The sculptor's medium has encouraged him to create a free movement around the figure and out into the space in which the figure is seen. This space becomes an active part of the composition. We are conscious not only of the actual space displaced by the figure, as in the former piece, but also of the space seeming to emanate from the figure of Mercury. The importance of this expanding space for the statue may be illustrated if we imagine this figure placed in a narrow niche. Although it might fit physically, its rhythms would seem truncated, and it would suffer considerably as a work of art. The Egyptian sculpture might not demand so particular a space setting, but it would clearly suffer in assuming Mercury's place as the center piece of a splashing fountain. 79
Arts Funding: A comparison of American and European Models
Take a look at the outline below to further understand the alternating arrangement style for your comparison and contrast essay writing:
How to Start a Compare and Contrast Essay: 11 Steps
9 We watch baseball and imagine what it would be like to have the power of Mike Trout, Joey Bats, and Big Papi. We play softball and remember that we re really more like Moe, Larry, and Shemp. In baseball men are Giants-and Pirates and Tigers and Braves. In softball, at best, we re lug wrenches and nuts in Warren s Electric & Hardware. Or, more often, we re just beer-bellied slobs in Disney World t-shirts and Hooters caps. And while we imagine grandstands thundering with fans, all we ve got is a runny-nosed wino chasing unicorns in the outfield, and Sammy s poor wife, squatting on the hood of their Honda, reading E.
Comparison and Contrast Guide - ReadWriteThink
The essay opens with the narrator waiting for the start of a professional baseball game on TV. It closes with an image of him playing softball. In between, the writer develops his comparison using two different methods of organization :
While you make your outline, you have to think which style of arrangement you're going to use. There are two classic comparison and contrast essay writing style you: the block arrangement and the alternating arrangement. The two styles are further explained in the next two paragraphs.
Once you know your basis for comparison, think critically about the similarities and differences between the items you are comparing, and compile a list of them.
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To compare is to examine how things are similar, while to contrast is to see how they differ. A compare and contrast essay therefore looks at the similarities of two or more objects, and the differences. This essay type is common at university, where lecturers frequently test your understanding by asking you to compare and contrast two theories, two methods, two historical periods, two characters in a novel, etc. Sometimes the whole essay will compare and contrast, though sometimes the comparison or contrast may be only part of the essay. It is also possible, especially for short exam essays, that only the similarities or the differences, not both, will be discussed. See the examples below.
All formal analysis identifies specific visual elements and discusses how they work together. If the goal of a writer is to explain how parts combine to create a whole, and what effect that whole has on the viewer, then this type of analysis is essential. It also can be used to define visual characteristics shared by a number of objects. When the similarities seem strong enough to set a group of objects apart from others, they can be said to define a style. Stylistic analysis can be applied to everything from works made during a single period by a single individual to a survey of objects made over centuries. All art historians use it.
When the eyes meet a particular picture for the first time, they are faced with the challenge of the new situation: they have to orient themselves, they have to find a structure that will lead the mind to the picture's meaning. If the picture is representational, the first task is to understand the subject matter. But the subject matter is dependent on the form, the arrangement of the shapes and colors, which appears in its pure state in "abstract," non-mimetic works. 87
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