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                <text>In line with the previous image, this image expands upon the same concept. The usage of multiple materials within one image for the purpose of creating a full composition becomes the whole concept behind collage. In the case of this image specifically, Parsons lays a groundwork with the brick red sketch and then creates a more rapidly sketched set of accent lines around the basic form of the bear. This both highlights the form of the bear as well as giving it a greater expressive quality.&#13;
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                <text>This image points to a different trend than the previous images. Rather than examine ways to distil down an image, here Parsons is experimenting with ways to build up images through different materials in one composition. The mentality behind putting together different mediums in one composition can potentially be traced into later collages by Parsons, however, there are still several years before Parsons' first professional collage.</text>
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                <text>As an extension of the theme from the previous image, this scene creates movement with the usage of several well-controlled lines. In this image, Parsons is able to isolate the most expressive and explosive elements that are necessary to the composition while also stripping away the excess. This leaves the composition with only the most powerful elements, resulting in a system of necessary parts that are working perfectly together.</text>
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                <text>This image is part of a larger series within the sketchbook of several characters in anachronistic dress that are dancing. While this series does focus on the theme of expressiveness from the selective usage of line, it also focuses on the element of movement. The series and this image, in particular, create characters that seem to be floating through the composition. This is the second of the major themes investigated by Parsons in this sketchbook. The creation of movement and momentum within an image can be some of the most challenging, yet evocative, elements that give life to a composition.</text>
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                <text>In this sketchbook, Parsons seems to adopt a style that is more distilled and focused. As an example of this tendency, this image is constructed of a selective few lines with three distinct colors. Through these selective elements, Parsons is able to create an image that is at the same time evocative and condensed. Each figure has an accessible emotional posture, but none of them seem to take up an excessive amount of space. In this way, the image is made as emotional as possible, while not being too overwhelming from a structural standpoint.</text>
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                <text>This portrait seems to generally be within the stylistic tendencies of Parsons. However, the quality of the character is enhanced by the specific lines that Parsons has chosen to render the figure. Compared to other portraits this one is slightly more reserved. It is not as rapidly sketched as other portraits and seems to reflect the overarching trend of Parsons selecting the essential elements of an image to reveal a more expressive nature.</text>
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                <text>Upon first glance, this sketch seems to be the same as any other landscape that Parsons has created. However, in fact, it is a different kind of scene entirely. It is a genre scene of a ship in port, likely in Portland, that is in the process of loading. In the first sketchbook Parsons has several scenes of ships in port, however, none of these images included the crew of the ships. This image is unique in the sense that it captures the feeling of the toil of the crew. The expressiveness is then highlighted by the usage of color upon the chimney where the name of the company is placed. This emphasizes the focus of the image upon the expressive nature of one element, namely the workers, within a composition. </text>
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                <text>The landscape has been a strong recurrent theme within these sketchbooks and has generally followed some basic conventions. Many of these conventions can be found within this image. The trees are rendered with squiggles, much like her landscape of Philadelphia, the telephone poles are simply lines, and there is an almost atmospheric perspective as the figures fade into the distance. However, there are other influences present within this landscape. In relation to image 8, the buildings in the foreground seem to be more heavily outlined and much less rooted in a naturalistic realism. This image reflects a trend of Parsons moving towards a more stylized rendering of forms which could be the product of a synthesis of external influences. Rather than creating what she sees directly in front of her, Parsons has changed and begun creating what she sees in her mind through the lens of her own style. </text>
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                <text>This incredibly expressive image shows the culmination of several tendencies that can be found throughout this sketchbook. Firstly it can be read as the move into the expressive from the naturalistic, a transition which occurred gradually over the course of this sketchbook and the end of the previous one. As a product of this process the sketch seems to be much more rapid, yet also more selective. Unlike the image 7, there is no attempt to create shadows to highlight the expressiveness of the character, but rather Parsons has adopted the gesture and the basic facial features to highlight the emotion that exists beyond the image. In a way, this can be read as a moving away from the purely retinal image towards something much more evocative and implied. </text>
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                <text>This image is especially interesting as it is one of the few sketches that do not seem to take their inspiration from nature, but more so from the concept of a previously existing artwork. In a sense, this is the intellectual precursor to the art of collage. Through the interpolation of stylistic elements, Parsons is choosing to create a simulacrum of a previously existing image or style. In much the same way, collage is the physical interpolation of these images as they exist in a new context, thus creating a simulacrum. &#13;
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