Gender and Art Female Role in Visual Art

The females have played an important role in the artistic field and yet for a long period this significant contribution has been assumed. Females have contributed equally to the males in the development and enrichment of the field of art. However, the poor position of the women in the society led to less recognition of these significant contributions of the females. There has been a long-held assumption that all the artistic works of the prehistoric period were developed by male artists (Shubitz, n.d).Advertising We will write a custom essay sample on Gender and Art: Female Role in Visual Art specifically for you for only $16.05 $11/page Learn More For a long time, it has been passed on to new generations that great arts were men’s products and females who managed to develop similar products were just replicating the artistic works that had been developed by the male artists before. In fact, several of good works by the female artists of this time were attributed to their male relatives or teachers as the females were considered incapable of developing the good works (Shubitz, n.d). The visibility of the females in the field of art was evident throughout the Middle Ages but declined in the succeeding period. In the beginning of the period of Renaissance (1450-1600 A.D) a lot of restrictions were placed on the women that saw the Western society witness a decline and invisibility of female artists (Palmer, 2011). However, despite these discouraging and blockading restrictions for female development in the field of art, a good proportion of the female artists managed to carve out professions in this male-dominated world. This increasing trend was observed throughout the second half of the 17th century up to the end of the 18th century. Therefore, the 18th century saw female artistic works became of great interest in the society. The female artists overcame the baseless restrictions to contribute significantly to the cultural pr oduction of the Western Society. The trend continued into the nineteenth and twentieth centuries with the increased fight for improved position of the women in the society. The feminist movements of the 1970s have contributed greatly to improving the position of the women in the society so that they could receive recognition of their artistic works (Shubitz, n.d). The women have yet another battle of improving their image and position as just artists to being considered as individuals of integrity and relative identities. Furthermore, several female artists emerged between the mid 18th century and the early 19th century. Some of the female artists of these period include Adà ©laà ¯de Labille-Guiard (1749-1803) Louise Élisabeth Vigà ©e Le Brun (1755- 1842) and Anne Vallayer-Coster (1744- 1818). Adà ©laà ¯de Labille-Guiard concentrated on the development of miniatures, pastels, and oil paintings whereas Le Brun was recognized for her Rococo and portrait paintings. Anne Vallay er-Coster on her part was a still life painter.Advertising Looking for essay on art and design? Let's see if we can help you! Get your first paper with 15% OFF Learn More This paper focuses on the contributions of these three artists to the history of art in the eighteenth and nineteenth centuries. The works of these artists, their accomplishments, and the political images portrayed by their artistic works are considered in the paper. There is a comparative analysis (citing the similarities and differences) of the works of these three significant artists in the history of art. Female Artists and Visual Art It has to be noted that the females have played a significant role in the history of art that has shaped the culture in the Western Society. It has been reiterated by Hyde and Milam (2003) that, â€Å"History of female does not stand outside or even on the periphery of the Western tradition, but is integral to it† (p.3). Such a statement considers the profound position of women in the society and the roles that they played in molding the culture in the Western Society over a long period. However, this reality had to be recognized much later after the beginning of female artists’ contribution to the field of art. In the earlier times, it was more likely that a piece of work would be reported with the artist being unknown than to disclose that the artist was a woman (Shubitz, n.d). This was particularly evident during the Renaissance period. During this period, the society had little recognition for the women artists who were considered to have less stature as artists than the men (Shubitz, n.d). It was already evident and known to the society that the females were capable of developing good works just as their male counterparts. Nonetheless, few or no women artists were noted at this time. Besides, even those that were noted were considered to have artistic works of lower quality and value than the products developed by men artists . The females’ contribution towards art was in particular visible in the development and the production of visual culture during the Enlightenment and Revolution periods. During this period (18th century), women are regarded to have played critical role in visual culture through representation, textual and pictorial, which became associated with women (Hyde and Milam, 2003). The females recognized the role that their artistic works could play in helping improve their position in the society. They could give a visual impression of their feelings and emotions through the art works like paintings. The females could also express their political views or ideas through these artistic works. The females’ participation in the society improved significantly courtesy of their increased involvement in art. Several individuals and activists supported women in this culture-developing initiative. Their contributions towards shaping the culture of the Western Society came from differ ent directions. As a result, in one way or the other female became shapers of culture through avenues such as sponsorship, taking part in literary and philosophical salons, writing, patronage, painting, or some other means, described to be multifold and paradoxical as the individual women themselves (Hyde and Milam, 2003).Advertising We will write a custom essay sample on Gender and Art: Female Role in Visual Art specifically for you for only $16.05 $11/page Learn More Unfortunately, the struggle to have a full recognition of women artists’ contribution to the field of art has been an ongoing issue that reemerges. This was evident in the beginning of the second half of the twentieth century when most men returned from the Second World War (Shubitz, n.d). Tired of being unappreciated by the male artists, women initiated movements to advocate for change. Such movements were witnessed in the 1970s. The women vowed that if the society, and in particu lar, the male artists, could not support their works then they would unite in order to support each other (Shubitz, n.d). Several associations were developed that could enable the works of female artists to be seen on the global scene. An example was the Women’s Caucus for Art, an association that would see female artworks feature in museums and various exhibitions (Shubitz, n.d). Three Women and Visual Artistic Culture It must be mentioned, that the 18th century is a period in which the position of the women in the society had significant developments. During the period, feminine beauty gained much power and the individuals who had the beauty or could develop it were greatly valued in the society (Shubitz, n.d). Some three female artists of this period developed what remain as some of the celebrated pieces of visual culture that for a long time has revolutionalized the aspect of gender and art (Tierney, 1999). The artistic works of Adà ©laà ¯de Labille-Guiard, Louise É lisabeth Vigà ©e Le Brun, and Anne Vallayer-Coster, had significant contribution to the 18th century art. Nonetheless, in spite of the significant contributions that the female artists made to the field of visual art, few records of the developments are provided. It is evident that this particular area of concern has not been explored to its fullest by the scholars in the history of arts and related disciplines. This part of the paper will compare and contrast the works of these three female artists. The works of these three historical painters Adà ©laà ¯de Labille-Guiard was born in 1749 in Paris, France, and was brought up here. Her participating in the field of art during this period was just as â€Å"abnormal† as was expected since the Paris of the late eighteenth century did not recognize women in the art world at that time (Auricchio and Museum, 2009, p.1). A lot of literature that focus on the artworks before the period of revolution have emphasized on the works of male artists like Jacques-Louis David (1748-1825). The artwork of this female was largely depicted through miniatures, pastels, and oil paints through which, Labille-Guiard was able to express and redefine the gender politics in art history (Auricchio and Museum, 2009; Greer, 2001). The artists of this period concentrated on the genres like portraiture, still life, landscapes, and scenes ordinary life (Auricchio and Museum, 2009,). Later on, after getting married, she was trained on different other areas by different instructors. She was instructed on the pastel techniques by Maurice Quentin de la Tour.Advertising Looking for essay on art and design? Let's see if we can help you! Get your first paper with 15% OFF Learn More She continued her perfection in the field and turned to the other professionals around her who could provide proper instructions and support for her work. She was later instructed (in 1977) on the art of oil painting by Francois Andre-Vincent, the son of her first teacher in miniature (Auricchio and Museum, 2009, p.11; Claudia, 2011). The early works of the artist were exhibited at the Academy of St Luke where she was admitted in 1969. She studied and practiced at the institution until it was dissolved in 1776. The artist showed much effort in portraits. Among the earlier works of this painter is Portrait of the Comte de Clermont-Tonnerre. This was her self-portrait that was dressed in a costume that had a mixture of textures. Louise Élisabeth Vigà ©e Le Brun was another famous French artist of the 18th century. On her part, Le Brun is regarded as one of the few female artists who influenced the visual culture through her artwork mainly reflected in Rococo and portrait paint ar t (Milam, 2011; Norman, 1978). Rococo art has its origin in the French art of the 18th century. The name was derived from the French term rocailles, which was used in the early 18th century by the artists to categorize the wide range of ornamentals that form the current Rococo art (Milam, 2011). Le Brun used the styles and coloring that was used by the French rococo artists in developing the portraits of women in a neoclassical dress. She had little focus on history paintings. Again, concentrating in these main forms of visual art, Le Brun was able to define and re-create new thinking and perception about female gender in art history. Le Brun started showing interest in art at an early age most likely because her father was an artist who instructed her at the early stages (Norman, 1978). She also learned by herself much about art (Rafter, 2005). Her artworks ranged from history paintings to landscapes even though most of her works were colored portraits of the renowned politicians i n a given country (Rafter, 2005). The artist was mainly successful in developing portraits for women and some of her historical portraits are Mlle Porparati 1792, Elizabeth Alexcyevna 1792, and Mme de Stael 1808)(Norman, 1978). She also developed her self-portrait on several occasions. Her use of the rococo style of the French art appealed so much to the women who were in turn attracted to her works. Other works included a portrait of Mrs. Charles de Gaulle and two pastels of Queen Louise of Prussia. She had an exceptional talent in art and pleased several people with her artwork. As a result, she was summoned to royal family to become the official portraitist of the queen in 1778. She painted several portraits of Queen Marie Antoinette (Norman, 1978; Rafter, 2005). Excelling in the field of art had several challenges for Le Brun. Just like the other female artists in the eighteenth century, Elisabeth had to deal with the difficulties of being a woman. The men and society in general had no support for their artistic efforts. Besides, the artist was a royalist and yet this period was characterized by a heightened French Revolution. While continuing with her work to support herself and the family, Le Brun also had to run off the dangers that followed the revolutionist movements (Rafter, 2005). The situation worsened when the royal family was finally arrested in the revolution. The artist who had had a close relationship with the court had to flee the country for her safety. She was enlisted as one of the individuals who stood on the way of reforms by supporting the leadership of the royal family (Rafter, 2005). Her loyalty to the royal family would be evident even several years later after her exile when she finally resettled in the country. She was still opposed to the rule of Napoleon. She fled to countries like Russia, Italy, and Austria. While in her exile in the European countries, Elisabeth had the opportunity to join different institutions, interact with different artists, and meet different aristocrats. She joined the Academies of Rome, Florence, Bologna, St Petersburg, and Berlin while traversing the European countries (Norman 1978; Rafter, 2005). In these institutions, she had the opportunity to paint renowned individuals like heads and queens of states in order to support herself and her family. She visited several other countries as well before later settling back in Paris, France until her death. Anne Vallayer-Coster is another female artist who overcame the masculine restrictions in art world to define the role of female in artwork through her famous still life painting. Just like the other female artists of the 18th century, Anne suffered the little attention given to them by the society. She also suffered the refutation of being close to the royal family (National Gallery of art, 2002). Still life painting is an art that excludes the human form and has no narrative nature like history painting Bryson, 2001, p.60). This was an area where Anne vividly defined the role of female in artwork. This earned her respect, and to great extent, she became an influential figure in visual art history (Bryson, 2001). Little literature is available about her early training in the field of art. It is thought that the role models who influenced her into the field of art was her mother who was a painter of miniatures and some great landscape painter, Claude-Joseph Vernet (National Gallery of Art, 2002). Just like the other two female artists, Anne also had the slim opportunity to be absorbed into the art academies of that time. The artist had well developed skills in depiction of flowers, an ability that drew the attention of several collectors and artists in the 18th century in France. She would receive enthusiastic reviews during various exhibitions. This drew the attention of the court and Queen Marie-Antoinette, who was attracted to her still life paintings, summoned her to be the court painter (National Gallery of Art, 2002). Vallayer-Coster stayed with the royal family as a court painter for several years. She later developed interest and was able to produce not only still life paintings but portraits as well. The artist left a legacy of over 120 still life paintings made with beautiful coloration. Some of her flower still life paintings were Bouquet of Flowers in a Blue Porcelain Vase (1776) and A Vase of Flowers and Two Plums on a Marble Tabletop (1781) (National Gallery of Art,2002). The latter would later be used as a model in the Gobelins tapestry. The other works by the artist include Still Life with Seashells and Coral (1769), and Still Life with Lobster (1817). To this end, it is evident that the three artists had varied interests in the field of art. A comparative cross-examination of the artworks shows that their works had certain similarities and differences. Labille-Guiard had special interest in portraiture. She had a vast mastery of the art of oil painting and yet she continued to produce artistic works in pastel and miniatures as well. One of her famous works was Self-portrait with two pupils, a painting that was first shown in the 1785 exhibition. The painting was 210.8cm by 151.1cm. In this work, the artist painted herself dressed in some fashionable attire with together with two other female pupils, Mlle Marie Capet and Mlle Carreaux de Rosemond, who were her students at the time. The material and technique used in developing this painting was oil on canvas. This technique was also used by Anne and Le Brun in developing some of their paintings as described here below. The painting has fine details and characterized by rich palette. Source: http://www.metmuseum.org/toah/works-of-art/53.225.5 Most of the works of this artist were characterized by masculine like crisp handling, muted tones, and truth to nature (Auricchio, 2011). However, this picture is dominated with the females and is filled with feminine pride and energy. The presence of these two pu pils showed her femininity. The only masculine appearance in the picture is the image of the artist’s father that she opted to include in the picture background. Due to this feminine dominance, the work was challenged by some of the reviews as propaganda to advocate for the position of women in the society (The Metropolitan Museum of Art, 2011). Nonetheless, this was seemingly one of her only few works that appeared to support revolution. Self-portrait in a straw hat is one of the outstanding artworks by Louise Élisabeth Vigà ©e Le Brun. This is self-portrait of the artist and measures about 97.8 by 70.5 cm. The portrait is colorfully designed with a blend of bright and dull coloration. Source: http://www.arthistoryarchive.com/arthistory/rococo/images/ElisabethVigeeLebrun-Self-Portrait-1782.jpg The portrait depicts Le Brun in a serious mood charging at the audience boldly and frankly. She is holding a painting palette loosely in her hands. It can be observed that she ha s not made her hair and yet she has put on seemingly expensive hearings. The medium used in the portrait is oil on canvas. Among the famous still life paintings by Anne is Bouquet of flowers in a Blue Porcelain vase. This is a relatively large painting of this type (approximately 122.6 by 113.03 cm). The painting has varied coloration in the forefront and a dull background. The medium and technique used for this painting were oil on canvas. Source: http://popartmachine.com/item/pop_art/2012-DMA_.1998.52.FA/ANNE-VALLAYER-COSTER-BOUQUET-OF-FLOWERS-IN-A-BLUE-PORCELAIN-VASE-1776 All these three works by the different artists have applied a similar technique of painting; oil on canvas. The three artworks also have beautiful colorations that are appealing to the women mostly. On the other hand, the works of Labille-Guiard and Le Brun are human portraits whereas this work by Anne is a still life composition. Similarly, Anne’s still life painting has no political impression as compa red to the works of the other two artists. In her work, Self-portrait with two pupils, Labille-Guiard portrays support for feminist movement by dominating the painting by females. In her painting, Self-portrait in a straw hat, Le Brun also expresses her hidden political feelings that women should be given be given better position in the society. The boldness in the face indicates the courage that the artist has in the power of women. However, this political view appears to be not outstanding and the artist remained faithful to the royal family throughout. The other works of the artists followed similar trends in the painting techniques and the field of art. The different works by the artists portrayed their divergent views and abilities. The works of Adà ©laà ¯de Labille-Guiard portray her as a woman with defined ambitions and strong determination. While at the Royal Academy of Painting and Sculpture, the works of this artist were often compared with that of Élisabeth Vigà ©e Le Brun, who was also at the Academy. Anne was also at the academy but her artistic works were mainly in a different genre; a direct comparison was often irrelevant. Thus, to this end, Labille-Guiard and Elisabeth Vigà ©e Le Brun had certain aspects in common in relation to art field. They had a common interest in portraiture as several of their products were of this type. Most of their works were portraiture with varied coloration. However, the two artists also had differences. They were mainly considered as rivals in this field of art by the academicians and their patrons at the court (Milam, 2011, p.157) even though the rivalry could also be attributed to the influence of the male artists. They also had different political views. The political position of the Labille-Guiard was contrary to most of her work. While most of her work concentrated on portraits of the conservative individuals in the royal family, the artist supported the French Revolution (Claudia, 2011). This contra sts the position of Elisabeth Vigà ©e Le Brun, another artist of this time who was loyal to the conservatives and did not push much for reforms. Labille-Guiard was a strong women activist struggling to defend the rights of women artists against the conservative institutions of the Royal Academy of Paris. As she worked on the large portraits of the members of the royal family at the academy, the artist pushed for various reforms in the academy (Claudia, 2011). The works of Anne remained a little different from the works of the other two artists. On her side, this work by Anne and the other works by the artist had no political depiction. Unlike, Labille-Guiard who supported feminist movements while serving at the Royal family, Anne did come out pronounced to support the movements. Her still life composition and even the subsequent portraits were not in any way in support of, or against, the feminist and reform movements that were rocking the nations. She remained a royalist just like Louise Élisabeth Vigà ©e Le Brun. There are not records indicating that Anne Vallayer-Coster participated in, or supported, the revolutionists during the French Revolution. Conclusion It has to be acknowledged that the female artists played an important role in defining and creating visual culture that in essence influenced Western society. The heights female artists reached were not easy as many obstacles presented in the way. The position of the women was low in the society and the female artists had limited access to opportunities that could help them develop the abilities. Nevertheless, despite the challenges encountered, a number of female artists of the 18th century exerted energy and power that made them to be visible in the artistic history. Three of the early female artists had immense influence in the artistic world of the 18th and 19th centuries. There were certain similarities as well as differences in the works of Louise Élisabeth Vigà ©e Le Brun, Anne Vallay er-Coster, and Adà ©laà ¯de Labille-Guiard. All of them suffered the harsh treatment of female artists. Some were accused of presenting, in the exhibitions, works that had been developed earlier by the males- e.g. their tutors. Similarly, even though they had interests in different genres of art, all produced, at least in some point in life, portraits. The three artists applied a common technique, oil on a canvas, in some of their artworks. Besides, all the three artists were admitted into the academy of art that was mainly set aside for male artists of that time. However, of the three female artists, only Labille-Guiard strongly supported the revolutionist movement that was prevailing in the country then. She used her artistic works to fight for the social recognition of women in the society. References Auricchio, L. (2011). Eighteenth-Century Women Painters in France. Retrieved from http://www.metmuseum.org/toah/hd/18wa/hd_18wa.htm Auricchio, L Museum, J. P. G. (2009). Adà ©la à ¯de Labille-Guiard: artist in the age of revolution. NY: Getty Publications. Bryson, N. (2001). Looking at the overlooked: four essays on still life painting. London: Reaktion Books. Claudia. (2011). Adà ©laà ¯de Labille-Guiard. Retrieved from http://www.ladyreading.net/labille-guiard/biography.html. Claudia. (2011b). The art of Adà ©laà ¯de Labille-Guiard. Retrieved from http://www.ladyreading.net/labille-guiard/details.html Greer, G. (2001). The obstacle race: the fortunes of women painters and their work. NY: Tauris Parke Paperbacks. Hyde, M. L., Milam, J. D. (2003). Women, art and the politics of identity in eighteenth-century Europe. VT: Ashgate Publishing. Milam, J. D. (2011). Historical Dictionary of Rococo Art. MA: Scarecrow Press. National Gallery of Art. (2002). Stunning Still Lifes by Anne Vallayer-Coster, Foremost 18th-Century Painter in Court of Marie-Antoinette, On View at the National Gallery of Art June 30 through September 22, 2002. Retrieved from http://www .nga.gov/press/exh/179/index.shtm. Norman, G. (1978). Nineteenth-century painters and painting: a dictionary. CA: University of California Press. Palmer, A. L. (2011). Historical dictionary of neoclassical art and architecture. MA: Scarecrow Press. Rafter, E. (2005). Marie-Louise Elisabeth Vigà ©e-Lebrun. Retrieved from http://departments.kings.edu/womens_history/mlevl.html Shubitz, J. (N.d). Women, Art and Gender: A History. Retrieved from http://www.ic.arizona.edu/ic/mcbride/ws200/womenandgender.html Tierney, H. (1999). Women’s studies encyclopedia. CT: Greenwood Publishing Group. The Metroploitan Museum of Art. (2011). Self-Portrait with Two Pupils, Mademoiselle Marie Gabrielle Capet (1761–1818) and Mademoiselle Carreaux de Rosemond. Retrieved from http://www.metmuseum.org/toah/works-of-art/53.225.5. This essay on Gender and Art: Female Role in Visual Art was written and submitted by user Layton Holder to help you with your own studies. You are free to use it for research and reference purposes in order to write your own paper; however, you must cite it accordingly. You can donate your paper here.

How to Use Est-ce Que to Ask Questions in French

How to Use Est-ce Que to Ask Questions in French Est-ce que  (pronounced  es keu) is a French expression that is useful for asking a question. Literally translated, this phrase means is it that..., although in conversation it rarely is interpreted that way. Instead, it is a convenience of everyday French, an interrogatory phrase that easily turns a statement into a question. It is a slightly informal construction; the more formal or polite way to ask questions is with inversion, which involves inverting the normal pronoun/noun verb order. But in everyday spoken French, est-ce que is far more common because it does the inverting for you: Est-ce que is the inversion of cest que. (Note that a hyphen is required between ce and est when they  are inverted to est-ce.) The word order of the original sentence stays exactly the same; you just add the already inverted phrase est-ce que to the front of the sentence. This simple structure works best for yes/no questions. For example:   Ã‚  Ã‚  Tu travailles. / Est-ce que tu travailles?   You work. / Do you work?  Ã‚  Ã‚  Paulette la trouvà ©. / Est-ce que Paulette la trouvà ©?   Paulette found it. / Did Paulette find it?  Ã‚  Ã‚  Vous navez pas faim. / Est-ce que vous navez pas faim?   You arent hungry. / Arent you hungry? OR Are you not hungry? Note that que must contract when it follows a word beginning with a vowel:   Ã‚  Ã‚  Elle est arrivà ©e. / Est-ce quelle est arrivà ©e?   She has arrived. / Has she arrived?  Ã‚  Ã‚  Il y a des problà ¨mes. / Est-ce quil y a des problà ¨mes?   There are problems. / Are there problems?  Ã‚  Ã‚  Anny vient avec nous. / Est-ce quAnny vient avec nous?   Anny is coming with us. Is Anny coming with us? To ask questions that ask for information like who, what, where, when, why and how, place an interrogative pronoun, adverb or adjective before est-ce que. For example: Qui est-ce que vous avez vu?   Whom did you see?​Quand est-ce que tu vas partir?   When are you going to leave?​Quel livre est-ce quil veut?   Which book does he want? Remember that est-ce que is the inversion of cest que, meaning literally, It is that. Thats why a hyphen is required between est and ce: cest ce est which are inverted to est-ce. Depending on their place in the sentence, the variations  quest-ce qui and qui est-ce qui  are also useful, but understanding them requires further discussion of  interrogative pronouns. For now, heres a summary. SUMMARY OF FRENCH INTERROGATIVE PRONOUNS Subject of question Object of question After preposition People quiqui est-ce qui quiqui est-ce que qui Things quest-ce qui quequest-ce que quoi Additional Resources Asking questions in FrenchFrench interrogativesExpressions with à ªtreMost common French phrases

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The Social Expression Industry In The Uk Marketing Essay

The Social Expression Industry In The Uk Marketing Essay Carte Blanche, a renowned player in the social expression industry in the UK and worldwide, is set to introduce a new product, e-greeting card, on January 1, 2011. This report therefore covers the new product and brand development strategy and their associated activities that may ensure the success of the brand from development up to the first 3 to 4 years of its life cycle. The strategy is broken down into 3 objectives, namely: to develop a new social expression product to the selected target market; to develop new area of brand strategy toward achieving set sales target; and to position Carte Blanche through the activities above to deliver excellent growth rate. The product shall serve young people and their families and shall be distributed intensively on the internet while employing competitive pricing to ensure market penetration. Table of Contents Introduction Carte Blanche Greetings Ltd is one of the key players in the social expression industry in the UK, and globally. The social expression industry is associated with greeting cards, notes and stationery, gift wrap, and other socially expressive products (Berkowitz and Hill, 1996, p. 41). The best seller of all the products produced from the social expression market is the greeting card. It accounts for a sizeable portion of the over $4 billion worth of the social expression market, globally (Berkowitz and Hill, 1996, p. 41). The global annual growth rate of the industry is estimated to be an impressive 7 percent (Berkowitz and Hill, 1996). The developed countries including the UK and other Western European countries, North America, New Zealand, Australia, and Japan account for a disproportionately high percent of the market demand (Berkowitz and Hill, 1996). Carte Blanche Greetings was founded by Stephen Haines over more than twenty years ago and he still serves as its Chairman (Carte Blanche, 2010). Carte Blanche is a global player in the social expression industry with a reputable brand and product portfolio which span the different available categories of the industry (Carte Blanche, 2010). Carte Blanche currently boasts of recognized brands and a reputable product portfolio. The products are currently published in 14 languages, and distributed in more than 60 countries employing multiple channels of distribution (Carte Blanche, 2010). The social expression industry is characterized by constant change (Berkowitz and Hill, 1996) and cultural sensitivity (Keegan, 1969). This report is necessary in defining a path for ensuring the growth of Carte Blanche in the highly competitive, constantly changing, and culturally sensitive social expression industry over the next three to five years. Audit SWOT and PEST analyses will be carried-out here as models are particularly valuable in ensuring logical consistency and exploring the subtle interactions involving a limited number of variables (Porter, 1991, p. 98). SWOT analysis SWOT framework that encompasses the strengths and weaknesses, opportunities and threats of a company in relation to its internal and external environment respectively, and it is a reliable process for strategy selection (Barney, 1996; Novicevic et al., 2004). The framework as applied to Carte Blanche is as below: Strength Carte Blanche boasts of recognized brands and a reputable product portfolio that the consumer is already familiar with and trust. The Carte Blanche products are currently published in 14 languages worldwide taking into cognizance the cultural sensitivity of the social expression industry. The company already has global presence as it is found in over 60 countries and ensures effective distribution through multiple distribution channels. Carte Blanche employs the use of local licensee to reap such benefits as minimal asset commitment in physical assets such as inventory and human resources (Berkowitz and Hill, 1996, p. 46). Weaknesses Limited global coverage. Lack of financial muscle. Opportunities Carte Blanche possesses good prospects for product transfer to other countries not presently covered. The prospect for product transfer is said to be greatest for nations with characteristics similar to that of the originating countries (Berkowitz and Hill, 1996, p. 42), whereas the UK, Carte Blanches home country, shares a lot with many of UKs former colonies such as India. There is great potential for further internalization of Carte Blanche products as only 60 of the many countries in the world are currently covered. Threats The industry is characterized by heavy weight competitors both in the UK and abroad with global outreach such as Hallmark, American Greetings, and Gibson Greetings (Berkowitz and Hill, 1996, p. 40). The industry is laced with cultural sensitivity and could lead to lost sales and considerable corporate embarrassment (Ricks, 1983 as cited by Berkowitz and Hill, 1996, p. 40) for an industry player who commits a cultural blunder. PEST analysis Political Legal regulations require different methods of packaging for the social expression products in different environments (Berkowitz and Hill, 1996). The government and its regulatory agencies often regulate the type of different materials that may be used in product manufacturing, and this may vary from one country to another (Berkowitz and Hill, 1996). Government regulations may also place restrictions and set standards for product labeling (Berkowitz and Hill, 1996). For advertising, PR, and trade promotion with their associated financial cost are often highly regulated by the government (Berkowitz and Hill, 1996). Export to other countries may be restricted or hampered by inter-government relations, trade accords, and policies (Berkowitz and Hill, 1996). Environmental Variations in climate and/ or weather of the Carte Blanche home country from its export countries may requires product adaptation(Berkowitz and Hill, 1996). For example, the tropics do not experience snow fall during the Christmas season. Workers or employees in the target countries for internationalization may generally possess lower expertise than in the UK and hence may require some training with its associated cost (Berkowitz and Hill, 1996). To take full economic advantage of new markets, products should be developed to meet the different occasions, celebrations, and festival found there (Berkowitz and Hill, 1996). Social The different social celebrations such as festivals found in different environments often necessitate the need for different customize products and may lead to increased revenue (Berkowitz and Hill, 1996).. The industry is laced with cultural sensitivity and could lead to lost sales and considerable corporate embarrassment (Ricks, 1983 as cited by Berkowitz and Hill, 1996, p. 40) for an industry player who commits a cultural blunder. But, it is also a huge opportunity to meet need demands. Technology The industry players require relatively extensive investment in technology in improving on their efficiency, effective, and general performance (Berkowitz and Hill, 1996). Carte Blanche makes use of innovative supply chain associated technology in ensuring effective and efficient distribution of its productive for a competitive advantage (Carte Blanche, 2010). SMART objectives To give concrete direction and make the success of the new product development measurable at the end of the day, we have set the following SMART objectives. To develop a new social expression product to be launched by January 1, 2011 to the selected target market; Develop new area of brand strategy toward achieving sales target of  £500,000 by December 31, 2011; and Position Carte Blanche through the activities above to deliver excellent growth rate of 10% per annum and market share of 40% over the next 3-5 years. The objectives above contain elements of long-term strategy although they have been set for the first 12 months of the new product life cycle, but their achievement may ensure that the long-term objectives are realized. Huan et al. (2007, p. 277) citing Doyle et al. (1985), Hooley and Lynch (1985), Shaw (1995), Siu (2000), Baker and Leidecker (2001), and Siu and Liu (2005) argues that successful companies set longer term strategic objectives (i.e. short-run profits are not sought at the expense of longer run strategic objectives). New product and strategic brand development plan and implementation Considering a brand development plan for Carte Blanche is critical as many researchers such as McWilliam (1993), Tauber (1981), Economist (1990; 1991), and Ambler and Styles (1996) recognized that brand and line extensions is now a popular growth strategy, especially noticeable in saturated fast-moving consumer goods industries. However, developing brand or line extensions is one type of new product development (NPD) (Ambler and Styles, 1996, p.13). The new product development process shall follow that which was outlined by Kotler (1991). The eight point sequence that will generate the NPD plan is as discussed below: 1. Idea generation A thorough process of idea generation that involved contributions from the different stakeholders resulted in the birth of a variety of ideas concerning the new products that may be developed and how these may individual strengthen the market position and profitability of Carte Blanche. Some of these ideas include the extension of the current and different product lines, the extension of the current Carte Blanche brand(s), and the creation of a new product and brand altogether. With respect to the categories of ideas mentioned above, unique product offerings were also generated. 2. Idea screening: The generated ideas were further screened to isolate those that may most closely support the stated objectives of the new product and brand development strategy, and the overall Carte Blanche strategy (Kotler, 1991). Both line and brand extension have the advantage of reduced cost and risk as opposed to developing a totally new brand (McWilliam, 1993; Tauber, 1981; Economist, 1990; 1991). Also because the line and brand extensions have the advantage of standing on the foundation of an existing brand positioning, the risk of their failure is also minimal (Boush and Loken, 1991; Sunde and Brodie, 1993) compared to establishing a totally new brand. Hence, the strategy to be adopted is brand extension. According to Aaker and Keller (1990), brand extensions may be defined as entry into a new product category using an brand name that is already firmly established. The new product is electronic greeting cards that the customer may order for, be supplied with, and he may forward to his contact, all through the Internet. This is because consumers of social expression products are uniquely younger in many country like in the UK where record number of cards are given for 21st birthday celebrations (Berkowitz and Hill, 1996, p. 45). Furthermore, there is enormous growth potential in the internet world dominated by young people and in countries such as India and China with teeming young internet users. (ITU, 2010) This new product line may also benefit from the ubiquitous nature of the internet for easy commerce and widest distribution (ITU, 2010). 3. Concept development and testing A sample of what the online greeting card will be like and how it may be ordered for and received was developed. The concept having been tested with a randomly selected representative group of the target market gained favorable interest and commendation indicating possible product approval and adoption by the overall target market (Kotler, 1991). This way, the attitude of the target market to the new product was ascertained before embarking on any expensive and time consuming further product development (Kotler, 1991). 4. Marketing strategy development The new product(s), electronic greeting cards, is targeted at the families, especially the young people in the UK and abroad. Young people are easily accessible through various electronic media and channel, especially the Internet, and are quite savvy in its use for many activities such as for purchases and communications (Marketing Teacher, 2010). Products in the fast moving category such as social expression products like greeting cards and food if supported by appropriate and effective advertisement have been shown to be successful with this target market (McDonalds, nd). Statistically for the UK, 19% of the population is made up of age 16 and below; 14% of the population is made up of age 16 to 24. Furthermore, 63% of the UK children live with their parents; 6% of age 20 to 24 are married; and 19% cohabit or live with their parents (UK Office for National Statistics, 2007A; 2007B). These represent a huge market of Internet savvy individuals. 5. Business analysis ( ¬Ã‚ nancial) Such factors as cost and demand projections; level and impact of competition; required investment; and the profitability of the new brand have been carefully considered. Figure 1 below represents a graphical representation of how the target market of the e-greeting card brand of Carte Blanche is envisaged to position the new product/ brand. However, the graph is based principally on personal perception derived from experiences and knowledge of the social expression industry. Key: blue bar: Carte Blanche current product offering; Red bar: e-greeting card; Green bar: competitors products Figure 1 A Market Positioning Map illustrating the position of the e-greeting card brand against competitors. Cost of production is expected to be much lower than in the production of hard greeting cards as there will be no expenses associated with purchase of materials such as card board and printing. However, significant initial investment will be required in the acquisition of IT infrastructure and training of designers in their use. Demand is expected to soar as there is a huge waiting market to exploit based on the statistics of the target market offered earlier. Also, the high return on investment that is associated with e-commerce is also anticipated in this case (ITU, 2010). 6. Physical product development (includes branding decision) Product Core-product: the core product represents the benefit of the new product to the consumer. It is in the category of social expression. It feels emotional needs and provides pleasure to both the sender and receiver. Tangible product: This represents the tangible or physical product but it is in the electronic form in this case, and primarily refer to the electronic or e-greeting cards. Brand name: Brand name selection is a part of the branding strategy and exercises a crucial role in a firms overall marketing strategy (Douglas et al., 2001). Many companies that are maintaining excellent growth despite intense competitions often rely on their well established brand in maintaining this revenue and market share growth demonstrating the importance of the choice of a brand name (McWilliam, 1993; Tauber, 1981; Economist, 1990; 1991; and Ambler and Styles, 1996). Hence, two basic categories of brand names were considered for the e-greeting card. They are: Totally new names such as Mayors and Feel me that does not reflect Carte Blanche or any of its well established brands at all, and Names that are based on Carte Blanche and any of its well established brands. However, the name Carte Blanche e-Card was chosen. The choice comes with some relative advantages (Kotler and Pfoertsch, 2006) such as: 1. Rest on the good position of the Carte Blanche brand; 2. Carte Blanche offers trademark protection; 3. Ease of pronounce, remembrance, and recognition; and 4. It is attractive. Promotion A combination of both pull and push strategy will be employed here. The pull strategy will be designed to stimulate demand from the target market. Active public relations, viral marketing, personal selling, and public interviews will be used to create a visible brand and encourage the target market to seek out the new product. The push strategy will form the primary promotion strategy to be employed as the product is being introduced to the target market newly. Therefore, an initial push strategy may be effective in creating awareness and familiarity for the new product (Berthon et al., 2003). The push strategy will make use of a media-mix strategy (Ephron, 2000) using paid advert in magazines, newspaper, TV, and radio and outdoor advertising, and on the internet, for maximum impact. Pricing Penetration strategy shall be employed. This is because the product is new and its survival at the market entry stage is critical (Penn state University, 2007). The price will hence be kept as low as possible at the market entry stage but shall remain dynamic and respond to the different stages of the product life-cycle and market forces. The rationale behind this strategy is demonstrated in the Figure 2 below: Economy Premium Skimming Penetration Low Low Quality Pr ice High Figure 2 Pricing strategy matrix (Source: Marketing Teacher, 2010) High Distribution Intensive distribution of the product shall be the distribution strategy. The product shall be distributed principally over the internet using all electronic gadgets with Internet connection capability. Kotler and Pfoertsch (2006) are of the opinion that revenue generated from similar products is often a function of the intensity of the distribution, and intensive distribution is critical for market recognition and penetration, and gaining market share for a new product. 7. Market testing Before the full commercialization of the product is carried-out, it shall be offered for sale on Carte Blanche website and other well-known outlets on the internet. This will enable the monitoring of consumer reaction to it; the products performance based on the designed marketing plan; and the response of the competitors to it. 8. Commercialization The final stage of product and brand development. After testing and analysis, the firm finally introduces the product to its target market. This also involves implementing a total marketing plan and full production. Measurement of SMART Objectives The realization or not of the SMART objectives shall be evaluated using measures and metrics from Kokkinaki and Ambler (1999) and Kurtinaitiene (2005) that have been validated in literature. There are 6 categories of available metrics under this framework, however, the most relevant shall be applied to the measurement of the SMART objectives in this case. These categories are: Financial measures (as turnover, contribution margin and profit) Competitive market measures (as market share, advertising and promotional shares) Consumer behaviour measures (as consumer penetration, loyalty and customer gained) Consumer intermediate measures (as brand recognition, satisfaction and purchase intention) Direct customer measures (as distribution level, profitability of intermediaries and service quality) Innovativeness measures (as products launched and their revenue) The performance of the new product shall be evaluated against the above metrics so that effectiveness of the marketing and brand strategy can be determined. Conclusion There exist enormous potential in the e-greeting card segment of the social expression industry that the industry players may tap into. This report as shown the challenges of the social expression industry such as cultural sensitivity and constant change. However, Carte Blanche, a well known industry player in the UK with tentacles in most part of the world may ensure continuous growth over the next three to five years by tapping into the opportunity that IT and Internet offers for production and distribution of products respectively. Following the recommendations of this report may help ensure that Carte Blanche position itself and its brand(s) for the prospective steady growth.

Fight to Maintain Freedom of Speech on the Internet :: Exploratory Essays Research Papers

Fight to Maintain Freedom of Speech on the Internet       Imagine yourself trapped inside another world, a world where your essence is made entirely of words that can say whatever you desire. You could be young or old, male or female or neither, you are only as limited as your imagination. Now Imagine that someone wants to have a say in what can be said, seen, and done in this brave new world, what would this change, and more importantly who decides what's 'good' and what's 'bad'?    In the ordinary and mundane world of real life people have always fought for the pursuit of happiness, free speech, etc. They are subjects which have always shouted in the hearts of our nations heroes, and rightfully so. What would our world be like if the government controlled what we were allowed to see and to say? It seems that George Orwell described it best in his book 1984 when he gave the scenario of a society in which people who committed the heinous act of thoughtcrime, the act of thinking something that goes against the party line, mysteriously disappeared into the night never to be seen again. Thankfully, the hordes of would be 'thought police' members have been staved off throughout history and we have achieved a relatively liberal society where people are, for the most part, able to speak their minds openly. Well, even in today's world there are still people who get pissed off when they think that free speech goes to far and they say something about it. This brings me to my main point.    The Internet. A land made possible in 1968 by the Dept. of Defense with the idea that if all other lines of communications were destroyed in the advent of war then at least we'd have computers, (I don't know, maybe they thought the electricity might magically produce itself after the bombing stopped). Any ways, thankfully the Internet has evolved beyond that into something which encompasses just about every possible human interest out there. A hodgepodge of political ideals ranging from big business capitalism to the gender erasing equality of the socialist mindset make the Internet a place where conflicts of interest often arise.

Child Labour in the 19th Century

As the numbers of factories are growing in the country, many people who live in the countryside seem to be moving to towns and cities to look for better paid work. It seems to be the case that wages of a farm worker are a lot lower than in factories. The city of London seems to be over flowing; now around one-fifth of Britain’s population live in London. Most of the workers houses are usually near the factories.They are very cheaply made, mostly around 2-4 rooms, one or two rooms downstairs and the same for downstairs. There is no running water or toilet. It seems to becoming a problem that many parents are un-willing for their children to work in the new textile factories. This is becoming a problem as there is a shortage of factory workers. Factory owners seem to be buying children from orphanages and workhouses, these children are known as pauper apprentices.These children have to sign a contract with virtually makes them the property of the factory owner. In Cotton Mill fa ctory the children are being told that they will be transformed into ladies and gentlemen; that they will be fed on roast beef and plum pudding, be allowed to ride their masters’ horses, and have silver watches, and plenty of cash in their pockets. Many of these children are parish apprentices until they have reached the age of 21.Punishments in these factories are appalling. The children are made to work long hours to the point where they are very tired and are being hit with a strap to make them work faster. In some factories children are dipped head first into a water cistern. Jonathan Downe quotes â€Å"When I was seven years old I went to work at Mr. Marshall’s factory at Shrewsbury. If a child was drowsy, the overlooker touches the child on the shoulder and says, â€Å"Come here†.In a corner of the room there is an iron cistern filled with water. He takes the boy by the legs and dips him in the cistern, and sends him back to work. † Children are pun ished for arriving to work late. Joseph Hebergram pointed out â€Å"if we were five minutes too late, the overlooker would take a strap, and beat us till we were black and blue. † One hospital reported that every year it treated nearly a thousand people for wounds and mutilations caused by machines in factories.Michael Ward, a doctor working in Manchester told a parliamentary committee in 1819: â€Å"When I was a surgeon in the infirmary, accidents were very often admitted to the infirmary, through the children's hands and arms having being caught in the machinery; in many instances the muscles, and the skin is stripped down to the bone, and in some instances a finger or two might be lost. † Some people have been known to get their whole bodies entangled in the machinery. It is an outrage that children are made to do such horrific jobs in such poor conditions.

Animal Euthanasia in Zoos

Animal Euthanasia in Zoos While zoos in the United States favor contraception as a means of keeping their resident populations under control, other zoos around the world take a different approach: euthanasia. Dave Morgan, chairman of the Population Management Committee at the World Association of Zoos and Aquariums explained to the New York Times that international guidelines on the ethics of breeding zoo animals are sketchy. Apparently, since ethics and philosophies are so diverse among countries of the world, its tough to make blanket regulations. For instance, both the European Association of Zoos and Aquaria and the African Association of Zoos and Aquaria generally consider routine euthanasia a viable management and breeding strategy, while the Central Zoo Authority of India has recommended that euthanasia of zoo animals may be carried out only in the specific circumstances when any animal is in such an agony or pain that it is cruel to keep him alive. How Euthanasia Is Used for Population Control Zoos that favor euthanasia over contraception generally allow animals to mate naturally and permit mothers to raise their young until an age at which the family groups would instinctively separate in the wild. At that point, zoo officials employ lethal injection to kill young animals that exceed the zoos carrying capacity, dont fit into breeding plans, and are unwanted by other zoos. In the spring of 2012, the Copenhagen Zoo euthanized a pair of leopard cubs who were approaching two years of age as part of their breeding management plan. Each year, the zoo puts approximately 25 healthy animals to death, including chimpanzees, whose similarities to humans make opponents of euthanasia particularly squeamish. Arguments in Favor of Euthanasia Contraception (pills, implants, injections) can pose health risks to animals.Euthanasia allows animals the natural experience of bearing young and parenting.Terry Maple, the former director of Zoo Atlanta and co-editor of Ethics on the Ark, knows of no definitive research that assesses the importance of raising young to animals health, but he has said that observation indicates that most zoo animals are motivated and protective parents that play frequently with offspring.Euthanasia imitates animals survival in the wild, where high percentages of young die early in life as a result of predation, starvation or injury.According to longtime zookeeper and curator Peter Dickinson, There is nothing wrong in killing an animal if it is done quickly and with forethought and kindness. When animals are euthanized for the correct reasons, then it is morally right and justified. The uninformed will often level accusations of being heartless and not caring when precisely the opposite is true. Good zoos with managed populations can see the bigger picture †¦ it is the species which is being managed and not individuals. Arguments Against Euthanasia Opponents of euthanasia suspect that the killing of adolescent animals is a convenient way for zoos to maintain a continual supply of their cutest inhabitants (babies), which draw crowds and generate more money.Contraception is a more humane way to limit populations while allowing animal family groups to coexist naturally.Cheryl Asa, director of the Association of Zoos and Aquariums Wildlife Contraception Center at the St. Louis Zoo, does not believe that euthanasia is a feasible option for zoos in the United States. On an emotional level, I cant imagine doing it, and I cant imagine our culture accepting it, she said.Worldwide breeding networks and genetic planning can be used to avoid a surplus of offspring while still ensuring that many animals breed and raise offspring, claims Terry Maple, former director of Zoo Atlanta and co-editor of Ethics on the Ark. I am not saying management euthanasia is wrong. It is just not the best solution.Killing animals in zoos because they dont figu re into breeding plans is not euthanasia, its zoothanasia, and is a most disturbing and inhumane practice. Using the word euthanasia seems to sanitize the killing at least for some people and makes it more acceptable. While one might argue that many, if not all, animals in zoos suffer, killing animals who arent needed isnt mercy killing; its really a form of premeditated killing, argues Marc Bekoff, Professor Emeritus of Ecology and Evolutionary Biology at the University of Colorado, Boulder.

Peal Harbor essays

Peal Harbor essays The tragic events that took place on December 7, 1941, is a story that is in American History books everywhere. It is the date of the surprise attack on Pearl Harbor by the Japanese just before America entered World War II. In this paper, I will describe the events that eventually lead to Pearl Harbor, the attack itself, and the outcome of the attack. Before the attack, American Officials were becoming concerned about the rising power in the Far East. Because of this, the United States invited Great Britain, France, Japan and other nations to a conference in Washington, DC, that began on November of 1921, and ended February of 1922. In this meeting, each nation attending agreed to respect each others rights with regard to the possessions in the Pacific Ocean. Also, they agreed to guarantee Chinas independence and territorial integrity. There were military agreements as well, each nation having a limit put on their Navy according to size. In a solution worked out, Japan could have three ships for every five American ships, and every five British ships. To Japan, this seemed they had the smaller Navy, and the walked away feeling slighted, but in reality, they had Naval supremacy. America and Britain had ships scattered around the world, but Japan had ships mainly in the Pacific, so even though it seemed like they had gotten the raw end of the deal, they actually With the crash of the Stock Market in 1929, the United States wanted to focus solely on their problems and how to fix them. With that, they became increasingly isolated from Japan, and with the Japanese invading Manchuro, and the rise of Adolf Hitler in 1933, the US saw this as a crumbling world order, and wanted to take no part of it In 1936, the Japanese announced that they could no longer abide by the military agreements of 1922. It was somewhat obvious that Japan wanted to expand their empire, and wou...

Forms of Business Organisations Essay Example | Topics and Well Written Essays - 2000 words

Forms of Business Organisations - Essay Example This means that the business owner will be personally liable for all the business debs and risks and as their personal belongings will be confiscated to settle the claims of the creditors. Operating sole proprietorship form of business puts both the business as well as personal assets at risk owing to the fact that this form of business have unlimited liability(Cody, Hopkins & Perlman 202). Control: the business is owned and controlled by the owner. This means that the owner without consultation handles all the critical decisions of the business single handedly and as such, he/she has full authority to delegate tasks at will. Income taxes: Sole proprietorship income is taxed on the owner’s personal income. The Internal Revenue Service (IRS) treats income from sole proprietorship as personal income and thus taxes are charged on the owner’s income (Cody, Hopkins & Perlman 202). Continuity of the business: Sole proprietorship business is not a separate legal entity from it s owners and as such, it does not enjoy perpetual existence as the death, or bankruptcy of the owner will lead to the end of business. Profit retention: The sole proprietor enjoys all the profits by himself and therefore he is the one to decide the amount to give up for plough back into the business. Location: Sole proprietorship is one of the easiest businesses to operate taking into consideration that it is not affected by change of location as most states operate similar laws and regulations relating to sole proprietorship. Advantages It is easily and less expensive to form compared to other forms of business organizations such as C-corporations and LLC. This form of business organization requires less capital to start as well as few legal formalities. Avoids double taxation as in the case of C corporations The sole proprietor enjoys all the profits alone taking into consideration that this form of a business is one-man show. Quick decision making as no one is consulted in case a decision has to be made like in the case of general partnership (Cody, Hopkins & Perlman 9). Disadvantages Sole proprietorship has unlimited liability and as poses a risk of loss to personal as well as business assets in case of credit default. Sole proprietors have limited capital owing to lack of a wide range of avenues of raising capital as in the case of C corporations. Lack of perpetual existence owing to the fact that illness, bankruptcy or death of the owner lead to termination of the business. General Partnership General partnership is an unincorporated for of business which involves two or more individuals (maximum of 20) coming together to form a business in order to make profits. Unlike in the case of sole proprietorship, partners in the partnership business share into the ownership, management, profits, loses and critical decisions affecting day-to-day operations of the business. Characteristics Liability: The General partnership does not enjoy limited liability as in t he case LLC, C corp., or S corp. This means that all the partners are personally liable for all the debts and liabilities of the business. In fact, the partners risk losing, not only their investments in the business but also their personal property in case the business fails to honor its credit obligations (Cody, Hopkins & Perlman 9). Income tax: Income of the general partnership business does not attract taxes considering that partners will be taxed on the income

Paintings by Georges-Pierre Seurat and Vincent Van Gogh Essay - 1

Paintings by Georges-Pierre Seurat and Vincent Van Gogh - Essay Example The essay "Paintings by Georges-Pierre Seurat and Vincent Van Gogh" analyzes The Starry Night’s intricate details while comparing it to the ‘Grandcamp, Evening’ painting by Georges-Pierre Seurat. Looking at the ‘The Starry Night’, one gets a feel of boldness in the painting. There is the use of dark shades of color to bring out a general feel of the painting. There is also the use of lines of different shapes and lengths. The clouds seem to be in motion as they are drawn in a continuous circular motion, while the stars and moon have unusual light around them. The focal point is a flame resemblance of a cypress tree that is a contrast from the village below. Vincent drew this piece while in bad mental shape and was in an asylum at the time. Some critics say that the scenery from his window could have afforded him the general idea with the rest of the features borrowed from memory. This is especially true with the illustration of the church spike that i ndicates Netherlands as his home land. There has been analysis of this painting showing that all the objects in the picture stand for various meanings. This is an iconography of Vincent’s world at the time. On the other hand, George’s work of art in ‘Grandcamp, Evening seems to give a different atmosphere. Here, the painter has incorporated various hues of color to create a sense of calm and isolation. The landscape in the background has been developed by the use of short strokes of lines to indicate a town in the far horizon, a grim sky.