Artistic Analysis of Artwork in the Museum
I went to a local museum, and I felt like as if I entered the realm of the past. The objects were literally talking to me, and they were giving a set of very clear and concise messages as I moved along the various regions of the facility. Villa Terrace was established as a historical center in the year of 1924, and the fonder of the establishment was Lloyd R. Smith. The Smiths came back from the journey from Italy, and requested, architectural expert, David Adler to build them a new residence, and the museum was its part at that time. I exposed myself to various regimes of the arts that remained prevalent in a few periods of time. The humanistic values always remained a defining force of my personality, and therefore, I exert myself to find pieces that represent humanism in arts and architecture. The work that grasped my attention during the visit is pasted along with this paragraph. The work appeared to be magnificent in nature because the artist made the image of a Greek god, Hermes and therefore, he represented the power of the divine entity that has the strength to move from spiritual world to a material one in no time. The image of the god represents change and newness in the universe. Hermes is a son of Zeus, and he is the second last member of the family of Olympian gods. The god laid his hand on the heads of artists, poets, thieves, businessmen, and shepherds. In the statue the god is standing without clothes that represents that he returned from a heavenly trip just few moments ago, and therefore, it is kind of a rebirth for him. He is holding some sort of package made out of cloth, and he is extending his right hand in order to bestow his new gift on his followers. The god has an ability to protect those who are being suppressed by higher social orders, and therefore, he cannot wait to provide his people with the blessing that he brought back with him after visiting the heavens.
The artwork does not appear to be a masterpiece, but when I looked closely in order to analyze it deeply then, I deciphered the embedded message. The statue was a representation of Hermes’ power to connect to the divine world as he is viewing up in the sky to find luck and prosperity for his followers. He is responsible for gathering of souls because he had the competence to move from one realm of the realty to another. The stature of Hermes in the statue is confident and he is feeling renewed energy in his body that is an conceivable fact because he novelized his existence by visiting the heavens.
He is attempting to receive attention of his audience in the statue so that he can share the gift that he was given by his senior ancestors. The Hermes does not have the power that Zeus has, but his son is the means of deliverance of fruits that gods want their children to have. The Hermes’ personality is powerful, and therefore, he is chosen for the role of a divine delivery boy. He remains in hurry because he has to deliver the spiritual goods to his followers, and then, he has to return to the unseen world to bring back new blessings so he is not attached to take care of his apparent image.
He does not bother about clothing himself because it will cause wastage of time that he can invest in bringing down marvels from the gods. The god is wearing his crown, and that is the only hardware that he has on his body. The crown represents that he belongs to a royal family of gods. The crown is necessary in order to let people know that Hermes is son of Zeus (West, 541), and therefore, he needs to be respected by the audience. The location of Hermes’s image in the museum is a central piece to the totality of the structure. The architect needed to convey the sense of personal freedoms and liberties for the suppressed parts of the communities all around the world. Furthermore, the establishment works miraculously in order to provide motivational services to the visitors so that they can leave with the sense of renewness. The power to introduce courage and leadership is local to the function of the god Hermes. The god cannot help those who do not have the desire to experience growth and development with the passage of time.
The image of Hermes is an inspiration for those who are suffering because he gives them hope, and energy to struggle through the pains of life as well by delivering gifts from the heavens. The people who are hopeless from life do have something in common. In the statue, I found that Hermes is consistently showing his defining colors of courage and energy by offering gifts from the heavens. The presence of faith and optimistic beliefs is going to make a huge difference in terms of bringing development in human life, and the persona of Hermes represents faith in one’s life. Hermes gives his followers the divine gifts that he gathers from the heavens. The Hermes brings news of good stature for those who are hopeless about their lives. The true guardian of pained humanity gives second chances to everyone including thieves by protecting them from harm so that they can experience grace.
The existence of Hermes is partially divine and it has materialistic characteristics as well so that he can communicate with both realms of existence. The presence of the concerned god in the cabinet of supernatural beings means that those who are sinners have the opportunity to correct themselves by connecting with the power of god Hermes. Additionally, the museum integrated pieces of art from many classes and forms of artistic literature, and therefore, one receives significant level of pleasure during the visit of the facility. However, the beauty lies in the eye of the beholder, and therefore, not everyone has the strength to value the artistic inventory at the museum.
Works Cited
Dividson, Julia O. "New slavery, old binaries: human trafficking and the borders of ‘freedom’." Global Networks 10,2 (2010): 244–261. Onlie.
Dodd, David and Christopher A Faraone. Initiation in Ancient Greek Rituals and Narratives: New Critical Perspectives. New York: Routledge, 2012. Print.
Solow, Barbara L. "Capitalism and Slavery in the Exceedingly Long Run." The Journal of Interdisciplinary History 17,4 (1987): 711-737. Online.
