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Art And Architecture - Essay by Peguin67 - Anti Essays

Other comments identify the emergence of a distinctive Glasgow manner. Measured drawings of St Michael's, Linlithgow, submitted for the RIBA Measured Drawings prize in 1899, prompted the reviewer to note: 'The drawings … show good firm drawing, and the exterior view, according to the Glasgow convention, clever but hard. Not only do ugly-shaped hard bands of cloud cross the sky and obscure the outline of the church, but, alas! the church itself is out of drawing.' Later, the , in writing about one of Mackintosh's Liverpool Cathedral drawings, described: 'a design in the manner which has come to be known as the Glasgow School and [which] owes much of its interest to certain quaint and unorthodox detail and to the technique of the drawing. The design is otherwise upon ordinary mediaeval lines.' The distinctive lettering was also commented on. In a review of the 1894 South Kensington prize exhibition, the described the lettering on some drawings by the Glasgow School of Art trained Albert Hodge (1875–1917) as 'showing the waywardness of genius', but noted 'the lettering is not original, but, we think, was to be first attributed to Mr Mcintosh [sic], who did it with more kindly consideration for human limitation of comprehension.'

Architecture took a turn and progressed from total works of art to industrialization during the 20th century.

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Literature is a form of human expression. But not everything expressed in words — even when organized and written down — is counted as literature. Those writings that are primarily informative — technical, scholarly, journalistic — would be excluded from the rank of literature by most, though not all, critics. Certain forms of writing, however, are universally regarded as belonging to literature as an art. Individual attempts within these forms are said to succeed if they possess something called artistic merit and to fail if they do not. The nature of artistic merit is less easy to define than to recognize. The writer need not even pursue it to attain it. On the contrary, a scientific exposition might be of great literary value and a pedestrian poem of none at all.

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Many graduates pursue advanced study in theatre, acting, directing, design, playwriting, business, law, telecommunications, and others. Alumni have jobs in a wide range of fields, including acting (e.g. Wayne Knight, Kyle Chandler, and IronE ‘T-Dog’ Singleton of “Walking Dead” fame), Hollywood set dressing, stuntmen, arts administration, costume design, entertainment marketing, and visual effects.

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The exhibits are not always straightforward to analyse. While the catalogue entries may name the project, they do not always specify what type of drawing(s) were exhibited or whether the exhibit comprised or included photographs. Photographs were increasingly used. magazine noted in a detailed article on 'Photography for Architects' in 1898 that 'photography has been made so absurdly easy in these latter days, insomuch that all sorts and conditions of men practice it with more or less success'. At the Glasgow International Exhibition 1901, John Honeyman chose to represent six of his buildings by photographs. By 1902, the could note of the architectural exhibits at the Glasgow Institute of Fine Arts: 'The presence of photographs is more marked than ever; they form a full quarter of the display.'

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Certainly, William Blake or Thomas Campion, when they were writing their simple lyrics, were unaware of the ambiguities and multiple meanings that future critics would find in them. Nevertheless, language is complex. Words do have overtones; they do stir up complicated reverberations in the mind that are ignored in their dictionary definitions. Great stylists, and most especially great poets, work with at least a half-conscious, or subliminal, awareness of the infinite potentialities of language. This is one reason why the essence of most poetry and great prose is so resistant to translation (quite apart from the radically different sound patterns that are created in other-language versions). The translator must project himself into the mind of the original author; he must transport himself into an entirely different world of relationships between sounds and meanings, and at the same time he must establish an equivalence between one infinitely complex system and another. Since no two languages are truly equivalent in anything except the simplest terms, this is a most difficult accomplishment. Certain writers are exceptionally difficult to translate. There are no satisfactory English versions, for example, of the Latin of Catullus, the French of Baudelaire, the Russian of Pushkin, or of the majority of Persian and Arabic poetry. The splendor of Sophocles’s Greek, of Plato at his best, is barely suggested even in the finest English versions. On the other hand, the Germans insist that Shakespeare is better in German than he is in English, a humorous exaggeration perhaps. But again, Shakespeare is resistant to translation into French. His English seems to lack equivalents in that language.

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Throughout literary history, many great critics have pointed out that it is artificial to make a distinction between form and content, except for purposes of analytical discussion. Form determines content. Content determines form. The issue is, indeed, usually only raised at all by those critics who are more interested in politics, religion, or ideology than in literature; thus, they object to writers who they feel sacrifice ideological orthodoxy for formal perfection, message for style.