensional, Latter’s poster has more depth because of the way he places his figures through out different layers. The male dancer and the unusual yellow shape on the left dominate the foreground. The main focus of this image is the female figure placed in the center and between the foreground and background. The contrasting silhouettes behind her further highlight the focus on her. The figure in the middle of Cheerer’s poster is wearing a vibrant red dress, which easily catches the viewer’s eye even though two lively nagging men overlap her. The two male figures are framing the woman in the middle with their legs. The soft, textured, and plain background contrast with the red and black of the flat figures and brings them out. There Is minimal use of shading, but instead, crisp black lines outline the figures, giving the illustration a flat look. Nothing seems to have a definite structure since there is no sense of strong, angular and straight lines but instead, the lines look more organic as seen with the text and figures. This poster might look a bit symmetrical but the artist drew both men who re facing each other with slight differences to add more to the unstructured and organic feel of the Image. One of the main features of Less Gerard is how the text and illustrations can be seen interacting with one another. One figure looks like as if he is standing on the letter G while the other figure has his legs passing through the letter o. The small 3rd figure relationship can be seen between the text and illustrations in the way they were rendered. The have a long pointed form. For example, the tip â€Å"A† in â€Å"Less Gerard mimics the man’s foot. The text was customized by the artist hence the similarities between the illustrations and the text. Ululate uses several different fonts in his poster. In this case, Latter’s font does not interact with the figures in the poster and does not look like it was drawn by hand but instead is placed on top of the figures with low opacity. The other text that is dominating the top part of the poster has more bold colors and is outlined in black, which balances out the heavy image filled bottom part of the poster. Since Ululate was influenced by Cheerer, the similarities in their work. Ululate also chose to work using the same medium, lithography, which is why their work has strong bold colors. There is no doubt that both artists were influenced by the Japanese style, as it is evident in most of their work. The flat planes of color, 2-dimensional figures, and crisp black contour lines are elements from the Kikuyu-e woodblock print style. Latter’s composition of figures overlapping each other is also derived from the Japanese art style. On the other hand, the composition in Cheerer’s poster is almost symmetrical. This shows us that even though Ululate was influenced by Cheerer, Ululate had a better understanding of Japanese art and was able to fuse that with his own work in order to produce his own style. In conclusion, the posters may seem to be very similar in style; nevertheless, slight differences between those posters do exist and those differences showcase each artist’s unique touch. This demonstrates the endless cycle of an artist influencing another artist who in turn modifies and develops what he learned in order to develop his own style and that may even result in a whole new art movement. How to cite Comparative Essay between La Goulue Les Girard, Essays