From the Paper
"The decline in arts education in American schools is due largely to incomprehension regarding the role this branch of learning plays in the intellectual and educational development of children. Knowing and learning in art are different from these same activities in other areas. This idea is slowly penetrating the education field -- and as the idea of many different kinds of 'intelligences' takes root it becomes clear that they are served by different disciplines. But the problem is not limited to the general public. There is also a great deal of confusion, even among arts educators, over such basic questions as what is to be taught, who is to teach it, and whether children acquire skills from it that have broader relevance. Research in art education is slowly developing a new rationale for its existence on the basis of evolving ideas in developmental and educational..."

From the Paper
" "Girl Before a Mirror" is a Picasso work that is one of a series utilizing the model Marie-Th?r?se. A showing of the painting offered an assessment of the work in the catalog: Achieves metamorphosis of traditional Vanity image, in which a woman looking in the mirror sees herself as a death's head; here, figure with double head is reflected as somber-faced but voluptuous image.

The painting is from March 1932. It was produced in the style Picasso was using at the time and evoked an image of Vanity such as had been utilized in art in earlier eras, though Picasso shifts the emphasis and creates a very different view of the image. The work is considered in terms of the erotic in Picasso's art, and critics in different periods have offered..."

From the Paper
"There is some controversy over who made the first non-objective painting and Vasily Kandinsky is sometimes given credit for the accomplishment. Though this is certainly not true it does seem fitting since Kandinsky certainly was the first artist to make non-objectivity "the very foundation of his pictorial imagery." Kandinsky also wrote extensively on the theory of abstract painting. His best known treatise, On the Spiritual in Art, became one of the most influential theoretical works of the twentieth century. Generations of abstract painters absorbed his belief in "inner necessity as the only source of art." Although Kandinsky had an enormous influence on the course of painting and was himself a great painter, it still remains difficult to reconcile his theoretical writings with the work he produced. There are two problems in applying the ideas to the.."

From the Paper
"The twentieth century's distinction between 'design' and 'art' derives from the sudden and overwhelming growth of technological innovation, and the commercial demand for applied design, during the Industrial Revolution of the nineteenth century. The primary distinction was between the so-called "high arts" of painting, sculpture and architecture, and "decorative or applied" design (Collins 17). This differentiation between art and design is sometimes perceived as an unfair elevation of art at the expense of design. Yet, so long as the distinction is based on such qualities as reproducibility, methods of production, or function, it is both valid and valuable. If, however, the differences between art and design are cited as criteria of aesthetic, or even moral, value, the distinction does not hold up, and is of little value to understanding either type ..."

From the Paper
"The purpose of this research is to examine Lorenzo de' Medici and the arts in Florence during the Italian Renaissance. The plan of the research will be to set forth the historical context in which Florence and the Medici family became relevant to the emergence of Italian Renaissance art, and then to discuss the shape and significance of Medici influence on the phenomenon.

In order to appreciate the significance of Lorenzo de Medici for the Renaissance and for the arts of the period, it is first necessary to examine how the concept emerged in Europe, setting the stage for Medici influence. The Renaissance refers to the period, beginning as early as the fourteenth century, when the culture of Western civilization made transition from medievalism to modernism. Kirchner says that it dates from 1350 and "was distinguished by a spirit of confidence in man's achievements and .."

From the Paper
"In the fifteenth century, the Medici family rose to power in Florence from an undistinguished background. Like most of the Renaissance rulers in Italian towns, the Medici became prominent patrons of learning and the arts. In the rapidly expanding cities, the merchant guilds, mendicant orders, and leading families saw patronage as a means of expressing both their growing wealth and power. The arts were good for the cities' economy and prestige, and, for an obscure family like the Medici, such sponsorship increased their personal prestige. In the fifteenth century, "merchants turned into courtiers" (Kempers 15). No matter whether they were particularly interested in scholarship or the arts, the families also began to value patronage because it demonstrated their cultured attitudes. Men like Cosimo de' Medici spent heavily on public works because.."

From the Paper
"The immense popularity of the work of Frida Kahlo (1907-1954) and the overwhelming public interest in her life may lead some observers to conclude that her small output of paintings has been over-praised and over-valued. But, while the cult based on Kahlo's perceived status as the feminist heroine of a romantic tragedy may be somewhat misguided, there are sound reasons for incorporating biography into the study of her paintings. Kahlo's history, emotions, politics, and self-image constituted her primary subject. In electing to adhere quite closely to this limited range Kahlo produced an iconography and style that drew on both European and Mexican culture but were, considered in themselves, a radical departure from centuries of male-centered art. Kahlo brought all her influences and personal material together in a body of work that makes a coherent statement about ..."

From the Paper
"Claes Oldenburg's sculpture, in which ordinary objects are transformed by radical changes in scale and the use of unexpected materials, has become one of the most widely known bodies of contemporary art work. Oldenburg was one of a number of artists who reacted against Abstract Expressionism's domination of American art in the 1950s. In various ways, these artists returned to the representation of people and objects in their work. But, American artists of the early 1960s did not limit themselves to the subjects favored by older art traditions that had focused on illusionistic replication of the visual world. Instead, artists such as Andy Warhol and James Rosenquist took elements of popular culture--movies, billboards, magazines, commercial products--as their subjects. The new Pop Art responded to the commercialized environment that these artists ..."

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