Discuss and analyze how Hellenistic Greek sculpture representing elderly people reflects Greek attitude towards elderly people with specific examples of Hellenistic sculpture

Art is closely tied to cultural beliefs. Works of art have cultural significance. These artistic works hold meaning only within the context of cultural beliefs (Anderson 10). By considering art as the expression of culture, the arts provide a holistic quality of understanding (10) of cultural perspectives and life. The inevitable connection between art and its cultural context enabled the classification into artistic periods coinciding with cultural shifts.
   
The Hellenistic period is one such artistic and cultural period. The Hellenistic period is marked by the death of Alexander the Great that led to the demise of his empire. The result is the rise of multiple influences. The Greek influence strengthened. Other influences also emerged centered in key cities such as Rome on the western front and Parthia in north-eastern area. The period is marked by the inter-mingling of the Greek culture with the Roman and oriental cultures (Erskine 3). The mixing of cultures through inter-marriages and migration led to shifts in perspectives as the Greeks uncovered alternative beliefs and practices.
   
Diverse themes in art emerged from the new cultural period known as Hellenism. During the ancient or classical Greek period, the common themes were nude male and female bodies in reverence to the youthful body. This reflected the negative perception of old age in the classical Greek period that communicates the loss of influence and deterioration of the physical body. However, during the Hellenistic period, inter-cultural influences led to various themes including realistic art works that captured day-to-day life (Pomeroy 458). This period gave way to artworks, such as sculptures of elderly men and women. The discussion considers how this theme reflects attitudes towards the elderly in the Hellenistic period. 

Greek Sculptures of the Elderly during the Hellenistic Period
Sculptures of elderly people during the Hellenistic period depict age and ageing in a more realistic manner. This is in contrast to the idealism of ancient Greece. In ancient Greece, the aesthetic value of sculptures is the ability to represent the deities or god-like features and physique. Strength and beauty associated with youth are the common themes of sculptures. The elderly as a theme was non-existent during the ancient period.  In the Hellenistic period, the realistic perspective became more prominent in artistic works. During this period, a number of sculptures drew inspiration from everyday life. Part of the themes of sculptures that emerged during this period is of old men and women in the context of ordinary life. The fact that there are sculptures of the elderly reflects realism. The realistic expression of the elderly in sculptures can be gleaned from three aspects, which are physical characteristics, emotional or psychological state, and context of the sculptures. Similar observations apply to sculptures of the elderly for both male and female. 
   
The depiction of the elderly is through physical characteristics distinguishable from young people. The posture is bent as opposed to the straight posture of young people. The physique of the elderly also reflects frailty as opposed to the sturdy physique of young people. The skin is loose and wrinkled to express the long years of exposure to natural and man-made elements.
   
Another depiction of the elderly is through emotional characteristics observable through the facial expressions. There is a distinctive expression of sadness. Veyne, Aries and Duby commented that the sculptures of the elderly in the Hellenistic period were represented with brutal, exaggerated naturalism (135) because of the strong emotions shown by the facial expressions of the sculptures. The comment may have been made relative to the facial expressions of sculptures in other periods as well as the sculptures of other themes such as the deities and younger people in the same period.
   
The last depiction of the elderly in sculptures is the context expressed through these artworks. The sculptures were of commoners doing things observable in the ordinary life such as working and being drunk. On one hand, the comment over the brutality and exaggeration in depicting the elderly (Veyne, Aries and Duby 135) could be explained by attitude to the wealthy, as the people who commission the creation of sculptures, towards laborers or workers as delightful exotic species (134). On the other hand, portrayal of the elderly in the ordinary context of the working class represents age and ageing as a natural and common phenomenon (Falkner and De Luce 161 Pomeroy 458).
      
One example is the sculpture titled Drunken Old Woman with a Wine Jug See Fig. 1 below created by Myron of Thebes. The sculpture is dated between 430 to 420 BCE. The sculpture can be viewed at the Glyptothek in Munich, Germany. The woman is sitting on the ground. Her legs are set apart but her feet are crossed to cradle the jug of wine. The head of the old woman is tiled upwards to reveal a wrinkled neck. The old woman is nearly toothless. Her expression is that of a drunken stupor. The way that the woman holds on to the jug by cradling it shows the jug of wine as the sole consolation of this womans hideous old age (Fowler 71). Although the drunken old woman was portrayed in a lethargic manner, the treatment was more of sympathy instead of revulsion (71). This reflects a difference in attitude from the classical Greek period of condemnation for aging and the aged.
   
Another example of a sculpture of an old woman during the Hellenistic period is The Old Market Woman or Old Peasant Woman See Fig. 2 below. The sculpture is dated as falling under the latter part of the 2nd BCE to the early part of the 1st BCE. The sculpture can be found at the Metropolitan Museum in New York. The sculpture strongly describes the physique of the elderly. The woman is stooping down to represent not only the weakness of the bone structure as well as the waning strength in carrying heavy things. The knees are bent. The face, especially the forehead, and the neck are wrinkled. The expression of the face reflects sadness and anguish together with resignation to the long years of toil that still continues at old age even if the physical strength and vigor has declined. The figure depicts the change in perspective to acceptance of ageing together with a reminder to the youth to enjoy their prime, as youth is described similar to the passing of the seasons observed through changes in the natural environment such as the blossoming in spring and withering in autumn (Falkner and De Luce 161)
   
A third example of a sculpture of an old woman was titled the Old Shepherdess. The sculpture is approximated to have been created during the 2nd or 1st BCE. The artwork can be found at the Palazzo dei Conservatori in Rome. While this sculpture is of an old woman in another occupation, that of shepherding, there are strong similarities with the other sculptures of old women. The sculpture has lost its head but the body depicts old age. The knees are bent. The arms are muscular from hard work but the back of the hands are wrinkled. The breasts are sagged and the torso bony. Although, the expression of the face cannot be seen, the sculpture is holding a lamb, which expresses the continued exercise of a nurturing role but with loss of youthful vigor. The message is youth as the prime of life and old age as youths passing as facts of life but there is a marked disdain of old age as reflected by the loss of aesthetic qualities of womanhood (Falkner and De Luce 161).
                            
There are also examples of sculptures of old men. The Old Fisherman is a sculpture of an old fisherman carrying a basket of fish. This is dated to be either in the 2nd or 1st BCE. The sculpture is kept at the Palazzo dei Conservatori in Rome. The knees appear sturdy but wrinkled. The torso, neck and face are also wrinkled. The shoulders appear to have been muscular once but have now sagged. The expression is sad and contemplative as if speaking to another person.
The last example is a bronze portrait of a man from Delos. This is dated to be 100 BCE and displayed at the National Museum of Athens. The neck area, chin, eyes and forehead are wrinkled. The expression is serious but calm. It expresses tiredness, sadness and maybe even regret over the things that happened with the decline in physical strength and energy.
   
The Greek attitude towards the elderly people during the Hellenistic period is one of contrast. This aligns with the contrast in attitudes and perceptions that emerged with the inter-mingling of cultural beliefs that led to the strengthening of realistic attitudes.

On one hand, there is sadness and resentment towards ageing. The visualization of the elderly embodies these attitudes. These are rooted from the passion for youth (Fowler 71 Veyne, Aries and Duby 135) that the Greeks have developed during the ancient period and carried over to the Hellenistic period. Descriptions of old age included ruinous, evil and incurable (Falker and De Luce 160) in Greek poetry. This could be because being old meant the loss of many things and qualities considered as good. Strength in the case of men declines with old age. Lack of strength meant the inability to pursue goals or dreams of becoming leaders, gaining wealth, or exercising influence in political and social affairs. There is the recognition that importance also wanes with age. Beauty and fertility are good qualities coveted by women.

These qualities wane or are lost with age. Loss of self-value is also a result with little appreciation received as elderly women and lesser purpose with children all grown up and with the limited capability to contribute to the household and society. It is through the loss of good qualities that comes with age, given the passion of the good qualities of youth by the Greeks, which explains that attitude of bitterness and resentment. Bent knees and backs as well as wrinkled and sagging skin are representations of the loss of good qualities. Frustration with old age was expressed by Semonides in saying that old age, which no one wants, overtakes a man before he reaches his goal (Falkner and De Luce 160). This reflects the view towards youth as fleeting and old age as the condition that steals youth. As such, the elderly represents to many the loss of their qualities and frustration of not being able to achieve dreams.

On the other hand, there is also the bittersweet acceptance of aging as a reality and that the young will eventually become the elderly. This is a realistic perception of aging that became more pronounced during the Hellenistic period. While the preoccupation of youth remained, there is also the acceptance of aging as a part of life. However, even with the acceptance of the inevitability of aging, aging is not easy and this is painful for the Greeks. To become old means succumbing to ugliness and ugliness means repulsion by other people and even oneself (Falkner and De Luce 162). Apart from sadness, pain also forms part of the emotions expressed by the Greek sculptures of the elderly. With acceptance of aging as a reality, the sculptures of the elderly represent a sign of what the youth expect to become. By having this expectation, young people are strongly reminded to enjoy their youth to the fullest.
   
The Hellenistic period marked the emergence or strengthening of the realistic perspective brought about by the convergence of the Greek, Roman and oriental cultural beliefs. This is relative to the idealism of the ancient Greeks. The elderly was a theme that newly emerged in the Hellenistic period to express a natural and ordinary phenomenon. Depictions of the elderly were through physical, emotional and contextual dimensions. Examples of sculptures of old men and women show weakness, loss of the beauty aesthetic, expressions of sadness and contemplation, and aging in the ordinary work context. These sculptures exemplify the contrasting attitude of the Greeks towards aging and the elderly. On one hand, there was resentment towards aging represented by the elderly in society, a condition or state that the Greeks do not want to reach. On the other hand, there was also acceptance of the inevitability of aging with the elderly signifying the loss of youth and the pain of aging to remind young people to live to the fullest while they are still young.    

Edgar Alwin Payne

Edgar Alwin Payne is one of Americas twentieth century most distinguished muralist, illustrator and landscape painter. He lived between the first of March 1883 and the 8th of April 1947. He lived his early life in the south west of Missouri, Barry County in the farmlands of Washburn where he was born. During his teenage years, he had a passion for traveling where he toured most of the United States, Canada, Mexico and Europe. He was most fascinated by the western side of America where he would later settle. When he was 14, his artistic journey began when he started painting signs, houses, murals, and stage in theatres in order to finance his tours. When he was 19, he embarked on a major tour that took him across the Ozarks, southeast and central United States, and Mexico to onto Chicago where he would settle for a moment to enroll for picture art studies in the Arts institute of Chicago.  He only studied at the institute for a fortnight after he found the learning to be very bureaucratic and instead opting self learning through practice.
   
Edgar did struggle for a time, and he would start exhibiting landscape pictures at a local club called Palette and Chisels and also engaging in occasional wall painting for extra income. In 1909 when he was 26, he made his first trip to California where he stayed for several months engaged in painting at the Laguna Beach. He then went to San Francisco where he met many artists notable among them Elsie palmer who was working as a commercial artist there. He then went back to Chicago for two years and then came back to California. In 1911, he went back to Illinois and met Elsie who at the time had taken job as an artist there. The bonds between them become stronger due to their shared interest in art and they married in November 9th 1912. Edgar was very fascinated with art that during the wedding ceremony, he had to postpone it for some time in order to allow for a more perfect lighting. Luckily, his bride accepted. The couples become popular in the art scene around Chicago and their first major collaborative mural piece was at the institute of arts in Chicago and another one that was a hallmark for them in 1914 when they got their first daughter.
   
His first major work was the Topeka Atchison and Santa Fe railroad company which contracted him to paint impressions of trainline landscape. Payne traveled with his wife to four corners area where they painted murals depicting rocky landscapes with Navajo riders riding horses. The Paynes used the artistic impression of light that made the pictures to portray the unique open nature of the southwest. His success continued and in 1917, he was contracted by congress hotel at San Francisco in painting a huge mural using a piece of muslin. The project was done with the aid of many local artists and after this contract they returned to Laguna Beach. At Laguna Beach, Payne was critical in founding the Laguna beach art association. This organization made him to network with other art organizations in California and at one time he was made the president of California art club (Cook, n.d).
   
In 1922, Payne traveled with his family to Europe for two years in many locations. At this time, he continued painting and one of his works an artistic impression of the Alps, was cited in the honorable category in 1923 at the Paris salon. He researched a lot about the paintings he was making although most of them were inspired by what he observed. When he returned to America, he continued to paint together with his wife and daughter mostly in expeditions to mountains like Lake Louise in Canada and sierras. He became well acquitted with the mountains that the lake called Humphrey basin was renamed after him in his honor (Cook, n.d). In 1929 at the time of the great depression, they were hit hard due to declining commissions from their work and they returned to California and bought a permanent home in Los Angeles.
   
When there daughter married soon after their return to Los Angeles, Payne separated from his wife but they did not divorce. Elsie later remarried but Payne relocated to Hollywood where he continued his artistic work recording a documentary called sierra journey and he also wrote a book called composition of outdoor painting which outlined his painting methods and skills (Cook, n.d.).The book expounded on the techniques painting landscapes, rhythm, color, value and repetition. In 1946, Payne was battling with cancer and his wife returned after a separation lasting fourteen years. Elsie nursed his former husband in the last stages of his cancer until he died in 1947. Payne won many prizes for his work, like the National academy of sciences prize in 1929 and Californian state affairs prize in 1917 among a series of other prizes and honors (cook, n.d).

Ansel Adams is one of the most famous photographers in history. His work proves his credibility in photography and art. During the viewing of his photograph, Mount Williamson Clearing Storm, there was one thing that came to mind when viewing it. While performing the research for the topic of this piece created by Adams, the interpretation behind it became clear. Ansel Adams Mount Williamson Clearing Storm is an attribute to those who may be climbing over a mountain in life can be inspired to complete the task and see the light ahead.
   
This is really a lot to say in a single photograph. The layout of the photograph is really what says it all. Ansel Adams has used the horizon to focus the attention beyond the rocks and straight to the mountains that loom above the land. In using horizon and the rock set right in front of the mountains, Adams made a triangular view (upside down). According to Paul Zelanski and Mary Pat Fisher, analyzing a painting that has used triangles can symbolize a pattern that is a subconscious, invisible structure unifying the painting (1996, 37).
   
In Adams photograph, the triangle is clearly seen between the rock and the mountains. The rock is the tip of the triangle while the mountains are the base. It seems that the relationship of the rock to the mountains can be interpreted as the person. The rock is the starting place for the journey across the other rocks towards the mountains.
   
The triangle serves another purpose within this photograph. Staring across the rock field it would make any person daunt at the possibility of crossing it. That is why Adams lined up the photograph the way that he did. Using the triangle formation, he directs the viewers eyes from the foremost rock up towards the mountains. The light then looks beautiful to the eyes and makes it appear easier to cross the rock field. It almost seems that the person could simply float over to the mountains.
   
In the book Design Principles and Problems, written by Zelanski and Fisher, the triangles that were used in the painting The Crucifixion with the Virgin, Saint John, Saint Jerome, and Saint Mary Magdalene (1485, 37), were created by the gazes of the two ladies at the base of Christs cross (1996, 37). This was one relationship created using triangles, according to Zelanski and Fisher, and the other was created from the two men who also gazed at Christ, creating another triangle to direct the viewers eyes (1996, 37). The relationship in Adams photograph is not necessarily a relationship between people, however.
  
In many songs and poems, as well as other literary forms, mountains have often been described as problems. In Miley Cyrus most recent song, The Climb, she says the following
Theres always gonna be another mountain
Im always gonna wanna make it move
Always gonna be a uphill battle
Sometimes Im gonna have to lose

Aint about how fast I get there
Aint about whats waiting on the other side
Its the climb
(Miley Cyrus, 2009)

The mountain has been referred to be symbolized as the struggle or problem to overcome in a persons life. It seems that in this photograph from the layout using the triangle, horizon, and light that Adams was trying to make the point that Miley made in her song. The rock field looks daunting when glancing around, but through Adams layout makes the climb appear easy.
   
The use of light by Adams in this photograph also leaves the impression that the climb or walk towards the mountains is attainable. Even though the road is rocky, the view is inspiring when our eyes are led toward the top of the mountains. Seeing the clouds with the light shining down on them and the mountains gives the viewer a lighter feeling as well. It makes it seem that the viewer could almost float to the top. The breathtaking view that Adams caught at the right time of day and with the right composition gives hope to anyone experiencing a mountain sized problem, similar to Mileys song.
       
During the taking of this photograph by Adams, he had been invited to the camp (Manzanar, a camp for Japanese-Americans detained during World War II) by Ralph Merritt, the newly appointed director, who ran the camp with an enlightened attitude, according to Burt Chernow Galleries (Adams, 65-69). The detainees were set in a desert with the view of the Sierra Mountains around them, as mentioned by the Burt Chernow galleries (Adams, 65-69). It seems that these people who may have been unlawfully detained during this time period certainly had a struggle to go through.
   
As mentioned earlier, I believe that given this information and reason why Adams was invited to the camp, he may have represented the struggles of these people in his photographs at the time. Whether he did this consciously or subconsciously, it is not known. Adams was a master at layout in his photographs as well as light and shadow. Adams was also mentioned by the Burt Chernow Galleries that he believed the Japanese-Americans, a nature-loving people, must have been inspired and strengthened by the setting, which gave the people a certain respite from their mood of isolation and concern for the future (Adams,65-69).
   
The setting of the photograph in using the triangular layout with the single stone in the forefront expanding to the mountains with light dancing around the tip seems to have been created for inspiration. The inspiration that the Japanese-American people may have experienced from day to day in the camp was captured in this photograph.

These people probably did not know what was going to happen to them from day to day. They were forced to be in the camp far away from their home. Most of these people, if not all, were innocent from crime during this time period. The injustice of discriminating against them beyond their will should be viewed as an undue hardship and struggle that they faced. Since they were bordered by desert, rocks, and mountains, there was no possibility of escape.
   
The day to day thoughts that they may have had could have been eased by the spectacular view that they could behold in the surrounding landscape. The mountains are beautiful to behold and can give strength to anyone who takes them in. Simply knowing that the mountains still stand can give encouragement to anyone who lives around them.
   
The photographs that Adams created while visiting to the camp were said to be among the best he created during 1943  1945 (Adams, 65-69). With the composition of this photograph and the research behind where it was taken that Adams created more than just a picture. This breathtaking view had a double meaning behind it. The capture of the Japanese-Americans struggle of being held captive was inspired by the surrounding view and recorded in this photograph. While the struggle for these people, and any person, may be along a rocky path, the light shines ahead over the mountains. The task to overcome or make the best of the climb comes from the clearing of the storm and the presence of hope and light on the other side, beyond the rocky path.
   
With the evidence given through the research, I conclude that Adams presented the photograph of Mount Williamson Clearing Storm as inspiration to the Japanese-American prisoners. It seems also since the director was one that had the theory of enlightenment, perhaps this was his purpose of inviting Adams. Based on what is known about the camp and the time period, this would be a logical conclusion to the structure of the photograph by Adams. There is no known record of him saying that this is why he created the piece in this way, but based on the information given and first glance of the photograph itself, this is a logical conclusion. After glancing at the photograph the very first time, the view is certainly breathtaking. While delving into the layout and underlying pattern of the photograph, the symbolization comes out.

Art is a component of culture and as much as the latter varies across societies, the understanding and interpretation of art can only vary significantly. Thus, to be able to successfully do so, there is a need to develop a fundamental understanding the motivations, forms, modes and elements of art to be able to fully interpret them rather than defining what art is. According to Barrett (1994), artworks naturally demand interpretation. To illustrate this idea, Barrett refers to the research developed by Nelson Goodman and Arthur Danto who both point out that art has to be viewed beyond its existential form or state to be able to develop relevance and consequence, suggesting a dynamic value-building relationship between the viewer and the art object. However Adams (1996) points out that this can be difficult since art is difficult define.

More, Carey (2006) believes that efforts to define art are likely to fail because the process of defining art itself is contrary to its nature. Thus, people do not have just different views or criteria for aesthetic and artistic value but also in how these evaluation systems are developed and defined. Varying levels of competence can also impact art interpretation during the Renaissance, art education was regarded very highly and there was a high degree of emphasis on formal and technical art skills. Thus, the most celebrate art works were of the time were works that were representative of these qualities, creating acclaim for artists such as Leonardo Da Vinci and Michelangelo Buonarroti. However, despite this emphasis on the technical value of art, since they were often commissioned to impress, there was still an emphasis on their capacity to have an impact of its viewers. In conclusion, this implies that art value is culminates in the interpretations that are made about it.

Describing Photographs

Describing a photo could have been one of the most sensuous ways in defining artistry. Through this you can view ones soul regardless of the culture, personalities or hobbies you may have. Through those given pictures, these are my views per image presented to us respectively. Thus starting this, I gave name on each photo based on my inferences.

Suburban. Streaked with the monotonous bond of yellow and brown color, this shot produces an anxious atmosphere. The electric wirings hanging all along this line of a typical suburb plainly captures its activities while the setting of the sun addends to the anxiousness of the picture. Ironically, it pictures a restless city life despite of the scenic vista it produces.

A Photographer Thing. Photographers have this fascination of being pictured by someone else it could be the clich of a stolen shot or even the portrayed one. One thing is true about photographers they express their selves through their lenses. Nevertheless this picture overseeing the sea behind is a copy of an image every photographer would love to have-simple yet very attractive.

Rock Star. Composed by 45-degree lighting, this shot becomes naturally dramatic. The subjects facial expression pointed to his left, directly looking to the note he is into, expresses a soft tone despite of the rock star image he is portraying. This is an image vividly portraying of an artist during his meditation.

Baby. Like with the rock star image, this photo has also the respective 45 degree lighting thus also producing a dramatic aura. The dogs left eye is focused down to the remaining dark side of the picture gives an atmosphere of sadness. The composition is totally imbalance since the photographer here maintained the focal point to his subjects eyes.

Intersections. Lines are great when it comes to composition, especially when plays with the magic of contrast and imbalanced of colors like what this picture is entailing. Firstly, the black and white that is very usual into color combination is seen here. The intersected lines those are particular in corporate towers like this have really a lot of credits in this respective shot. The linear or being minimal of a photographer is clearly portrayed here.

Kitty at the Fish Lens. Fish lens are great when it comes to larger-than-life images. Though this lens was invented for meteorological causes and not just for a little sick kitten right here, in photography, anything goes around. Nonetheless, this image has captured the eccentricity of an animals eyes- dramatic in such a way of the monotonous color it produces plus the blurry effect from behind.

Imitation. Imitation is also another thing in doing a unique shot. This image has a typical sunny-day-lighting-set up with the Buddha and an imitating tourist. To make it more unusual, the photographer took the image from lower ground thus created the subject larger than he is actually is.

Grandeur. Grandest to its grandest This could have been took using a wide lens hence the image became more grand because of its size. The subject here including a red sports car and a mansion behind, using a balance composition greatly emphasize the beauty of the subject as a whole. One thing that disturbed me is the shadow that could be intentionally or unintentionally taken by the photographer here. Nonetheless, it was an exemplar

The Thing. Imbalanced and enough only to capture the subject of the entire craft, this is this picture. The subject of course is the DSLR camera all alone on a side of a bay-grill onto the wide image of the city. The spectacular with this is how the photographer managed to control the light in focusing the camera while not excluding the beauty of its backdrop.

Economy. Typical scenarios if youre out of the village, but not in here when go fishing and you can still touch the city beyond. The light emitted from the sun is enough for the photographer in creating this composition clear enough. Besides of its spectacular view, the picture tells facts what kind of economy this place has.

Color Eccentric. There are three things that are playing in this picture color, lines and combination. The power of combination extremely portrays the requirement of an eye into patterns and this picture tells it all. These are enough in creating ones masterpiece especially if played by reflectors such as the mirror in this photo. Definitely, you can see the eccentricity on this one.

The Langham. This gigantic shopping mall in Hong Kong became a miniature because of this shot. It clearly understated the hugeness of this piece of architecture while its golden reflection became more spectacular because of the central focus on its name- the Langham Place leaving its logo blurred. Nevertheless, this city piece indiscriminately portrays what a life Hong Kong can offer.

Underwater. Though underwater photography has been an expensive hobby for every aspiring water photographer, this has stolen the heart of the many. Underwater images produce different variety of color combinations like what this image is portraying. Almost blue simply explicates the naturalist side of being underwater. The schools of fish and the hole through where the light passes through became one of this images prominent figures. 

The Big City. This image could have been took a 360 degree lens. This is basically because of the complete length composing the big city shown in this image. This is also considered night photography since the photographer mainly focused on the varying lights produced by a number of buildings not far beyond where he is taking this fantastic shot, in the night. Spectacular indeed

The Ship. Lastly, this image is also a by-product of night photography. Taken during the night time, the line described out the lighting bulb hanging on the ship made an impression of a total luxury of the image. The pattern created by the ships chimneys also created a soothing atmosphere plus the backdrop of its nearest harbor. The color is mostly playing with yellow and brown, a typical combination for sad but grand aura.

A. Background on Betsey Johnson

Betsey Johnson is both a fashion designer and fashion brand known for uniquely creative and imaginative designs for a fun lifestyle. She was born on 10 August 1942 in the quiet town of Wethersfield, Connecticut (Blausen and Stacey). As a child, she took numerous dancing lessons (Blausen and Stacey) that developed her interest in the feminine through the frilly and bright colored dance costumes worn during practice, recitals and plays.

Education, Honors  Organizations
After high school, she entered Pratt Institute (Blausen and Stacey), a prestigious art school in New York. This period marked Betseys pursuit of her passion and career in the arts. She continued her studies at Syracuse University to graduate in 1964 with a magna cum laude honor (Blausen and Stacey). In college, she formed part of the Phi Beta Kappa, an honor society and joined Alpha Xi Delta, a sorority committed to supporting womens empowerment and growth (Blausen and Stacey).

Entry into the Fashion World
Betsey Johnson became part of the fashion world by winning the Guest Editor Contest sponsored by Mademoiselle Magazine in 1964 (Biography). This allowed her to research and experience different designs and fashion events. In 1965, she was hired as a top designer by Paraphernalia (Biography), a boutique employing a number of fashion talents. Her signature designs were sexy, hippie and fabulous. Offers from boutiques and fashion houses such as Alvin Duskin located in San Francisco and Alley Cat took most of her time (Blausen and Stacey). Finally, in 1978, Betsey collaborated with Chantal Bacon to launch the Betsey Johnson brand (WWD). Thirty years later, Betsey Johnson received numerous fashion awards and the Betsey Johnson brand has reached markets in Europe and Asia.

Betsey Johnson and Her Brand Signature
Source httpwww.betseyjohnson.combio.html

B. Market Segment Targeted by Betsey Johnson Age
In terms of age, Betsey Johnson has been able to draw costumers of varying ages. The fashion designs appeal to veteran celebrities such as Cyndi Lauper, Joan Jett, Debbie Harry, and Janis Joplin and to young stars such as Paris Hilton and Katy Perry (Betsey Johnson). The feminine aspect of the designs appeal to women of all ages and the whimsical components of the design provides options for age-specific preferences. However, most of her signature designs appearing to be non-age specific by appealing to women in the different age groups.

Income and Social Class
Relative to market segmentation by income, Betsey Johnson is a high-end brand. When the brand was launched in 1978, the designs were worn by music artists and featured in theater and other shows. As an exclusive brand boutique, Betsey Johnson stores are located in Soho and Madison Avenue in New York and Melrose Avenue in San Francisco California, which are locations known for high fashion. In 1996, the Ultra fashion line was launched to cater to an exclusive market and picked-up by exclusive retailers such as Charivari and Ultimo (White). However, in 2009, plans for Betsey Johnson to create an affordable line retailed through the online stores QVC and HSN were underway (Douglas).   

Occupation
The targeted market segment by occupation is limited. Betsey Johnson designs strongly appealed to people in the entertainment industry. Although the designs also expressed femininity, the designs had lesser appeal to people in occupations requiring more formal and simple designs. The designs appealed most to movie stars, music artists, and other art aficionados who want to be seen. Nevertheless, Betsey Johnson designs have strong appeal to women of different occupations seeking fabulous attires for their social activities. 

Lifestyle
Betsey Johnson designs appeal to a fun and fabulous lifestyle. It targets the pool in the urban market of individuals with fun or hi-strung personalities who enjoy visibility in their social circles or even in public. The Betsey Johnson market can be considered a niche.

Geographic Location
The designs target a global market but concentrated in key fashion cities such as New York and Los Angeles in the United States, Montreal, Toronto and Vancouver in Canada, London in the United Kingdom, and Tokyo in Japan.
C. Description of Betsey Johnson Designs

Design Descriptions   
Betsey Johnson designs can be described as very American, feminine, sexy, eccentric and whimsical (Betsey Johnson). The designs are far from ordinary. A look at some of the fashion items taken from the official online retail website  HYPERLINK httpwww.betseyjohnson.com www.betseyjohnson.com captures the feminine but with flare especially by the colorful prints, lacy shoes, and peak-a-boo socks.
     
Fit  Flare Dress      Intimate Wear      Heartland Satchel          Lacy Shoes      Peak-a-Boo Socks
Fabrics Used in Designs
   
Betsey Johnson also experiments with various fabrics used in designs that accentuate the womans body. A selected list of dresses taken from shows the use of various fabrics from cotton to chiffon and to satin.
     
Embroidered Cotton    CottonLycra     ChiffonCharmeuse         Crochet                      Satin
Production of Merchandise
Betsey Johnson merchandise is produced at the design studio and show room at the 21st floor of 498 7th Avenue in New York. This is the headquarters and also where Betsey Johnson resides more frequently. The designs drawn and sewed in the studio are then sent to the factory to be manufactured. Betsey Johnson clothes are produced in the United States. The main shops in London and Japan also have factories that manufacture the designs coming from New York. There are items designed and manufactured exclusively for international markets such as scarf exclusively distributed in Tokyo Japan. Other merchandise including jewelry, shoes, bags and belts, accessories, and lingerie are licensed for production to business partners (WWD).
D. Promotion and Sales of Betsey Johnson Merchandise

Promotions
Promotion of Betsey Johnson merchandise is through the New York Fashion Week, media exposure through celebrities that wear the Betsey Johnson label, collaborations with organizations for business and social causes, and features of the designer and brand in various fashion and lifestyle magazines, newspaper columns, and shows. Betsey Johnson is an established designer and brand in the global fashion market. She is also a celebrity icon in both the fashion world and in advocate organizations, especially with her active participation in campaign on breast cancer awareness and support. These promote the Betsey Johnson brand.

Sales
Betsey Johnson merchandise is sold in three venues, exclusive brand boutiques, retail stores, and the online website. The boutiques now number more than 70 stores in different North American, European and Asian countries (WWD). A diverse range of retailers including exclusive retailers, department stores, and other retail stores also distribute Betsey Johnson merchandise. The online website is  HYPERLINK httpwww.betseyjohnson.com www.betseyjohnson.com, with online sales coordinated by the office in 2346 E. Pacifica Place, Rancho Dominguez in California.
E. Betsey Johnson as an Important Designer
   
Betsey Johnson is an important designer by creating timeless and relevant pieces in a genre all her own. Even pieces from the 1970s, 1980s and 1990s are still selling strong in vintage shops with the rare items selling at high prices (WWD). Even after more than 30 years, Betsey Johnson has been able to capture many generations of women and is likely to continue doing so in the future. Although, there are designers and brands compared with Betsey Johnson, she has created a place for herself in the fashion world that cannot be replaced by another. 

Titian or the commonly known Italian painter Tiziano Vecellio was one of the most famous hands of the Renaissance Period. Born in the small town of Cadore, a northern part of Venice, Titian grew from a family of noblemen. His genius in arts had been evident even at the age of ten that caused his family to enroll him under Giovanni Bellini, who was also a very famous painter then. 

Being a beginner, it was inevitable for Titian to imitate others genre. He abandoned the Giovanni method and considered Giorgione of Castelfrancos kind of painting which is more into rich and atmospheric quality. Through experience and learning from several men of the fifteenth century such as Michelangelo and Giorgione him self, Titian learned how to explore his undoubted talent and made an exceptional fame not only in Italy but within the entire Europe through courts and palaces of the monarchs. (Vasari, 1568)

His work Ecce Homo or Christ Shown to the People was one of his masterpieces that had earned him fame and called the attention of many high-ranking officials of the land. This piece of oil canvas dated way back at around 1485-90 to 1576 is an emblem how social stratification had existed during the life of Jesus Christ. It can be seen how eloquently Titian detailed the contrast between Pilates richly fined clothing and the way Christ has being naked.

The humble and emotive aura and the way Christ enfolding his hands depict the fight between the antagonist and the protagonist. It is all shown the way Titian featured the sensitive modeling of Christs torso, the muted definition of his profile, and the evocative demeanor of his hands are characteristics of his brilliant late style.(Saint Louis Art Museum)

Pablo Picassos genius was firstly discovered by his father who also happened to be an art teacher. At the age of 14, he had already demonstrated high level of technical proficiency on his early drawings such as the Study of a Torso, After a Plaster Cast (1894-1895, Muse Picasso, Paris, France).

He was admitted at the Academy of Fine Arts in Barcelona wherein his teacher also taught arts. He studied under advanced classes after completing a series of entrance exams within just a day that were said given for a month to finish. He left Barcelona and came back in Madrid until 1904 when he settled in France and invented cubism and where the rest of his story happened.

Though considered to be the one who pioneered cubism, it was not only Picasso who invented this modern art movement. He was with French artist Georges Braque who made its launching in the mid of 1907 and 1908. Defined as paintings containing ambiguous sense of space through geometric shapes that flatten and simplify form, spatial planes that are broken into fragments, and forms that overlap and penetrate one another thus cubism was born.

One example of painting that exemplifies cubism is Picassos Pitcher and Fruit Bowl. Finished in 1931, the painting made of oil canvas is standing for about 51 14 x 76 34 in. (130.2 x 194.9 cm). The wideness of the painting represents the pitcher, leaves, fruit and table. It as if you are looking in a composition that is made of stained glass but is not. The entirety suggests a decorative different geometric pattern combined while the twisted lines and round forms seen in here infers that this painting serves as a Picassos young mistress-Marie-Thrse Walter. (Saint Louis Art Museum)

It can also be said that being one of the most prominent figures in the history of arts especially in the previous to the latter part of the 20th century, Picasso had been a people-person. Many women became attracted to her and this painting seemed to connote how he was a sweet yet very clever man then. It still amazes everyone how Picasso established his name from the point he made his first paintings until he entered sculpting, in expand of almost 70 years. In the end, his superb intellect born the many art movements including futurism in Italy, suprematism and constructivism in Russia, de Stijl in the Netherlands, and vorticism in England. (Encarta, 2009)