A prolific painter of portraits before and after the French Revolution ...
A prolific painter of portraits before and after the French Revolution ...
A prolific painter of portraits before and after the French Revolution ...
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ch07.qxd 12/2/04 11:58 AM Page 316<br />
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Chapter 7<br />
explaining<br />
7. Use your explaining skills to analyze visual images. For example, <strong>the</strong> work <strong>of</strong><br />
art that opens this chapter is Elisabeth Vigée-Lebrun’s 1788 portrait <strong>of</strong><br />
Marie Antoinette <strong>and</strong> her Children. Use your browser to search for information<br />
about Marie Antoinette, her role in <strong>the</strong> <strong>French</strong> <strong>Revolution</strong>, <strong>and</strong> <strong>the</strong><br />
career <strong>of</strong> Vigée-Lebrun. Then study <strong>the</strong> photograph on <strong>the</strong> previous page <strong>of</strong><br />
a migrant woman <strong>and</strong> her children, taken in California in 1936. Do some<br />
Internet research on Doro<strong>the</strong>a Lange <strong>and</strong> her series <strong>of</strong> photographs <strong>of</strong> migrant<br />
workers in California. Write an essay comparing <strong>and</strong> contrasting <strong>the</strong><br />
artists (Elisabeth Vigée-Lebrun <strong>and</strong> Doro<strong>the</strong>a Lange), <strong>the</strong> composition <strong>of</strong><br />
<strong>the</strong>se two images, <strong>and</strong>/or <strong>the</strong> social/cultural conditions surrounding each<br />
image. Assume that your audience is a group <strong>of</strong> your peers in your composition<br />
class.<br />
PROFESSIONAL WRITING<br />
Miss Clairol’s “Does She . . .<br />
Or Doesn’t She?”:<br />
How to Advertise a<br />
Dangerous Product<br />
James B. Twitchell<br />
A longtime pr<strong>of</strong>essor <strong>of</strong> English at <strong>the</strong> University <strong>of</strong> Florida, James B. Twitchell<br />
has written a dozen books on a variety <strong>of</strong> academic <strong>and</strong> cultural topics. His recent<br />
books on advertising <strong>and</strong> popular culture include Carnival Culture: The<br />
Trashing <strong>of</strong> Taste in America (1992), Adcult USA: The Triumph <strong>of</strong> Advertising<br />
in American Culture (1996), <strong>and</strong> Living It Up: Our Love Affair<br />
with Luxury (2002). In “Miss Clairol’s ‘Does She ...Or Doesn’t She?’ ” taken<br />
from Twenty Ads That Shook <strong>the</strong> World (2000), Twitchell examines <strong>the</strong> Miss<br />
Clairol advertising campaign, which was designed by Shirley Polyk<strong>of</strong>f. Twitchell<br />
explains how Polyk<strong>of</strong>f ’s ads, which ran for nearly twenty years, revolutionized<br />
<strong>the</strong> hair-coloring industry. Part <strong>of</strong> <strong>the</strong> success <strong>of</strong> <strong>the</strong> ad was in <strong>the</strong> catchy title,<br />
Twitchell notes, but equally important were <strong>the</strong> children in <strong>the</strong> ads <strong>and</strong> <strong>the</strong> followup<br />
phrase, “Hair color so natural, only her hairdresser knows for sure.” (Before you<br />
read Twitchell’s essay, however, look at several <strong>of</strong> Polyk<strong>of</strong>f ’s Clairol ads by searching<br />
Shirley Polyk<strong>of</strong>f on Google.)<br />
PROFESSIONAL COPY—NOT FOR RESALE<br />
1