Art Rhetorical Questions
Anecdote - whimsical - setting the scene (1)
Using descriptive language to pull the reader into the painting (2) "quality of the draughtsmanship, the brush strokes in thin oils, had a Renaissance beauty, but the fearful and compelling thing about the picture was its modernity"
Rhetorical Question (3)
Describing her "safety zone", using books as a symbol (4)
Discrediting herself (4) - ethos
Rhetorical Question (5)
Build up her credibility: ethos (6)
Symbol of foreign city as artwork. Personifying the foreign city "No one is surprised to find that a foreign city follows its own customs and speaks its own language. " (7)
Making an argument that humans are initially ignorant to art (8)
More ethos, giving her credibility as an author …show more content…
(9)
Using multiple analogies of art as a foreign city and like an animal (10) "Art is odd, and the common method of trying to fit it into the scheme of things, either by taming it or baiting it, cannot succeed. Who at the zoo has any sense of the lion?"
Ends in the above rhetorical question (10)
Building more credibility that she 's researching the topic (11)
Anaphora "all art" (11)
Quoting other authors (11)
Using these other authorities adds more to his ethos (12)
Giving background about Roger Fry (13)
Using descriptive language "figure of eight" (14)
Describing her process (14)
Describing some of the pitfalls, which extends the argument of art 's complexity and density "I do not only mean the crowds and the guards and the low lights and the ropes, which make me think of freak shows, I mean the thick curtain of irrelevancies that screens the painting from the viewer." (15)
Mocking here (16)
She 's using satire to add to her argument that people do not view art appropriately. (17)
More rhetorical questions to set up others views (18) "Is the painting Authority? Does the guide-book tell us that it is part of The Canon?"
This rhetorical question style continues for two more paragraphs (19)
Now she really breaks down the way people view art "Experiencing paintings as moving pictures, out of context, disconnected, jostled, over-literary, with their endless accompanying explanations, over-crowded, one against the other, room on room, does not make it easy to fall in love." (21)
Juxtaposes love with art (22)
Describes how these changes affected her (23)
Personifies painting "made a pact with a painting" (24)
Rhetorical question, trying to get reader to see her argument (24)
Addresses the reader. Uses 2nd person (25)
Anaphora of the word "Increasing" (26)
Extended anaphora (27)
More rhetorical questions that debase "typical thought" on art (28)
Returns to anaphora of "increasing" (29)
Tries to point out what views look for it art, to try to discredit it (30)
Uses figurative language "thick curtain of protection" then repeats the phrase (31)
Creates image of poor, ignorant, viewer (32)
Offers a solution (33)
Returns to the art as animal analogy (34)
Describing what people in the West do to try to relate to reader (35) Uses personal pronoun to gain more credibility with the reader, "Our present obsession with the past has the double advantage of making new work seem raw and rough compared to the cosy patina of tradition, whilst refusing tradition its vital connection to what is happening now. "
Using 1st person plural, author assumes herself to be apart of the audience "We are an odd people: We make it as difficult as possible for our artists to work honestly while they are alive; either we refuse them money or we ruin them with money; either we flatter them with unhelpful praise or wound them with unhelpful blame, and when they are too old, or too dead, or too beyond dispute to hinder any more, we canonise them, so that what was wild is tamed, what was objecting, becomes Authority." (36)
She tries to curb the normal person 's view of Authority. (37)
Defines "true artist" and juxtaposes with a "false artist" "The true artist is after the problem. The false artist wants it solved (by somebody else)." (38)
Offers a reason to why people don 't understand true art (39)
Another rhetorical question (40)
Offers another point "It is impossible to legislate taste, and if it were possible, it would be repugnant. " Uses metaphor of the 10 Commandments. (41)
Uses phrasing that she believes incorrect viewers of art would proclaim (42-43)
She 's chastising the ignorance of these viewers of art (44)
Uses pathos to try to gain emotional appeal. "It is right to trust our feelings but right to test them too. If they are what we say they are, they will stand the test, if not, we will at least be less insincere." (45)
Returns to 2nd person to be more personal. (46)
Returns to juxtaposition between love and art and finishes with rhetorical questions (47)
Returns to comparison with animals (48)
Brings in the media as another example of someone who distorts art (49)
More rhetorical questions (50)
Gives anecdote (51)
Continuing the anecdote (51)
Offers insight into her method "That is why, when I wanted to know about paintings, I set out to look at as many as I could, using always, tested standards, but continuing to test them." (52)
Uses more 2nd person pronoun (52)
Insinuates that art is an independent object (53)
Offers opinion, uses word "sure" to create sense of trust in his logos "I am sure that if as a society we took art seriously, not as mere decoration or entertainment, but as a living spirit, we should very soon learn what is art and what is not art." (54)
Quote (55)
Uses 1st person plural pronoun again to make himself involved in the audience.
Tries to drive point home (56)
Offers example of the inconstancy of people. (57)
Tries show inconsistency of logic (57)
More ethos giving what she can and cannot afford (58)
Paints a picture of how she views art (59)
Offers her formal thesis here (60) "Process, the energy in being, the refusal of finality, which is not the same thing as the refusal of completeness, sets art, all art, apart from the end-stop world that is always calling 'Time Please!
'."
Once again 1st person pronoun to make her apart of the audience. Restates the phrase "art objects" (61)
References paintings of authority and offers logos using contrasting imagery (62) "The message coloured through time is not lack, but abundance. Not silence but many voices. "
Religious reference to Creation (63)
Connects life to art (64)
Shows her resolve and how she 's trying to set the example for the viewer (65-66).
Using descriptive language to pull the reader into the painting (2) "quality of the draughtsmanship, the brush strokes in thin oils, had a Renaissance beauty, but the fearful and compelling thing about the picture was its modernity"
Rhetorical Question (3)
Describing her "safety zone", using books as a symbol (4)
Discrediting herself (4) - ethos
Rhetorical Question (5)
Build up her credibility: ethos (6)
Symbol of foreign city as artwork. Personifying the foreign city "No one is surprised to find that a foreign city follows its own customs and speaks its own language. " (7)
Making an argument that humans are initially ignorant to art (8)
More ethos, giving her credibility as an author …show more content…
(9)
Using multiple analogies of art as a foreign city and like an animal (10) "Art is odd, and the common method of trying to fit it into the scheme of things, either by taming it or baiting it, cannot succeed. Who at the zoo has any sense of the lion?"
Ends in the above rhetorical question (10)
Building more credibility that she 's researching the topic (11)
Anaphora "all art" (11)
Quoting other authors (11)
Using these other authorities adds more to his ethos (12)
Giving background about Roger Fry (13)
Using descriptive language "figure of eight" (14)
Describing her process (14)
Describing some of the pitfalls, which extends the argument of art 's complexity and density "I do not only mean the crowds and the guards and the low lights and the ropes, which make me think of freak shows, I mean the thick curtain of irrelevancies that screens the painting from the viewer." (15)
Mocking here (16)
She 's using satire to add to her argument that people do not view art appropriately. (17)
More rhetorical questions to set up others views (18) "Is the painting Authority? Does the guide-book tell us that it is part of The Canon?"
This rhetorical question style continues for two more paragraphs (19)
Now she really breaks down the way people view art "Experiencing paintings as moving pictures, out of context, disconnected, jostled, over-literary, with their endless accompanying explanations, over-crowded, one against the other, room on room, does not make it easy to fall in love." (21)
Juxtaposes love with art (22)
Describes how these changes affected her (23)
Personifies painting "made a pact with a painting" (24)
Rhetorical question, trying to get reader to see her argument (24)
Addresses the reader. Uses 2nd person (25)
Anaphora of the word "Increasing" (26)
Extended anaphora (27)
More rhetorical questions that debase "typical thought" on art (28)
Returns to anaphora of "increasing" (29)
Tries to point out what views look for it art, to try to discredit it (30)
Uses figurative language "thick curtain of protection" then repeats the phrase (31)
Creates image of poor, ignorant, viewer (32)
Offers a solution (33)
Returns to the art as animal analogy (34)
Describing what people in the West do to try to relate to reader (35) Uses personal pronoun to gain more credibility with the reader, "Our present obsession with the past has the double advantage of making new work seem raw and rough compared to the cosy patina of tradition, whilst refusing tradition its vital connection to what is happening now. "
Using 1st person plural, author assumes herself to be apart of the audience "We are an odd people: We make it as difficult as possible for our artists to work honestly while they are alive; either we refuse them money or we ruin them with money; either we flatter them with unhelpful praise or wound them with unhelpful blame, and when they are too old, or too dead, or too beyond dispute to hinder any more, we canonise them, so that what was wild is tamed, what was objecting, becomes Authority." (36)
She tries to curb the normal person 's view of Authority. (37)
Defines "true artist" and juxtaposes with a "false artist" "The true artist is after the problem. The false artist wants it solved (by somebody else)." (38)
Offers a reason to why people don 't understand true art (39)
Another rhetorical question (40)
Offers another point "It is impossible to legislate taste, and if it were possible, it would be repugnant. " Uses metaphor of the 10 Commandments. (41)
Uses phrasing that she believes incorrect viewers of art would proclaim (42-43)
She 's chastising the ignorance of these viewers of art (44)
Uses pathos to try to gain emotional appeal. "It is right to trust our feelings but right to test them too. If they are what we say they are, they will stand the test, if not, we will at least be less insincere." (45)
Returns to 2nd person to be more personal. (46)
Returns to juxtaposition between love and art and finishes with rhetorical questions (47)
Returns to comparison with animals (48)
Brings in the media as another example of someone who distorts art (49)
More rhetorical questions (50)
Gives anecdote (51)
Continuing the anecdote (51)
Offers insight into her method "That is why, when I wanted to know about paintings, I set out to look at as many as I could, using always, tested standards, but continuing to test them." (52)
Uses more 2nd person pronoun (52)
Insinuates that art is an independent object (53)
Offers opinion, uses word "sure" to create sense of trust in his logos "I am sure that if as a society we took art seriously, not as mere decoration or entertainment, but as a living spirit, we should very soon learn what is art and what is not art." (54)
Quote (55)
Uses 1st person plural pronoun again to make himself involved in the audience.
Tries to drive point home (56)
Offers example of the inconstancy of people. (57)
Tries show inconsistency of logic (57)
More ethos giving what she can and cannot afford (58)
Paints a picture of how she views art (59)
Offers her formal thesis here (60) "Process, the energy in being, the refusal of finality, which is not the same thing as the refusal of completeness, sets art, all art, apart from the end-stop world that is always calling 'Time Please!
'."
Once again 1st person pronoun to make her apart of the audience. Restates the phrase "art objects" (61)
References paintings of authority and offers logos using contrasting imagery (62) "The message coloured through time is not lack, but abundance. Not silence but many voices. "
Religious reference to Creation (63)
Connects life to art (64)
Shows her resolve and how she 's trying to set the example for the viewer (65-66).