Kenmore Essay

Kenmore Essay
While the bright, gargantuan CITGO sign, which earned its iconic insignia in 1965, stands out in the Boston skyline from miles away, it finds its home
in Kenmore Square, one of the hearts of the city's Fenway–Kenmore area. Fenway–Kenmore is a cultural, commercial and academic hub that is best
known for its Fenway Park, the Red Sox stadium, that was built in 1912 and is the oldest ballpark in Major League Baseball. This neighborhood that
Bostonians know and love today, however, would be hardly recognizable it from its original swamp–like state. When Fenway–Kenmore was annexed
from Brookline to Boston in the late 1800s, it was already infested with flooding and pollution due to the Muddy River. Landscape architect Frederick
Law Olmstead concocted a solution, and in the late 1870s, began designing Fenway–Kenmore's Back Bay Fens. Commonly known as "The Fens," it is
one in his series of Boston parks, the Emerald Necklace. Although the Muddy River had two major floods in 1996 and 1998, a massive renovation on
the Emerald Necklace was done in 1999 that has allowed the park to mark Fenway–Kenmore to this day. Within two decades of the Emerald
Necklace's creation, prestigious institutions began making their way to Fenway–Kenmore. The Museum of Fine... Show more content on
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Over the years, however, Boston has taken measures in attempt to put these problems to rest. In 1961, locals who were worried about the conditions of
Fenway–Kenmore founded the Fenway Civic Association to improve their neighborhood's appearance and safety. In the mid–1990s, ISTEA project
"Connecting the Corridors" worked to provide more access for bikes and pedestrians around The Fens. Moreover, from the mid–1990s to early 2000s,
Boston's Capital Improvement Program "Getting the Job Done" invested millions of dollars into Fenway–Kenmore's parks to provide for a greener
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The Storm Of Gaile: Theft In The Modern World
Today in the Modern World there are many art thieves that exist in our world. We are trying to find a way to prevent them from doing so anymore.
As of March 1990 a pair of two thieves disguised as Boston Police officers stole a painting known as "The Storm of Gailee" has been stolen by these
thieves in Brooklyn, New York's museum "Isabella Stewart Gardner Museum". The local FBI authorities are on the case currently trying to figure out
who stole the painting. As the FBI have been searching for who stole the paintings and reporters looking deeper into this investigation a statement;
believing that there is no trace to where the paintings have gone has been confirmed. The main struggle of this situation is that the FBI and the Police,
along

Macnider Art Museum Case Study
The Charles H. MacNider Art Museum has grown substantially in size, but still retains the original feel of the Keeler home. There have been four
major renovations to the MacNider Art Museum. The first renovation took place in 1964 before the museum opened to the public. The 1964
renovation focused on changing the Keeler home into a fully functioning art museum. The renovations made possible by trustee and staff members
who raised $40,000. This money went to creating exhibit and program space, along with a ceramics studio that included a kiln and potter wheels.
Renovations were completed in 1965 for the grand opening of the museum. Four years later the MacNider expanded with the addition of the General
Hanford MacNider Gallery on the east side

Storm On Galilee
The Storm on the Sea of Galilee was painted in 1633 by Rembrandt Harmenszoon van Rijn, a Dutch artist who is claimed to be the best throughout
time. The painting was stolen in 1990 from the Isabella Stewart Gardner Museum in Boston and has never been seen since. It is depicted from Jesus
Calms the Storm which appears in Mathew 8:23, Mark 4:35, and Luke 8:22. Rembrandt did a good job representing the story while keeping a strong
artistic value and quality in the painting. The Biblical story of Jesus Calms the Storm appears in the three synoptic gospels of Mathew, Mark, and
Luke. The story starts out with Jesus asking his disciples to cross the Sea of Galilee with him. After Jesus had fallen asleep, a great storm had blown
in and the disciples ... Show more content on Helpwriting.net ...
Rembrandt used a triadic color scheme, meaning he used one color with two other colors that are on the opposite side of the color wheel. For
example, a majority of the painting is blue while in some parts are yellow and orange/brown. This color scheme also goes into the majority and
minority aspect of the painting. A majority of the painting is dark and blue, while the minority of the painting bright and yellow. The majority and
minority helps make the painting more interesting and it creates strong contrast with the dark sky and sea. With the front of the boat being the
minority and the highest level of contrast, it becomes the main focal point. Light and shadows are another thing Rembrandt did well with. It adds a
level of detail that makes the painting more realistic and understandable. There is also a use of psychic lines in the painting, all of the men surrounding
Jesus are looking at when which creates another focal point and allows the audience to understand who Jesus

Christ In The Storm On The Sea Of Galilee
Christ in the Storm on the Sea of Galilee, a seascape with Jesus and the Apostles, and 12 other works, including a Vermeer and a Manet, all
paintings stolen from the Isabella Stewart Gardner museum, valued at $500 million as the largest art theft in American history. Stolen art is a serious
issue, as they are not only beautiful, but hold special meanings behind each and every one. To have a painting be stolen is like having your child be
kidnapped, and you can never make another painting exactly like the original. Struggles with retrieving stolen art are at a high, especially if said art
has been missing for decades, according to Bonnie Magness–Gardiner, head of the FBI's crime team. But with the NSAF (National Stolen Art File), an
online

Museum Of Fine Are: Chapter Analysis
Before I read this chapter, my understanding of garden is a resting place with flowers and bushes that surrounding by fence. Instead of flowers and
bushes, homeless garden is build by largely random materials, such as toys and milk carton. It is not a traditional garden. In additional, it is a place
of repose for homeless people or we can say it is temporary home for homeless people. Their home is deliberately constructed because homeless
people want to live comfortably. That is why we called it garden. Tenshin–en in Museum of Fine Are is a Japanese garden is designed by Kinsaku
Nakane, a garden designer from Kyoto, Japan. This garden is surrounding by the walls, which are made by bricks. From busy street to a little get away
place,

Analysis Of 'The Rape Of Europa'
"The Rape of Europa" is a painting by the Italian artist Titian (Tiziano Vecelli), painted between 1560
–62 in Venice. The work is inspired by a story
from Ovid's Metamorphoses about one of Zeus' abduction of Europa. Zeus, also known as Jupiter, transforms himself into a beautiful white bull and
joins a herd grazing near the seashore. When Europa came over to him, Zeus enticed her to climb onto his back. He then seized the opportunity and
rode into the sea towards Crete while Europa clung to him in terror. In Titian's painting, Europa holds on to one horn while gazing back over her
shoulder toward the shoreline, waving a red silk veil to attract the attention of her companions. Nearby, cupid chases after them on a dolphin, adding ...
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in June of 1896. It currently hangs in the Isabella Stewart Gardner Museum in Boston, Massachusetts. Titian's piece became the crown jewel of
Gardner's growing museum collection, where today, it sits in the "Titian Room": a whole room with the main focus on "The Rape of Europa". The
two giants of High Renaissance painting in Venice were Giorgione and Titian. Both men studied with Giovanni Bellini and developed his style of
exploring new forms of figural composition, increased the subtleties of texture and lighting, and produced a new language of landscape paintings.
Compared to painting in Florence and Rome, Venetian artists preferred fuller, fleshier figures and softer, more atmospheric lighting. Titian's subject
matter covered a wide range of iconography, including altarpieces, individual Christian works, mythological scenes, allegories, and portraits. His
pictures are also characterized by a richness in color, with many varieties of warm reds, and his use of glazes. Titian traveled around Italy a lot and
had many friends in high places that introduced him to court. His patrons were among the most influential of the time, including members of nobility
like Philip II of Spain as well as Charles V, who knighted Titian in 1533.
King Philip II of Spain commissioned Titian to make all seven of these painting based on the Roman poet Ovid's Metamorphoses poems about

Rape Of Europa Essay
. I will provide examples and analyses of those who judge this composition on an aesthetic basis and those that judge it on its moral tones and their
purpose behind these choices. Depending on what side an academic falls, there is also controversy for what this means for the physical painting; is it
then historically important but aesthetically immoral in modern society? Is the narrative so complex that it needs further research and appreciation? I
will attempt to answer, or provide options, for not only what the potential moral tone of the painting is, but also what the composition means for future
viewings. The Rape of Europa can be analyzed and enjoyed from a purely aesthetic standpoint. Arthur Pope, who was a prominent professor of Fine ...
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Many focus on the issue of Europa as simultaneously a sensual theme, but also the story of a rape. Salomon describes the scene as if the "...erotic
depiction of Europa as a sensuous, semi–naked beauty almost encourage the viewer to empathize with Jupiter... yet this is also a scene of danger:
Europa's contortions, her gesticulating companions...emphasis Jupiter's lust and Europa's anguish." In this analysis the problems of each side are
revealed; the composition is not so straight forward as to have an obvious answer. Instead, there are elements of both terror and seduction at play.
Some authors argue that The Rape of Europa actually is a critique of not only this story of rape, but also of the other non–consensual or violent
encounters already produced by Titian for King Philip II. This is why its place as the last of the series of Poesie is important according to Aneta
Georgievska–Shine. As previously mentioned, textual evidence for this is sited such as the retelling of Europa's story by Arachne, which had the
purpose of being a critique of the violent actions of Zeus. David Rosand, in "Titian's Light as Form and Symbol," also focuses on how some of the
color and pictorial motifs can provide a dramatic and critical atmosphere, such as how the shadow cast on Europa's face denotes fear and tragedy.
Richard Carpenter also focuses on Europa's body calling her

Rembrandt's Christ In The Storm On The Sea Of Galilee
A painting captures a single moment. Most of the time, the audience does not see what happens before and after the moment of the piece, but
Rembrandt's Christ in the Storm on the Sea of Galilee is his depiction of Mark 4:35:39, a story that most children learn in Sunday School. Mark
4:35–36 tells the moments before the storm: "On that day, when evening had come, He told them, 'Let's cross over to the other side of the sea.' So
they left the crowd and took Him along since He was already in the boat. And other boats were with Him" (The Bible). Rembrandt fabricates the
scene of verse 37 and 38: "A fierce windstorm arose, and the waves were breaking over the boat, so that the boat was already being swamped. But He
was in the stern, sleeping ... Show more content on Helpwriting.net ...
For instance, he works with a variety of shades of black within the murky storm clouds. Raetta Parker notes, "Black is a mysterious color associated
with fear and the unknown" and "denotes strength" (Parker). For this purpose, Rembrandt uses the storm to symbolize the hard times, or
"storms", in a person's life. In this case, the strength of the storm is overpowering the boat, making it hard for the disciples to keep the boat from
being destroyed and overtaken. By looking at the picture, the storm has cause one of the riggings to break free from the boat and tore the sail, not
standing a chance against the strong winds the storm is throwing at them. Also, the dark colors of the overcast prevent the disciples from being
able to see the shores. There is no place for the disciples to dock the boat until the storm passes by, stuck in the middle of the storm Comparing the
painting to life's challenges, people can often be broken emotionally or physically, whether it may be a death of a loved one or having to face a
terminal illness. They can feel as if, like the disciples, all alone with nowhere to escape to safety. Whatever situation one may face, it can be
overpowering and seems as if there is no hope in

Mozart's Borromeo String Quartets Concert
Mozart's Haydn Quartets concert is a collection of string quartets that were made by Mozart. Two of the six of them were performed on January 26,
2009 in the tapestry room of the Isabella Stewart Gardner Museum in Boston, Massachusetts by the Borromeo String Quartet. Mozart made these
SONGS with Haydn's music as the inspiration. The first quartet performed was Mozart: String Quartet No. 16 in E flat Major K. 428. The second
quartet performed was Mozart: String Quartet No. 19 in C Major, K. 465. The first quartet performed was Mozart: String Quartet No. 16 in E flat
Major K. 428. It is composed by Mozart and the Borromeo String Quartet is performing it in this recording. This SONG has four movements. The
first movement is called Allegro non troppo. The second movement is called Andante con moto. The third movement is called Menuetto and Trio.
Allegro. The 4th and final movement is called the Allegro Vivace. The SONG is performed by two violins, a viola, and a cello. The harmony changes
a lot during the SONG. This is a lot like Haydn's style of music. The harmony changes ... Show more content on Helpwriting.net ...
19 in C Major, K. 465. It is composed by Mozart and the Borromeo String Quartet is performing it in this recording. It is one of Mozart's best known
SONGS. Unlike many Renaissance musicians, Mozart puts a dissonance in this SONG and in the very beginning of the SONG. This is where it got
its famous nickname: the Dissonance quartet. Just like Mozart: String Quartet No. 16 in E flat Major K. 428., this SONG also has four movements.
The first movement is called Adagio –– Allegro. The second movement is called Andante cantabile (F Major). The third movement is called
Menuetto and Trio. Allegro. The fourth movement is called Allegro. The SONG begins slowly but the tempo picks up as the PIECE is played. The
SONG is also performed by two violins, a viola, and a cello. Unlike most of the Renaissance music, Mozart adds dissonance into this

Isabella Stewart Gardner Museum 's Art Collection
The Isabella Stewart Gardner Museum's art collection blends history and culture to aesthetically define a single individual: Isabella Stewart Gardner.
From the "Mosaic Floor: Medusa" of the inner courtyard, to "The Coronation of Hebe" (Paolo Veronese) on the ceiling of the third–floor Veronese
Room, Gardner determined every inch of both the interior and exterior of the structure housing her personal collection of masterpieces. This museum
was specifically designed to resemble a 15th–century Venetian palazzo, inspired from the city that captured Gardner's heart and ultimate vision of her
legacy (Isabella Stewart Gardner Museum). Assisted by Renaissance–revival architect, Willard T. Sears, the palazzo–like structure was realized in its
full glory, albeit Renaissance ornamentation had no logical place in early 20th–century Boston, Massachusetts. However, Isabella Stewart Gardner's
fascination with the Renaissance was not solely because the works and buildings were visually pleasing. A palazzo, for a wealthy family, was a lasting
symbol of status. Gardner's choice to create a museum inspired by this Renaissance structure demonstrates how this Renaissance mindset can be
translated into her modern context when crafting her own legacy.
The exterior of the Isabella Stewart Gardner Museum is drastically more modest than the interior. In the same fashion as the traditional palazzos of the
Renaissance, the masonry is smooth and understated. The flat roof resembles that of the Palazzo

Rembrandt's Christ On The Sea Of Galilee
The challenges faced in the passages were more than a couple. Two different places and two different years, but same problem. Neither cases were
completed and became cold cases. Many challenges faced in the first passage "Isabella Stewart Gardner Heist: 25 Years of Theories" came to a dead
end. A stolen artifact, a painting, "Rembrandt's Christ in the Storm on the Sea of Galilee" was on of the most sought–after stolen masterpieces in the
world. Making the robbery the largest art theft in American history, mostly because 13 paintings were stolen. They were stolen in March 1990 from the
Isabella Stewart Gardner Museum, they haven't caught the thieves. It remains a cold case because the main detective that knew everything to the case
is dead.

Gardner Museum Report
No matter what floor of the museum I am on or what piece of artwork I am looking at, I always return to the center of the heart of the Isabella Stewart
Gardner Museum– the interior courtyard. The courtyard was opened in 1903. It contains artwork, is a piece of artwork itself, and is a sanctuary in
the bustling city. From the first time I visited the Gardner Museum when I was eight years old, I was captivated by the immense sense of peacefulness
and pure delight that overcame me when the courtyard first came into my view. Just as some plants in the courtyard are there year–round while others
are changed throughout the years, some things about me have stayed constant and others have changed since the first time I stepped inside the
courtyard. When I first walked into the courtyard this time, I found my eyes... Show more content on Helpwriting.net ...
Everyday I try to be as present as possible in everything that I do. As my eyes and mind finished taking in all the light touched, I began to notice what
lurked in the shadows– a headless statue, parts of pillars deteriorating, and small imperfections. I did not remember this from the first time I visited
the museum, which I feel shows the loss of innocence that comes with growing up. Even though when I first noticed them a sense of melancholy
threatened to take away from the original serenity that I felt, I then began to find the beauty in the shadows. I always try to find the positive points
in negative situations and find the beauty in what may not seem beautiful at first glance. As I looked closer at the headless statue and worn pillars I
found myself imagining the stories behind them. Thinking of the hands and eyes they have touched over hundreds of years made me once again
realize the beauty even in the darkest of the shadows. Even though we may lose some of our innocence as we age, we are also often less afraid of the
shadows, and we are willing to walk towards them and find that what

How Did Sargent Became An Artist
Following the tremendous fame that Sargent had achieved, he grew tired of the demands of his patrons and decided to close his portrait studio.
Portraiture involves a great deal of interaction between sitter and artist, and Sargent particularly disliked this aspect of portrait painting, stating that it
was a "nuisance" to have "to entertain the sitter and to look happy." By leaving portraits behind, Sargent was provided with the opportunity to
concentrate on different genres of art, as well as some new techniques, and the drastic change in his focus provided an entirely new range of
expression. The art that he produced later in his career is some of the most intriguing. Finally, Sargent could experiment more freely. Moreover, after
decades of attempting to please others, he was finally unrestrained in creating art for his own enjoyment. This did not mean that he entirely stopped
making portraits, but it did significantly reduce the number of portraits he produced in his later years. Among the most celebrated works of his later
career are his Biblical murals in The Boston... Show more content on Helpwriting.net ...
He was still in contact with Isabella Stewart Gardner, and helped to advise her as to which works of art to secure for her own collection, which has now
become a renowned gallery in Boston. Traditional to the end, Sargent persisted in his methods of representation, unabashedly receiving criticism for not
altering his art to match the changing times. His very last painted portrait of Grace Elvina, Marchioness Curzon of Kedleston displays the newest
fashions of the year it was painted, 1925, through the gown and hair of the subject (Fig. 19). Aside from the apparel of the sitter, there is nothing about
this portrait that indicates the time in which it was created. Instead, it exhibits the style of an artist whose work was only defined by the inclinations of
the

Henry Mercer
Neither Henry Ford nor Henry Mercer was trained or credentialed in the study of history, but each developed a vision both of what American
history ought to be and of how it ought to be studied. Their experiments stood as alternatives to the more narrowly focused academic history that
would ultimately triumph. Henry Ford built a history museum in two parts, the galleries displaying a variety of objects and the village itself,
however, can also be seen as collection of architectural objects on a grand scale. The museum and village pay homage to America's simple folk. The
museum and the village erected as a memorial to America's preindustrial past and its "village" life to rescue a disappearing past. Ford reached back to
retrieve his past. For... Show more content on Helpwriting.net ...
He hoped to find an ancient camping ground of the Lenni Lenape, which supposed to have been located near Mercer's house along the Delaware
River. And one day, he goes to fishing at a favorite spot after some high water on the river, Mercer spotted several arrowheads revealed by erosion.
He left the place and soon returned with a shovel; and, there, in that ground, he began to dig. Then broken arrowheads came to light, Fragments of
rude vessels, and savage implements of war, etc. when Mercer grew up, his pursuits were remarkably wide ranging. He became an important
archaeologist of the New World in the 1880s and l890s. Toward the end of that decade, he began to collect the tools and technology of colonial and
early Federal America. He eventually housed these artifacts in a museum of his own extraordinary design that he built for the Bucks County Historical
Society (BCHS) in 1916. At the turn of the century, Mercer began experimenting with pottery production by trying to resurrect an eighteenth–century
Pennsylvania–German technique for ceramic manufacture. As a result of his experiments, he established the Moravian Tile Works near his home in
Doylestown. The tiles he produced there have been installed in buildings as far–flung as the State Capitol in Harrisburg, PA, the Isabella Stewart
Gardner Museum in Boston, and the Casino in Monte

1990 Gardner Theft
Absence Makes the Heart Grow Fonder: The Effects of the 1990 Gardner Art Theft Upon entering the room, visitors' eyes dart to that mysteriously
empty frame centered on the opposite wall. In such a painstakingly designed museum, this frame looks out of place. On these walls hang the memoirs
of revered artists, but the empty frames scattered throughout remember something more tragic: the largest property theft in world history (Menconi,
2012). Head of security at the Gardner, Anthony Amore, refers to these empty frames as "placeholders, not memorials" and urges visitors to see them
as a "testament" to their belief that they will reacquire the stolen paintings someday (Menconi, 2012). Whether they do or not, the 1990 Gardner theft
greatly impacted... Show more content on Helpwriting.net ...
Rembrandt was highly prolific, but primarily a portraitist. Thus, he created just one seascape, which the Gardner burglars stole. Storm on the Sea of
Galilee is a masterpiece of religious importance and a beautiful example of the baroque genre. Rembrandt's influence is immense and his popularity
described as "cult–like." Furthermore, his art promotes a "concentrated interest" in which his name and the images he produced were "empowered and
endowed with meaning that encompassed anti–authoritarian conduct, personal and political liberalism, republicanism, originality, and innovative
creative powers" (McQueen, 2003). Therefore, Rembrandt's influence stretches beyond the realms of artistic history and style into the realms of
religion, politics, and psychology. With the loss of a one of a kind Rembrandt seascape, the world lost access to a piece that displays the profound
impact Rembrandt has on culture and

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