Film Review 1

Girl with a Pearl Earring(2003)

Cast:

·         Scarlett Johansson as Griet

·         Tom Wilkinson as Pieter van Ruijven

·         Cillian Murphy as Pieter

·         Judy Parfitt as Maria Thins

·         Essie Davis as Catharina Bolnes

·         Anna Popplewell as Maertge

·         Alakina Mann as Cornelia

Director:

Synopsis: Girl with a Pearl Earring is a 2003 drama film directed by Peter Webber. The screenplay was adapted by screenwriter Olivia Hetreed based on the novel of the same name by Tracy Chevalier. The film stars Scarlett Johansson, Colin Firth, Tom Wilkinson, and Cillian Murphy. The film is named after a painting of the same name by the Dutch painter Johannes Vermeer. The film uses a bright color scheme as in Vermeer's paintings.

Review:

Seventeen year old Griet becomes the servant of painter Johannes Vermeer after her father, a respected artisan, is accidentally blinded. Although her primary duty is to clean the master's studio, which his wife is not allowed to enter, Griet is also responsible for most household tasks. She is powerless in this house and bitterly resented by his wife and eldest daughter. Griet's life becomes a ruthless sequence of work, domestic jealousies, and constant watchfulness against lechery and plague. Inhibited by fear and social custom, she tries to keep her actions secret when Vermeer asks her to prepare the substances he will use for paint. Such work is inappropriate for a maidservant, and she knows her place. Eventually Vermeer wishes to paint Griet. As Vermeer secretly works on the eponymous painting, Catharina's growing jealousy of Griet becomes obvious. At the end of the film, Griet receives a gift- that very earrings she wear while Vermeer was painting her.

As for the actor’s performances, Scarlett Johansson earned a Golden Globe nomination for Best Actress for Girl with a Pearl Earring. Her work in this movie was perfect. Her natural look and cute appearance help her to reflect the innocence  and simple beauty of Griet.

As for me I liked this movie because of the atmosphere and mood it leaves. Century city, the artistic and scientific circles, the conflicts between Protestants and Catholics, the class structure, the guilds, the social and domestic hierarchies. This film make me courageous. She finds characteristics inside of her that she doesn’t even know she has. by personal example of Griet who finds out who she really is and what she wants for her life, who will not let people treat her, I understand that our life is full of obstacles, but I should not leave confidence in myself. It’s better to struggle to the end.

Rendering 4

The article published on the website of the newspaper “The New York Times” on February 22, 2013 is headlined “Single Works With Myriad Influences”

The article reports at length that over the last decade the painter Iona Rozeal Brown has created a fantastical body of work that unites so many seemingly irreconcilable realities — Japanese ukiyo-e prints and hip-hop; voguing and Noh and Kabuki theater; West African adinkra symbols and graffiti; Byzantine religious painting and comic-book motifs — that it gives new meaning to the idealized space of the canvas.

It’s an open secret that On Thursday the first of two concurrent shows of Ms. Brown’s new work will open at Edward Tyler Nahem Fine Art, on West 57th Street in Manhattan, followed by one at Salon 94 Freemans, in Freeman Alley on the Lower East Side. The downtown show, “introducing ... THE HOUSE OF BANDO,” opening March 5, takes up where Ms. Brown’s inaugural foray into stage work, “The Battle of Yestermore,” for Performa in 2011, left off. It features a series of iconlike portraits of the voguing stars Benny and Javier Ninja, who performed in the 2011 piece, a dance battle at the intersection of Asian and African-American culture.

It was revealed that in her large, chaotic studio in Greenpoint, Brooklyn, Ms. Brown talked with Randy Kennedy about her first trip to Japan in 2001 and working in New York. These are excerpts from the conversation.

The article carries a lot of comment on the fact Ms. Brown, 46, was raised in Washington and came to painting only in her late 20s, studying at the San Francisco Art Institute and the Yale University School of Art. One of her early epiphanies was the discovery of ganguro, a 1990s movement in Japan in which young girls expressed their love of hip-hop culture by darkening their skin and dressing like their favorite stars. This led to a series of early works known as the “blackface paintings” that jump-started her career, one that is now gaining speed with a host of projects in the works.

Analyzing this situation it is necessary to emphasize that in histories of Kabuki they say that if you were to take pictures of the performances, the stills would all look like the figures in woodblock prints. And watching Kabuki, it hit me: The same thing is happening with voguing, the same formality. “Strike a pose” poses.

As for me, I think that it’s a new style in the field of art and it’s a good start for the creator.

Rendering 3

The article published on the website of the newspaper “The New York Times” on February 22, 2013 is headlined “AsOne Renaissance Door Closes, Others Open”

The article reports at length that one of the most popular attractions of the Vatican Museums, Michelangelo’s Sistine Chapel, will be closed to the public over the next few weeks, as cardinals gather there to elect the successor of Pope Benedict XVI. But visitors will be able to find some artistic consolation by lingering in the rooms that Raphael painted in the second-floor apartment of the Pontifical palace used by Pope Julius II (and his successors until the mid-16th century), their 30-year restoration now finally complete.

It’s an open secret that Raphael, an artist and an architect, was summoned to Rome in 1508, and the four frescoed rooms where the pope conducted his business were a prized commission. The rooms were originally decorated during the reigns of Popes Alexander VI (1492-1503) and Pius III (whose papacy lasted less than a month in 1503), by renowned Renaissance artists like Piero della Francesca, Luca Signorelli and Bramantino. Julius II brought in other luminaries to complete the work before deciding to give Raphael carte blanche to start fresh.

It was revealed that begun in 1982, the restoration was carried out one fresco at a time so that visitors could continue to see Raphael’s famed works.

The article carries a lot of comment on the fact that restorers now believe that significant traces of the earlier frescoes remain, including the fresco depicting the delivery of the Pandects (a legal code) to the Emperor Justinian, in the Room of the Segnatura, now attributed to the Renaissance artist Lorenzo Lotto, who had been drafted by Julius II before Raphael was brought in. Lotto ended up working in Raphael’s workshop, on several the frescoes, Professor Nesselrath said.

Analyzing this situation it is necessary to emphasize that the restoration of several frescoes was funded by the Patrons of the Arts in the Vatican Museums, an association founded in 1982 after a show of Vatican paintings toured the United States.

As for me, I think that the USA help us to fund restorations and keep the Vatican beautiful and young and attractive, despite the wear and tear to the museums caused by five million visitors a year and it’s very important for the world heritage.

Pleasure Reding 20-27

Mrs. Palmer tells Elinor that her home is right near Willoughby's estate in Combe, though he is rarely there. She also relates that she saw Colonel Brandon in town earlier that week, and he confirmed her suspicion that Willoughby and Marianne are "attached" to one another. Mrs. Palmer adds that Colonel Brandon would have liked to marry Mrs. Palmer if only her parents had not had such high standards. Of course, the prudent Elinor knows to take Mrs. Palmer's observations and claims with a grain of salt.

When the Palmers return to Cleveland, Sir John Middleton invites Anne and Lucy Steele, two young ladies from Exeter, to visit at Barton. In an attempt to foster ties of friendship between the Steeles and the Dashwoods, Sir John praises each pair of sisters to the other. However, when they actually meet, Elinor and Marianne are annoyed by the way in which the Steele sisters indulge Lady Middleton's children and discuss where the greatest population of genteel young men can be found. Elinor accepts that Lucy is clever, but she finds her ill-read and sorely lacking in education. However, for their part, the Steele sisters are fond of the Dashwood girls, and Lucy Steele makes a considerable effort to become close with Elinor.

She is utterly incredulous when Lucy confesses to her that she has been secretly engaged to Edward for four years! Edward was a pupil of Lucy's uncle in Plymouth, and that is where their relationship began. Lucy says that they have been forced to conceal their engagement because Lucy has no fortune. However, as she informs Elinor, Edward wears a ring with a lock of her hair in it as a constant reminder of their attachment. Elinor, astonished and sick with grief, can hardly believe Lucy's confession.

Elinor reflects on Lucy's news and reasons that her engagement to Edward must have been the product of youthful infatuation. She is certain that Edward could not possibly still love Lucy after four years of getting to know this frivolous and ignorant woman. She is also relieved that she does not have to share Lucy's news with her mother and sister, since she has been sworn to secrecy. She and Lucy converse at length about Edward Ferrars during a dinner party at Barton Park shortly thereafter. While Marianne is playing the piano and everyone else is absorbed in a card game, Elinor and Lucy sit rolling papers for a filigree basket for Lady Middleton's daughter, Annamaria.


Lucy expresses disappointment that Elinor has no plans to come to London in the winter, but soon after this Mrs. Jennings invites the Dashwood sisters to join her at her home in town near Portman Square. At first, the girls decline her offer on the grounds that they cannot leave their mother alone at Barton, but Mrs. Dashwood assures them that it would give her great pleasure to allow her daughters to enjoy themselves in London. Marianne is overjoyed that she will get to see Willoughby at long last, but Elinor is apprehensive about the journey because she does not want to find herself in the company of both Lucy and Edward together.

After a journey lasting three days in Mrs. Jennings' carriage, the Dashwood sisters arrive in London. Elinor immediately writes a letter to their mother, while Marianne composes a brief note announcing their arrival to John Willoughby. Marianne eagerly awaits Willoughby's visit, and is exceedingly disappointed that evening when Colonel Brandon shows up instead. Marianne leaves the room in frustration and Colonel Brandon delivers the message that Mrs. Palmer plans to arrive the next day.

Colonel Brandon arrives at Mrs. Jennings's London home to speak with Elinor. He asks her if it is true, as everyone claims, that Marianne and Willoughby are engaged. Elinor is surprised that so many people are discussing an engagement that has not been officially announced. She diplomatically informs Colonel Brandon that though she knows nothing of her sister's engagement, she has no doubt of their mutual affection. Brandon leaves after expressing his wish that Marianne be happy--and that Willoughby endeavor to deserve her.

Pleasure Reading 16-19

One morning, about a week after Willoughby's departure, the three sisters are out walking when they see a man approach on horseback. Marianne at first thinks it is Willoughby, but the rider turns out to be Edward Ferrars, who is on his way to visit them at Barton. Marianne greets him warmly, but Elinor waits to see how he will act toward them. To both girls' surprise, Edward, though cordial, is much more distant and reserved than they expect a lover to behave. However, Marianne is assured of his affection for Elinor when she notices that he is wearing a locket-like ring that contains a lock of hair; although Edward claims it is Fanny's hair, Marianne remains convinced that it is actually her sister's. Elinor, however, has no recollection of allowing Edward to remove this token of affection.

One day during his week-long visit, Edward discusses his prospects with the Dashwoods. He tells them that he has no intention of finding a profession for himself; he prefers to remain an "idle, helpless being" in spite of his mother's high expectations of him. Marianne assures him that he does not need wealth or grandeur to be happy, but Elinor protests that wealth has much to do with happiness. The daughters then begin to fantasize about what they would do if each were granted a large fortune: Marianne would purchase all her favorite music and books. However, she hints that she would spend the majority of her fortune on facilitating her marriage to Willoughby. Elinor assures Edward that her sister has remained steadfast in her conviction that a person can only be in love once. This leads to a discussion of character and human nature in which Elinor reminds her sister that it is important to treat all people with civility, but that one should not necessarily adopt their sentiments.
After a week of walks, dances, and visits to Sir John's estate at Barton Park, Edward ruefully explains that he must leave them. Elinor tries to account for the brevity of his visit by assuring herself that he must have some task to fulfill for his demanding mother. After he leaves, she tries to occupy herself by working diligently at her drawing table, though she still finds herself thinking frequently of Edward.

The arrival of a large party at Barton Cottage interrupts one of her drawing table reveries. Sir John knocks on the casement and announces that along with Lady Middleton and Mrs. Jennings, he has brought his wife's sister and her husband, the Palmers. Mrs. Charlotte Palmer is a lively woman, expecting a child, but her husband sits reading the newspaper throughout the entire visit. Sir John encourages the Dashwood girls to join them for dinner the next day, and they find themselves unfortunately unable to decline his invitation.

Pleasure Reding 11-15

One morning, while Elinor and Marianne are out walking, the younger sister reveals that Willoughby offered her a horse, as a gift. The offer thrills Marianne, but Elinor gently reminds her sister how inconvenient and expensive the horse would be to maintain. She also tells Marianne that she doubts the propriety of receiving such a generous gift from a man she has known so briefly. Marianne insists that it does not necessarily take a long time for people to get to know each other well, though she ultimately concedes that owning a horse would be too much of a burden on their mother, who manages the household.

The next day, Margaret reports to Elinor that she saw Willoughby cut off a lock of Marianne's hair and kiss it, a sure sign of the pair's engagement. Elinor, nonetheless, warns her little sister not to jump to any conclusions.

Mrs. Jennings somehow learns that Elinor had affections for someone back at Norland. The old busybody tries to get Elinor to reveal the name of this "favourite," but Elinor insists that she had no such attachment. Finally, however, Margaret confirms that there was such a man, he was of no particular profession, and his name began with an 'F'. Elinor is extremely embarrassed by her sister's indiscretion.

The Dashwoods, Colonel Brandon, Willoughby, and the Middletons plan an excursion to Whitwell, an estate twelve miles from Barton belonging to Colonel Brandon's brother-in-law. However, just as they are about to set off, the Colonel receives an urgent letter calling him to town immediately. This disappoints the other members of the party; they encourage Brandon to postpone his trip, but he insists on leaving right away. He refuses to reveal the reason for his sudden departure, though Mrs. Jennings whispers to Elinor that she suspects he must attend to Miss Williams, whom she identifies as his natural daughter.

Since they cannot go to Whitwell without Colonel Brandon, the party instead decides to drive about the country in carriages. Marianne later confesses that during this excursion, Willoughby took her to his home at Allenham while his elderly relative, Mrs. Smith, was out. Elinor is appalled by the impropriety of such a visit, and she chastises her sister accordingly.

One day while visiting Barton Cottage, Willoughby proclaims his utter fondness for the little house and makes Mrs. Dashwood promise that she will never change a single inch of stone in the structure. The Dashwood women invite him to come to dinner the next day, and he agrees. However, when Elinor and Mrs. Dashwood return home that afternoon, they discover Marianne in tears and Willoughby on his way out the door. Willoughby informs them that he has been sent to London on business and will probably not return to Devonshire for the rest of the year. Mrs. Dashwood, suspecting that he and Marianne are secretly engaged, tries to convince herself that Willoughby had to leave so that Mrs. Smith would not learn of the attachment, but Elinor remains more skeptical and reminds her mother that they do not know if there is any such understanding between the two. Marianne, meanwhile, remains overcome by grief and cannot speak or eat.

RENDERING 2

The article published on the website of the newspaper “The New York Times” on February 8, 2013 is headlined “TheSecret Art of George W. Bush”. The article reports at length that the world has learned that George W. Bush is an amateur  painter. ROBERTA SMITH (the author of the article) suggests that he may be some people’s least favorite president since Hoover, but as an artist he is, well, a heck of a lot better than any number of world leaders whose names spring to mind, foremost Winston Churchill and Adolf Hitler.

It’s an open secret that images of only three paintings made it to the Internet — where they promptly went viral — before the Secret Service started to investigate. Two are oblique self-portraits, both vertical rectangles that show Mr. Bush bathing. Needless to say, they raise all sorts of interesting questions about what’s on the former president’s mind these days, and what, if any, art he has been looking at.

It was revealed that one shows Mr. Bush in the shower seen from the back (upper torso only), his well-known squint caught in a white rimmed shaving mirror. The other is a Bush-eye view of the former president as he soaks in a bathtub with the water running: in the receding form of the tub only his slightly-bowed legs from the knees down, and his feet are visible, mostly covered by water.

The article carries a lot of comment on the fact that the forms are handled with care, but awkwardly, which is the source of their appeal. Things are recognizable but just: you can detect posh details like the shower’s chrome hinge and glass door. Everything is honestly accounted for, not sharply realistic, certainly not finicky.

Analyzing this situation it is necessary to emphasize that tt the same time, whatever is going on psychologically, the paintings suggest a man, a painter at ease with his body. He gets some credit for directing his gaze at himself, rather than at the more conventional female nude that is many amateur painters’ first choice. Along with landscapes: the third painting depicts a stone church in Maine, a work in progress that Mr. Bush is shown working on amid weight-lifting equipment in what may be the family work-out room in Kennebunkport, Maine.

The article draws a conclusion that for many these works might qualify as outsider art; they give every indication of having been made by a self-taught artist. But so do many paintings shown in the insider art world of today. These works make you wonder if Bush is familiar with Jasper Johns’s “Seasons,” where each of the four paintings is shadowed by a male, seemingly unclothed silhouette, or Pierre Bonnard’s strangely chaste, luminous paintings of his wife reclining in a bathtub. And one can imagine them being not too out of place in a group show that might include the figurative work of Dana Schutz, Karen Kilimnik, Alice Neel, Christoph Ruckhaberle and Sarah McEneaney. It’s possible that we might see more of W’s art. After all, if Larry Gagosian can put the stuff Bob Dylan currently churns out before the public, someone could certainly show these.

As for me, I think that nowadays there are a lot of talented people. However, some of them prefer to put aside their hobby. It’s not so good that inromation about Bush’s pictures was revealed with the help of  a hacker known as Guccifer who wormed into the computer of the 43rd president’s sister, but it gives us one more talent.