Explanation:
Vincent van Gogh (Dutch, 1853-1890), The Poplars at Saint-Rémy, 1889. Oil on fabric, 24¼ x 17 15/16 in. The Cleveland Museum of Art; Bequest of Leonard C. Hanna, Jr., 1958.32
A recent trip to south Florida occasioned what has become a routine sojourn for me, a stopover at the Norton Museum of Art.
At the Norton, van Gogh’s The Poplars at Saint-Rémy is overwhelmed twice, first by its ornate antique frame, then by its installation on the third floor. Softly lit, it inhabits its own grey-painted gallery, a pearl in an oversized jewel box. It doesn’t help that the landscape’s colors are relatively sedate for a late van Gogh, relying on white to suggest terrain bleached by sunlight. The central two poplars are enclosed within a diamond-shaped design circumscribed by skyline above and crossing diagonals of rock-strewn land below. It is an inherently unstable composition, harmonized by color, the blue sky repeated in ground plane shadows and the blanched earth tones picked up in clouds. There is perhaps no way to write about van Gogh’s brushwork, idiosyncratic and instantly recognizable, without resorting to banalities; suffice to say that his sense of urgency demanded an entirely novel handling of paint. The Poplars at Saint-Rémy was made in a single session, a feat of compressed intensity.
Sharing a gallery with two other works by the artist, Degas’s Portrait of Mlle. Hortense Valpinçon resides more comfortably in its ground floor setting. The story of its production is no less remarkable than that of the van Gogh; leaving Paris during the barricades of 1871, Degas arrived at the Valpinçon country home without a canvas, and apprehended some mattress ticking upon which to paint his friend’s nine-year-old daughter. She leans into a sideboard and surveys us with unusual self-possession for one so young, holding in her right hand what has been variously described as a slice of fruit or a coin.
hope it helps
In Chapter Five of Lord of the Flies, after the debacle of the meeting that Ralph has called in order to impress upon the boys the importance of maintaining the fire and to explain that the beast does not exist, disorder reigns as the boys laugh at suggestions of bathroom activities and ignore the logical arguments of Piggy against the beast.
Then, Jack asserts his authority by shouting,
Bollucks to the rules! We're strong,--we hunt! If there's a beast, we'll hunt it down! We'll close in on it and beat and beat and beat--!
With this assertion of brute force, Jack and the hunters move on. Piggy tells Jack that he is afraid of Jack because Jack hates him. He, then, tells Ralph,
I tell you what. He hates you too, Ralph--....You got him over the fire; an' you're chief an' he isn't.
Piggy and Ralph both realize that they are not equipped to deal with Jack and the hunters who are degenerating into savages who have a lust for hunting and are afraid of things in the dark:
The three boys stood in the darkness, striving unsuccessfully to convey the majesty of adult life.
That is Simon, Piggy, and Jack realize that they are unable to make things work: they cannot resolve the conflicts of trying to keep the boys orderly and Jack and Roger and those like them under control.
Some creative ways Todd can use to help the hospital understand the importance of an integrated revenue cycle team would be bringing a former teammate to explain the benefits they reached using that strategy, show finance numbers from different departments and compare them to numbers from the same departments before Todd was hired, offer two months trial to know what team work feels like and the benefits it can bring to the Hospital, integrate every single employee to the team and give them a responsability, that is going to give them some power, respect and love for what they are doing.
