Abstract W.H. Auden's poem, "Musee des Beaux Arts", was inspired by the images of suffering in a painting by Brueghel. The paper shows how the central image of the painting serves to convey Auden's idea that only artists, the "Old Masters", truly understood suffering from a global point of view.
From the Paper "Auden uses the structure of the poem to visually present his conflict. The first part of the poem is a general depiction of suffering and the indifference to this suffering. Whereas he names specific instances of suffering, the poet does not put a name to any of the persons engaged either in suffering or in indifference. He only refers to them only as "the aged" and "children". The same is true of artists, who receive the general reference of "Old Masters" in the first part of the poem. During the second part of the poem Auden suddenly turns to specific suffering. One specific person, depicted in one specific painting by one specific artist is mentioned."
Abstract This paper describes and analyzes three different purposes served by tattoos. The paper discusses tattoos as forms of art, tradition, and even mutilation. Also, the paper posits that tattooing is a process conducted by the society that defines tattoos not only as an art form, but also a ritual wherein positive and negative images of body art, as well as its explicit and implicit meanings, are embedded.
From the Paper "Tattoos are one of the most prevalent forms of self-expression and self-identity in the American society. Tattoos are created mainly for its aesthetic purpose, illustrating the wearer's personality as personified in the graphics created and permanently "scarred" into the human skin. Technically defined, tattoos are a form of body art, where illustrations are decorated within the skin through the process of inserting ink substance into the skin through needles. This process, called tattooing, is a popular practice primarily conducted as either of the following purposes: (1) as a decoration or body art; (2) as a form of ritual; and (3) as creations of mutilation of the human skin."
Abstract Mark Rothko was a founder of the New York School, an extraordinary group of artists that emerged as a leading cultural presence in the years following World War II. Rothko's contributions consist of a few broad rectangles superposed and centered on large, tall canvases. The paper explains that Rothko desired something more weighty and grand, an art that could express not just the unconscious of an artist, but the spirit of mankind. The paper shows that the effect of Rothko's images, as realized with his eloquent coloring, can be at once monumental and subtle, stunning and gradual. The paper includes several photographic examples of Rothko's work, including "Number 22", from 1949.
From the Paper "The astonishing body of work Rothko produced throughout the 1950s was both extraordinarily consistent and remarkably varied. Although he drastically reduced his forms to rectangles, he experimented with color range and the size and format of the canvas. Each of his paintings embodied its own totality and formed part of an intense dialogue with its companions. Rothko was constantly exploring, reshaping, and reevaluating form and color, and each painting is a testimony to the charged relationship he established with the canvas."
Abstract This paper explains how Georgia O"Keeffe was a distinguished artist whose works illustrate the possibilities of potential of every artist determined to succeed. It shows how she was instrumental in exposing an artistic style that became dominant in America during the 20th century. Her work is often described as abstract, expressionistic, and passionate. O"Keeffe's life is filled with accomplishments that can be attributed to her determination to express herself as well as possible through her paintings. She was courageous and passionate, and these qualities shine through her vast collection of diverse paintings.
From the Paper "O"Keeffe was one of the first female painters to become recognized for her work, which is quite an achievement considering that when she began painting, women were not allowed to vote. (Spangenburg 4) O"Keeffe's early exposure to the women's suffrage movement is perhaps one of the most influential factors in her life. According to John Kehoe, this independence was present in every aspect of her life. He says, "She made most of her own clothes. She did not drink, avoided sugar, took a quantity of vitamins, and abjured all drugs, medicinal and otherwise: Her cure for a headache was wrapping a warm scarf around her head" (Kehoe). Even her personal life illustrates a dogged individuality."
Abstract This paper analyzes the romantic comedy genre in the context of the movies, "Pretty Woman," "Runaway Bride", and "Notting Hill". The paper points out how the typical theme of romantic comedies has been updated, but still remains the same. In other words, the female characters in romantic comedy are still portrayed as independent women with a certain amount of power, yet still craving a relationship with a man who will be at their side when needed.
From the Paper "Ever since the invention of the cinema, the art of filmmaking has evolved tremendously. In the early days the audience of these cinemas was hungry for any type of screening of films, merely waiting for something new and innovative coming their way. Thus, film makers though limited by their tools and technology tended to repeat or imitate stories in real life so that movies started to develop certain norms or conventions. A western movie thus would have the good guy and the bad guy always at odds; eerie music marked the tone in a horror movie; the loss of a girl was common in a romantic comedy. Filmmakers started to categorize movies into broad categories like thriller, romantic comedy and horror and subsequent sub-categories. Such categorization came to be known as "genre" which in French means "sort", "type? or "kind" ("Genre" 2004)."
Abstract An analytical discussion of Van Gogh's painting. The paper examines the artistic styles of the time and looks at "Starry Night" in this context.
From the Paper "The thickness, shape and direction of his brush strokes created a tactile counterpart to his intense color schemes through thickly-loaded brush moves back and forth or at right angles, giving a textile-like effect; Van Gogh also would take the paint tube and squeeze dots or streaks upon the canvas. This bold, almost slapdash attack upon his canvases, at least in the eyes of his contemporary art critics, was viewed as highly disturbing; thus, it could be said that Van Gogh, through the use of different paint strokes, both infuriated and calmed the viewer. According to Van Gogh, as mentioned in a letter to his brother Theo, "Instead of trying to reproduce exactly what I have before my eyes, I use color more arbitrarily so as to express myself forcibly" and then adds that the color in his paintings is "not locally true from the point of view of the realist, but is there to suggest the emotion of an ardent temperament" (Tralbaut, 1969), which indicates that Van Gogh's color schemes are ambiguous, meaning that they have the capacity to overwhelm the viewer to the point of utter confusion while expressing a strange calming effect almost as if the viewer was experiencing lucid dreaming."
Abstract This paper looks at the work of Cindy Sherman, a famous American photographic artist. It explains that the main focus of her work is herself. By turning the camera on herself, she symbolizes the complexity of being female through images that simultaneously shock and challenge the viewer. The writer points out that, by creating close-up images, she succeeds in creating a sensation of exaggerated nearness, yet dispels any feeling of closeness or intimacy. Her work creates a tension between familiarity and strangeness. The question of female identity is also a central concern that is explored.
From the Paper "Sherman rarely grants interviews and seldom allows herself to be photographed out of character. Her work has been exhibited in more than 75 solo and as part of over 150 group exhibitions. Sixty-four museums collect her prints. Today, her prints sell for between $20,000 and $50,000. A print from the Untitled Film Stills series was recently auctioned by Christie's for a record $190,000 - an unprecedented figure for a living artist/photographer. In 1996, New York's Museum of Modern Art paid $US1-million for the complete Untitled Film Stills series."
Abstract This paper explains that Michelangelo's sculpture of David is an excellent example of how an artist can combine the principles of design to create a masterpiece: balance, unity, movement, pattern, emphasis, rhythm, and contrast. The author points out that the visual equilibrium of the sculpture, or its balance, is asymmetrical; the statue is shaped with an ?S? curve, which combines the elements of balance and grace. The paper relates that the element of pattern in David reveals Michelangelo's genius of human anatomy, for example, the veins in David's right hand.
From the Paper "Michelangelo also displays an excellent use of contrast in David. David's hair is wavy and his skin is smooth. Contrast can also be seen in the wrinkles on David's face, the veins in his hands, and in the texture of his slingshot. The form of the statue also plays with shadows and light, which gives it a realistic feel. In terms of contrast, Michelangelo's David is true to human form. In addition, Michelangelo was careful not to add too much contrast to David. This could explain why David is not wearing any clothing or shoes. Too much contrast would certainly diminish the physical beauty of man that Michelangelo wished to emphasize. From this viewpoint, it is easy to understand why Michelangelo utilized a very limited amount of contrast in his sculpture."
Abstract This paper describes and analyzes Kirchner's and Marc's artistic depiction of utopia in a natural state in their respective paintings, "Bathers Beneath Trees" and "Bathing Girls", and then explains how each artist's perception of that utopia is different. The paper describes Kirchner's vision of utopia as a place of abundant growth, secure, calm, and away from noise and chaos, whereas Marc's vision of utopia is described as one of adventure and fun, where nature joins with man to provide a place of beauty and freedom from worry.
From the Paper "Ernst Ludwig Kirchner's "Bathers Beneath Trees" and Franz Marc's "Bathing Girls" are paintings of the same subject; three women in nature getting ready to bathe and, or, swim. Both are utopian visions of what each artist felt was ideal. The utopian representation of both artists is seen in the use of an idealistic notion of freedom and a personal response to nature. Freedom is seen in the comfortable presence of the nudes and the use of color in nature reflects the artists? perception of utopian existence."
Abstract This paper examines the theme of identity, or of changing identity, seen throughout Graham's work. The paper examines and analyzes several of Graham's pieces in order to illustrate this continuous theme. The paper explains how Graham's fascination with the permanent instability of the photographic, filmed self reflects his feeling that he never really had a clear vision of who he was as an individual or who he was as an artist.
From the Paper "Rodney Graham is a Canadian artist, born in Vancouver in 1949. But he could be anyone?or so his art suggests. In Fishing on the Jetty, 2000, the Rodney Graham renders himself into his own text as a filmed subject. In this film/performance art piece, the viewer is witness to the sight of Graham playing Cary Grant in his own nautical version of Alfred Hitchcock's ?To Catch a Thief.? Graham, within the context of the piece is himself, is the character of Grant, and is also the persona portrayed by ?Cary Grant,? the sublimely artificial romantic lead of the 1930's classical film in a who-done-it about mistaken identity, a film where the actor portrays a constantly misleading man with a shape-shifting identity."
Abstract This paper discusses the sculptures done by the Etruscans in ancient history. The paper presents the sculpture, "Etruscan warrior supporting a wounded comrade", from the early 5th century BCE, describing the era when it was created. The paper compares this sculpture to "Augustus in Armor", another sculpture created in 20 BCE. The paper illustrates the differences in these two sculptures according to the time period that they were created.
From the Paper "While we think of the Etruscans as a monolithic group, in fact, they covered a wide geographic area with a civilization that spans many centuries from a millennium BCE to their putative dissolution a couple of decades BCE (Time International, 2001). The sculpture Etruscan warrior supporting a wounded comrade, from the early fifth century BCE, was created in about the middle of the Etruscan era. At the time this sculpture was created, the Etruscans had begun exploring the coast of what is now known as the Italian peninsula. The Etruscans enjoyed dominion on the seas at the time, giving them "tremendous potential for trade as well as piracy" (Time International, 2001). It is obvious from the embellishment on the clothing of the two warriors that the Etruscans enjoyed their sea-based wealth. It is also easy to believe, as Time (2001) contends, that the Etruscans were a more jovial people than were the Romans who supplanted them; despite the obviously unpleasant fact of the warrior being wounded, neither face is particularly anguished, and, indeed, the wound is probably not all that grave."
Abstract Heidegger had an alternate understanding of truth, aletheia, which involves an "unconcealedness" of being. He illustrated this concept by way of a discussion of Van Gogh's painting of a pair of shoes. The paper shows how this interpretation drew the criticism of art historian, Meyer Schapiro, who questioned whether the shoes are that of a peasant woman. This, in turn, triggered a response from Jacques Derrida about the subjective projections on both sides. This paper argues that what gets lost in the flurry of words is whether we have a mode of properly understanding aletheia.
From the Paper "Consequently, it is possible to consider the concept on its own terms, regardless of how tenuous or how strong its ancient Greek origins may be. With such an allowance, it is possible to elaborate on two points in regards to Heidegger's intent and purpose. First, al?theia results in knowledge that lies outside of interpretation and conceptualization, accompanied by the matching of those concepts with ?the facts.? In a later writing, Heidegger introduces the idea of wonder or astonishment in which one persists in a state of unsettledness. (1984 esp. 120) In contrast to the effort of matching mental contents with reality, an outright grasping for meaning and certainty, and the insistent elimination of confusion and doubt, things are left ungrounded and open."
Abstract Beginning with a definition of the term renaissance, this paper explores, through specific examples of writing, art and architecture, how and why the Italian renaissance may be characterized as a glorification of human power and human activity. Petrarch and his contemporaries are presented as examples of a return to classical idealism in Europe. Further, an exploration of the dignity of man, as well as renaissance art and architecture are detailed, giving weight to the paper's thesis. Specific art examples discussed in the paper include the Merode Altarpiece (1425-1428) by Master of Flemalle, Michelangelo Buonarrotis' David and Bramante's Tempietto.
From the Paper "The Renaissance, from the French word renaissance and the Italian word rinascita, both meaning rebirth, is considered by some to have officially begun in 1341 when Francesco Petrarch (1304-1374) was crowned in Rome with the Laurel wreath, the ancient symbol of victory and merit. Petrarch, as one of the first humanist writers, explored modern life through the lens of the ancient Romans and Greeks. Both Petrarch and his contemporary Boccaccio (1313-1375) "were famous in their own day as poets, scholars and men of letters - their achievements equivalent in honor to those of the heroes of civic virtue." As the word humanism suggests, the principle concerns of its advocates were human values and human interests, which are distinct from, but not entirely opposed to, the other worldly values of Christianity."
Abstract This paper is about the Weimar Republic of Germany, Nazism, oppression, censorship, and the arts. It looks at pro-Nazi artists, anti-Nazi artists, and artwork that was banned during the Nazi regime of Germany. Specific works are highlighted to demonstrate what censorship meant during the Weimar Republic of Germany and how it was handled.
From the Paper "When talking about people's response to what was happening in the changing society of Germany, one can't ignore the fact that people supported Hitler and the Third Reich. Just as some artists rebelled against the artistic norm and became part of the Dada movement, some went on to support Hitler and presented Germany with works of art that idolized the utopian society and everything that Hitler had fought for. Propaganda in Nazi Germany was running out of control. Propaganda is the art of persuasion. In order to be popular, governmentally in this case, a crowd is needed to be won over."
Tags: communism, hitler, painting, republic, war, weimar
Abstract This paper explains that clothing is rarely recognized as a political force; yet fashion and design may be one of the most internationally regarded forms of trade, communication, and influence among countries worldwide. The author points out that the Orient has been a wellspring of fashion influence for both the Eastern and Western world since ancient times; the Edo period in Japan was the beginning of several Japanese styles that remain popularized by Western culture fashions for centuries, including the "Kamishimo," worn by both males and females of the Samurai warrior class during special occasions featured stiff shoulder garments that crossed the shoulders and chest, elements vital to the Samurai image held by Hollywood and other popular culture creations in the West today. The paper relates that today very young Japanese girls, as seen in exported Japanese movies, manga comic books, and anime television, are setting global fashion trends, including miniskirts, short pants flared out at the bottom, and loose, baggy socks deliberately allowed to lap over the tops of their shoes.
From the Paper "Fashion evolves as quickly as any other fast-paced element of society, never becoming stagnant. Some people are critical of the movement and growth of the industry, claiming it encourages people to become materialistic, rushing at every opportunity to spend more and more money on unnecessary items. However, this change and growth is precisely what makes fashion a true form of human expression. Diversity, experimentation, expression, and metamorphosis are what define human culture and fashion culture. As cultures touch, fashions exchange and spread. The in-look for the young rebels is eventually passed on to the older generations. The styles of one region are sent to another. "Young people, enjoy the diversity that changing fashion can apparently provide, seeing the constant change as a way to satisfy their desire to experience 'new' and 'interesting' things. Note too though that fashion can change to enforce uniformity, as in the case where so-called Mao suits became the national uniform of Mainland China." "
