A small tool to view real-world ActivityPub objects as JSON! Enter a URL
or username from Mastodon or a similar service below, and we'll send a
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the right
Accept
header
to the server to view the underlying object.
{
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"content": "I found this, and thought of nationalism. <br /><a href=\"https://www.youtube.com/watch?v=gkFNOSkpPEM\" target=\"_blank\">https://www.youtube.com/watch?v=gkFNOSkpPEM</a>",
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"published": "2020-01-29T02:43:29+00:00",
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"content": "I found this, and thought of nationalism. \nhttps://www.youtube.com/watch?v=gkFNOSkpPEM",
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"content": "How I feel when someone saids Trump is a one term president.",
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"published": "2019-12-19T07:03:26+00:00",
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"content": "How I feel when someone saids Trump is a one term president.",
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"content": "This is why stories matter.<br /><a href=\"https://www.youtube.com/watch?v=rYLwLSlfnlU\" target=\"_blank\">https://www.youtube.com/watch?v=rYLwLSlfnlU</a>",
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"content": "This is why stories matter.\nhttps://www.youtube.com/watch?v=rYLwLSlfnlU",
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"content": "Any time of year....<br /><a href=\"https://www.youtube.com/watch?v=c2qFIyAlRLk\" target=\"_blank\">https://www.youtube.com/watch?v=c2qFIyAlRLk</a>",
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"content": "Any time of year....\nhttps://www.youtube.com/watch?v=c2qFIyAlRLk",
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"content": "\"The Missing Link between Monsters and Saints\"<br />by Beltshazzar Grain<br /><br />Wild-man spoon<br />1300-1400<br />Anglo-Saxon/ Romanesque<br /><br />Gilded Silver<br />1.06” x 0.52” x 0.30” <br />The British Museum<br /><br /><br /><br />Silver spoons in Romanesque Europe were a hallmark of Anglo-Saxon goldsmiths. A spoon found near the edges of Suffolk, England, unearth under a site under bridge, has brought up question about how England viewed nature in 1300’s. Housed at the British Museum, the spoon is 1.06 inches high, 0.52 inches wide, and .30 inches think. The material of the utilitarian object is known to be common gilded silver. The sown has a wide tip and narrows towards drop, creating a tear shape bowl link to other spoons of the early 1300’s. The stem is a simple cylinder and connects to a golden color figure as the knop. The knop holds a strange kind of figurer that is posed into a contrapposto stance. The figure has one hand on its hip and the other hand holding a primitive club. The figure’s shape appears that of a body covered in hair, with only the face, hands and feet exposing skin. The face is shape like a man’s with a classic nose and beard. The spoon is also engraved with the words “Wild Man” alluding to the subject of the knop. <br /><br />The Wild-man or Woodwose is included as part of the monstrous races (categories of mythical creature on the edges of man’s knowledge.) In contemporary circles the woodwose myth is closely associated with stories of Sasquatch or an unknown hominid species covered with hair and living in the woods. Although this connection may have specks of merit, it would not be honest to suggest the wild-man is equal to the idea of Sasquatch. The myths and iconography of the woodwose has deep ties to the people of England and reaches far back into Anglo-Saxon identity. <br /><br />During Julius Caesar campaigns to colonize the expanding Roman Empire, he absorbed the native Belgic, Celtic and Gaulic tribes of the British Isles. Naturally the roman military set up outpost and infrastructure to help them better navigate the land. These constructions and invading culture had to exist along side with the native cultures of the Belgic and Gaulic lifestyles. Imagine how stunning it would be to see the engineering of Roman structures next to Belgic naturalistic practices. The romans had stories that help them process the unknown and unpredictable events of the woods. Stories containing creature like the Satyrs, Centaurs, and other nature spirits. These creatures where not fully civilized, or where they fully animal, they existed somewhere in between and are archetypes of transition. By the 1300’s the cultural impact these stories had where long forgotten. Yet the existence of this myth helped develop later archetypes link to nature in the region. <br /><br />In Jeffrey Cohen book “Of Giants, Sex, Monsters, and the Middle Ages”, analysis the roots of these mythological creatures that inspired J.R.R. Tolkien and to some extent George Lucas. Cohen looked at the environments that the writers of early Anglo-Saxon cultures lived in. He considers geological formations, ancient megaliths like Stonehenge, and artifacts left behind by Roman occupation that these writers could only understand in the context of methodical subjects. “Encountering towering structures of ancient stone that made them feel like small children.” Simultaneously intimidated and bolster by superiority the writers of Anglo-Saxon giant myths develop a concept that “man built with wood; giants, the vanished race who had ruled the earth in its larger-than-life, Paleolithic days, were architects of stone.” <br /><br />As giant stories were told and re-told, different archetype became more and more specific. Out of these alternate imaginings came the concept of the wild-man. “Strong enough to uproot trees, he was violent and aggressive, not only against wild animals but also against his own kind. His brutish, contentious nature expressed itself in a natural combativeness against which neither beast nor man was equal.” Under a feudalistic society stories of an unruly creature would have encourage people to stay in areas of the lord’s protection. Retellings of Alexander the Great placed him in a scenario where he hunted and exterminated group’s woodwose as seen in the ‘Alexander Legends’. <br /> <br />When medieval Europe expanded its trade roots, so too did Christian Europeans. Monastic institutions spread over the European landscape. As missionaries told of Old Testament giants, and a Neo Babylonian Ruler transforming into a primitive animal; they found their audience where experts on the matter . The clergy grew to have a love-hate relationship with the woodwose. In theological logic it became an anomaly. Some argued that the woodwose was man without knowledge of God. Therefore, without knowledge of God it could not grow a civil relationship with God. The concept was that of arcane innocents or being sinless because there is not understanding of sin. Opposing that view, critics of the woodwose believed that the creature was man’s sin personified. Saint Jerome when writing about the pilosi or ‘hairy ones’ believes them to be creature that suffer from God’s wrath, punished to a primitive existence forever coved with hair. The association with sin to hairiness may have convinced pagan groups to drop cultural practices as the converted to Christianity. Under Christianity the image of the woodwose transforms into a tool of ministry, inspiring the figure to carved and represented in Church settings. <br /><br />The material of the woodwose spoon adds layers of meaning to this arcane figure. If the Byzantines were known for their use of Gold, then the Anglo-Saxons were known for their use of silver. From the 10th century on, silver work became a proud production of the British Isles. Anglo-Saxon silver could be considering a miracle material for the late medieval period, as it was easy to work with and repurpose. Due to the recyclable nature of the metal, very few object made of silver predate 1500’s. The best accounts on silver during that time come from written testimony like with the Norman’s and burial sites such as Sutton Hoo. It is believe that no secular silver objects remain from before the year 1300. It is because of Christianity’s impact on the region that late medieval goldsmith work can be preserved and understood. <br /><br />In the Romanesque era, silver could meet many needs. The metal was consider precious and could be used for reliquaries because of divine connections. Silver was more affordable then other material. In some cases cow’s milk was more expansive than silver. Most importantly silver could be formed into utilitarian object, among which are drinking horns, plates, and spoons. <br /><br />Spoons make up the majority of objects found. The spoon was a very personal object to Romanesque people. Unlike plates and drinking horns, spoon where normally carried on the individual as they went about daily life. If one was a friar they may carry an apostle spoon (a simple gilded silver spoon with a biblical figure on the knop). It is from the concept of the apostle spoon that develops the application of the woodwose spoon. Due to daily handling of spoons there was a higher chance of losing it to a river or mud-puddle. <br /><br />The woodwose was a negative figure that represented man’s sin, but in the context of silver takes on ideas of purity. Cohen may have an answer to why a taboo creature like the woodwose could become sacred figure. Much like werewolves, the woodwose represents concepts of transformation. Cohen cites fame psychoanalyses Jacques Lacan’s idea of a mirror stage. In situations where one feels ‘other’ or marginalized people project their identities onto monster that have humanistic qualities. This is more frequent in areas of cultural diversity. Although not a main focus of contemporary scholars, the British Isles was an extremely diverse place. Different clans and people interact and competed for dominance among the social hierarchy. Kent, Sussex, Hwicce, and Mercia are just a few of the example of diverse sub-groups of Anglo-Saxon England. In 1300’s Suffolk there were many other groups and each one has significant influence. Suffolk has a record that contains Knights Templar, Norman’s, and Norfolk. <br /><br />Among every group, one presented an odd take on how people relate to nature. Known as the Carmelites or White Friars, this was a group of monastic hermits that frequented the area of Suffolk in the 1300’s. Apart from society the White Friars had a vegetarian diet, would mediated on bilabial concept while wondering the woodlands, and had connections to the second Crusade. They would have reason to adopt the woodwose as an inspirational archetype. <br /><br />A few centuries late, Europe transitioned away from feudalism and into country-folk. With this a new fascination with the woodwose and nature developed. A return to the concept of the rustic life was joined by images wild-man in the context of archaism. People began to consider the ancestral nature over what class they might belong to . The wild-man is and always will be an omen of transformation. To the Roman’s it was between civilization and wilderness. To the Romanesque it was between war and peace. To Christianity it was between sinner and saint. To the Gothics and Renaissance the wild man stood in the middle between belonging to a class and belonging to a homeland. In the end, the woodwose is just a story. Yet this story inspires people to be more than what they were, to become giants in their own right. <br /><br /><br />Bibliography:<br /><br />Cohen, Jeffrey Jerome. Of Giants: Sex, Monsters, and the Middle Ages. Vol. 17. Minneapolis: University of Minnesota Press, 1999.<br /><br />Glanville, Philippa. Silver in England. Abingdon: Routledge, 2013.<br /><br />Husband, Timothy, and Gloria Gilmore-House. The Wild Man: Medieval Myth and Symbolism. New York: Metropolitan Museum of Art, 1980.<br /><br />Powell, Eric A. \"Artifact.\" Archaeology Magazine. Accessed May 05, 2019. <a href=\"https://www.archaeology.org/issues/218-1605/artifact/4319-england-medieval-wild-man\" target=\"_blank\">https://www.archaeology.org/issues/218-1605/artifact/4319-england-medieval-wild-man</a>.<br /><br />Raven, John J. The History of Suffolk. Vol. 62. London: Paternoster Row E.C., 1907.<br /><a href=\"https://suffolkhistory.com\" target=\"_blank\">https://suffolkhistory.com</a><br /><br /> <br />",
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"published": "2019-08-27T01:40:43+00:00",
"source": {
"content": "\"The Missing Link between Monsters and Saints\"\nby Beltshazzar Grain\n\nWild-man spoon\n1300-1400\nAnglo-Saxon/ Romanesque\n\nGilded Silver\n1.06” x 0.52” x 0.30” \nThe British Museum\n\n\n\nSilver spoons in Romanesque Europe were a hallmark of Anglo-Saxon goldsmiths. A spoon found near the edges of Suffolk, England, unearth under a site under bridge, has brought up question about how England viewed nature in 1300’s. Housed at the British Museum, the spoon is 1.06 inches high, 0.52 inches wide, and .30 inches think. The material of the utilitarian object is known to be common gilded silver. The sown has a wide tip and narrows towards drop, creating a tear shape bowl link to other spoons of the early 1300’s. The stem is a simple cylinder and connects to a golden color figure as the knop. The knop holds a strange kind of figurer that is posed into a contrapposto stance. The figure has one hand on its hip and the other hand holding a primitive club. The figure’s shape appears that of a body covered in hair, with only the face, hands and feet exposing skin. The face is shape like a man’s with a classic nose and beard. The spoon is also engraved with the words “Wild Man” alluding to the subject of the knop. \n\nThe Wild-man or Woodwose is included as part of the monstrous races (categories of mythical creature on the edges of man’s knowledge.) In contemporary circles the woodwose myth is closely associated with stories of Sasquatch or an unknown hominid species covered with hair and living in the woods. Although this connection may have specks of merit, it would not be honest to suggest the wild-man is equal to the idea of Sasquatch. The myths and iconography of the woodwose has deep ties to the people of England and reaches far back into Anglo-Saxon identity. \n\nDuring Julius Caesar campaigns to colonize the expanding Roman Empire, he absorbed the native Belgic, Celtic and Gaulic tribes of the British Isles. Naturally the roman military set up outpost and infrastructure to help them better navigate the land. These constructions and invading culture had to exist along side with the native cultures of the Belgic and Gaulic lifestyles. Imagine how stunning it would be to see the engineering of Roman structures next to Belgic naturalistic practices. The romans had stories that help them process the unknown and unpredictable events of the woods. Stories containing creature like the Satyrs, Centaurs, and other nature spirits. These creatures where not fully civilized, or where they fully animal, they existed somewhere in between and are archetypes of transition. By the 1300’s the cultural impact these stories had where long forgotten. Yet the existence of this myth helped develop later archetypes link to nature in the region. \n\nIn Jeffrey Cohen book “Of Giants, Sex, Monsters, and the Middle Ages”, analysis the roots of these mythological creatures that inspired J.R.R. Tolkien and to some extent George Lucas. Cohen looked at the environments that the writers of early Anglo-Saxon cultures lived in. He considers geological formations, ancient megaliths like Stonehenge, and artifacts left behind by Roman occupation that these writers could only understand in the context of methodical subjects. “Encountering towering structures of ancient stone that made them feel like small children.” Simultaneously intimidated and bolster by superiority the writers of Anglo-Saxon giant myths develop a concept that “man built with wood; giants, the vanished race who had ruled the earth in its larger-than-life, Paleolithic days, were architects of stone.” \n\nAs giant stories were told and re-told, different archetype became more and more specific. Out of these alternate imaginings came the concept of the wild-man. “Strong enough to uproot trees, he was violent and aggressive, not only against wild animals but also against his own kind. His brutish, contentious nature expressed itself in a natural combativeness against which neither beast nor man was equal.” Under a feudalistic society stories of an unruly creature would have encourage people to stay in areas of the lord’s protection. Retellings of Alexander the Great placed him in a scenario where he hunted and exterminated group’s woodwose as seen in the ‘Alexander Legends’. \n \nWhen medieval Europe expanded its trade roots, so too did Christian Europeans. Monastic institutions spread over the European landscape. As missionaries told of Old Testament giants, and a Neo Babylonian Ruler transforming into a primitive animal; they found their audience where experts on the matter . The clergy grew to have a love-hate relationship with the woodwose. In theological logic it became an anomaly. Some argued that the woodwose was man without knowledge of God. Therefore, without knowledge of God it could not grow a civil relationship with God. The concept was that of arcane innocents or being sinless because there is not understanding of sin. Opposing that view, critics of the woodwose believed that the creature was man’s sin personified. Saint Jerome when writing about the pilosi or ‘hairy ones’ believes them to be creature that suffer from God’s wrath, punished to a primitive existence forever coved with hair. The association with sin to hairiness may have convinced pagan groups to drop cultural practices as the converted to Christianity. Under Christianity the image of the woodwose transforms into a tool of ministry, inspiring the figure to carved and represented in Church settings. \n\nThe material of the woodwose spoon adds layers of meaning to this arcane figure. If the Byzantines were known for their use of Gold, then the Anglo-Saxons were known for their use of silver. From the 10th century on, silver work became a proud production of the British Isles. Anglo-Saxon silver could be considering a miracle material for the late medieval period, as it was easy to work with and repurpose. Due to the recyclable nature of the metal, very few object made of silver predate 1500’s. The best accounts on silver during that time come from written testimony like with the Norman’s and burial sites such as Sutton Hoo. It is believe that no secular silver objects remain from before the year 1300. It is because of Christianity’s impact on the region that late medieval goldsmith work can be preserved and understood. \n\nIn the Romanesque era, silver could meet many needs. The metal was consider precious and could be used for reliquaries because of divine connections. Silver was more affordable then other material. In some cases cow’s milk was more expansive than silver. Most importantly silver could be formed into utilitarian object, among which are drinking horns, plates, and spoons. \n\nSpoons make up the majority of objects found. The spoon was a very personal object to Romanesque people. Unlike plates and drinking horns, spoon where normally carried on the individual as they went about daily life. If one was a friar they may carry an apostle spoon (a simple gilded silver spoon with a biblical figure on the knop). It is from the concept of the apostle spoon that develops the application of the woodwose spoon. Due to daily handling of spoons there was a higher chance of losing it to a river or mud-puddle. \n\nThe woodwose was a negative figure that represented man’s sin, but in the context of silver takes on ideas of purity. Cohen may have an answer to why a taboo creature like the woodwose could become sacred figure. Much like werewolves, the woodwose represents concepts of transformation. Cohen cites fame psychoanalyses Jacques Lacan’s idea of a mirror stage. In situations where one feels ‘other’ or marginalized people project their identities onto monster that have humanistic qualities. This is more frequent in areas of cultural diversity. Although not a main focus of contemporary scholars, the British Isles was an extremely diverse place. Different clans and people interact and competed for dominance among the social hierarchy. Kent, Sussex, Hwicce, and Mercia are just a few of the example of diverse sub-groups of Anglo-Saxon England. In 1300’s Suffolk there were many other groups and each one has significant influence. Suffolk has a record that contains Knights Templar, Norman’s, and Norfolk. \n\nAmong every group, one presented an odd take on how people relate to nature. Known as the Carmelites or White Friars, this was a group of monastic hermits that frequented the area of Suffolk in the 1300’s. Apart from society the White Friars had a vegetarian diet, would mediated on bilabial concept while wondering the woodlands, and had connections to the second Crusade. They would have reason to adopt the woodwose as an inspirational archetype. \n\nA few centuries late, Europe transitioned away from feudalism and into country-folk. With this a new fascination with the woodwose and nature developed. A return to the concept of the rustic life was joined by images wild-man in the context of archaism. People began to consider the ancestral nature over what class they might belong to . The wild-man is and always will be an omen of transformation. To the Roman’s it was between civilization and wilderness. To the Romanesque it was between war and peace. To Christianity it was between sinner and saint. To the Gothics and Renaissance the wild man stood in the middle between belonging to a class and belonging to a homeland. In the end, the woodwose is just a story. Yet this story inspires people to be more than what they were, to become giants in their own right. \n\n\nBibliography:\n\nCohen, Jeffrey Jerome. Of Giants: Sex, Monsters, and the Middle Ages. Vol. 17. Minneapolis: University of Minnesota Press, 1999.\n\nGlanville, Philippa. Silver in England. Abingdon: Routledge, 2013.\n\nHusband, Timothy, and Gloria Gilmore-House. The Wild Man: Medieval Myth and Symbolism. New York: Metropolitan Museum of Art, 1980.\n\nPowell, Eric A. \"Artifact.\" Archaeology Magazine. Accessed May 05, 2019. https://www.archaeology.org/issues/218-1605/artifact/4319-england-medieval-wild-man.\n\nRaven, John J. The History of Suffolk. Vol. 62. London: Paternoster Row E.C., 1907.\nhttps://suffolkhistory.com\n\n \n",
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"content": "<a href=\"https://www.youtube.com/watch?v=_08NAnO9tI0\" target=\"_blank\">https://www.youtube.com/watch?v=_08NAnO9tI0</a>",
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"content": "Today President Trump signed an executive order to protect free speech on college campuses. After spending so many years myself seeing first hand the oppression conservative face on a daily bases, I am both relieved and skeptical to this news. Relieved because threat of being politically ostracized during those 4 to 6 years of development can shape a persons life forever and no one political party should own that. Skeptical because an order on paper does nothing when no one enforces this. It is easy to forget about people when they can't speak. I fear that conservatives have given up on higher education, it is possible that they have moved on from this focus. It is embracing to see our university systems in such disrepair when it comes to truth, knowledge and understanding. Yes it is unnecessary for President Trump to signed this order, because the university systems should have never had this issue in the first place. <br />Free speech is one of the most important rights we have. I am a shame to have learn under such times. Now I can only work to a better tomorrow. ",
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"published": "2019-03-21T23:26:42+00:00",
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"content": "Today President Trump signed an executive order to protect free speech on college campuses. After spending so many years myself seeing first hand the oppression conservative face on a daily bases, I am both relieved and skeptical to this news. Relieved because threat of being politically ostracized during those 4 to 6 years of development can shape a persons life forever and no one political party should own that. Skeptical because an order on paper does nothing when no one enforces this. It is easy to forget about people when they can't speak. I fear that conservatives have given up on higher education, it is possible that they have moved on from this focus. It is embracing to see our university systems in such disrepair when it comes to truth, knowledge and understanding. Yes it is unnecessary for President Trump to signed this order, because the university systems should have never had this issue in the first place. \nFree speech is one of the most important rights we have. I am a shame to have learn under such times. Now I can only work to a better tomorrow. ",
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"content": "American Scene Painting<br />Part ONE: movement and style<br /><br />American scene painting was a rejection of European modernism. Artist in the United States were attempting to establish a style unique to the Americans. The painter viewed them self as economical guardians who were tasked with illustrating honest art with nationalism, symbolism of America life. This developed an identity for United States citizens viewed before World War II question the foundations of culture.<br /><br />Prior to World War II, American artist were attempting to generate at style, which was unique to American culture. However Europe’s influence on the arts proved to have dominances on the creative individual. The odds of developing an American style became even more scares after the collapse of Wall Street in 1929. If no one could buy art, American artist would have no money to make art. The movement may have never happen if it was not for the support and opportunities provided by the federal arts project with the Works Progress Administration. To combat this economic decline, art became socially conscious. Addressing issues of poverty, racial divides, religious influences and legal system. American scene painting was less of a style and more of a movement that artist applied their craft to interact with the culture.<br /><br />American scene painting gains its name in that the artist intended to illustrate American subjects in their work. It can be use to categorize two art movements in the 1930’s. The first one was the Midwestern Regionalist, who made murals relating to the culture and its historical position. Often providing a visual narrative to associate its meaning and subjects. Artist in this group include but not limited to, Thomas Hart Benton, Grant Wood, and Horace Pippin. The second type was Urban Realism, mostly based form New York, the urban realist pull work form personal experiences and city environments <br />to provide their own commentary on social and cultural actions. Artist in this group <br />include but not limited to, were Edward Hopper, Romare Bearden, and Ben Shahn. Their work was oddly dreaming in that the compositions were abstracted to send the desire message of the peace.<br /><br />In regards to visual elements American scene painting flowing basic composition techniques, rich color pallets, and patterns in gestalt. The Artist were working separately and rarely collaborated on work, ensuring a unique style in the Americans. However I think it the style was less determine by style and more influence by the themes and subject being portrayed by the artist. This means that by the processes and principles found in the arts, the American painters produced similar results. They work a lot with realist concepts and nationalism ideas. I think these artists where aware and educated about traditional techniques in media. This may have influence the subconscious whether or not it was intended. By rejecting European modernism to further individual creativity, and style was untied. In a way it was kind of like the United States it self. <br /><br />Part TWO: visual analysis<br />Title: Early Sunday Morning 1930 <br />Artist: Edward Hopper<br /><br />Edward Hopper painted Early Sunday Morning in 1930. It is accepted as part of the urban realism group in American scene painting. The peace has this stillness that is void of people, as it represent a street before morning activity affects the scene. Hopper works focus on genre scenes in urban setting. His style of his work becomes somber and eeriness due to his application of light implying a dream like environment. The subject of street takes on a religious quality when paired with the title in show that the businesses are inactive and closed on Sunday because of church holding services.<br /> <br />The composition of Hopper’s Early Sunday Morning is from a direct view on the row of buildings. The scene only shows depth by deep shadows and overlapping of objects. The row of building has two levels. On the street level glass windows with signage and shop entrances suggest a small community and commerce has a presents here. Also this would means of providing for their livelihood. On the second level a red front extends across the plain, with unique individual sets of windows. This part of the building could have a range of purposes from privet office space to residence area for the business owner. This could represent the privet aspects of the individual’s life. In this simple composition Hopper has presented both the public function of citizen of this community, and acknowledges the personal relationship this includes. <br /> <br />Visual elements that are present in Hopper’s work include strong horizontal lines, dividing the peace into thirds. He also incorporated the black, red yellow and blue color scheme that American scene painting is know for. He addressed realistic subject matter relating to American nationalism further supporting the intent to create a unique style to the United States. Hopper had advance understanding of theatrical design and sets, which is may have lead to the development of Early Sunday Mornings composition. <br /> <br />To summarize Edward Hopper illustrated a scene quiet urban street absent of people. However the evidence of a activate workweek suggest interactive and dynamic community. This peace also highlights the peace and rest that takes place on the weekend, a time set aside to reflect on personal belief and restoration. Effectively representing an aspect of American life. <br /><br /><a href=\"https://www.minds.com/search?f=top&t=all&q=art\" title=\"#art\" class=\"u-url hashtag\" target=\"_blank\">#art</a>",
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"content": "American Scene Painting\nPart ONE: movement and style\n\nAmerican scene painting was a rejection of European modernism. Artist in the United States were attempting to establish a style unique to the Americans. The painter viewed them self as economical guardians who were tasked with illustrating honest art with nationalism, symbolism of America life. This developed an identity for United States citizens viewed before World War II question the foundations of culture.\n\nPrior to World War II, American artist were attempting to generate at style, which was unique to American culture. However Europe’s influence on the arts proved to have dominances on the creative individual. The odds of developing an American style became even more scares after the collapse of Wall Street in 1929. If no one could buy art, American artist would have no money to make art. The movement may have never happen if it was not for the support and opportunities provided by the federal arts project with the Works Progress Administration. To combat this economic decline, art became socially conscious. Addressing issues of poverty, racial divides, religious influences and legal system. American scene painting was less of a style and more of a movement that artist applied their craft to interact with the culture.\n\nAmerican scene painting gains its name in that the artist intended to illustrate American subjects in their work. It can be use to categorize two art movements in the 1930’s. The first one was the Midwestern Regionalist, who made murals relating to the culture and its historical position. Often providing a visual narrative to associate its meaning and subjects. Artist in this group include but not limited to, Thomas Hart Benton, Grant Wood, and Horace Pippin. The second type was Urban Realism, mostly based form New York, the urban realist pull work form personal experiences and city environments \nto provide their own commentary on social and cultural actions. Artist in this group \ninclude but not limited to, were Edward Hopper, Romare Bearden, and Ben Shahn. Their work was oddly dreaming in that the compositions were abstracted to send the desire message of the peace.\n\nIn regards to visual elements American scene painting flowing basic composition techniques, rich color pallets, and patterns in gestalt. The Artist were working separately and rarely collaborated on work, ensuring a unique style in the Americans. However I think it the style was less determine by style and more influence by the themes and subject being portrayed by the artist. This means that by the processes and principles found in the arts, the American painters produced similar results. They work a lot with realist concepts and nationalism ideas. I think these artists where aware and educated about traditional techniques in media. This may have influence the subconscious whether or not it was intended. By rejecting European modernism to further individual creativity, and style was untied. In a way it was kind of like the United States it self. \n\nPart TWO: visual analysis\nTitle: Early Sunday Morning 1930 \nArtist: Edward Hopper\n\nEdward Hopper painted Early Sunday Morning in 1930. It is accepted as part of the urban realism group in American scene painting. The peace has this stillness that is void of people, as it represent a street before morning activity affects the scene. Hopper works focus on genre scenes in urban setting. His style of his work becomes somber and eeriness due to his application of light implying a dream like environment. The subject of street takes on a religious quality when paired with the title in show that the businesses are inactive and closed on Sunday because of church holding services.\n \nThe composition of Hopper’s Early Sunday Morning is from a direct view on the row of buildings. The scene only shows depth by deep shadows and overlapping of objects. The row of building has two levels. On the street level glass windows with signage and shop entrances suggest a small community and commerce has a presents here. Also this would means of providing for their livelihood. On the second level a red front extends across the plain, with unique individual sets of windows. This part of the building could have a range of purposes from privet office space to residence area for the business owner. This could represent the privet aspects of the individual’s life. In this simple composition Hopper has presented both the public function of citizen of this community, and acknowledges the personal relationship this includes. \n \nVisual elements that are present in Hopper’s work include strong horizontal lines, dividing the peace into thirds. He also incorporated the black, red yellow and blue color scheme that American scene painting is know for. He addressed realistic subject matter relating to American nationalism further supporting the intent to create a unique style to the United States. Hopper had advance understanding of theatrical design and sets, which is may have lead to the development of Early Sunday Mornings composition. \n \nTo summarize Edward Hopper illustrated a scene quiet urban street absent of people. However the evidence of a activate workweek suggest interactive and dynamic community. This peace also highlights the peace and rest that takes place on the weekend, a time set aside to reflect on personal belief and restoration. Effectively representing an aspect of American life. \n\n#art",
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"content": "Part 1: Pop Art<br /><br />In 1958, Lawrence Alloway describes a modernist abstraction style as being mass popular art. This phrase was shorten to describe the independent artist work in this style as Pop Artist, and their work became know as Pop Art. Richard Hamilton described three key features of pop art are that it was Popular by the masses, is was transient in that it was a temporary function, and it was expendable in that the impression the art had did not lass. Popular culture art could be recognized as art that takes iconic subjects and objects, which are prevalent in the world, with the artist presenting them in a new or unsuspecting fashion. The style is closely connected with commercial art from the 1950’s to the 1970’s. The style was a mixture of collage and naturalism. Using imagery from mass media, such as political subjects, comic strips, publications, and advertising. Pop artist would pull these images out of their original context and rearrange them into a new message or commentary on the subject. Similar to Dada, in the application of art, but Pop cultural art had more of intent to their audience.<br /><br />Pop Art is considered to be the opposite of Abstract Expressionistic, but it was not as if the pop artist where trying to reject the abstract expressionist work. It was more that the pop artist had their own technique of making art, instead of work be personal and vague expression, it was recognizable, and iconic symbolism. Often, the pop artist would include tributes to historic works of arts with in their own work. For Example in Roy Lichtenstein’s “Artist’s Studio; the Dance” made in 1974, he places Henri Matisse’s “Dance II” made in 1910. The work was create during the Fauvism movement, and here it is representing in Lichtenstein work as a peace that played a roll in the artist understanding of rhythm. It this self-awareness that gives pop art an ironic nature in it’s position history. In a way it makes the viewer ask the question is art made art because it is created with craftsmanship and aesthetically pleasing or art consider art because it is able to convey a concept in its meaning? Pop Art was unique in addressing this debate in that the movement was able to open this discussion to the mass population. Anyone have an opinion on weather a soup can was conceder art or a can of soup. That must have been a strange concept in the 1960’s.<br /><br />Most pop artist worked individually, but because of their method of their work, this artist can group into regions. Artist like Richard Hamilton, Peter Blake, and Eduardo Paolozzi address topic of western consumer culture and its role in society maybe also both work out of London and are considered British Pop Artist. Within New York, artist such as Robert Raushenberg, Jasper Johns, and Allan Kaprow made works industrialization, manifest destiny, and civil debates of equality, carrying over stylistic quality found in Dada. On the west cost of the united states Pop artist’s Roy Lichtenstein and Andy Warhol worked with topic about American’s consumer culture and mass production of goods, working closely with iconic Hollywood celebrities, exploring ideas about the power of the personal image and effects on art. Artist like this should be considered pioneers in Western culture and bore witness to dramatic shifts culture and society. <br /><br /><br />Part 2: Critical Analysis<br />Artist: Robert Rouschenberg<br />Title: Estate, 1963<br /><br />In the early 1960’s Robert Rouschenberg began to work with silkscreen, his first series was in black and white and then moved to color. Roushenberg would first collect photographs and then rearrange and transferred them into a composition. In his silkscreen title “Estate” he pulled imagery involving urban architecture and iconic landmark know to New York. In the upper left area of the work he include clear recognizable traffic signs, and bended the collage of photos with red, yellow and blue brushwork. The composition has a busy and crowed mood to the setting, and yet still has order as it follow the rules of a grid. Made in a vertical canvas, the composition is presented as tall or growing upward. Whether this is talking about New York or just city environments in general, Boushenberg seems to be discussing the strains and struggles found in urban life. <br /><br />Estate can be considered pop art in that the imagery he use could be recognized by the Majority of the culture, it was rearrange to convey a message, and it is subtle in its delivery of the message. In this context Boushenberg was addressing industrial effects and economic struggles that occur behind the glamorous façade of high end New York. Presenting the subject of the city in a new perspective that was not common in mass media. Compared other works made by Boushenberg at this time, this peace is extremely active and crowed with images. This may have been his way of making a statement on the city’s exhaustion of its resources.<br /><br />Robert Rouschenberg’s Estate brings his experience in photography, print clippings, and collage as he applies in the silkscreen media. This peace shows is skill as a pop artist in that the imagery chosen are made with intention in order to send a desire message to his audience. This allowed Rouschenberg to present a new understanding on urban life using well know imagery in a deliberate arrangement of the composition. <br /><br /> <a href=\"https://www.minds.com/search?f=top&t=all&q=art\" title=\"#art\" class=\"u-url hashtag\" target=\"_blank\">#art</a>",
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"content": "Part 1: Pop Art\n\nIn 1958, Lawrence Alloway describes a modernist abstraction style as being mass popular art. This phrase was shorten to describe the independent artist work in this style as Pop Artist, and their work became know as Pop Art. Richard Hamilton described three key features of pop art are that it was Popular by the masses, is was transient in that it was a temporary function, and it was expendable in that the impression the art had did not lass. Popular culture art could be recognized as art that takes iconic subjects and objects, which are prevalent in the world, with the artist presenting them in a new or unsuspecting fashion. The style is closely connected with commercial art from the 1950’s to the 1970’s. The style was a mixture of collage and naturalism. Using imagery from mass media, such as political subjects, comic strips, publications, and advertising. Pop artist would pull these images out of their original context and rearrange them into a new message or commentary on the subject. Similar to Dada, in the application of art, but Pop cultural art had more of intent to their audience.\n\nPop Art is considered to be the opposite of Abstract Expressionistic, but it was not as if the pop artist where trying to reject the abstract expressionist work. It was more that the pop artist had their own technique of making art, instead of work be personal and vague expression, it was recognizable, and iconic symbolism. Often, the pop artist would include tributes to historic works of arts with in their own work. For Example in Roy Lichtenstein’s “Artist’s Studio; the Dance” made in 1974, he places Henri Matisse’s “Dance II” made in 1910. The work was create during the Fauvism movement, and here it is representing in Lichtenstein work as a peace that played a roll in the artist understanding of rhythm. It this self-awareness that gives pop art an ironic nature in it’s position history. In a way it makes the viewer ask the question is art made art because it is created with craftsmanship and aesthetically pleasing or art consider art because it is able to convey a concept in its meaning? Pop Art was unique in addressing this debate in that the movement was able to open this discussion to the mass population. Anyone have an opinion on weather a soup can was conceder art or a can of soup. That must have been a strange concept in the 1960’s.\n\nMost pop artist worked individually, but because of their method of their work, this artist can group into regions. Artist like Richard Hamilton, Peter Blake, and Eduardo Paolozzi address topic of western consumer culture and its role in society maybe also both work out of London and are considered British Pop Artist. Within New York, artist such as Robert Raushenberg, Jasper Johns, and Allan Kaprow made works industrialization, manifest destiny, and civil debates of equality, carrying over stylistic quality found in Dada. On the west cost of the united states Pop artist’s Roy Lichtenstein and Andy Warhol worked with topic about American’s consumer culture and mass production of goods, working closely with iconic Hollywood celebrities, exploring ideas about the power of the personal image and effects on art. Artist like this should be considered pioneers in Western culture and bore witness to dramatic shifts culture and society. \n\n\nPart 2: Critical Analysis\nArtist: Robert Rouschenberg\nTitle: Estate, 1963\n\nIn the early 1960’s Robert Rouschenberg began to work with silkscreen, his first series was in black and white and then moved to color. Roushenberg would first collect photographs and then rearrange and transferred them into a composition. In his silkscreen title “Estate” he pulled imagery involving urban architecture and iconic landmark know to New York. In the upper left area of the work he include clear recognizable traffic signs, and bended the collage of photos with red, yellow and blue brushwork. The composition has a busy and crowed mood to the setting, and yet still has order as it follow the rules of a grid. Made in a vertical canvas, the composition is presented as tall or growing upward. Whether this is talking about New York or just city environments in general, Boushenberg seems to be discussing the strains and struggles found in urban life. \n\nEstate can be considered pop art in that the imagery he use could be recognized by the Majority of the culture, it was rearrange to convey a message, and it is subtle in its delivery of the message. In this context Boushenberg was addressing industrial effects and economic struggles that occur behind the glamorous façade of high end New York. Presenting the subject of the city in a new perspective that was not common in mass media. Compared other works made by Boushenberg at this time, this peace is extremely active and crowed with images. This may have been his way of making a statement on the city’s exhaustion of its resources.\n\nRobert Rouschenberg’s Estate brings his experience in photography, print clippings, and collage as he applies in the silkscreen media. This peace shows is skill as a pop artist in that the imagery chosen are made with intention in order to send a desire message to his audience. This allowed Rouschenberg to present a new understanding on urban life using well know imagery in a deliberate arrangement of the composition. \n\n #art",
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"content": "Art is a statement. Artists strive to apply the knowledge of a craft to communicate an idea to those who observe the artwork. Sequential art has been a branch of the fine art that for a long time was seen as lesser art forms. However, when push to the fullest can transcend into a recognized art form. For comic writers and artist, like Neil Gaiman and J. H. Williams, have the work be considered art is the highest comment. Their work on “The Sandman” series demonstrates their mastery of this craft.<br /> <br />Comics are a form of Sequential Art. Sequential Art can be described as a series of juxtaposed pictorial and images. Comics are often made with the story in mind. The art form is also considered to be an industry unto itself. Rights to intellectual property are highly debated among the supporters. Legacy characters are iconic character whose publisher has held the rights to sense they were conceived. Some of them recognizable to many like Bat-man and Captain America. Others are not as focused on, like The Green Hornet and The Sandman. For comic writers transforming an obscure character into a desired product is a worth endeavor.<br /> <br />The Sandman is one of the characters that were in need of a refurbishment. The rights to this character are held by Detective Comics. He was first featured in the golden age of comic. First drawn by Jack Kirby in 1939 with Adventure Comics (DC Database), the Sandman was a prominent figure in the early DC universe. The Sandman wore a gas mask, and had powder that would put people to sleep. Latter on He would possess the ability to enter into others dreams. Yet as the years past the character was less and less in demand. That was until Neil Gaiman and other comic artist revived the character in the “master of dream” series spanning from 1989 to 2015. It was featured in the main brand under DC comics and was switched in 1993 under the Vertigo brand; witch was more focused on experiential and independent projects.<br /> <br />Neil Gaiman primary focuses on writing comics, with a style likened to Allen Moor’s “Watchmen” and “V for Vendetta.” It can be consider dark in tone, but not morbid. If anything his writing is dark whimsical in the way he sets up his Story arcs. J. H. Williams is one of many comic artists who help Neil in creating “the Sandman” series. He has mastery in perspective and expressive art styles. “The Sandman” also know as ‘Dream’ under their run of the book, is drawn as a lengthy figure dressed in black and can be see in these colorful and fanatical environments. The story takes place on a cosmological level, and practices personification of abstract ideas; see with the character of Destiny (Gaiman).<br /> <br />This was a major departure from the original Sandman of the 1940’s and 1970’s. There are a few similarities, such as the sleep gas, the ability to enter into dreams, and his traditional gas mask. Unlike Dream’s earth bound counterparts; his position is more vital to the order of the Universe. Formally known as Dream of the Endless, this version of the Sandman must face abstracted ideas of the universe that are personified in a character of the story (Gaiman). Due to this change in the story J. H. Williams can draw Dream in surrealist environments and encode symbolic meaning into the people and worlds Dream visits.<br /> <br />In 1989 Neil Gaiman help change the face of comics in “The Sandman: Sleep of the Just.” With the end of his run being “the Sandman: overturn.” The way the story is depicted one might call psychedelic-surrealism. This in turn saturates the art with vibrant insanity. The book is layout in a way that the reader must decode the message with in a visual complex maze. Panels are made that complement the story, and the pages are draw with the intent to guide the reader in to intended narrative. Figures can often merge into objects and environments creating an overall unity (Gaiman).<br /> <br />According to Susan Sontag, when analysis art work, viewers need to be carful to not make outlandish interpretation. Yet “the Sandman: master of dream” has to many recognizable symbols that ask the reader to interpret why it was include. When Dream addresses his father named Time, his is drawn in a higher position then dream. This suggested that Dream is under his father’s authority. The inclusion of geometric shapes, like triangles and pentagons can create encoded meaning as well. “The Sandman: master of dreams” is made in such a way that it possess many levels of meaning.<br /> <br />The story of Sandman is focused on how symbols can drive are character through the story. The inclusion of a bridge during the peek of the story arch can be linked to a road of trial from the ‘hero’s journey’. Other common storytelling motifs like the three Oracals are present as well. As these Oracals foreshadow the journey Dream is undertaking, the panels are placed into a hand-shape (Gaiman). This resembles the idea of palm reading. Neil was fully aware of these symbolic associations and used them to his advantage in creating this book.<br /> <br />Beyond the necessary storytelling, the Sandman itself is surround by contextual meaning. During the time in witch the book was made, there was a push to challenge the From of Sequential Art. In the 1980’s into 1990’s Artist and Writers were radically redefining the idea of commercial artist. There was a clear shift away from the Silver Age storytelling into this Post-modern gunge approach the craft. The subject matter itself was of an unpopular DC character being reworked like a perceptual shift into a defining hallmark of Gaiman’s career. Imbedded into Gaiman’s the Sandman is an introspective critique on the importance that comics have on our culture and the deep effects it can have on the readers.<br /> <br />A notable example of how this period of expression upset the views of the art world relates to an award “the Sandman” book has become famous for. In 1991 “Sandman: dream country” where Dream reconnects with his mother named Death (Speer). The story is remonstrance to a Shakespearean play. To this day this remains the only comics that has won the World Fantasy Award. An Award design to recognized literary author of fancily works. The literary community was so stun by this that new policies and rule were create to preventing other comic books and sequential art in qualifying for this World Fantasy Award. Regardless on how one looks at this, it cannot be denied that “the Sandman” changed they way we looked at art.<br /> <br />Although Neil Gaiman wrote the book he relayed on comic artist to bring his story into visual art. The exacted artist is different depending on the book. In reviewing “the Sandman: overturn, one could see art work from J. H. Williams. The quality of a book can be identified by the readability of the pages; the way figures are represented in their world, and the level of abstraction. The way Williams draws a page is based on the intentions of Neil’s story. Williams applied trade techniques, like transitions shots, visual hierarchy, page layouts and character design just to name a few. The result is a series of renderings that can be connected as part of a whole. The visual representation needed in sequential art reviles the importance that Monroe Beardsley formalist theory has in creative expression and communication (Beardsley).<br /> <br />In summery, “the Sandman: master of dream” is an example of how a commercial media like sequential art can display the contextual connections surrounding the work. As well as doing justice to the intrinsic representation of the work and embed deep symbolism that can connect to the reader as they experience the book. It is my personal impression that Neil Gaiman’s and J. H. Williams work on “the Sandman” qualifies as exceptionally good in its’ aesthetic appeal. <br /><br />Resources:<br />Gaiman, Neil, et al. The Sandman. DC Comics, 2015.<br /><br />“Sandman.” DC Database, dc.wikia.com/wiki/Sandman.<br /><br />Beardsley, Monroe C. Aesthetics: Problems in the Philosophy of Criticism. Hackett, 1998.<br /><br />Valentine, John M. Beginning Aesthetics: an Introduction to the Philosophy of Art. McGraw-Hill Custom Pub., 2006.<br /><br />Speer, Cindy. “The Sandman Summary.” Neil Gaiman | About Neil | Biography, www.neilgaiman.com/Cool_Stuff/Essays/Essays_About_Neil/The_Sandman_Summary.<br /><br /><a href=\"https://www.minds.com/search?f=top&t=all&q=art\" title=\"#art\" class=\"u-url hashtag\" target=\"_blank\">#art</a><br />",
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"content": "Art is a statement. Artists strive to apply the knowledge of a craft to communicate an idea to those who observe the artwork. Sequential art has been a branch of the fine art that for a long time was seen as lesser art forms. However, when push to the fullest can transcend into a recognized art form. For comic writers and artist, like Neil Gaiman and J. H. Williams, have the work be considered art is the highest comment. Their work on “The Sandman” series demonstrates their mastery of this craft.\n \nComics are a form of Sequential Art. Sequential Art can be described as a series of juxtaposed pictorial and images. Comics are often made with the story in mind. The art form is also considered to be an industry unto itself. Rights to intellectual property are highly debated among the supporters. Legacy characters are iconic character whose publisher has held the rights to sense they were conceived. Some of them recognizable to many like Bat-man and Captain America. Others are not as focused on, like The Green Hornet and The Sandman. For comic writers transforming an obscure character into a desired product is a worth endeavor.\n \nThe Sandman is one of the characters that were in need of a refurbishment. The rights to this character are held by Detective Comics. He was first featured in the golden age of comic. First drawn by Jack Kirby in 1939 with Adventure Comics (DC Database), the Sandman was a prominent figure in the early DC universe. The Sandman wore a gas mask, and had powder that would put people to sleep. Latter on He would possess the ability to enter into others dreams. Yet as the years past the character was less and less in demand. That was until Neil Gaiman and other comic artist revived the character in the “master of dream” series spanning from 1989 to 2015. It was featured in the main brand under DC comics and was switched in 1993 under the Vertigo brand; witch was more focused on experiential and independent projects.\n \nNeil Gaiman primary focuses on writing comics, with a style likened to Allen Moor’s “Watchmen” and “V for Vendetta.” It can be consider dark in tone, but not morbid. If anything his writing is dark whimsical in the way he sets up his Story arcs. J. H. Williams is one of many comic artists who help Neil in creating “the Sandman” series. He has mastery in perspective and expressive art styles. “The Sandman” also know as ‘Dream’ under their run of the book, is drawn as a lengthy figure dressed in black and can be see in these colorful and fanatical environments. The story takes place on a cosmological level, and practices personification of abstract ideas; see with the character of Destiny (Gaiman).\n \nThis was a major departure from the original Sandman of the 1940’s and 1970’s. There are a few similarities, such as the sleep gas, the ability to enter into dreams, and his traditional gas mask. Unlike Dream’s earth bound counterparts; his position is more vital to the order of the Universe. Formally known as Dream of the Endless, this version of the Sandman must face abstracted ideas of the universe that are personified in a character of the story (Gaiman). Due to this change in the story J. H. Williams can draw Dream in surrealist environments and encode symbolic meaning into the people and worlds Dream visits.\n \nIn 1989 Neil Gaiman help change the face of comics in “The Sandman: Sleep of the Just.” With the end of his run being “the Sandman: overturn.” The way the story is depicted one might call psychedelic-surrealism. This in turn saturates the art with vibrant insanity. The book is layout in a way that the reader must decode the message with in a visual complex maze. Panels are made that complement the story, and the pages are draw with the intent to guide the reader in to intended narrative. Figures can often merge into objects and environments creating an overall unity (Gaiman).\n \nAccording to Susan Sontag, when analysis art work, viewers need to be carful to not make outlandish interpretation. Yet “the Sandman: master of dream” has to many recognizable symbols that ask the reader to interpret why it was include. When Dream addresses his father named Time, his is drawn in a higher position then dream. This suggested that Dream is under his father’s authority. The inclusion of geometric shapes, like triangles and pentagons can create encoded meaning as well. “The Sandman: master of dreams” is made in such a way that it possess many levels of meaning.\n \nThe story of Sandman is focused on how symbols can drive are character through the story. The inclusion of a bridge during the peek of the story arch can be linked to a road of trial from the ‘hero’s journey’. Other common storytelling motifs like the three Oracals are present as well. As these Oracals foreshadow the journey Dream is undertaking, the panels are placed into a hand-shape (Gaiman). This resembles the idea of palm reading. Neil was fully aware of these symbolic associations and used them to his advantage in creating this book.\n \nBeyond the necessary storytelling, the Sandman itself is surround by contextual meaning. During the time in witch the book was made, there was a push to challenge the From of Sequential Art. In the 1980’s into 1990’s Artist and Writers were radically redefining the idea of commercial artist. There was a clear shift away from the Silver Age storytelling into this Post-modern gunge approach the craft. The subject matter itself was of an unpopular DC character being reworked like a perceptual shift into a defining hallmark of Gaiman’s career. Imbedded into Gaiman’s the Sandman is an introspective critique on the importance that comics have on our culture and the deep effects it can have on the readers.\n \nA notable example of how this period of expression upset the views of the art world relates to an award “the Sandman” book has become famous for. In 1991 “Sandman: dream country” where Dream reconnects with his mother named Death (Speer). The story is remonstrance to a Shakespearean play. To this day this remains the only comics that has won the World Fantasy Award. An Award design to recognized literary author of fancily works. The literary community was so stun by this that new policies and rule were create to preventing other comic books and sequential art in qualifying for this World Fantasy Award. Regardless on how one looks at this, it cannot be denied that “the Sandman” changed they way we looked at art.\n \nAlthough Neil Gaiman wrote the book he relayed on comic artist to bring his story into visual art. The exacted artist is different depending on the book. In reviewing “the Sandman: overturn, one could see art work from J. H. Williams. The quality of a book can be identified by the readability of the pages; the way figures are represented in their world, and the level of abstraction. The way Williams draws a page is based on the intentions of Neil’s story. Williams applied trade techniques, like transitions shots, visual hierarchy, page layouts and character design just to name a few. The result is a series of renderings that can be connected as part of a whole. The visual representation needed in sequential art reviles the importance that Monroe Beardsley formalist theory has in creative expression and communication (Beardsley).\n \nIn summery, “the Sandman: master of dream” is an example of how a commercial media like sequential art can display the contextual connections surrounding the work. As well as doing justice to the intrinsic representation of the work and embed deep symbolism that can connect to the reader as they experience the book. It is my personal impression that Neil Gaiman’s and J. H. Williams work on “the Sandman” qualifies as exceptionally good in its’ aesthetic appeal. \n\nResources:\nGaiman, Neil, et al. The Sandman. DC Comics, 2015.\n\n“Sandman.” DC Database, dc.wikia.com/wiki/Sandman.\n\nBeardsley, Monroe C. Aesthetics: Problems in the Philosophy of Criticism. Hackett, 1998.\n\nValentine, John M. Beginning Aesthetics: an Introduction to the Philosophy of Art. McGraw-Hill Custom Pub., 2006.\n\nSpeer, Cindy. “The Sandman Summary.” Neil Gaiman | About Neil | Biography, www.neilgaiman.com/Cool_Stuff/Essays/Essays_About_Neil/The_Sandman_Summary.\n\n#art\n",
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