Part 1
Read the following passage carefully at least twice. What does it tell us about Plutarch’s view of the relationship between Anthony and Cleopatra?
Plutarch, a Greek Historian whom lived some 150 years after Cleopatra and Anthony, viewed the relationship between Cleopatra and Anthony as fatal for Anthony. In describing Anthony’s love for her he states ‘it stifled or corrupted all those redeeming qualities in him’, (Scott-Kilvert,1965, Fear,2008, p.9)
In the first part of the passage, Plutarch describes how Cleopatra would use her charm and sexuality to manipulate Anthony. She was always by his side controlling and influencing his moods. Plutarch describes how, ‘She played dice with him, drank with him and hunted with him’ (Plutarch, in AA100 Assignment booklet, 2011, p.18).
In this statement, it shows how Cleopatra was a manipulator, not subservient as was expected of females in Roman society. Plutarch viewed this as a lack of respect of the once great General, as he states in his account of the meeting of Anthony and Cleopatra in Tarsus, ‘she treated him with such disdain that when she appeared it was as if in mockery of his orders’, (Scott-kilvert, 1965, in Fear, 2008 p.10).
Plutarch’s describes Anthony as a childish figure, lacking in sense. When describing Anthony’s ‘mad follies’, Plutarch states that Anthony and Cleopatra would dress as servants. Anthony would harass the ordinary common folk and make fun of them. Anthony’s victims knew who he was, yet still, they would give him abuse and often beat him. The childishness of Anthony, and the commoners’ lack of respect towards him, cast doubt over Anthony’s masculinity and greatness. Plutarch conveys the message that Anthony was indeed responsible for his own fall. As Cassius Dio wrote when depicting the speech Augustus gave before the battle of Actim, ‘Who would not weep when he sees and hears what Anthony has become?’ (Scott-Kilvert, 1987, in Fear 2008 p. 27).
The Term Paper on Anthony And Cleopatra Pleasures Of Egypt
"Anthony and Cleopatra " Shakespeare Uses As His Source For The Play Plutarch's Lives Of The Noble Grecian's And Romans. Plutarch, Along With Other Greek And Roman Authors, Saw An Opposition Between The Conquering West Standing For Moral And Political Virtue And The Conquered East Representing Luxury And Decadence. How Does Shakespeare's Play Present These Positions? Throughout William ...
Anthony who was once seen as a great general and statesman was now mocked and pitied by his fellow Romans.
In describing the fishing scene, Plutarch shows how devious and controlling Cleopatra is. He describes how she undermines and belittles Anthony in front of their friends. During the story, Anthony fails to make a catch and tries to fool Cleopatra. She sees through this, and sets him up to catch an inferior fish not worthy of the great general he is meant to be. Her true control over him is shown when she calls him ‘Imperator’ and states that his true sport is ‘the hunting of cities, realms and continents’. (Plutarch, AA100, p.18) She sets Anthony up and belittles him in such a way, which he further has to seek her approval and love.
Plutarch and Dio’s views do slightly differ to that of Horace. As Horace’s Ode 1.37 describes Cleopatra as a ‘mad queen with her contaminated flock of men diseased by vice’ (West, 2004 in Fear, 2008, p. 28).
Anthony is not mentioned, as if to preserve the once great General. However, Plutarch and Horace are united in their depiction of Cleopatra, and view her death as the only noteworthy act the Queen did.
Bibliography
Fear, T. (2008)’Cleopatra’, in Moohan, E. (ed.) Reputations (AA100 Book 1), Milton Keynes, The Open University. Pp. 2-28.
‘Cleopatra’ (2008)(AA100 DVD), Milton Keynes, The Open University.
Plutarch, Life of Anthony, 29-30; reprinted in AA100 Assignment Booklet (October 2011), Milton Keynes, The Open University, p.18.
Wikipedia (2011) Augustus available from http://en.wikipedia.org/wiki/Augustus (Accessed October 5th 2011)
Part 2
Look carefully at plate 1.3.24, Cezannes Jug and Fruit (1857-87), and plate 1.3.30, Zurbarans Still Life with Lemons, Orange and a Rose (1663).
The Term Paper on Plutarchs View of Anthony & Cleopatra
Plutarch also portrays this influence as a negative one “if any spark of goodness or hope of rising were left in him, Cleopatra quenched it straight and made it worse than before” (Miller & Browning, 2008, p. 91), often leading him astray and into situations not befitting his position “For Antony also would try to array himself like a servant. Therefore, he always reaped a harvest of abuse, ...
In no more than 500 words, outline what you think are the main differences between them.
Both artworks are of still life, with the placement of the subject matter being at the eye line of the picture space. In my opinion that is where the similarities end. In techniques used and portrayal of the subject matter, both painters interpret the scenes very differently.
Zurbaran, whom painted before photographic images were commonplace, has composed his piece in an ordered and uniformly realistic way. He is manipulating the eye to drink in the scene, with his leading colour hue, magnificent tonal range and saturation. His bright, crisp and vivacious subject matter is dramatic, against the black velvet of the negative space, creating form and meaning, powerful and intense. His curved lines create flow, leading the eye to wander over the picture space. Cezanne’s composition is vastly different, in that my eye is immediately drawn to the centre of the picture space where the hues of the pear from red through to green, give a warm yet comforting feel, radiating out to a restricted cool tonal range of greens and blues. The centre pear has an attracting dimensional form, leaving the eye to meander over the scattered fruit, in an unorganised fashion. Unlike Zurbaran’s organised guided form, Cezanne guides me through in the deep browns of the picture plane to the pearlescent values of the jug.
Cezanne has used an oil medium and has applied this with thick impasto style brushwork, rough and textured, giving each colour a hard block shape. There is no great perception of depth or value when looking at the picture space as a whole, but if looking at the picture starting with the picture plane, the roughly curved lines of each of the fruit, and their colour blocks, lead you onto the literal surface to explore. Zurbaran has used the same medium but has applied it in layers to form a solid lifelike quality, building up the oil so it dries thick and textured. As his subject matter is of fruit with rough skins and cup with smooth glacier qualities, he has stayed true to his subject and has presented these with great mediums and textures, creating a tactile illusion.
The Term Paper on Cezanne’s Jug and Fruit and Zurbaran’s Still Life with Lemons, Oranges and a Rose.
Look carefully at Illustration Book Plate 1.3.24, Cezanne’s Jug and Fruit (1885-87), and Plate 1.3.30 Zurbaran’s Still Life with Lemons, Oranges and a Rose (1633). Identify what you think are the main differences between them. Cezanne’s ‘Jug and Fruit’ (1885-87 Illustration Book Plate 1.3.24) and Zurbaran’s ‘Still Life with Lemons, Oranges and a Rose’ (1633 Illustration Book Plate 1.3.30) are ‘ ...
The positions of the lighting on both works are completely different. Zurbaran’s is starkly lit and has used a definite light source from the upper left, giving substantial form and value. Cezanne has used a frontal light and this can be best seen on the variations of blues used on the background wall of the picture space, and in the graduation of the table value from the front of the picture plane.
Looking at Jug and Fruit, whilst each of the items appear to be entities of their own, each creating individual depth of perspective, non are dependent on each other for this piece to work. Unlike Zurbaran, Cezanne invites the viewer to make up their own perspective and not to follow the conventional rule.
Bibliography
Harrison, C. (2008) ‘Cezanne’in Moohan, E. ‘Reputations’ (AA100 Book 1), Milton Keynes, The Open University, pp. 57-84.
The Open University 2010 ‘Inside Art’, http://learn.open.ac.uk/mod/oucontent/view.php?id=587386 (Accessed 23 October 2011).
Young, L., Dixon, L.,Wraith, D., Wilson, L., Jenkins, C., (24 October 2011)‘Live forum – Cezanne’ AA100 tutor group forum (Accessed 25 October 2011).
The Open University (2008) AA100 Illustration Book (Plates for Book 1 and 2), Milton Keynes, The Open University.
Wikipedia (2011) Composition, available from http://en.wikipedia.org/wiki/Composition_(visual_arts).
(Accessed 17 October 2011).
Web museum, Paris (2011) Cezanne, Paul: Still Life Galleria, available from http://www.ibiblio.org/wm/paint/auth/cezanne/sl/. (Accessed 17 October 2011)
