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The three articles fit in terms of their logical expression and figurative aspects regarding nature and its contribution to the growing field of art. In essence, the 3 pieces of work serve to provide visual and narrative, elements that are essentially figurative traits of the concerned art object. Thorough analysis therefore portrays recurring similarities focusing on the theoretical and visual elements of art.
According to the Berger's article, "The visual arts always existed within a certain preserve; originally this preserve was magical or sacred. But it was also physical; it was the place, the cave, the building, in which, or for which, the work was made" (Berger 525). Here he primarily makes reference to the different aspects that come into play when developing visual components of art, and there is an over bearing effect on the aspect of physical description of the respective form of art. Looking at Sheeler's poem more emphasis is being placed in regard to the art of developing visual component as seen in the following poem extraction:
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"He paints what he sees, seeing what he paints
What our eyes takes from the scene of his eye
Taking what it does from his photograph,
Taken itself in, and if, the room, takes
Visual counsel from another kind" (Sheeler)
The poem appears to be speaking directly of the image in which a man sits on a chair as he draws an object. The oil paint serves to show the element of nature in essence. There is a connection with Berger's article with regard to focus on the physical entities. For instance, Berger talks of 'physical' and makes reference to a 'building'; Sheeler's poem further develops on the physical aspects as seen in "the room takes visual counsel from another kind'; while the image develops enhances the figurative entities.
The three pieces also focus on the element of continuity based on the need to detach elements of art from aspects regarding placement in terms of place and time. According to Berger, "It is an appearance, or a set of appearances, which has been detached from place and time in which it first made its appearance and preserved-for a few moments or a few centuries. Every image embodies a way of seeing" (Berger 513-514). This emulates the meaning and perspective of an image that has been produced, bringing out the aspect that art removing art from a historical association or an event. Focusing on Sheeler's poem one notes another aspect of prolonging the effects of a piece of art by giving previous case examples. Sheeler puts it that,
"Yet the ambiguous painting-histories,
The loves of jove, scenes from the life of Christ,
Portrait, still-lives, pictures of forms and marks
How noble or base fashion may rank the,
Are all in our fashionable patter-" (Sheeler)
This further develops the aspect of continuity by bringing in an element of fashion when she says, "Are all-in our fashionable patter-", which serves to bring in a concept of art remaining relevant regardless of the scope or time. Looking at the image, one immediately establishes a connection point with the other two pieces, since more emphasis has been overtly placed on the aspect of continuity through focus on nature components characterised by the varying shades of green.
Furthermore the 3 pieces of art simultaneously recognize the aspect of hidden meaning as being fundamentally contained in a formal piece of art or painting for that matter. Berger postulates that, "Ii is hard to define the exactly how words have changed the image but undoubtedly the y have. The image now illustrates the sentence" (Berger 522). Here Berger aims at expounding the impact of interpreting a piece of art which elementally results in it adopting different meaning from what it was initially intended. Sheeler further supports this sentiment by postulating that:
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"The nature of painting? Its inner truth
Is the namesake of its totality?
Of objects: true to art is true to both
Our marks are sounded in a sea of talk;
Thus perhaps, we shorten pencil into
Pen and figuratively illustrate
Sheeler's bright aphoristical remarks" (Sheeler)
Here Sheeler aims at expounding the resultant effects of interpretation, as we see this in, "...Its inner truth is the namesake of its totality." This fact is supported when one critically looks at the presented work of art in its deeper sense and the fundamental meaning it generates to the observer. Therefore, all the three pieces of art share a common boundary when it comes to analysis of art forms and implied content focusing on the abstract nature.
Berger points out to one specific element associated with the development of art its abstract form. The same perspective is equally reflected in the other pieces of art in a fulfilling sense and manner through figurative analysis. He says, "Images may first conjure up the appearance of something that was absent. Gradually it became evident that an image could outclass what it represented. It then showed how something or somebody had once looked" (Berger 514). In the same breadth of expressing the abstract nature of art and its subsequent transformation to sustain the running theme, Sheeler supports by saying in her poem:
"Nature of the thing, the indoors the eye
Is always in whatever the outdoors" (Sheeler)
Here the meaning is implied in its deeper sense. Looking at the image the drawing being drawn by the man sitting on a stool does not seem to draw in aspect of nature. In fact the image on his drawing canvas appears more like a window. This therefore generates a different aspect of the piece of art by generating a different feeling to the viewer.