Part 1 Journal
The most captivating image at the De Young Museum is Doré Vase; which is a bronze monumental cast in 1882. This image speaks a resounding theme to my imagination, and in so far as my experience with the arts gallery is concerned I find it well framed to answer my virtual beliefs about the origin of certain portfolios. In this big bronze cast, I am able to see unique images of men, women and children who are either half nude or fully nude (Frost 80). Their positioning in the bronze cast is haphazard, failing to exhibit a uniform pattern. I wonder what was in the artistic mind to make such a representation, and the intended meaning he had in his minefield. However, a closer look and interaction with this cast spurs some levels of confidence in me, and i am soon gaining the insights of the image. Indeed, this cast is illustrious and invokes the 19th century’s social lives of the people.
Based on my reiteration above, I find this monument bearing rich historical background of the French country. I have once read about the Dore Vase in the De Young Museum, and I wondered how this artist could frame human images with a winning generation. A closer look at this monument make a quick revelation that individual’s casted there are not organized, and perhaps are drunk. This is a self-invoked revelation to the image that has been widely interpreted to have a godly connotation. Therefore, this image creates a self-predisposed analogy that people casted here had just began to wine, not knowing that there were gods of wines, and such gods would be given due consideration (Cameron 100). This violation to the existence of winning deity could have generated a massive collapse of a generation that did not uphold its sanctity. These are a few invocations that I perceive out of this image, which has been mainstreamed in the history of winemaking. The artist behind Dore Vase is the Gustave Doré, a French artist whose hue on winemaking ode reigned 1832 to 1883.
Image Ref: https://deyoung.famsf.org/deyoung/announcements/dor-vase-view-de-young
Part 2: The Paper
My experience at the De Young museum was very educative. Today, I earn a lot of reference to this walk. De Young’s museums preserve the cultural heritages of different societies, and I think it where history unfolds. My walk past the gate introduced me to this huge monument, with full and half nude cast image of people haphazardly spread` on it. I think the beginning of my enthusiasm began the moment I encountered this huge cast. Besides, my stroll to the doorway led me to other hilarious and beautifully engraved images of different collections (Cameron 102). I must say, that I learned varied images signifying different arts and cultural heritage. I must say that I somehow became confused with the amazing images and engraved cast on the museum gallery.
In order to get to the bottom line of my main cast collection. I employed my self-conscience and intelligence to settle on the most appropriate collection. Of course my decision to settle on the Dore Vase was spearheaded by my experience and knowledge on French arts and history. This must have been the driving motive to settle on Dore Vase. Therefore, I looked and interacted with several images, but the moment I was I exposed to the Dore Vase, it became a shying relief for me.
Works Cited
Cameron, Elisabeth L. "Permanent African Gallery." African Arts 42.1 (2009): 100-102. Literary Reference Center Plus. Web. 29 Feb. 2016.
Frost, Paula. "Fantasy And Faith: The Art Of Gustave Doré." Library Journal 132.13 (2007): 80. Literary Reference Center Plus. Web. 29 Feb. 2016.
