A comparison of Claude Debussy's "Prelude a l"apres-midi d"un faune" (1894) (Prelude to the afternoon of a faun) and the impressionist poem upon which it was based, Stephane Mallarme's "L"apres-midi d"un faune."
Abstract This paper compares Claude Debussy's music "Prelude a l"apres-midi d"un faune" (1894) (Prelude to the afternoon of a faun) and the impressionist poem upon which it was based, Stephane Mallarme's "L"apres-midi d"un faune." It discusses the role impressionism played in the visual arts in the development of impression in French music at the end of the nineteenth century. A discussion of the movement away from Wagnerian and Romantic ideals is also included.
From the Paper "By the late nineteenth century, Romantic music in Europe had reached the pinnacle of its success, in terms of both mastery of the art form and popularity among the public. Epitomized by the musical accomplishments of the Germans (Wagner and Brahms) and those of the Russians (Tchaikovosky), music composed in the Romantic style was markedly sentimental and quite non-evasive in its presentation of ideas, particularly those of "true passion" (Wright, 320). It was in direct opposition to these norms of expression of true passion through sentimentality and overt symbolism that the Impressionist movement in music began. Beginning in France and drawing its ideals from the rebellions against Romantic and Classical styles in such other artistic mediums as painting and literature (particularly poetry), Impressionist music attempted to express true emotion in more subtle ways, in ways other than "sheer volume of sound and epic length" (Ibid). A principal example of this new fin-de-si"cle style can be found in Claude Debussy's Pr"lude ? l"apr"s-midi d"un faune (1894) (Prelude to the afternoon of a faun). Based loosely on St"phane Mallarm?'s 1876 poetic work, L"apr"s-midi d"un faune, the Pr"lude exemplifies the Impressionist tendency to suggest ideas rather than explicitly set them forth. Debussy, in working in close conjunction with Impressionists representing alternate artistic mediums, extracts many of the Pr?lude's compositional strategies from ideals prevalent in Impressionist art and Symbolist poetry. The resulting composition exhibits all the ideals of the Impressionist movement, and it served to bring the Impressionist movement to the general public, quickly preparing the way for the genesis of modern music."
Abstract After providing a brief overview of his life, this paper examines five works that demonstrate something of the range of his extraordinary talent and illuminate his almost preternatural ability to depict the condition of the human heart and soul ? whether his own in the many self-portraits he created or in other in the series of studies that made him one of the most popular portrait artists of Amsterdam in his own time.
From the Paper "Rembrandt himself would no doubt have been very pleased to have found out how dominant his own reputation has remained, for he was not an overly shy or modest artist. His life was in fact (especially when he was younger) defined in large measure by his ambition. He wished to be an artist whose work would in time come to rival that of other great Dutch artists such as Peter Paul Rubens. He wished not only to be a fine artist but also a famous one, and while he of course succeeded in achieving the first during his lifetime he in many ways failed to achieve the second. For while he was in demand for many years as a portrait-painter, by the end of his life he had lost many of his former patrons."
Abstract This is a brief analysis of Picasso work in the first half of the 20th Century. It looks at the progress of his work and what influenced them. From his time in Paris to his stint in Barcelona, this paper offers insight to the first half of Picasso's incredible career.
From the Paper "Pablo Picasso's literary friends, Guillaume Apollinaire and Alfred Jarry, influenced his work. These new acquaintances, whom he met in Paris after his return in 1904, influenced three, if not more, paints: Women in a Chemise (1905), Self-portrait (1906), and Ubu (1937). The Women in a Chemise and Ubu were attributed to the artistically written piece of both men, but Self-portrait might have been a response to a review, of Picasso, by Apollinaire. Picasso's association with these two gentlemen can be seen in some of his work."
Abstract This paper examines the contributions of Gerhard Richter detailing with the different stages of his life, beginning with his involvement in Hitler Youth during WWII, his involvement in East German politics which enabled him to move to West Berlin before the Berlin Wall went up. Richter painted, but he used photographs as the basis for many of his works which are abstract in nature. The writer uses several examples of Richter's works to illustrate how he was constantly questioning the role of modernity in art and life.
From the Paper "Richter asks us again and again in his work to question these ideas, to ask if modernity in either art or life is precisely what it makes itself out to be. Modernity is a trope, an idea that a group of thinkers made up to try to understand what life meant in an age in which the machines had finally won, in which not only the heavy lifting would be done by mechanical devices but also the thinking would be done by computers and the art would be made by machines with no eyes. Work and freedom mean very different things in a world of machines, and modernity is above all else an attempt to come to an understanding of the relationship between the human body and the machine."
Abstract This paper studies the connection between the arts and humanities. It addresses the question of how the arts inform the way we act towards others. It looks at interpretation of literature and how both individual and collective struggles are portrayed in literature. The paper presents an panoramic history of the world and the way that artists of the time have tried to represent the events. At the end, conclusions are made about the proposed relationship between the arts and humanities.
From the Paper "The most exquisite expression of the self is through art, be it literature, history theatre, painting, sculptor and so on. From the wondrous Egyptian pyramids to the majestic statue of liberty, from eloquent Greek writer Homer ? who produced masterpieces like the Odyssey ? to 20th century literati like Palestinian journalist Edward Said ? who so brilliantly portrays the lives of the wretched and woebegone Palestinians ? to Latin American writer Gabriel Garcia Marquez, every piece of art, all artistes depict one philosophy and that is Art for Life, representing Man's struggle and how this endeavor has led to his evolution."
Abstract This paper provides a discussion of the careers of Malevich and Popova. The development of Malevich's style, through abstract art and Suprematism, is outlined. Popova's artist development, during which she joined Malevich's Suprematic movement, is reviewed. The Cubist influences on their work, their architectonic painting and figure sketches are examined.
From the Paper "Until the start of the twentieth century, drawings, paintings, monuments and all other forms of artistic creations were based on the subjects and compositions of real world thoughts and dreams. This representation was always pictorial based reflecting clearly the real world ideas. However, with the emergence of science and technology and increasing use of machineries in the life of a common man, artists began to interpret the new emerging world in a different manner. The earlier decades of the twentieth century can be termed as an era of extraordinary development in the artistic world. Several movements lead the modern art to particular new directions. Movements like Fauvism, Cubism and Futurism guided the artists of twenty first century to explore new avenues and to reassess the role of art. Movements like Suprematism and Constructivism stemmed from the materialism of the machine age. Although, these movements were comparatively short lived, they had a deep impact on the development of art in the coming days."
Abstract This paper discusses the work, from the Baroque Era, of Peter Paul Rubens, whose "Prometheus Bound" is seen as one of the finest examples of a myth being used to tell a contemporary story. The meaning of the myth is examined through an analysis of the painting's light, form, style and images.
From the Paper "Myths are the stories that lend meaning to the unexplained. Why does season follow season? How did humanity come to be? What is the origin of fire? These are but some of the mysteries explained in countless tales, plays, and works of art. Medieval man sought meaning in the Bible. The cathedrals of Europe glistened with windows of stained glass, each jewel-like work telling a different instructional tale. In the Renaissance, Europe rediscovered the world of Greece and Rome, and the learned found new meanings in classical myth and legend. Kings and princes likened themselves to gods and heroes, and artists explored the interplay of fantasy and reality. Mythic stories were used as illustrations of the human condition. In brilliant color and bold form, painters captured the heart and soul of their world, the figures of myth and fantasy serving as representations of popular belief. This age of allegory reached its height in the Baroque Era, the era of Peter Paul Rubens, whose Prometheus Bound is one of the finest examples of a myth being used to tell a contemporary story. It is also an image of the entire Baroque world."
Abstract This paper examines the political and theoretical motivations behind the argument for decentralized arts funding. Also discussed are views on decentralization trends in arts funding and the potential effects on artists, arts organizations and arts audiences as well as on rural, urban and suburban areas.
From the Paper "The Arts breathes life into any community, whether urban, suburban, or rural. How often have we heard of a ghost town, perhaps an old mining town, or a city's abandoned warehouse district, or a small farming community once remote but now only minutes away the city limits of a major city, that has been virtually transformed by becoming home for the arts. Art is a magnet. It draws people no matter their race, social or economic status. It is just as likely that a tobacco farmer, living a hundred miles from the nearest metropolitan area, enjoys the Boston Pops on PBS just as much as the executive living in a high-rise condo. "
Abstract The paper begins with a discussion of still life painting and then focuses in on the work of Pieter Claesz. An analysis of different works of his as well as a comparison to work of his contemporaries is outlined. A discussion of style and popularity of still life painting is included.
From the Paper "To the modern non-European eye, the Dutch Paintings of the Baroque period appear to be a collection of "stuff" on a table. It is difficult to imagine what the artist could have possibly found so fascinating on the Breakfast table or in a bowl of fruit. However, taken in period context, Dutch still life was much more than that. Often the artists were expressing thoughts and feelings, using the painting as type of code describing an idea, which was not accepted by society at the time. At times they may have been expressing political dissent, perhaps an idea that would be dangerous to express at the time, such as criticizing an institution or a leader. These ideas were often felt, but one could not express them publicly for fear of persecution. These paintings were only meant to be understood by those who knew the code and could get the meaning that the artist was trying to portray. It was hopeful that those who were not meant to understand it would see it as beautiful, but miss the meaning entirely."
Abstract Ansel Adams was one of America's most famous photographers. This paper introduces and discusses Ansel Adams the man, his innovative photographic techniques, and their impact on traditional photography.
From the Paper "By the mid 20s, Adams began to realize he could make a living with his photography. He decided to concentrate on his photographic work, instead of a career as a concert pianist. This was a turning point in his life, and while he continued to enjoy music throughout his life, photography became his vocation, and his lifelong passion. In 1927, he received the patronage of Albert M. Bender, a wealthy San Francisco insurance magnate, and it changed his life. Bender helped him publish his first portfolio of photographs, but even more importantly, he helped Adams develop his self-confidence and abilities, which allowed him to become more creative and artistic."
Tags: Zone, System, Yosemite, National, Park, Black, and, White, Bulletin
Abstract By providing an in-depth description of what was found in the Shrines of Tutankhamen, the writer examines general Egyptian history of the era and of Tutankhamen's reign. The paper also explores the shrines from an artistic perspective.
From the Paper "Tutankhamun was one of the youngest kings in Egypt, but his tomb was one of the most detailed and beautiful tombs in all of Egypt. No one knows why such a young king was buried in such an elaborate tomb. It is hard to imagine what the young king must have been like in his years. He lived a very short life and died in 1323 B.C.
?From a dry, dusty, Upper Egyptian valley in the year 1922, the news of the discovery of the tomb of Tutankhamun flashed around the world and excited the imaginations of all who heard it.? On November 4th, 1922, the Tomb of Tutankhamun was found hidden beneath the foundations of Ramesses workmen's huts. They were near the entrance of the tomb of Ramesses VI. The discovery of the tomb was made by Lord Carnarvon and Howard Carter."
Abstract This paper examines the life of King Akhenaten who came to power in c.1352 B.C.E. and ruled Egypt for seventeen years. Akhenaten was a firm believer in "maat" or divine truth and centered his religion around this. His divine truth policy changed art and culture in Egypt. This paper considers these changes, in particular the effect on art at the time by reviewing certain works of art from that time period.
From the Paper "Akhenaten and His Family portrays Akhenaten and Nefertiti sitting casually on their thrones playing with their three daughters. The sun disk Aten reaches down his beams; the beams end in hands that tough the royal's, some hands holding Ankh?s. The scarves and clothing they wear seems to drape and flow from their bodies. The position that the family sits in is unusually casual for Egyptian art, as compared with works such as Menkaure and His Wife, Queen Khamereenebty ca.2515 B.C.E., which was made of slate and composed of tight, structured stance. Nefertiti's throne, with lotus and papyrus blossoms at the base, suggests a united upper and lower Egypt. "
Tags: art, aten, aton, god, history, mythology, nefertiti, religion, sun
Abstract This paper begins by providing a detailed description of Picasso's childhood. It examines his early education and how his life became directed towards the painting and art scene. The paper discusses various periods in Picasso's life including the "Blue Period" (1900-1904) and his "Rose Period". Various paintings from these, and other periods, are mentioned and analyzed.
From the Paper "Born on October 25, 1881 in Malaga Spain, Pablo Picasso was destined to become one of the world's greatest artists. He was highly skilled in drawing and painting by the time he was in his mid-teens. His artistic career lasted more than 75 years, and he produced thousands of paintings during that time. Specifically, Picasso produced over 20,000 works of art during his long and prolific career."
Visual analysis of two paintings on subject: Gentile Da Fabriano's "Madonna & Child, with Sts. Lawrence & Julian," & Jan Van Eyck's "Virgin & Child, with Saints & Donor."
1,350 words (approx. 5.4 pages), 5 sources, 2001, $ 47.95
From the Paper "One of the most frequently favorite subjects in religious art throughout the fourteenth and fifteenth centuries was that of the Madonna or Virgin and Child. The birth of Christ and the Crucifixion sit at the very center of Christian iconography. Most of the great artists of the Middle Ages and the Renaissance painted at least one if not more versions of the Madonna and Child, often surrounded by lesser portraits of saints and even portraits of the donor or patron commissioning the work. This brief report will present a visual analysis of two such works found in the collection of the Frick Museum. The first is Gentile Da Fabriano's Madonna and Child, with Sts. Lawrence and Julian. The second is Jan Van Eyck's Virgin and Child, with Saints and Donor."
From the Paper "The Fifteenth Century in Italy is known as the Quattrocento, a period in the Renaissance when classical ideas were revived and the world of artistic expression shifted to a new emphasis on the human being and human life. Ideas developed during the first half of the Quattrocento were carried through by various artists during the second half and into the Cinquecento. Florentine artists developed their work from the ideas of Brunelleschi, Donatello, and Masaccio in both painting and sculpture. Florentine art in the first half of the fifteenth century was marked by a new style being produced by its originators. This style began with sculpture and then spread to architecture and painting. In his book Painting and Experience in Fifteenth-Century Italy, Michael Baxandall analyzes the way the art world developed in artistic and
