April 22, 2021
Jennifer Raab’s article Questions Answers
文章问题回答代写 Jennifer Raab’s article Questions Answers：The argument of Jennifer Raab is to interpret the Church’s work in terms of visually and ···
The argument of Jennifer Raab is to interpret the Church’s work in terms of visually and epistemologically instead of ideologically and politically. Jennifer Raab argued that the details of Church often emanate from the microscope and things we behold in world. Such materialistic approach bring fame to an artist as well as anxiety. Jennifer Raab discusses the difficulty revealed in the church work. Jennifer argues that the Church work is completely opposite of what the nineteenth century viewer expect from the landscape paintings. To further support this argument Jennifer Raab give the examples of the early paintings such as The Heart of the Andes which is confused with the growth of the proliferation of botanical specimens and The Andes of Ecuador highlighting the detail under sunlight. A fundamental transformation is highlighted by the Church’s painting during that period.
詹妮弗·拉布（Jennifer Raab）的论点是从视觉和认识论上而不是从意识形态和政治上来解释教会的工作。 詹妮弗·拉布认为，教堂的细节往往来自显微镜和我们在世界上看到的事物。 这种唯物主义的做法给艺术家带来了名气和焦虑。 詹妮弗·拉布讨论了教会工作中所揭示的困难。 詹妮弗认为教堂的作品与 19 世纪观众对山水画的期望完全相反。 为了进一步支持这一论点，詹妮弗·拉布 (Jennifer Raab) 举了一些早期绘画的例子，例如《安第斯山脉的心脏》(The Heart of the Andes) 与植物标本增殖的增长相混淆，而《厄瓜多尔的安第斯山脉》(The Andes of Ecuador) 则突出了阳光下的细节。 那个时期教堂的绘画突出了根本性的转变。
The authors who have previously written about the concepts of detail are Henry David Thoreau, and Frederic Edwin. Another author is Claude Lorrain.
The Franklin Kelly source named Frederic Edwin Church and the National Landscape written by 1988 can be easily found online or on amazon to buy.
名为 Frederic Edwin Church 的 Franklin Kelly 资料来源和 1988 年撰写的 National Landscape 可以很容易地在网上或亚马逊上找到以购买。
Endnote no. 88 refers to the Herman Melville’s Moby-Dick.
The endnote 14, endnote 15 and endnote 74 all refer to Frederick obituary.
尾注编号 88 指的是赫尔曼·梅尔维尔 (Herman Melville) 的《白鲸记》。
尾注 14、尾注 15 和尾注 74 均指 Frederick 讣告。
Delving into the church’s detail the authors analyze the mode of thought that creates the painting. The author is talking about the details of The Heart of The Andes and linking it to the Puritan work ethic providing historical identity to them. Here, the author is analyzing various perspectives of The Heart of Andes giving rise to visual appeals. Some of the aspects are excess of choice and the pleasant feeling of viewing a lot of things in the painting. The Heart of Andes is creating a visual appeal about the language of consumer culture. The painting provides proximity similar to opera glasses.
作者深入教堂的细节，分析了创作这幅画的思维方式。 作者正在谈论《安第斯山脉之心》的细节，并将其与为他们提供历史身份的清教徒职业道德联系起来。 在这里，作者正在分析安第斯之心的各种视角，从而产生视觉吸引力。 有的方面是选择余地，看画中很多东西的愉悦感。 安第斯山脉的心脏正在创造一种关于消费文化语言的视觉吸引力。 这幅画提供了类似于歌剧眼镜的接近度。
The Heart of the Andes created a new marketplace, which can be precisely seen in the departmental store window.
In the endnote 71, the author is trying to relate the Great Pictures of Church with the advent of American department store. Lord & Taylor was one of the stores that was specifically known for its window displays. The Heart of the Andes and the store was opened and exhibited in a same year i.e. 1859. Therefore, in endnote 71 the author is trying to highlight the materialistic aspect of Church’s work by relating it with the contemporary departmental stores.
The proximity of the stores and the Church is also highlighted in the endnote. For instance, Lord & Taylor was dozen blocks away from Church studio and the painting exhibition venue. Likewise, the A.T. Stewart;s Cast Iron Palace was two blocks away from Tenth Street Studio Building and Macy’s which was opened in 1858. These stores collectively formed the retail corridor which was called as Ladies’ Mile. A similarity between the visual experiences of the department store and viewers approach to the Church’s work using their opera glasses has been reflected in the endnote number 71.
在尾注 71 中，作者试图将教堂的伟大图片与美国百货公司的出现联系起来。 Lord & Taylor 是以其橱窗展示而闻名的商店之一。安第斯之心和这家商店在同一年（即 1859 年）开业和展出。 因此，在尾注 71 中，作者试图通过将其与当代百货公司联系起来来强调丘奇作品的物质方面。
在尾注中也强调了商店和教堂的接近程度。例如，Lord & Taylor 距离教堂工作室和画展场地有十多个街区。同样，A.T. Stewart;s Cast Iron Palace 距离第十街工作室大楼和 1858 年开业的梅西百货有两个街区。这些商店共同构成了零售走廊，被称为女士英里。 71 号尾注反映了百货公司的视觉体验与观众使用歌剧眼镜观看教堂工作的相似性。