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 begins with a description of the Epa Headdress used in the Yoruba Epa festival. It continues to explore the purpose of the festival. In conclusion it examines the headdress as a work of art and representation of Yoruba spiritual system. The paper also mentions African aesthetics and mask artists.
From the Paper "The Epa headdress is used in the Yoruba Epa festival celebrating the important social roles of a town and its people. The headdress is worn at the climax of the week-long festival whose purpose is to reinforce the structure of the community. In the Epa festival ..."
Abstract This essay argues that Erwin Panofsky's interpretation of Jan van Eyck's "Arnolfini Portrait" focuses on its sacramental nature,. The author relates that Linda Seidel's interpretation expands this focus and includes customs and socioeconomic factors of the era that help provide greater understanding of the work.
From the Paper "The Jan van Eyck portrait of the marriage of Giovanni Arnolfini and Giovanna Cenami provides room for interpretation from different perspectives The classic interpretation offered by Erwin Panofsky focuses on the religious ..."
Abstract This paper explains that several artists have depicted David, the young man, in an artistic medium. The author explores sculptures by Michelangelo, Donatello and Bernini.
From the Paper "The Biblical image of David has been portrayed in various lights throughout history. David is, of course, the young man who fought the giant Goliath in Judeo-Christian mythology. It is a story that has infused many aspects of modern culture and as such several artists have taken on the task of depicting the young man in an artistic medium. Past artists who have executed sculptures of the famed young man include Michelangelo, Donatello and Bernini. The works of each of these artists depict the ..."
Abstract This paper provides a look at Japanese influence upon the work of French Impressionist painter, Claude Monet. The paper looks at Monet's interest in the exotic and ancient Japanese art and culture and discusses the influence of Japanese woodblock prints on the art of the Impressionists.
From the Paper "Influences of Japanese art and culture infuse much of modern society. It is easy to see reflections of Japanese culture in what might otherwise be considered a western or occidental world. Certainly we have witnessed the overwhelming and growing emulation of Japanese customs in our own society. The work of French impressionist painter Claude Monet seems to have what may be the first hints of Japanese influence in modern art. Here we will examine that influence in Monet's work as it relates to impressionism..."
Abstract The following discussion provides an analysis of the Classical Era, which represents much of the work of Beethoven, Mozart, and Haydn. The writer points out that these composers have withstood the test of time due to their valuable and significant contributions to the classical music genre, and their unique works continue to be enjoyed by individuals of all ages and cultures.
From the Paper "The role of classical music as a bona fide art form is of critical importance to the development of music as a means of true artistic expression. During one of the most formidable periods of classical music, which took place during the 1700s and 1800s, there was a reintroduction of traditional forms to the music genre, which provided a means of structure and symmetry that was not evident for some time. This period in music history provided a greater emphasis on simplicity, and it removed some of the emotional context that Baroque music was known for. This era is perhaps best known for the development of the following musical forms: symphonies, sonatas, and concertos, all of which provided enormous contributions to the period as a whole."
Abstract This paper is an analysis of the works of painter Marc Chagall and their significance in the history of 20th century art. It also evaluates the dominance of Clement Greenberg as a critic of the modern art movement, specifically in relation to the paintings of Marc Chagall.
From the Paper "Modernism, as defined by Clement Greenberg, is, in its ideal form, the combination of technique and subject matter to create artwork that challenges past conventions and to create art for art's sake. According to this definition, there exist many artists that are, by their existence and work within the late nineteenth to mid-twentieth century, artists of Modernity who receive little attention in the study of Modernism due to the fact that they do not follow the traditional progression as described by Greenberg. It is because of this that a distinction is recognized between Modernity, the period that encompasses modern art without regard to preconceived notions of form or content, and Modernism, which has come to be dominated by Greenberg's view. One such artist who may be a victim of the dominance of Greenbergian Modernism is Marc Chagall, who's use of abstract techniques in combination with a goal of figurative or narrative illustration marks him as a mere detour in the progression of Greenberg's Modernism. Through analysis of form and content, one realizes that room must be left for interpretation in defining the highly dynamic period of the early to mid-twentieth century art world, lest the works of artists such as Chagall be ignored in the study of Modernity for their inability to be categorized by Greenburg's concept of progression."
Abstract This paper explains that recent evidence suggests that Renaissance artist Leonardo Da Vinci, born in Vinci, Italy in 1452, was the son of a Middle Eastern slave named Caterina and his biological father, Ser Piero Da Vinci, with whom he lived in Florence. The author points out that Da Vinci was very successful in art as well as the fields of science, engineering, anatomy and inventing. The paper relates that Renaissance art did not take its roots from Romanesque and Byzantine traditions as Gothic art did but rather came out of the new and evolving civilization of this era. The author concludes that Leonardo Da Vinci ranks at the top of the list of influential artists of all time.
From the Paper "Leonardo's second most famous work was 'The Last Supper'. This painting was begun in 1495 when Ludovico I Moro commissioned Da Vinci to paint the refectory wall of the Santa Maria Delle Grazie in Milan. This wall was located in the dining hall adjacent to the church and Leonardo decided to paint the very moment in which Christ announced that there was a traitor in their midst while they ate supper. Through his masterful brush, he managed to capture the personal reactions of each of the twelve disciples through their movements and facial expressions."
From the Paper "In his article "Anti-form" Robert Morris, discusses the ideology of post-minimalism. The essence of post-minimalism is the creation of anti-form. Anti-form is the breakdown of the gestalt; geometrical shapes that the mind holds and relates the preconceived shapes to what it is physically visual. Morris suggests that there are no meanings behind the works. He contends that to create a work of anti-form, the artist can not have any references of dualism because any premeditation of the development of a work counters the meaning of anti-gestalt pieces. Anti-form pieces also incorporate the physical properties of the medium that is used. They display the tautological properties of the materials that are used. These aspects dissociate the piece from both allusion and illusion and a pure object is formed. In order for a true work of anti-form to be created neither emotive nor allusive qualities can be present and all reference of dualism is absolved. "
From the Paper "With Blue Velvet, David Lynch did an effective job in dividing both popular and critical opinions about his odd piece of cinema. While some hail it as a masterpiece, others retain that it is pure perverse nonsense. Despite the initial shock of the overly violent sequences, Lynch's vivid revelation of baseness and depravity in small-town America makes its point clearly, if not bizarrely. One of the most obvious and effective ways by which the film's themes are conveyed is through an absolutely brilliant utilization of sound and score."
