From the Paper
"The painting titled The Departure of Lot and His Family from Sodom is ascribed to Peter Paul Rubens by its current owner, the John and Mable Ringling Museum of Art in Sarasota, Florida. But most facts about this 85.5" x 96" oil on canvas work have been disputed. Questions of dating and the degree of Rubens' participation in this particular product of his workshop are made even more difficult by the existence of two other, nearly identical, versions. Regardless of the answers to such questions, however, the striking painting is a good example of the way Baroque painters combined their exuberant style and appreciation of physical splendor with a moral message.

The Ringling painting is dated c. 1615-16 by Suida, who also holds that it was "principally painted by the master's own hand." But D'Hulst and Vandenven, who date it around 1613-15..."

Abstract
Two of the leading video artists who helped develop the form are Nam June Paik and Bill Viola. Nam June Paik is generally credited with starting the video art movement:

From the Paper
"Two of the leading video artists who helped develop the form are Nam June Paik and Bill Viola. Nam June Paik is generally credited with starting the video art movement:

A unique achievement is that of Nam June Paik, the Korean-American artist and musician who was in at the origin of Video Art and who, more than twenty-five years later, continues to dominate the scene with his varied and elaborate video sculptures, environments and installations, while he remains true to his Fluxus-inspired critical position.

Bill Viola has been an important figure in the movement and has produced a number of important and challenging works using video as a medium."

Abstract
American Pop Art developed from the newly found self confidence with which American art asserted itself in the fifties against European influence. The subject matter was Americanism itself in terms of the idea of progress, the media industry, and the star cult.

From the Paper
"American Pop Art developed from the newly found self confidence with which American art asserted itself in the fifties against European influence. The subject matter was Americanism itself in terms of the idea of progress, the media industry, and the star cult. The previous generation had brought forth a new tendency toward realism using contemporary subject matter. The development of the style took place in several phases. The first was the pre Pop phases painters took their leave of Abstract Expressionism. Then came the heyday of Pop Art, a phase that saw the emergence of a number of important artists whose work was rooted in the fifties and partly founded on experience acquired in commercial art, design and poster painting. They quickly achieved success and recognition as a new art movement with exhibitions, Happenings, theater ..."

Abstract
"This paper explores the connections between the philosophical and religious system of Zen Buddhism and visual and literary arts (especially pottery), examining the intimate and intricate ways in which systems of thought have become married to systems of action.

From the Paper
"This paper explores the connections between the philosophical and religious system of Zen Buddhism and visual and literary arts (especially pottery), examining the intimate and intricate ways in which systems of thought have become married to systems of action.
Before beginning the examination of the specific ways in which Zen Buddhism has become linked to various arts and crafts practices, it will be useful to give a brief history and background of the history of Zen and its more purely philosophical and religious elements.

Zen is a variant school of Buddhism that came about as the result of a fusion between the Mahayana form of Buddhism originating in India and the Chinese philosophy of Daoism or Taoism. Zen and Ch'an are, respectively, the Japanese and ..."

Abstract
"The industrial revolution took permanent hold in the United States around 1850 and its influence on American art is felt to the present day. But this influence was quite diffuse and ranged from direct responses to the changing nature of American society to the ability of new wealth to support styles of art that took little cognizance of anything as mundane as industry. In the second half of the nineteenth century America was transformed by its rise to immense power and wealth from a middling nation with limited influence to its twentieth-century position as a world leader. In domestic terms the growth of industry signaled the start of great waves of immigration that changed the ethnic makeup of the young country and it heightened the contrast between agrarian and urban economies.

From the Paper
"The industrial revolution took permanent hold in the United States around 1850 and its influence on American art is felt to the present day. But this influence was quite diffuse and ranged from direct responses to the changing nature of American society to the ability of new wealth to support styles of art that took little cognizance of anything as mundane as industry. In the second half of the nineteenth century America was transformed by its rise to immense power and wealth from a middling nation with limited influence to its twentieth-century position as a world leader. In domestic terms the growth of industry signaled the start of great waves of immigration that changed the ethnic makeup of the young country and it heightened the contrast between agrarian and urban economies that had been a source of conflict since the time of Jefferson. In international terms the ..."

Abstract
"The association of women and flowers as a metaphor for fertility is at least as old as the Roman goddess Flora. It is not, therefore, surprising that both Monet, Women in the Garden (1866-67), and Van Gogh, La Berceuse (1889), employed this fairly common idea

From the Paper
"The association of women and flowers as a metaphor for fertility is at least as old as the Roman goddess Flora. It is not, therefore, surprising that both Monet, Women in the Garden (1866-67), and Van Gogh, La Berceuse (1889), employed this fairly common idea. But a comparison of the manner in which they used this visual trope demonstrates some of the fundamental differences in their approaches to painting. Monet's revolutionary realism did not preclude the use of a classically balanced composition. And his cool, somewhat distant, scientific approach is accompanied by a generalized, classically schematized metaphor. His presentation of the cycle of female fertility has an abstract, intellectualized quality even though, as biographical facts show, the theme may have had important personal associations at the time. Van Gogh's presentation, on ..."

From the Paper
"This study will examine Clement Greenberg's definition of modernism (as expressed in Theories and Documents of Contemporary Art, edited by Kristine Stiles and Peter Selz) and will then apply those statements to an analysis of one modernist and one non/anti- or post-modernist work of art, including statements by the artists themselves which will shed light on the nature of modernism, particularly as a theory of the teleology of art. The modernist work selected is Jackson Pollock's "Alchemy" (1947) and the anti-or post-modernist work is Arnulf Rainer's "Face Farces" (1969). Despite the fact that only twenty-two years separate the two works of art, a great chasm of intention and perception on the part of the artists separates the essence of the works."
Greenberg writes that
The essence of modernism lies . . . in the use of the

From the Paper
"Marcel Duchamp (1887-1968) was one of four siblings who became artists in the period of intellectual and artistic ferment that saw out the last decades of the old century and extended beyond World War I. Duchamp's early interest was in painting and Cubism and much of his most influential work was related to Dada practice. But Duchamp was ultimately the most independent of artists--eventually becoming independent of art itself. Much of his influence derived from gestures or positions related to the nature of art, and a great deal of his fame rests on works consisting of ordinary objects altered or 'readymade.' But Duchamp's masterpiece is usually held to be the glass, metal, and paint construction entitled The Bride Stripped Bare by Her Bachelors, Even (1915-23), frequently known simply as Large Glass."

From the Paper
"Clement Greenberg's enormously influential definition of modernism embodies a teleological approach to art that was rejected by the Pop artists, among others, who constituted part of the reaction to 'modernism' (or, at least, to Greenberg's modernism) that began in the 1960s. Greenberg made an initial distinction between art, which took in "advanced painting," and kitsch, the German word for "disposable, poorly-designed consumer objects" that had been flooding the world in the wake of the Industrial Revolution (Stiles 2). Such objects fed the popular taste for illusionist representation, sentiment, anecdote, and decoration that was, Greenberg believed, beneath consideration for true art. In his view the European avant-gardes of the pre-1940 era embodied this disdain for the popular and a concern with the higher purposes of art. Greenberg's theory of modernism..."

Abstract
The paper discusses Henry Moore, an influential English abstract sculptor, who lived from 1898 to 1986. The paper presents his family and educational background that helped form and mold his art. The author feels that Moore's prime concern was the material; he loved working in stone and used it almost exclusively in his work.

From the Paper
"Moore's artistic talent was discovered early when an art teacher took interest in his work while he was still in secondary school. His family did not encourage him in his artistic pursuits; and so he began his career as a teacher and then went into the army. In 1919, he received a grant to study for two years at the Leeds School of Art. Here he discovered a book by Roger Fry called "Vision and Design", which changed forever the way he looked at art. Fry's book showed him less traditional forms of art such as Mexican sculpture and Negro art."

Tags: education, material, stone, reclining, figure, mother, child

Abstract
This paper reviews five different paintings by five different artists over different time periods. It shows how each to some extent is influenced by the one preceding it and creates a controversy that at that time is negative but later becomes an inspiration for others. From Giorgione's "Sleeping Venus" and Titan's "Venus of Urbino" to Goya's "Naked Maja" and Manet's "Olympia" it shows how paintings of nude women who are brazen in their sensuality and whose depiction does not conform to the styles of the time. Each review is illustrated by a picture.

From the Paper
"Painted even before Goya's nude Maja this is said to be the one of the first nude paintings of Spain and the only remaining nude by Vel?zquez. (Author not available, 1998) Inspired by Titan's Venus it again shows a nude woman reclining, yet the difference is the model does not face the viewer. We see only her naked back while her face is shown tantalizingly in the mirror. Accompanying her is the mythological cupid who holds the mirror. Painted against a dark background the nude model is tantalizingly mysterious as the viewer tries to glance at the features reflected in the mirror. The sensual pose is accentuated through the blood red curtain which make the background of the picture and suggests that the woman may be a courtesan like that of Manet's Olympia. "

Tags: goya, manet, giorgione, manet, velazquez, naked, sensuality

From the Paper
"In her book, "Philosophy in a New Key", Susanne Langer draws a provocative distinction between verbal discourse and works of art. According to Langer, works of art are presentational symbols. These symbols conceptualize the flux of impressions in the sensory field and transform them into a concrete form. They articulate complex and subtle feelings and emotions which would be incommunicable through language. Presentational symbols differ from Discursive symbols (language) in that they have no vocabulary or syntax. One cannot, according to Langer, obtain meaning from a part of an art work in the same way as one can from part of a sentence. The art work has meaning only in as much as one scrutinizes the work as a whole, a constituent element has no intrinsic meaning. Presentational symbols are no less capable of articulation than are words. However, the laws ... "

From the Paper
The purpose of this research is to examine the changes that occurred in society and the Church because of (or as a reflection of) changes in music and art during the transitional period between late Gothic and Renaissance.

Early Renaissance art was the natural outgrowth of the new humanism which was replacing medieval thought. The world changed a great deal in the period between the ousting of the medieval ways and the upsurge of humanism and the ways of the Renaissance. As E. H. Gombrich writes in his The Story of Art, in the middle of the twelfth century, when the Gothic style was first developed, Europe was still mainly a thinly populated continent of peasants with monasteries and barons' castles as the important centers of power and education.

The ambition of the Great Bishops' Sees to have immense ... "

From the Paper
"Claude Monet was one of the most important of the artists who developed the Impressionist movement. Monet experimented with the effects of atmosphere and light, and what concerned him more and more were the techniques required to effect a direct transcription of visual sensation to the canvas. His works show a variety while also reflecting the deepest concerns of the artist in a consistent fashion:

Neither his choices of subject nor his modes of seeing, composing, and executing were accidental, nor were they dictated by a systematic theory. . . Yet, beneath the eddies in the flow of his art always lay an unswerving determination to paint truthfully the world in which he lived."

From the Paper
"Pablo Picasso is without doubt the best known artist in
this century, even though he may not be the most revered. Still, critics and art lovers alike never stop praising the works of Picasso, partly for their brilliance, partly for the originality he constantly displayed, and to a degree also for the variety of moods and styles he delved in.

"One painting alone will tell you very little of the art
of Pablo Picasso," write the editors in the Modern Reference
Library ("The Club of the Wild Men" 388-391). They state that Picasso was "forever changing his style" in order to "attack some new problem in Art." The editors continue: He is said never to have left a problem unsolved; but the minute he is satisfied with what he has done, he turns to something else. So you can see that he has not, as so many (...)"