This paper discusses the interaction between two themes in the paintings and drawings of Edgar Degas. The first is the study of form and shape, primarily of women. The second is his attitude towards the socioeconomic class of his subjects.
Abstract The writer argues that, because of Degas' upbringing in a family attempting to appear as nobility, he became interested in "class." Commentary on class structure was a deeply engrained part of the art world at the time that Degas was in the forefront of the field.
From the Paper "The later work of Degas began to concentrate on women in the bath, either actually washing, or getting in and out of various tubs. This was a focus on the female body in its most pure form. The fascination he had always shown with women was now given free reign, without clothing or background to complicate his work. It is interesting, though, to note that his interest in class, as well as gender, was still represented. The bathing woman has been separated from most of the social and cultural cues that give the viewer information as to her background. This is another way that Degas demonstrated that his interest in the female form cut across class boundaries."
Abstract The division of Renaissance art into three distinct periods began with Giorgio Vasari, the great Florentine art historian and chronicler of the lives of the artists. Vasari concluded, based on his universally accepted perception of Michelangelo as ?Il Divino,? that Renaissance art reached its most sublime expression in the works of Michelangelo and Leonardo da Vinci. However, some modern art historians wonder how valid or valuable this categorization and consequential value judgment is. Roberta J. M. Olson challenges the very existence of a ?High Renaissance,? on the grounds that ?the term is artificial, a qualitative judgment of "High" signifying the best,? The paper shows that there are surely noticeable differences in the vivid expressions of Italian Renaissance art from the fifteenth to the sixteenth centuries. Art from the early period of the Renaissance sprouted from the preceding medieval and Gothic artistic traditions, with their emphasis on dramatic facial expressions and compositions. This is especially evident in the sculptural arts, those three-dimensional figures that rendered the human form with increasing idealism. The paper shows that this trend toward idealistic renditions of the human face and figure directly derived from a revived interest in the Classical arts of ancient Greece and Rome. In fact, Renaissance art in general is defined by its classical motifs, materials, and mannerisms. Donatello signified this coming together of two artistic and philosophical traditions in the early periods of the Renaissance in Florence. A century later, Michelangelo Buonarotti built upon Donatello's earlier contributions to Italian art and sculpture in particular. The paper explains that although the works of Michelangelo defy categorization, his is generally considered to be ?instrumental in creating the High Renaissance,? and is heralded as that period's hallmark of all the works available for research by art historians, the two that most epitomize their periods and styles and which are most easily comparable because of their similar subject matter are Donatello's and Michelangelo's statues of David. This paper therefore examines and discusses these two pieces and show how they characterize the time periods they represent.
From the Paper "Moreover, Donatello's David signifies the budding Renaissance style because it incorporates distinctive classical elements. These elements would later mature in the corresponding David by Michelangelo. Nevertheless, while Donatello preserved Biblical accuracy in his rendition of David slaying Goliath, he also paid tribute to the sculpture of ancient Greece and Rome. His David, in fact, is almost Mercurial with its pagan-influenced hat and its adorning wreath. Here, Christianity and paganism coexist in one statue. Michelangelo's later version had none of this; in fact, Michelangelo did away with the image of Goliath altogether to focus solely on the stature of the hero"as if he perceived David as more of an ancient athlete than a Christian warrior. Similarly, Michelangelo underemphasized the actual struggle between David and Goliath: instead of a sword placed valiantly in the foreground as it is in Donatello"s, Michelangelo's David sports a barely noticeable sling."
Abstract This paper will discuss the painting Cupid Chastised by Bartolomeo Manfredi. The elements of the painting, such as line, composition, color, and other technical variants will revealed, as well as a historical analysis of the work.
Abstract Not more than fifty years after the painting was completed, and while Leonardo was still alive, the painting began to fade. The decay began with peeling paint. Leonardo had chosen not to work in the traditional medium of fresco, that is, painting directly on the freshly plastered wall. Leonardo da Vinci's painting is a masterpiece of iconic religious art. The painting is a study in geometric symmetry. Jesus' gesture is symbolic on several levels.
Abstract This paper compares the Russian Constructivism Movement to that of the De Stijl Movement and suggests that the latter was more futuristic and commercial in its presentation.
Abstract This is an art history paper, on one of the paintings on display at the Norton Simon Museum in Los Angeles. The name of the painting is "David Slaying Goliath", by Peter Paul Rubens. The paper is written in the cultures/period styles.
Abstract This paper presents a comparative analysis of the two artists who are Edward Manet and Claude Monet. A complete overview of their artistic lives has been observed, thus finding out the similarities and comparison between the their works.
Tags: ART HISTORY / IMPRESSIONISM, comparison manet monet
Abstract This paper defines surrealism and gives its history. The author feels that surrealism is much more significant today than it originally was. The paper relates that artist of all types took up the idea and manipulated it in various ways.
Abstract This paper describes land art and its attachment to minimalism. It analyzes it through three prominent land artists: Robert Smithson, Michael Hiezer, and Richard Long. It also discusses each artist's relationship with the land and the differences in how they approach their art.
From the Paper "Minimal art soon ceased to be simply a presentation of simple unitary forms, standing alone or arranged in series. It began to look for an existence outside the art gallery. However minimal works do not exist comfortably in the urban spaces generally assigned to the public sculpture. The result of this was the birth of what came to be known as Land Art. Robert Smithson is one of the best known attributers to this
period. His work is huge in size and workload. His works cannot be viewed by the public and so he has a reliance on the records of his work. This is similar to Michael Heizer whose work also depends on this record. Richard Long, differently to Smithson and Hiezer, brings the environment into the gallery for all to see and creates spiritual works. All three of these artists bring their own individual qualities into the movement of Land art."
This paper discusses photographer Diane Arbus's work, "Untitled", which gives the viewer various takes on the mentally retarded in what have been referred to as "shocking" ways.
Abstract This paper discusses that, despite much criticism, there are those who will support the idea that Diane Arbus is an artist in the truest sense. The author believes that her photographs have a way of bringing out the true nature of the people she is working to photograph. The paper concludes that Diane Arbus's work is not invasive, but rather challenges the viewer to see the reality of the harsher things in life.
From the Paper "Diane Arbus says the following of her work: "Freaks were a thing I photographed a lot"Freaks are born with their trauma. They"ve already passed it. They"re aristocrats? (Bosworth, 1985, preface). This statement seems to reflect the idea not that Diane is abusing her subjects, but rather that she admires them for having withstood a life of traumatic experience. Diane has been quoted as saying that most people live in fear of something freakish or unexpected happening to them (Arbus, 1977)."
Abstract This paper discusses Michelangelo's sculpture, "David", and how it reflects on the artistic and social values of the Italian Renaissance era. The paper explains the value the Renaissance era placed on sculpture and its fascination for classical antiquity, as well as its emphasis on the glory of the human body.
From the Paper "The sculpture by the Renaissance Italian artist Michelangelo Buonarroti of the Biblical hero "David" is so famous that statue's ubiquitous appearance in parody and in actual texts upon the history and aesthetics of art has rendered the work's appearance a clich? more an a inspiring work of sculpture. However, rather than simply something that is a pre-extant work for the ages, it is important to remember that the work's construction is the product of a particular period of history, not something that sprung fully-fledged from the mind of Michelangelo."
Abstract This paper discusses the Renaissance movement, which took place in Europe from the early 14th to late 16th century, and witnessed a revival of interest in the values and artistic styles of classical antiquity, especially in Italy. In particular, it looks at how the culmination of the artistic revolution of the Early Renaissance led to what is now known as the High Renaissance to signify the period of explosion of creative genius, producing as it did the work of great artists, such as Leonardo da Vinci, Raphael, and Michelangelo. It examines how High Renaissance Art touched unparalleled heights of creative expression because it brought the artist's personal expression into well-established techniques and style, thereby increasing the dramatic force and physical presence of a work of art . It also shows how an essential characteristic of High Renaissance Art is seen as its unified balance between technical skill and the artist's intuition or personal expression.
From the Paper "Leonardo da Vinci's The Madonna of the Rocks exists in two, nearly identical versions; one, entirely credited to Leonardo, in the Louvre, Paris and the second, considered a collaboration because of its distinctly sixteenth century characteristics of larger figures, in London's National Gallery. Both versions depict a supposed meeting of the Christ Child and the infant saint John. The painting shows the infant Baptist, sheltering under Mary's cloak, venerating the Christ Child in a cool, watery wilderness. The figures, grouped in a pyramid, are glimpsed in a dimly lit grotto setting of rocks and water, a setting that inspired the work's name."
Tags: italy, leonardo, da, vinci, raphael, michelangelo
Abstract Martin Heidegger's "The Origin of the Work of Art" is no less ambitious a project than an attempt to discern the very source of art. As such, he attempts to investigate where art itself comes from. The paper shows that, in this complex work, he looks into the relationship of art, the artist, and truth. Further, he discusses the interpretation of art in terms of a circle of interpretation with many different aspects.
From the Paper "The term hermeneutic circle is simply another way of describing Heidegger's circle of interpretation in art. In "The Origin of the Work of Art", Heidegger notes that you cannot fully understand a single part of a work until you understand the whole. Further, he notes that you cannot understand the whole of a work of art until you understand all of the parts of the art. On the surface, Heidegger's circle of interpretation seems tautologous and circular, yet his circle is not a trap."
Abstract This paper looks at the Renaissance, a term used to describe the period of European history dating from the early 14th century to the late 16th century, predominantly in Italy. In particular, it examines the revival of the values and artistic styles of classical antiquity that is evidenced in many of the great works that were produced during that period. It discusses three of the most characteristic and highly popularized works of the Renaissance: Botticelli's "The Birth of Venus"; Michelangelo's "Sistine Chapel"; and Michelangelo's "David". It emphasizes the artist's intent, its impact on Renaissance culture, and why the works are considered a return to classical styles and values.
From the Paper "The Birth of Venus is considered one of the greatest masterpieces of the Renaissance, incorporating both classical and Christian values. Painted for the villa of Lorenzo di Pierfrancesco de' Medici at Castello between 1485 and 1486, The Birth of Venus was a revival of the classic Greek mythological goddess of Love. But there is a twist. Sandro Botticelli, was a student of Marsilio Ficino, head of the Platonic Academy. One of the focuses of Neo-Platonism was beauty and divine (Christian) love. Sandro Botticelli combined divine love (Venus was made to be the Virgin Mary) and beauty with the Classical Theme of Venus ? The Goddess of Love, to produce one of the most beloved works of the early Renaissance."
Tags: botticelli, venus, michelangelo, sistine, chapel, david
Abstract This paper presents a brief review of "The Moon and Sixpence", by Somerset Maugham, which tells the story about Charles Strickland, an artist who leaves his home and travels to live in the islands. The paper shows how Maugham's novel is similar to the life story of French painter, Paul Gauguin.
From the Paper "However, unlike his character narrator, Maugham did understand and appreciate art. The story's narrator struggled in vain to translate Strickland's work, his expression of truth, into language (Macey pg). In a 1919 review of Maugham's novel, Maxwell Anderson wrote that the title was "an admission by Somerset Maugham that explaining genius is as impossible as expressing moonlight in terms of the decimal system" (Macey pg)."
