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Berthe Morisot. In a Villa at the Seaside. 1874. Oil on canvas.

Berthe Morisot depicts a quiet and relaxed moment shared between a mother and a child at the
Morisot uses various techniques to portray a relaxed moment while vacationing. She uses a
public setting, the seaside, as her background; however the foreground of the painting depicts
seclusion. The vertical placement of the free formed woman and child help to create a sense of
depth. The overlapping of the woman’s shape and the size of the child create depth and space.
The juxtaposition of the foreground and the background help to create the illusion of privacy in a
public setting. The contrast between the cool blue green water and the sharp rigid lines of the
veranda give a sense of separation. Our eye level is immediately drawn to the point where the
vertical line of the veranda meets the horizon, focusing our attention on the busy seascape.
Morisot’s use of organic shapes gives the painting a very relaxed and informal feeling, almost
whimsical. Motion is created through the white trim of the woman’s dark skirt, and the parallel
lines in the gauzy white curtain, as well as the white caps of the waves. To create balance, she
places a bowl of bright red apples on the veranda. The bright red of the apples is complementary
to the blue greens of the sea. The vague shapes, the play of light, the organic lines, and her color
choices help to create an informal but striking composition.
Craftsmanship (technique, medium, etc):
Morisot uses a traditional medium of oil on canvas to forever capture a serene moment while
vacationing by the sea. Transcending the traditional, her use of bright colors and quick brush
strokes set her work apart from the customary artists of the time.
Historical Precedence:
Morisot, an impressionist artist, works quickly to capture an ordinary moment shared while on
vacation. Her quick brush strokes and the use of bright colors are in vivid contrast to the somber
colors of traditional artists. Her focus is on a public setting, rather than a historical event.
In a Villa at the Seaside can be enjoyed by anyone as it depicts a quiet and serene moment while
vacationing. This purpose of the painting was to capture an exact moment in time, precisely how
the artist perceived it. Morisot communicated a relaxed, informal, and serene setting. She did
this through color choice, organic lines, and use of white light.

Sample Solution

e must be war for the sake of peace (Aristotle (1996), Page 187). However, Frowe argues “self-defence” has a plurality of descriptions, seen in Chapter 1, showing that self-defence cannot always justify one’s actions. Even more problematic, is the case of self-defence in war, where two conflicting views are established: The Collectivists, a whole new theory and the Individualists, the continuation of the domestic theory of self-defence (Frowe (2011), Page 9& 29-34). More importantly, Frowe refutes Vittola’s view on vengeance because firstly it empowers the punisher’s authority, but also today’s world prevents this action between countries through legal bodies like the UN, since we have modernised into a relatively peaceful society (Frowe (2011), Page 80-1). Most importantly, Frowe further refutes Vittola through his claim that ‘right intention cannot be used as an excuse to wage war in response to anticipated wrong,’ suggesting we cannot just harm another just because they have done something unjust. Other factors need to be considered, for example, Proportionality. Thirdly, Vittola argues that war should be avoided (Begby et al (2006b), Page 332) and that we should proceed circumstances diplomatically. This is supported by the “last resort” stance in Frowe, where war should not be permitted unless all measures to seek diplomacy fails (Frowe (2011), Page 62). This means war shouldn’t be declared until one party has no choice but to declare war, in order to protect its territory and rights, the aim of war. However, we can also argue that the war can never be the last resort, given there is always a way to try to avoid it, like sanctions or appeasement, showing Vittola’s theory is flawed. Fourthly, Vittola questions upon whose authority can demand a declaration of war, where he implies any commonwealth can go to war, but more importantly, “the prince” where he has “the natural order” according to Augustine, and all authority is given to him. This is further supported by Aristotle’s Politics ((1996), Page 28): ‘a king is the natural superior of his subjects.’ However, he does later emphasise to put all faith in the prince is wrong and has consequences; a thorough examination of the cause of war is required along with the willingness to negotiate rival party (Begby et al (2006b), Page 312& 318). This is supported by the actions of Hitler are deemed unjustly. Also, in today’s world, wars are no longer fought only by states but also non-state actors like Al-Queda and ISIS, showing Vittola’s normative claim on authority is outdated. This is further supported by Frowe’s claim that the leader needs to represent the people’s interests, under legitimate authority, which links on to the fourth condition: Public declaration of war. Agreed with many, there must be an official announcement on a declaration of war (Frowe (2011), Page 59-60&63). Finally, the most controversial condition is that wars should have a reasonable chance of success. As Vittola reiterated, the aim of war is to establish peace and security; securing the public good. If this can’t be achieved, Frowe argues it would be better to surrender to the enemy. This can be justified because the costs of war would have been bigger (Frowe (2011), Page 56-7). Consequently, jus ad bellum comprises several conditions but most importantly: just cause and proportionality. This gives people a guide whether it’s lawful to enter a war or not. However, th

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