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." "
An historical and architectural overview of the Roman Pantheon, focusing on the builders, the techniques, and the scientific and mathematical symmetry of the building.
Abstract This paper tracks the origins of the Roman Pantheon from its conception in antiquity to modern-day times. It describes its purpose and functions, changes in architectural structure, and its unique building techniques. The latter part of the paper describes its novel uses throughout time in mathematical and scientific innovations.
From the Paper "The period of antiquity now viewed as Ancient Rome was privy to a plethora of building construction. The glory of the Forum, the vastness of the Coloseum, and the intricacies of the Baths of Caracalla are now considered marvel relics, but all pale in comparison to the architectural wonder of the Pantheon. The building brings together the grandeur of the world and the wonder of the cosmos; adhering the two in a cutting edge and unique manner. The stately and overbearing monument has undergone many transformations through antiquity, often changing both shape and function. The function of the Pantheon is still a source of current debate among scholars, with arguments ranging from a temple to Augustus to an intricate sundial. While the controversy might never come to a conclusion, the exact scientific and mathematical precision of the Pantheon illustrates the intention of the building as a feat of engineering."
Abstract The paper examines how the author, designer, painter, photographer, filmmaker, and publisher known as Andy Warhol was one of the twentieth century's greatest artist. It looks at how he became a pop culture genius and how, through his work, became a part of it as a social commentator and visionary.
From the Paper "Magazines and film were two other mediums used by Warhol. After graduating from the Carnegie Institute of Technology in Pittsburgh, Warhol first worked as an illustrator for magazines like Vogue and Harpar's Bazaar and for commercial advertising. His magazine, however, would live on even after Warhol's death. In 1969, Warhol co-produced a magazine named "Interview" with John Wilcock, editor of an underground newspaper called "Other Scenes". The magazine featured text and loosely edited interviews from cassette tapes. Andy often said that he started the magazine to get free tickets to all the premieres. The magazine quickly turned into a monthly review of popular culture. Celebrities, fashion, art, music, movies, television, gossip, and celebrity nightlife (especially the notorious Studio 54) were all featured in the magazine."
Abstract This paper explains that, loosely defined, Pop Art describes works, which borrow imagery from the mass culture--high art mimicking low art; everyday items such as commercial product packaging, newspaper articles, advertisements and comic books are the foundation of the Pop Artist's works. The author believes that the greatest Pop artist, whose innovations have affected so much subsequent art, is the American artist, Andy Warhol, whose works--"Campbell's Soup Can" series, "Green Coca-Cola Bottles, 1962" and "192 Dollar Bills, 1962"--are detailed in this paper. The paper relates that Andy Warhol, son of disadvantaged Polish immigrants, became an icon not only of Post-Modern art in the Pop movement, but also the epitome of enviable glamour as one of the leading mass-media personalities of his time.
From the Paper "Warhol's method of reproducing identical images, echoing the assembly-line production of the objects depicted, gradually became more technically efficient and a standard feature of his work. He introduced this method of screen-printing in 1962 and encouraged the impression that works were churned out from the Factory, as his studio on East 47th Street in New York was known, by his entourage of assistants. "With screen-printing Warhol had finally found a way of eliminating altogether the distinguishing personality of brushwork, at the same time satisfying his professed desire to make himself into a machine, registering images as a mere film of colour on the canvas surface.""
This paper discusses the continuity of technique and style in traditional sculpture, from Antiquity to the Baroque and Neo-Classical periods, specifically in the sculpture of Italians Gianlorenzo Bernini (1598-1680) and Antonio Canova (1757-1822).
Abstract This paper explains that the mythical antique sculptures initially seem to have more features in common than differences with those of Bernini from the Baroque era and Canova from the Neo-classic era; but, upon closer examination of Bernini's 'Apollo and Daphne' and Canova's 'Cupid and Psyche', they are steeped in the attitudes and values of their own periods. The author points out that Bernini's 'Apollo and Daphne' reflects the religious emotionalism and exuberant decorative richness that spread all over Europe from Rome, while Canova's 'Cupid and Psyche' demonstrates the fusion of Christian values and Eighteenth century sensibility. The paper relates that, in classical art, the greatly prized qualities of nobility, grace, beauty, supreme physical strength, virtuosity and heroism is expressed in sculpture: Bernini and Canova seem to use the Antique period as an inexhaustible source of human qualities and emotions.
From the Paper "Bernini's 'Apollo and Daphne' exemplifies sculpture from the Baroque period, and Canova's 'Cupid and Psyche' is a prime example of Neo-Classical sculpture. The very title 'Neo-Classical' suggests a strong identification with ancient art, but the movement was perhaps more of a reaction against the Baroque style. It sought to combine Christianity with the general sentiments and principles of the time. The Neo-Classicists condemned Baroque art for its excessive detail and lack of 'meaning'. John Flaxman once criticised the extravagance of Baroque sculpture, describing it as all about 'twisted heads, full bodies, fluttering draperies; all wrists and ankles and bombastic attitudes'. In comparison to Bernini's Daphne and Apollo', Canova's 'Cupid and Psyche' is an unadorned sculpture."
Abstract This examines the early stages of the Renaissance. It shows how the Black Death ironically played an important role in its development. The paper also provides an overview of famous figures during the time, including Lorenzo Medici, Dante Alighieri and Michelangelo .
From the Paper "Thanks to benevolent people such as the Holy Roman Emperor and princes, artists were able to devote their time to art, and not have to worry about supporting themselves. This helped art flourish even more as artists could be entirely dedicated to their work. Without this support from both the clergy, and townspeople buying and supporting art and artists, the era would have failed to produce works of the caliber that it did."
Abstract This paper begins by presenting the life history of Mary Cassatt, born in Pennsylvania and educated in Europe and the United States. It explores the beginnings of her painting career and the techniques which she employed in her work. The paper then focuses on Cassat's "Little Girl In A Blue Arm Chair" and provides a description of the painting.
From the Paper "Mary Cassatt influenced Impressionism. She also had an important role in sponsoring and in financial promotion of Impressionist art. She sometimes bought paintings of her friends when they were short of cash and with her connections to rich American families, she encouraged them to buy Impressionist art. Some of the collection is at the New York Metropolitan Museum."
Abstract This paper describes the work of 16th century Italian artist and architect Filippo Brunelleschi and how the innovation and brilliance of his work prepared the Florentine art community for Leonardo da Vinci's reception. The paper focuses specifically on the design and construction of the Cathedral of Santa Maria del Fiore and how this structure emphasizes most explicitly Brunelleschi's collaboration between science, technology and art. The paper further discusses Brunelleschi's spirit of rivalry and competition that was characteristic of his career and his reputation and the lasting impact these qualities had on the Florentine art community.
From the Paper "The inscription on his simple, marble tomb slab reads, "here lies the body of the great ingenious man Filippo Brunelleschi of Florence." Though laid under the south aisle of the Cathedral of Santa Maria del Fiore, the epitaph makes no explicit reference to Brunelleschi's role as its architect. Perhaps the Florentines thought that such information belonged elsewhere, or that it would be obvious to the millions of tourists who stream into the cathedral each year. More likely, the Florentines recognized Brunelleschi as a man who transcended simple vocational categorization, a man who could not be pinned down by a title like "architect" or even "artist," because his work was so manifold."
This paper explores the history of the Hula dance and describes how the Hula maiden, with hips swaying in the breeze, has become a legendary symbol of Hawaii.
Abstract The writer of this paper details the history of the Hula dance and its significance as a ritual of religion, celebration, mourning and communication. This brief, yet concise paper, examines how, in ancient times, dancers were selected for hula training in childhood, spending their formative years under the care of a hula master, separated from the outside world and dedicated to the goddess Laka, patron of the hula. Hawaii's history of births, deaths, loves and battles were expressed in the Hula dance. The writer also details the accompanying music and melodic poetry, to which the dancer's swayed, which include the double-gourd drum, called ipu heke.
From the Paper "The history of births, deaths, loves, and battles of the people were preserved in chants and dance. Since Hawaii's history was recorded as dance, "hula dancers were expected to remember and repeat every dance step perfectly and under punishment of death," for "to change the dance was to change history." Hula was the written word for ancient Hawaiians, told through the movements of the dancers' feet, hands, and body movements. Through dance, stories were told, genealogies were kept, and beliefs were shared and imposed, thus to change the steps would be to change the message."
Tags: dance, history, hawaii, culture, ritual, communication
