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Salvador P. Lopez’s essay “Literature and Society

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Salvador P. Lopez’s essay “Literature and Society

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1) How can art be practiced for its own sake, separate from society?

According to Salvador P. Lopez’s essay “literature and society”, art can be practiced for its own sake when writers or artists focus purely on the aesthetic qualities of words, such as "beauty of sound or beauty of imagination". This involves using words "purely for their music or purely as an instrument of fancy", or in the pursuit of "the beautiful word for the beautiful thought". This perspective aligns with the dogma of "Art for Art's sake." This idea manifests as a belief that artists should "leave social agitation alone and stick to art", exclusively focusing on creating beautiful things like landscapes, songs, or sonnets, rather than engaging with social justice and democracy.

2) Why is it detrimental to believe that art is a form of escape?

Lopez argues that believing art is merely a form of escape is detrimental because it leads artists to isolate themselves from the realities of the world. He sees this as a "comfortable philosophy of escape" driven by fear of "the ugly facts of life". This isolation, symbolized by the "Ivory Tower," suggests a lack of profound thought and deep feeling, ultimately hindering the creation of great art. Furthermore, by focusing solely on "beautiful thoughts and the creation of beautiful things," artists who view art as escape neglect the "richest subject for observation, portrayal and study" – humanity and its struggles.

3) Why is it important for art to address the “problems of [the artist’s] time”?

Lopez believes it is important for art to address the problems of the artist's time because artists are inevitably exposed to the realities of their society, such as "terrible happenings" and "social struggle". Ignoring these issues implies an "Olympian superiority-indifference" that yields to the "persistent hammering of the facts". In my opinion, engaging with these problems allows artists to move beyond merely echoing what they have read in books and instead convey the different message altogether found in the "book of life," fostering compassion for the oppressed and anger at their oppressors.

4) What does Lopez mean when he said that writers and artists should be“teachers of men”?

Lopez means he said that writers and artists should be “teachers of men”. He stated in his essay that great writers like Shakespear, Shelley, and Whitman were “teachers of men”, meaning that their work achieved more than just aesthetic beauty. They offered insights, perspectives, and challenged readers to think about fundamental aspects of human existence, such as justice, truth, and freedom. Their art was "deeply rooted in the earth of human experience", allowing them to impart stirring thoughts and contribute to the "improvement of the condition of man". This teaching is not necessarily crude instruction or propaganda but arises from a deep engagement with life and a desire for progress.

5) Why does Lopez think that the highest form of art is emancipatory?

Lopez thinks that the highest form of art is emancipation; because, it derives from man’s deepest urges and longings which are his love of his own kind and longing to be free. It is giving the people social and political freedom to express themselves. When looking at arts it connects the fundamental desires of a human that has the power to uplift and liberate a human spirit. Those writers who address the problem of society and advocate social justice also to defend democracy, can contribute to emancipation. By focusing on the improvement of the human condition and the defense of freedom, art becomes a force for progress and betterment.

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Literature and Society by Salvador Lopez

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Literature and Society by Salvador Lopez - Download as a PDF or view online for free

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Beige White Frame Photo Portrait Instagram Post_20250430_040040_0000

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It is said that this was the last painting of Van Gogh before he committed suicide. Was it an

actual scene? Does it matter? Why or why not?

Yes it is an actual scene based on research, this works of his, is one of the masterpiece artworks that he created in Auvers-sur-Oise, France. It is a small town in which Van Gogh spent his life before he travels to another world. Even though he did not paint an exact, photographic representation of what he saw. He used instead, different kinds of techniques in painting which altered perspective to convey his emotions rather than realism. Of course, for me it does matter, since it is a place where his last time spent on Earth, capturing the landscape after surrounded him in his final days. Making this painting conveys a cacophony of emotions, and a deep personal farewell outwork. The painting itself has different meanings from the wheat, crows, and dirt paths. For me he experienced a great turmoil and psychological distress that's why he painted this artwork. I think for him, it is his implicit or hints that he experienced tribulation or sign that he is going in afterlife. Making his artwork an expressive and a haunting masterpiece.

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Currently on view

Vincent van Gogh (1853 - 1890), Auvers-sur-Oise, July 1890

oil on canvas, 50.5 cm x 103 cm

Credits (obliged to state): Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation)

Wheatfield with Crows is one of Van Gogh's most famous paintings. It is often claimed that this was his very last work. The menacing sky, the crows and the dead-end path are said to refer to the end of his life approaching. But that is just a persistent myth. In fact, he made several other works after this one.

Van Gogh did want his wheatfields under stormy skies to express 'sadness, extreme loneliness', but at the same time he wanted to show what he considered 'healthy and fortifying about the countryside'.

Van Gogh used powerful colour combinations in this painting: the blue sky contrasts with the yellow-orange wheat, while the red of the path is intensified by the green bands of grass.

Dimensions

50.5 cm x 103 cm, 69.8 cm x 122.7 cm, 10.0 cm

Provenance

With his brother Theo van Gogh, Paris, after mid-July 1890; after his death on 25 January 1891, inherited by his widow, Jo van Gogh-Bonger, and their son, Vincent Willem van Gogh, Paris; administered until her death on 2 September 1925 by Jo van Gogh-Bonger, Bussum/Amsterdam/Laren; given on loan by Vincent Willem van Gogh, Laren to the Stedelijk Museum, Amsterdam, since 22 October 1931; transferred by Vincent Willem van Gogh on 10 July 1962 to the Vincent van Gogh Foundation, Amsterdam; agreement concluded between the Vincent van Gogh Foundation and the State of the Netherlands, in which the preservation and management of the collection, and its placing in the Rijksmuseum Vincent van Gogh, to be realized in Amsterdam, is entrusted to the State, 21 July 1962; given on loan until the opening of the museum on 2 June 1973 to the Stedelijk Museum, Amsterdam; on permanent loan to the Rijksmuseum Vincent van Gogh from 2 June 1973 and at the Van Gogh Museum, Amsterdam, since 1 July 1994.

Credits (obliged to state)

Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation)

Paris, Musée d'Orsay, Van Gogh à Auvers-sur-Oise. Les derniers mois, 3 October 2023-4 February 2024, no. zonder nr.

Amsterdam, Van Gogh Museum, Van Gogh in Auvers-sur-Oise. Zijn laatste maanden, 12 May-3 September 2023, no. zonder nr.

Amsterdam, Van Gogh Museum, Van Gogh aan het werk, 1 May 2013-13 January 2014, no. zonder nr.

Amsterdam, Hermitage Amsterdam, Vincent. Het Van Gogh Museum in de Hermitage Amsterdam, 29 September 2012-25 April 2013, no. 127

Amsterdam, Van Gogh Museum, Van Gogh en het expressionisme, 24 November 2006-4 March 2007

Amsterdam, Van Gogh Museum, Beestachtig mooi. Kijken naar dieren 1750-1900, 5 October 2005-5 February 2006, no. zonder nr.

Amsterdam, Van Gogh Museum, Gogh Modern. Vincent van Gogh en de hedendaagse kunst, 27 June-12 October 2003, no. zonder nr.

Los Angeles, Los Angeles County Museum of Art, Van Gogh's Van Goghs. Masterpieces from the Van Gogh Museum, Amsterdam, 17 January-16 May 1999, no. 70

Washington, National Gallery of Art, Van Gogh's Van Goghs. Masterpieces from the Van Gogh Museum, Amsterdam, 4 October 1998-3 January 1999, no. 70

Tokyo, Seiji Togo Memorial Yasuda Kasai Museum of Art, Vincent van Gogh and his time. Four seasons from the Van Gogh Museum and the H.W. Mesdag Museum, 12 September-11 November 1997, no. 13

Amsterdam, Rijksmuseum Vincent van Gogh, Vincent van Gogh en de moderne kunst 1890-1914, 16 November 1990-18 February 1991, no. 47

Essen, Museum Folkwang, Vincent van Gogh und die Moderne 1890-1914, 11 August-4 November 1990, no. 62

Amsterdam, Rijksmuseum Vincent van Gogh, Vincent van Gogh. Schilderijen, 30 March-29 July 1990, no. 132

New York, Metropolitan Museum of Art, Van Gogh in St. Rémy and Auvers, 12 November 1986-22 March 1987, no. 85

Amsterdam, Rijksmuseum Vincent van Gogh, Vincent van Gogh in zijn Hollandse jaren. Kijk op stad en land door Van Gogh en zijn tijdgenoten 1870-1890, 13 December 1980-22 March 1981, no. 171

Bern, Kunstmuseum (Bern), Vincent van Gogh. Collection du Musée National Vincent van Gogh à Amsterdam, 25 January-15 April 1973, no. 47

Strasbourg, Musée d'Art Moderne et Contemporain Strasbourg, Vincent van Gogh. Collection du Musée National Vincent van Gogh à Amsterdam, 22 October 1972-15 January 1973, no. 47

Paris, Orangerie des Tuileries, Vincent van Gogh. Collection du Musée National Vincent van Gogh à Amsterdam, 21 December 1971-10 April 1972, no. 107

New York, Brooklyn Museum of Art, Vincent van Gogh. Paintings and Drawings, 14 February-4 April 1971, no. 68

San Francisco, M.H. de Young Memorial Museum, Vincent van Gogh. Paintings and Drawings, 11 December 1970-31 January 1971, no. 68

Baltimore, Baltimore Museum of Art, Vincent van Gogh. Paintings and Drawings, 11 October-29 November 1970, no. 68

Philadelphia (Pennsylvania), Philadelphia Museum of Art, Vincent van Gogh. Paintings and Drawings, 28 February-5 April 1970, no. 68

Saint Louis, City Art Museum of Saint Louis, Vincent van Gogh. Paintings and Drawings, 20 December 1969-1 February 1970, no. 68

Los Angeles, Los Angeles County Museum of Art, Vincent van Gogh. Paintings and Drawings, 14 October-1 December 1969, no. 68

London, Hayward Gallery, Vincent van Gogh. Paintings and Drawings of the Vincent van Gogh Foundation Amsterdam, 23 October 1968-12 January 1969, no. 201

Wolfsburg, Stadthalle Wolfsburg, Vincent van Gogh. Gemälde, Aquarelle, Zeichnungen, 18 February-2 April 1967, no. 81

Gothenburg, Göteborgs Konstmuseum, Vincent van Gogh. Målningar, akvareller, teckningar, 30 December 1965-20 February 1966, no. 60

Stockholm, Moderna Museet, Vincent van Gogh. Målningar, akvareller, teckningar, 23 October-19 December 1965, no. 60

Ghent, Museum voor Schone Kunsten (Gent), Vincent van Gogh. Schilderijen, aquarellen, tekeningen, 19 February-28 March 1965, no. 41

Charleroi, Palais des Beaux-Arts (Charleroi), Vincent van Gogh. Schilderijen, aquarellen, tekeningen, 9 January-9 February 1965, no. 41

New York, Solomon R. Guggenheim Museum, Vincent van Gogh. Paintings, Watercolors and Drawings, 2 April-28 June 1964, no. 60

Washington, Washington Gallery of Modern Art, Vincent van Gogh. Paintings, Watercolors and Drawings, 2 February-19 March 1964, no. 60

Humlebaek, Louisiana Museum of Modern Art, Vincent van Gogh. Malerier og tegninger, 24 October-15 December 1963, no. 60

Amsterdam, Stedelijk Museum Amsterdam, 150 jaar Nederlandse kunst. Schilderijen, beelden, tekeningen, grafiek 1813-1963, 6 July-29 September 1963, no. 111

Kansas City, William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, Vincent van Gogh. Paintings, Watercolors and Drawings, 7 February-26 March 1963, no. 81

Detroit, Detroit Institute of Arts, Vincent van Gogh. Paintings, Watercolors and Drawings, 11 December 1962-29 January 1963, no. 81

Pittsburgh (Pennsylvania), Carnegie Institute, Vincent van Gogh. Paintings, Watercolors and Drawings, 18 October-4 November 1962, no. 81

Boston, Museum of Fine Arts (Boston), Vincent van Gogh. Paintings, Watercolors and Drawings, 22 March-29 April 1962, no. 81

Buffalo (New York), Albright Art Gallery, Vincent van Gogh. Paintings, Watercolors and Drawings, 30 January-11 March 1962, no. 81

Cleveland, Cleveland Museum of Art, Vincent van Gogh. Paintings, Watercolors and Drawings, 5 December 1961-14 January 1962, no. 81

Humlebaek, Louisiana Museum of Modern Art, Stedelijk Museum besoger Louisiana, 28 October-3 December 1961

Baltimore, Baltimore Museum of Art, Vincent van Gogh. Paintings, Watercolors and Drawings, 18 October-26 November 1961, no. 81

Toronto, The Art Gallery of Toronto, Vincent van Gogh. Paintings-Drawings / Tableaux-Dessins, 10 February-12 March 1961, no. 79

Winnipeg, Winnipeg Art Gallery, Vincent van Gogh. Paintings-Drawings / Tableaux-Dessins, 29 December 1960-31 January 1961, no. 79

Ottawa, National Gallery of Canada, Vincent van Gogh. Paintings-Drawings / Tableaux-Dessins, 17 November-18 December 1960, no. 79

Montréal, Montreal Museum of Fine Arts, Vincent van Gogh. Paintings-Drawings / Tableaux-Dessins, 6 October-6 November 1960, no. 79

Utrecht, Centraal Museum, Vincent van Gogh schilderijen en tekeningen, verzameling Ir. V.W. van Gogh, 18 December 1959-1 February 1960, no. 64

Seattle, Seattle Art Museum, Vincent van Gogh. Paintings and Drawings, 7 March-19 April 1959, no. 84

Portland (Oregon), Portland Art Museum (Oregon), Vincent van Gogh. Paintings and Drawings, 28 January-1 March 1959, no. 84

Los Angeles, Los Angeles County Museum of Art, Vincent van Gogh. Paintings and Drawings, 10 December 1958-18 January 1959, no. 84

San Francisco, M.H. de Young Memorial Museum, Vincent van Gogh. Paintings and Drawings, 6 October-30 November 1958, no. 84

Mons, Museum voor Schoone Kunsten, Vincent van Gogh (1853-1890). Son art et ses amis, 22 March-5 May 1958, no. 49

Deventer, De Muntentoren, Schilderijen van Vincent van Gogh, 31 January-20 February 1958, no. 37

Schiedam, Stedelijk Museum Schiedam, Vincent van Gogh, 21 December 1957-27 January 1958, no. 48

Leiden, Museum De Lakenhal, Vincent van Gogh, 9 November-16 December 1957, no. 48

Marseille, Musée Cantini, Vincent van Gogh, 12 March-28 April 1957, no. 87

Breda, Cultureel Centrum De Beyerd, Vincent van Gogh, 2-24 February 1957, no. 87

Newcastle upon Tyne, Laing Art Gallery, Vincent van Gogh. Paintings & Drawings, Mainly from the Collection of Ir. V.W. van Gogh, 11 February-24 March 1956, no. 83

Manchester (England), Manchester City Art Gallery, Vincent van Gogh. Paintings & Drawings, Mainly from the Collection of Ir. V.W. van Gogh, 17 December 1955-4 February 1956, no. 83

Liverpool, Walker Art Gallery, Vincent van Gogh. Paintings & Drawings, Mainly from the Collection of Ir. V.W. van Gogh, 29 October-10 December 1955, no. 83

Antwerp, Zaal Comité voor Artistieke Werking, Vincent van Gogh, 7 May-19 June 1955, no. 364

New Orleans, Isaac Delgado Museum, Vincent van Gogh 1853-1890, 27 March-20 April 1955, no. 32

Miami, Lowe Gallery of the University of Miami, Vincent van Gogh 1853-1890, 24 February-20 March 1955, no. 32

Palm Beach (Florida), Society of the Four Arts, Vincent van Gogh 1853-1890, 21 January-13 February 1955, no. 32

Willemstad, Curaçaosch Museum, Vincent van Gogh, 19 December 1954-15 January 1955, no. 32

Zurich, Kunsthaus Zürich, Vincent van Gogh, 9 October-21 November 1954, no. 77

Toledo (Ohio), Toledo Museum of Art, Vincent van Gogh 1853-1890, 7 March-30 April 1954, no. 174

Philadelphia (Pennsylvania), Philadelphia Museum of Art, Vincent van Gogh 1853-1890, 2 January-28 February 1954, no. 174

Saint Louis, City Art Museum of Saint Louis, Vincent van Gogh 1853-1890, 17 October-13 December 1953, no. 174

Amsterdam, Stedelijk Museum Amsterdam, Eeuwfeest Vincent van Gogh, 23 July-20 September 1953, no. 189

Otterlo, Kröller-Müller Museum, Eeuwfeest Vincent van Gogh, 24 May-19 July 1953, no. 189

The Hague, Gemeentemuseum Den Haag, Vincent van Gogh, 30 March-17 May 1953, no. 197

Eindhoven, Van Abbemuseum, Vincent van Gogh, 22 March-4 May 1952, no. 79

Enschede, Rijksmuseum Twenthe, Vincent van Gogh, 20 February-16 March 1952, no. 77

Alkmaar, Stedelijk Museum Alkmaar, Tentoonstelling schilderijen van Vincent van Gogh, 1 December 1951-1 January 1952, no. 34

Nijmegen, Waaggebouw, Tentoonstelling schilderijen van Vincent van Gogh, 3-26 November 1951, no. 34

Saint-Rémy-de-Provence, Hôtel de Sade, Vincent van Gogh en Provence, 5-27 May 1951, no. 83

Grenoble, Musée de Grenoble, Vincent van Gogh, 30 March-2 May 1951, no. 83

Lyon, Musée de Lyon, Vincent van Gogh, 5 February-27 March 1951, no. 83

Hilversum, Raadhuis Hilversum, Tentoonstelling Vincent van Gogh, 7 October-5 November 1950, no. 44

Chicago, Art Institute of Chicago, Vincent van Gogh Paintings and Drawings. A Special Loan Exhibition, 1 February-16 April 1950, no. 153

New York, Metropolitan Museum of Art, Vincent van Gogh Paintings and Drawings. A Special Loan Exhibition, 21 October 1949-15 January 1950, no. 153

Amsterdam, Stedelijk Museum Amsterdam, Expressionisme. Van Gogh tot Picasso, July-September 1949, no. 28

Middelburg, Kunstmuseum Middelburg, Van Gogh-tentoonstelling, 9 April-1 May 1949, no. 47

The Hague, Gemeentemuseum Den Haag, Vincent van Gogh. Collectie ir. V.W. van Gogh, 12 October 1948-10 January 1949, no. 172

Amsterdam, Stedelijk Museum Amsterdam, Vincent van Gogh en zijn Nederlandse tijdgenoten, 25 June-30 September 1948, no. zonder nr.

Oslo, Kunstnernes Hus, Vincent van Gogh, 24 April-15 May 1948, no. 68

Bergen (Norway), Kunstforening, Vincent van Gogh, 23 March-18 April 1948, no. 68

Glasgow, City Art Gallery, Vincent van Gogh 1853-1890. An Exhibition of Paintings and Drawings, 21 February-14 March 1948, no. 99

Birmingham (England), City Art Gallery, Vincent van Gogh 1853-1890. An Exhibition of Paintings and Drawings, 24 January-14 February 1948, no. 99

London, Tate Gallery, Vincent van Gogh 1853-1890. An Exhibition of Paintings and Drawings, 10 December 1947-14 January 1948, no. 99

Groningen, Museum van Oudheden, Vincent van Gogh, 18 October-16 November 1947, no. 106

Geneva, Musée Rath, 172 oeuvres de Vincent van Gogh (1852-1890), 22 March-20 April 1947, no. 172

Paris, Musée de l'Orangerie, Vincent van Gogh, 24 January-15 March 1947, no. 172

Mons, Museum voor Schoone Kunsten, Vincent van Gogh, 27 December 1946-January 1947, no. 171

Brussels, Paleis voor Schoone Kunsten, Vincent van Gogh, 9 November-19 December 1946, no. 171

Luik, Museum voor Schoone Kunsten, Vincent van Gogh, 12 October-3 November 1946, no. 171

Copenhagen, Charlottenborg, Vincent van Gogh. Udstilling af malerier og tegninger, 22 June-14 July 1946, no. 108

Malmö, Malmö Museum, Vincent van Gogh. Utställning anordnad till förmån för svenska hollandshjälpen, 29 May-16 June 1946, no. 104

Gothenburg, Göteborgs Konstmuseum, Vincent van Gogh. Utställning anordnad till förmån för svenska hollandshjälpen, 3-26 May 1946, no. 104

Stockholm, Nationalmuseum (Stockholm), Vincent van Gogh. Utställning anordnad till förmån för svenska hollandshjälpen, 8 March-28 April 1946, no. 104

Heerlen, Raadhuis Heerlen, Vincent van Gogh, 8-24 February 1946, no. 111

Maastricht, Bonnefantenmuseum, Vincent van Gogh, 12-28 January 1946, no. 111

Amsterdam, Stedelijk Museum Amsterdam, Vincent van Gogh, 14 September-1 December 1945, no. zonder nr.

San Francisco, California Palace of the Legion of Honor, Vincent van Gogh, 28 April-24 May 1936, no. 66

Cleveland, Cleveland Museum of Art, Vincent van Gogh, 25 March-19 April 1936, no. 66

Boston, Museum of Fine Arts (Boston), Vincent van Gogh, 19 February-15 March 1936, no. 66

Philadelphia (Pennsylvania), Philadelphia Museum of Art, Vincent van Gogh, 11 January-10 February 1936, no. 66

New York, Museum of Modern Art (New York), Vincent van Gogh, 5 November 1935-5 January 1936, no. 66

Amsterdam, Stedelijk Museum Amsterdam, Vincent van Gogh. Werken uit de verzameling van Ir. V.W. van Gogh, in bruikleen afgestaan aan de Gemeente Amsterdam, 14 February 1931-1931, no. 95

Amsterdam, Stedelijk Museum Amsterdam, Vincent van Gogh en zijn tijdgenooten, 6 September-2 November 1930, no. 108

Amersfoort, Gebouw van de Stichting "de Armen de Poth", Schilderijen van Vincent van Gogh, 22 February-9 March 1930, no. zonder nr.

Utrecht, Vereeniging Voor de Kunst, Tentoonstelling van schilderijen door Vincent van Gogh, 1 May-5 June 1929, no. 50

Leipzig, Museum der bildenden Künste Leipzig, Vincent van Gogh. Fünfunddreißig unbekannte Gemälde aus Privatbesitz, 24 February-31 March 1929, no. zonder nr.

Munich, Graphisches Kabinett (München), Vincent van Gogh. Fünfunddreißig unbekannte Gemälde aus Privatbesitz, 22 November-24 December 1928, no. 35

Hannover, Kestner-Gesellschaft, Vincent van Gogh. Fünfunddreißig unbekannte Gemälde aus Privatbesitz, 3 October-11 November 1928, no. zonder nr.

Paris, Galerie Bernheim-Jeune, Vincent van Gogh. L'Époque Française, 20 June-2 July 1927, no. zonder nr.

The Hague, Pulchri Studio, Tentoonstelling Vincent van Gogh, 21 March-26 April 1925, no. 5

Paris, Galerie Marcel Bernheim, Exposition rétrospective d'oeuvres de Vincent van Gogh (1853-1890), 5-24 January 1925, no. 55

Stuttgart, Württembergischer Kunstverein, Ausstellung Vincent van Gogh 1853-1890, 12 October-30 November 1924, no. 38

Zurich, Kunsthaus Zürich, Vincent van Gogh, 3 July-10 August 1924, no. 76

Basel, Kunsthalle Basel, Vincent van Gogh, 27 March-4 May 1924, no. 79

London, Leicester Galleries, Works by Vincent van Gogh, 1 December 1923-15 January 1924, no. 39

Amsterdam, Stedelijk Museum Amsterdam, Tentoonstelling van Nederlandsche Beeldende Kunsten, Regeeringsjubileum 1898-1923, September-14 October 1923, no. 128

Madrid, Instelling onbekend, Pintores Holladeses dibujos, escultura, litografia y arte aplicado, llevados por la comision del consejo para las artes representativas de la comision Holandesa en el extranjero, 9 May 1921-1921

Amsterdam, Genootschap van kunstenaren Moderne Kunstkring, Vincent van Gogh. Werken van genooten, 27 September-30 November 1915, no. 23

Cologne, Kölner Kunstverein, V. van Gogh, July-August 1914, no. zonder nr.

Berlin, Kunstsalon Paul Cassirer, Vincent van Gogh 30. März 1853 - 29. Juli 1890. Zehnte Ausstellung, 1 June-5 July 1914, no. 145

Antwerp, Zaal Comité voor Artistieke Werking, L'art contemporain. Salon 1914 / Kunst van Heden. Tentoonstelling 1914, 7 March-5 April 1914, no. 94

The Hague, Gebouw Lange Voorhout 1, Werken van Vincent van Gogh, 4 July-1 September 1913, no. 149

Bremen, Kunsthalle Bremen, Zonder titel, 6 December 1911-8 January 1912, no. zonder nr.

Hamburg, Galerie Commeter, [Vincent van Gogh], 11 October 1911-January 1912, no. 32

Amsterdam, Larensche Kunsthandel, Tentoonstelling van schilderijen en teekeningen van Vincent van Gogh, 16 June-14 August 1911, no. 57

London, Grafton Galleries, Manet and the Post-Impressionists, 8 November 1910-15 January 1911, no. 71

Rotterdam, Rotterdamsche Kunstkring, Vincent van Gogh. Werken uit fransche tijd, 11 June-10 July 1910, no. 21

Berlin, Kunstsalon Paul Cassirer, [titel onbekend], October 1908, no. 69

Amsterdam, Kunsthandel C.M. van Gogh, Vincent van Gogh tentoonstelling, 3-24 September 1908, no. 84

Frankfurt am Main, Frankfurter Kunstverein, V. van Gogh Ausstellung, 14-28 June 1908, no. 80

Dresden, Kunsthandlung Emil Richter, Vincent van Gogh/Paul Cézanne, April-May 1908, no. 69

Munich, Moderne Kunsthandlung, Vincent van Gogh, March-April 1908, no. 71

Paris, Galerie Bernheim-Jeune, Cent tableaux de Vincent van Gogh, 6 January-1 February 1908, no. 100

The Hague, Kunsthandel C.M. van Gogh, Vincent van Gogh tentoonstelling, Summer 1908, no. 84

Utrecht, Vereeniging Voor de Kunst, Tentoonstelling van schilderijen door Vincent van Gogh, 9 September-2 October 1905, no. 59

Amsterdam, Stedelijk Museum Amsterdam, Tentoonstelling Vincent van Gogh, 15 July-1 September 1905, no. 234

Paris, Cité Pigalle 6, Zonder titel [Presentatie in appartement], September-December 1890

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Vincent van Gogh - Wheatfield with Crows

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Wheatfield with Crows is one of Van Gogh's most famous paintings. It is often claimed that this was his very last work. The menacing sky, the crows and the dead-end path are said to refer to the end of his life approaching. But that is just a persistent myth.

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Reflection on a popular foreign series and their dominant ideology

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Reflection on a popular foreign series and their dominant ideology

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Write a reflection on a popular foreign series (Korean, American, Japanese,European) you have already seen. Choose your favorite episode and write your response to it. Identify the dominant ideology in the episode and how it is promoted. Include in the reflection how rewatching the episode with a critical lensaffects your response to it.

The Alice in Borderland Season 2 finale is a captivating and emotionally intense conclusion to the series' existential and psychological dilemmas. The episode, where Arisu and his primary companion Usagi face the ultimate game against the Queen of Hearts, which encapsulates the series' core themes of survival, free will, and the pursuit of meaning in an absurd world.

The game with Mira, the Queen of Hearts, manipulates Arisu into questioning the nature of reality, suggesting that everything he has experienced is a mere hallucination. Despite the confusion and psychological torment, Arisu chooses to believe in his reality and fight for life, aligning with existentialist thought. The series promotes this ideology by showing characters despite suffering striving for survival and connection, reinforcing the idea that meaning is something we create rather than something given to us.

Rewatching this episode with a critical lens deepens my appreciation for its philosophical undertones and narrative craftsmanship. The game itself serves as a metaphor for the human struggle with existential doubt, with Mira's role as the antagonist being particularly interesting. The finale of Alice in Borderland Season 2 elevates the series beyond a mere survival thriller, encouraging viewers to reflect on the power of choice and the importance of forging one's own path, even in the face of uncertainty and despair.

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Game Cleared: ‘Alice in Borderland’ Season 2 Ending Explained

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Is it happily ever after for Arisu and his ride-or-dies?

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Art is the product of creative human activity in which materials are shaped or selected to convey an idea, emotion or visually interesting form.

– Encarta Encyclopedia

I choose this kind of artwork (cubism), by Cesar Legaspi “kargador”, because it portrays the struggles and the emotions felt by the subject. It explains, how he make the artwork through his emotion which the fragmented forms symbolize their burdens, reflecting strength and endurance despite hardships. For me arts is a creative thoughts that comes to your mind, it is not just focusing on aesthetics but it is a portal to express your emotions and experiences that tells story.

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Choose two concepts and explain your thoughts.

Art as "expression." Among the key concepts, this is likely the well-known dimension of art. You hear people say, "I paint (or dress) this way to express myself." How does 'expression' relate to the artistic process, in general, or the artist, in particular? How does this compare with art as representation?

If art is defined within the ambit of "aesthetics," whether as "aesthetic object," or "aesthetic experience," how is art viewed from this perspective?

Art as expression and representation-

For me it highlights how the author or the artist expresses their artworks through their emotions, thoughts, their personal experience or their personal beliefs. It states how the author creates an artwork to communicate, that conveys, feelings, expressing identity or the social commentary. Unlike art as an expression, art as representation depicts or portrays only a subject, which expresses perception of reality. So it is not focusing on human feelings but on imitations.

Art (Aesthetics)-

For me aesthetics can affect the satisfaction of the viewer or listener/ how art can affect our moods and feelings. It views through the lens of aesthetic property, which emphasizes the sensory, emotional, and intellectual engagement of the observer. It highlights the appealing features of an art. It suggests that art's value lies in the experience it provides rather than in its technical execution or adherence to specific forms. Not all artworks may be appealing/aesthetics to others some people find it plain but attractive to other people. From this perspective, art is subjective, shaped by the viewer's perception, background, and

emotions.

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From what I understand about the lecture of Dalisay, he emphasizes the indispensable role of the arts to humanities which can foster well rounded individuals, and which society can be capable of wise governance. The speaker argues that the arts cultivate critical and imaginative thinking, enabling the citizens to navigate the complex societal issues with empathy and ensights. In the context of science, students are able to represent their abstract ideas into a tangible form through arts. By doing so, it can help them easily to communicate ideas, visualize data, and solve problems. Moreover, Dalisay, highlights that arts have a significant contribution to economical growth, through the creative industries which can present diverse career opportunities, that can blend technical expertise with creative innovation. In this, embracing arts in our life can equip not just science students but to all aspects, which can enhance both personal development and societal contribution.

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the poem “Letter to Pedro, US Citizen, Also Called Pete” by ReneEstrella Amper.

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the poem “Letter to Pedro, US Citizen, Also Called Pete” by ReneEstrella Amper.

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What ideologies do you see the poem as having and/or is addressing? Write a short response (at least 5 sentences)

The poem “Letter to Pedro, US Citizen, Also Called Pete” by Rene Estrella Amper critiques the effects of colonialism, capitalism, and social inequality on a small hometown. It highlights how power and wealth have concentrated in the hands of a few, like the mayor and his son, while the common people, especially farmers, continue to struggle. The loss of childhood innocence is evident in the transformation of familiar places into privatized, controlled spaces, symbolizing the erasure of communal life and simple joys. The poem also reflects on cultural displacement, as Pete has left for America, assimilating into a new identity while his hometown deteriorates. Through irony and nostalgia, the poem mourns the changes brought by modernization and corruption, questioning whether progress truly benefits everyone.

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In creating this self-portrait, I chose cool colors like blues and greens for my figure to really express my introverted nature and the specific feelings I was experiencing at that moment; these colors help me convey a sense of calmness and introspection, before I start creating this artwork I search what colors represents introvert person so that's why I chose this shade of colors. For the background, I used warmer colors such as red, oranges, and yellows. These tones often represent energy, passion, or even a vibrant outer world, which can create a thoughtful contrast to the cooler, more reserved depiction of myself. Through this interplay of cool and warm hues, I aim to share a deeper sense of my inner world and its relationship with its surroundings.

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Exploring Art Repurposing and Originality"

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Exploring Art Repurposing and Originality"

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Based on Walter Benjamin ideas and according to his essay "The work of art in the Age of Mechanical Reproduction, my altered image can be considered as art even though it is a reproduction of the original and transformation of the original art. He argues that reproduction detaches the work from its original "aura," but also allows it to be experienced in new ways and by new audiences. My digital reinterpretation introduces a modern context, creating a new meaning and cultural relevance, which supports the idea that this version has artistic value.

Originality often gives a work prestige and authenticity, making us value it more, while pirated or copied works are often viewed as less valuable or even illegitimate. However, in the digital age, the line between originality and piracy is increasingly blurred—remixes, memes, and edits can spread messages and emotions just as powerfully as the original. This challenges traditional ideas of ownership and shifts focus from who made it first to how it makes people feel or think.