WP3: Final Draft

Author's Note:

The most notable change that I made lies in the order of the paragraphs. I almost decided to move to the end of the essay's body the paragraph that describes the material composition of the art object. I went in the opposite direction, however, by moving it to the front, realizing that it was the only paragraph in the body of the essay that focuses most Monet's Table itself rather than the environment's impact on Monet's Table through aspects such as lighting and passing of time. With the movement of this single paragraph, the paragraphs that talk about lighting and how it changes with the passing of time are brought together. I feel this is an important alteration to the essay as a whole because these paragraphs are closely related. To help support the flow of the essay, I also altered the paragraph that begins with "In addition to the aforementioned environmental characteristics..." by adding to the end "Of course, these shadows appear to change completely depending on when Monet's Table is viewed and from where the audience views it." This creates a smooth transition to the next paragraph that tackles the matter of changes in shadows and lighting effects over the passing of time.

As a result of shifting the position of the paragraphs in the body of my essay, I also found it necessary to change the order in which I outline my subtopics in the introduction. Thus, just as I reordered the paragraphs in the body, so too did I move the sentence "the material used in the crafting of this art object helps to support the overall impressionist imagery of this piece" to the front of the outline of the subtopics. Additionally, in the same paragraph where I added the transition sentence to the end, I also added the sentence "Colors and lighting effects are among the most important aspects of Monet's paintings." I felt that this paragraph was rather underdeveloped and didn't do very much to support the arguments that were being made, but this sentence helps to better relate the paragraph and its topic back to the context in which I've situated the art object.

Aside from these changes, I made various minute changes all over the essay. Most of these alterations consist of simple changes in word choice that I felt either had a noticeable impact on my intended pathos or altered the overall meaning of individual sentences. For example, I changed the word "However" to "To further support this" in the sentence that now reads "To further support this, the bridge's shadow doesn't completely cover the table, allowing the table itself to produce a shadow on the ground." I feel that this simple change alters the manner in which this sentence supports my sub-argument. Also included in these small changes are various corrections in grammar, spelling, and punctuation. One last change I tried to make pertains to the functionality of one of my hyperlinks. The link labeled "brush strokes" evidently wasn't working for anyone who hasn't visited the linked website, so I relinked it with a change that hopefully fixes this problem for anyone who tries to use it.

And, with that, I leave with you this profound message: Merry Christmas!

Rough Draft 1
Statement of Purpose


Impressionism was a major movement in paintings, sculpture, and even music, and was founded by the famous painter, Claude Oscar Monet, for whom the above art object is titled. Perhaps most prominent in paintings, the impressionist style is best known today for its attempt at recreating "visual reality in terms of transient effects of light and colour" (Pioch 1). In his art object, titled Monet's Table (from the Lilypad Series), Michael Todd uses various techniques to emulate this impressionist art style, which is supported by certain characteristics only present in three dimensional works of art such as sculpture. The material used in the crafting of this art object helps to support the overall impressionist imagery of this piece. Additionally, the art object's position in its environment is used in a near limitless number of ways to achieve this effect, reflecting its surroundings upon its audience. Last, but certainly not least, Monet's Table itself is altered in both minute and extreme cases by another significant dimension: Time. The intricate combination of these characteristics--all unique properties of dynamic, three-dimensional art--work together to contribute to Michael Todd's employment of the impressionist art style, which just so happens to be most commonly known for its application in paintings.

The material and the manner in which Monet's Table was assembled is representative of Monet and the impressionist art style that Michael Todd is employing. Impressionist painters often depicted that which they were painting through the use of small, clearly visible brush strokes, sometimes even making small dots with the tip of the paint brush. As a result, a vast majority of impressionist paintings appear to be somewhat unfinished. In a similar manner, the entirety of Monet's Table is composed of a rough, bumpy steel surface, as if it were painted using small, accentuated brush strokes. The areas that were welded together when forming this art object also remain somewhat rough, causing the piece as a whole to look rather unfinished. This is also supported by the minimal level of detail shown in the table. In general, lily pads are more distinguished than a simple, flat circle. However, to impressionists, the importance of shape and fine details doesn't even come close to rivaling the significance of colors and lighting effects. Michael Todd's goal here was not to create a steel replica of lily pads, but rather to create an impression of lily pads.

Monet's Table is strategically placed in a somewhat social area on campus, outnumbered by surrounding picnic tables and benches. These picnic tables and benches create visual unity through repetition. The title of this art object bluntly suggests that it is a table. However, its appearance differs greatly to that of the picnic tables; its top surface is made of circular panels, its legs are oddly shaped, and it is much too low to the ground. In fact, its height is similar to that of the benches in the area, making it sort of an awkward place to carry out table-bound activities. All of these characteristics contradict the utility of this art object as a table, stressing the fact that this "table" was designed for more than just a surface for eating. Also, Monet's Table is planted on a rather dull, concrete ground. The hue of the concrete contrasts with that of the art object, causing the audience to see, from many angles, merely the image of various darker circles overlaying the lighter ground. From the part of the title "(from the Lilypad Series)" the audience can gather that this image is actually more of an impression of lily pads gently floating on a still pond. Monet, who's name is a vital part of this art object's title, created a large series of paintings based around a water lily pond that he owned. Michael Todd seems to suggest that, of the tables that Monet might have owned, Monet's Table should have been a member of his collection; after all, the impressionist art style and lily pads both seem to be two of Monet's most pronounced attributes.

In addition to the aforementioned environmental characteristics, a bridge runs overhead, casting a definitive shadow across the surface of the table whenever the weather creates the right conditions. Coincidentally, the effects of lighting and shadows play a large role in the impressionist art style. Colors and lighting effects are among the most important aspects of Monet's paintings. To further support this, the bridge's shadow doesn't completely cover the table, allowing the table itself to produce a shadow on the ground. Additionally, because the table is in a public location, the audience members themselves can cast shadows upon the table and the ground near the table. Clearly, Michael Todd is using logos as he creates as many interesting shadows as possible, supporting a definitive point of both Monet and the impressionist art style. Of course, these shadows appear to change completely depending on when Monet's Table is viewed and from where the audience views it.

Monet and many other impressionist painters would often return to a location more than once just to paint the same scene from a different viewpoint, during a different season, or simply at a different time of day. Monet most noticeably did this as he painted several pictures of his water lily garden over a course of thirty years. Monet once said "I know that to paint the sea really well, you need to look at it every hour of every day in the same place so that you can understand its way in that particular spot and that is why I am working on the same motifs over and over again, four or six times even" (artquotes). Just as Monet depicted these varying effects of lighting through a multitude of paintings, so to does Michael Todd through the placement of Monet's Table. The outdoors environment reflects these changes upon Todd's art object quite noticeably. As the day progresses, the shadow from the overhead bridge slowly moves across the top surface of the art object. Furthermore, as the year progresses, all sorts of different lighting occasions make themselves present through both seasonal and weather changes. Still further, over a much longer period of time, the art object as a whole changes color with the production of rust due to its material composition.

Michael Todd has created a work of art that not only employs the impressionist art style, but uses it in ways that highlight the particular usefulness of the three-dimensional art object genre. Monet created several depictions of specific locations with varying lighting effects which, as a result, generates a unique pathos in each painting. On the other hand, Michael Todd chose to create a singular art object and place it in a location that, due to its unique lighting situations, Monet and other impressionists might find appealing. Todd effectively uses the audience, their viewpoint, and the environment as a part Monet's Table itself, which generates a different pathos depending on at what time and from what location the audience views it. In a way, Todd creates multiple art objects in just one composition, generating an array of pathos in a manner similar to that of Monet and his paintings.

Works Cited

Pioch, Nicolas. "Impressionism" June 19, 2006. WebMuseum, Paris <http://www.ibiblio.org/wm/paint/glo/impressionism/>.

artquotes.net. "Claude Monet Quotes" 2009. ArtQuotes.net <http://www.artquotes.net/masters/monet-claude-quotes.htm>.

WP3: Rough Draft 1

Impressionism was a major movement in paintings, sculpture, and even music, and was founded by the famous painter, Claude Oscar Monet, for whom the above art object is titled. Perhaps most prominent in paintings, the impressionist style is best known today for its attempt at recreating "visual reality in terms of transient effects of light and colour" (Pioch 1). In his art object, "Monet's Table (from the Lilypad Series)," Michael Todd uses various techniques to imitate this impressionist art style, which is supported by certain characteristics only present in three dimensional works of art such as sculpture. Specifically, the art object's position in its environment is used in a near limitless number of ways to achieve this effect, reflecting its forever-changing surroundings upon its audience. Additionally, the material used in the crafting of this art object helps to support the overall impressionist imagery of this piece. Last, but certainly not least, "Monet's Table (from the Lilypad Series)" itself is altered in both minute and extreme cases by another significant dimension: Time. The intricate combination of these characteristics--all unique properties of dynamic, three-dimensional art--work together to contribute to Michael Todd's employment of the impressionist art style, which is most popularly known for its application in paintings.

"Monet's Table (from the Lilypad Series)" is strategically placed in a somewhat social area on campus, outnumbered by surrounding picnic tables and benches. These picnic tables and benches create visual unity through repetition. The title of this art object bluntly suggests that it is a table. However, its appearance differs greatly to that of the picnic tables; its top surface is made of circular panels, its legs are oddly shaped, and it is much too low to the ground. In fact, its height is similar to that of the benches in the area, making it sort of an awkward place to carry out table-bound activities. All of these characteristics contradict the utility of this art object as a table, stressing the fact that this "table" was designed for more than just a surface for eating. Also, the art object is planted on a rather dull, concrete ground. The hue of the concrete contrasts with that of the art object, causing the audience to see, from many angles, merely the image of various darker circles overlaying the lighter ground. From the part of the title "(from the Lilypad Series)" the audience can gather that this image is actually more of an impression of lily pads gently floating on a still pond. Monet, a vital part of this art object's title, created a large series of paintings based around a water lily pond that he owned. Michael Todd seems to suggest that, of the tables that Monet might have owned, "Monet's Table (from the Lilypad Series)" should have been a member of his collection; after all, the impressionist art style and lily pads both seem to be Monet's two favorite things.

In addition to the aforementioned environmental characteristics, a bridge runs overhead, casting a definitive shadow across the surface of the table whenever the weather creates the right conditions. Coincidentally, the effects of lighting and shadows play a large role in the impressionist art style. The bridge's shadow, however, doesn't completely cover the table, allowing the table itself to produce some shadow on the ground. Clearly, Michael Todd is using logos to create as many interesting shadows as possible, supporting a definitive point of both Monet and the impressionist art style.

The material and the manner in which it was assembled is also representative of Monet and the impressionist art style that Michael Todd is employing. Impressionist painters often depicted that which they were painting through the use of small, clearly visible brush strokes, sometimes even making small dots with the tip of the paint brush. As a result, a vast majority of impressionist paintings appear to be somewhat unfinished. In a similar manner, the entirety of "Monet's Table (from the Lilypad Series)" is composed of a rough, bumpy surface, as if it were painted on using small, visible brush strokes. The areas that were welded together when forming this art object also remain somewhat rough, causing the piece as a whole to look rather unfinished. This is also supported by the minimal level of detail shown in the table. In general, lily pads are more distinguished than a simple, flat circle. However, to impressionists, the importance of shape and fine details doesn't even come close to rivaling the significance of colors and lighting effects. Michael Todd's goal here was not to create a steel replica of lily pads, but rather to create an impression of lily pads.

Monet and many other impressionist painters would often return to a location more than once just to paint the same scene from a different viewpoint, during a different season, or simply at a different time of day. Monet most noticeably did this as he painted several pictures of his water lily garden over a course of thirty years. Monet once said "I know that to paint the sea really well, you need to look at it every hour of every day in the same place so that you can understand its way in that particular spot and that is why I am working on the same motifs over and over again, four or six times even." Just as Monet depicted these varying effects of lighting through a multitude of paintings, so to does Michael Todd's placement of "Monet's Table (from the Lilypad Series)." The outdoors environment reflects these changes upon Todd's art object quite noticeably. As the day progresses, the shadow from the overhead bridge slowly moves across the top surface of the art object. Furthermore, as the year progresses, all sorts of different lighting occasions make themselves present through both seasonal and weather changes. Still further, over a much longer period of time, the art object as a whole changes color with the production of rust due to its material composition.

Michael Todd has created a work of art that not only employs the impressionist art style, but uses it in ways that highlight the particular usefulness of the three-dimensional art object genre. Monet created several depictions of specific locations with varying lighting effects which, as a result, generates a unique pathos in each painting. On the other hand, Michael Todd chose to create a singular art object and place it in a location that, due to its unique lighting situations, Monet and other impressionists might find appealing. Todd effectively uses the audience, their viewpoint, and the environment as a part "Monet's Table (from the Lilypad Series)" itself, which generates a different pathos depending on at what time and from what location the audience views it.

Works Cited

Pioch, Nicolas. "Impressionism" June 19, 2006. WebMuseum, Paris <http://www.ibiblio.org/wm/paint/glo/impressionism/>.

artquotes.net. "Claude Monet Quotes" 2009. ArtQuotes.net <http://www.artquotes.net/masters/monet-claude-quotes.htm>

WP3: Statement of Purpose

The goal of my essay is to show the audience the many techniques used by Michael Todd, the author of "Monet's Table (from the Lilypad Series)," to emulate the artistic style and persona of Claude Monet. Beginning from what I believe to be the most important technique, the position of this art object in its environment plays a crucial role in demonstrating the impressionist art style of Monet. As a result, the environment is nearly as important as the piece of art. The environment is constantly changing, creating different lighting situations, different seasons, and so on. This is an important trait to the impressionist art style. Additionally, the material--it's color and texture, are important for the same reasons.

I found a website full of famous Monet quotations, some of which I want to use in support of my argument. For example, "I know that to paint the sea really well, you need to look at it every hour of every day in the same place so that you can understand its way in that particular spot and that is why I am working on the same motifs over and over again, four or six times even." This quotation could be helpful in explaining the impressionist emphasis on lighting and how it all relates to Michael Todd's work of art. It also shows Monet's reasons for creating the lengthy series of paintings depicting waterlilies.

Another interesting subject that could be worth some discussion is the noticeable differences between the surface of the table and the legs. The top surface is composed entirely of uniform circular plates, creating visual unity through the symbolic use of the circle. On the other hand, the legs are made of varying shapes and sizes. In effect, the legs are what makes this piece of art appear to be a real table while the top surface greatly enhances the emphasis on the impressionist art style. I could compare and contrast these two elements of the sculpture to help show Michael Todd's use of impressionism in the piece.

Lighting is one of the most important aspects in Monet's paintings. Monet used a combination of lighting and differing viewpoints within his paintings in order to generate certain pathoses. Monet's art style is reflected through the placement of Michael Todd's "Monet's Table." The table is strategically placed under a bridge so that, as the sun moves through the sky, the shadow of the bridge moves across across the surface of the table. This alone emphasizes Monet's attention to lighting. Also, the table is placed in an area from which there are many unique viewpoints; it can be viewed from below, from nearly every direction at ground level, and even from above on the bridge. Michael Todd clearly wanted to reflect the highlights of Monet's art style through his own piece.

WP3: Context

As the title of my assigned art object--"Monet's Table (from the Lilypad Series)"--suggests, Monet is an extremely important aspect to the arguments that are being made. Monet, also known as Claude Oscar Monet, was a famous French painter who founded the impressionist style of painting. Impressionist painters and their paintings often, if not always, focused on lighting and how it changes with the passing of time. This makes a lot of sense with respect to Michael Todd's "Monet's Table (from the Lilypad Series). As I've mentioned in previous posts, my assigned art object is positioned under a bridge so that, as the day progresses, the shadow from the bridge moves across the top surface of the table. This unique position under the bridge effectively portray's Monet's impressionist art style through the passing of time and motion of shadows.

Another characteristic of the impressionist style of painting is the tendency to include visible brush strokes. In some extreme cases, impressionist paintings appear as a mass of small, brightly colored strokes, only comprehendible when the painting is viewed as a whole rather than a small section. This style is also reflective of Michael Todd's piece of art; the entirety of "Monet's Table (from the Lilypad Series)" is composed of a rough, bumpy steel surface. Additionally, Michael Todd let remain clearly visible the points at which different sections of the table were welded together. This sort of rough, unfinished appearance parallels the impressionist style, making the table seem as if it had been created by Monet himself

Claude Monet is well known for his series of paintings based around the water lilies in his flower garden. Overall, he created around 250 oil paintings in this area over a span of about 30 years. It is easy to see why Michael Todd argues that Monet would have had a table of water lilies. Todd effectively converts Monet's impressionist style in paintings to his own impressionist style in sculpture. The upper surface of the table is composed of simple, circular panels, none of which have any sort of detail whatsoever. This once again follows the impressionist style, putting more importance on aspects such as lighting and time progression rather than the level of detail. This allows Todd to simply leave the impression of water lilies.

"Monet's Table (from the Lilypad Series)" is actually quite an odd sculpture because of its historical context. Impressionist sculptures weren't nonexistant in the impressionist era; however, impressionism is more commonly known for its founder, Monet, and for the many paintings created during its time. Michael Todd tries to take what Monet has created in paintings, and form it into his own piece of art to sum up all that is Monet. This conversion turns out to be rather interesting. We don't need 250 paintings and 30 years just to experience this table; we can see it from any viewpoint and at any time of the day, and it will probably always have the level of detail that it might have if it were instead one Monet's paintings.

WP3: Pre-Writing Assignment 4

My assigned sculpture, "Monet's Table (from the Lilypad Series)," can definitely be though of as both an intensification of the natural environment in which it is found and an intensification of an art object. These assertions are supported partly by the fact that it is a sculpture--a three dimensional object--that the audience can observe from a near limitless multitude of viewpoints. From these points of view, the audience can clearly see each way the environment impacts this table, and, in a similar manner, how the table effects the environment. In many cases, it is the environment itself that helps to reveal this piece of art as an intensification of an art object. "Monet's Table(from the Lilypad Series)," is more than just a table or a piece of art; it is an integral part of the environment--it is the environment.

Sculptures are, generally speaking, an intensified form art. Sketches and paintings, for example are both two-dimensional; no matter the angle at which the audience views a pencil sketch or painting, it will always look relatively the same. Sculptures, however add another dimension, allowing the audience to freely move around the piece of art, thus changing the perspective and presenting opportunities for entirely different interpretations of the art object. In the case of "Monet's Table (from the Lilypad Series)," this characteristic of three-dimensional art holds true; the table can be viewed from every side, from underneath (if you really have that much determination), and on a bridge from above. Sculptures also extend the depths of some aspects not available to paintings and pencil sketches: Material. While paintings and pencil sketches can be created on a few different materials, the sketches themselves will always be drawn in pencil and paintings (with just a bit more flexibility) will always be created in paint. Sculptures, on the other hand, can be made in basically any material imaginable, such as wood, various metals, or Play Dough! This affects such aspects as texture, temperature, weight, and color.

Both the environment and "Monet's Table (from the Lilypad Series)" impact each other in important ways. The area around this piece of art has a plethora (I really wanted to use that word) of picnic tables, creating visual unity. Michael Todd's sculpture breaks this unity with a table that contrasts in shape, size, and material, highlighting its most important aspects. The environment is continuously reflected upon "Monet's Table (from the Lilypad Series)" mostly because of its strategic position under a bridge. Because of this placement, the balance between sunlight and shadow constantly shifts in an epic battle played out across the surface of the table. Clearly, another dimensions is present: Time. The outdoor setting of this art object allows time to constantly alter its appearance, temperature, and--in the long run--structural integrity. These aspects reflect the effects of the environment to the audience. In this case, "Monet's Table (from the Lilypad Series)" as an intensification of an art object is highlighted by its intensification of the environment.