Develop an interpretive thesis that explicates Shakespeare’s development of a theme in Hamlet.
“be always ready to make slight notes of postures, groups and incidents store up in the mind without ceasing a continuous stream of observations from which to make selections later… Do not be backward at using every device and making every experiment that ingenuity can devise, in order to attain that sense of completeness which nature so beautifully provides, always bearing in mind the limitations of the materials in which you work.” (Charteris) Sargent contends that the ability to make selections of signs comes with a constant practice of observation. He also provided a precaution against documenting every little detail and in effect overwork the painting. His awareness of the limitations of the tools and materials one has to work with is perhaps why he chose the technique of simplify objects to adequate signs. In an attempt to simplify the object, Sargent deliberates and compare the importance of each sign. He discerns which is the most definitive character and forgoes the less significant details that distracts from these signs, sometimes going so far as to replace numerous details with one broad stoke. There are other artists, many of them Sargent’s contemporaries, that employ a similar method of using small individual strokes to create a larger image (MacEvoy). Contrary to Sargent however, these marks are more mindless and repetitive as in the most exemplar of pointillism and the overarching category of impressionism it falls in. Every dot and dab on the canvas in and of itself do not help to establish information about the object it is portraying and very little difference is made if the stroke is placed somewhere in the vicinity of its original position. The result of this is that impressionists sometimes create messy and unfocused painting where Sargent creates coherent, almost photographic imagery. To present a clearer picture of Sargent’s technique, we can once again refer back to his painting of the Salute. From a distance, the intricate edges of the building seems to be captured in astonishing accuracy. If one were to zoom in however, the delicate stonework of the building is revealed to be essentially an ambiguous blob of umber with some white either left from the paper or accented with gouache. But from afar, Sargent somehow leaves just the right amount of white as evidence for our mind to unconsciously piece together a cohesive image of the building. However, Sargent often warns his students against using “false accents” (Charteris). In attempting to emulate Sargent, it is easy to just copy his usage of adroit brush strokes and carry out the motion of leaving spots of white without actually going through the same intensity of deliberation that does. Although Sargent’s usage of vital signs to suggest an object is the core component of how he paints, there are other stylistic flourishes Sargent uses to make his paintings more appeali>GET ANSWER