Abstract
This paper discusses how various painting techniques of the Flemish painter Bruegel are similar, yet differ on various points. It looks at how the use of Christian iconography is the most obvious similarity, which is found within all three of the paintings chosen for this study.In comparison, it looks at how the anatomical characteristics of Leonardo and Raphael are clearly based on observational realism, rather than the abstraction that Bruegel finds in the main characters that surround Jesus after his birth.

Tags:bruegel, leonardo, raphael

Abstract
The paper analyzes the similarities and differences between the northern Flemish schools of painting with the Italian schools of the 16th century. The writer explains how, by thoroughly analyzing the work of Bruegel, one can realize how Italian art interplays with his work in painting composition. In essence, by collectively presenting the work of Leonardo da Vinci, the differing aspects of iconography, form, symmetry, color, and anatomy can be found on similar and differing levels within these painting styles.

From the Paper
"Da Vinci's "The Virgin and Child with Saint Anne" (1510) there are signs of more action in how Anne plays with the child Jesus, but the abstraction of the human figure is not found. Bruegel decidedly works with sagging facial contours of the three magi, and they do not rely on the exactitudes of facial features, as do those Da Vinci uses in the face of Mary or Anne."

Tags:classical, art, analysis

From the Paper
"Don DeLillo s massive novel Underworld is a stunning, at times overwhelming, document that limns the details and consequences of the Cold War and American popular culture especially of the middle decades of this century. DeLillo writes in an attempt to compel that swerve from evenness in which he finds events and people both wondrous and horrifying. With that combination of what in other quarters is called the switch from the sublime to the ridiculous, Underworld opens with a breathlessly graceful prologue set during the final game of the Giants-Dodgers pennant race in 1951. Written in what DeLillo calls super-omniscience the sentences sweep from young Cotter Martin as he jumps the gate to the press box, soars over the radio waves, runs out to the diamond, slides in on a fast ball, pops into the stands where J. Edgar Hoover is sitting with a drunk..."

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