This essay examines the origins of the unconventional Dada art movement. These pioneers of the avant-garde thrived for a few short years after World War I before splintering into several groups in the early 1920s.
Abstract The Dada art movement was about using protest, confrontation and chaos in the arts as a way to change an unjust society recovering from the horrors of World War I. By explaining the origins of the Dadas and looking at their most famous sculpture, "The Spirit of Our Time", this essay explains how the Dada artists were making direct challenges to modern culture and technology long before it was fashionable.
From the Paper "By the late 19th century machine technology was everywhere, available to millions, and part of humanity's daily existence. The products of machines, such as giant structures and trains, planes, and automobiles, were infinitely more "useful" to people than traditional art had ever been. Some artists became envious of scientists and wanted to match their achievements, and some scientists wanted to be thought of as artists."
Abstract The paper discusses the works of Frank Lloyd Wright, the greatest and most influential architect in the history of American art and design who gave us some of the most beautiful and dazzling structures. The author explains how he is remembered mainly for his residential houses as he was the first architect to change the design of American houses to make them suitable for modern living although he gained fame international fame with his design of Imperial Hotel in Tokyo.
From the Paper "American should be proud of those who have given it the reputation of being the country with most talented people. It should praise those who have added a new dimension to its art, literature and architecture. The reason being that a country is known by the people who belong to it and some of these people by the power of sheer genius can take their country to new heights of fame and pride. America boasts of numerous highly talented people in various fields, but it has only very few well-known personalities in the field of architecture and design. This is not because the country does not provide encouraging and conducive environment, but it is because of the nature of the work itself. Ceramics, Architecture and lighting may appear to be rigid fields, which allow introduction of new techniques, and style only rarely but it all depends on the magnitude of creative genius residing within the one who enters this area. Very few people in these fields art, design and ceramic work can bring dramatic changes to previous styles and design and introduce better techniques and give the country its own architectural identity. One such person was the American architect and artist, Frank Lloyd Wright."
Abstract This paper studies Richard Avedon and his ability to create a series of images of women as well as men that seemed to catch something of their inner lives, making each of his subjects unique in looks and personality. It includes several of his pictures and details the expression and meaning of each of them. Also, it gives an historical overview of his life and how he exemplified the 1950's era. It compares his work to the work of several photographers such as Weston and Steichen.
From the Paper "The work of photographer Richard Avedon during this Ozzie-and-Harriet decade thus stands out for his ability to capture a sense of unique personality in each of his subjects. Despite the fact that during the 1950s he was working as a photographer for fashion magazines like "Harper's Bazaar" ? hardly an avant-garde publication or one dedicated to stripping society of its sexist images of women ? he managed to create all throughout this decade a series of images of women as well as men that seemed at least to catch something of their inner lives, a good deal of what made each one of these subjects unique. The fact that he was able to wrap these substantive images in a style that was coolly and elegantly minimalist ensured his success not only in this decade but in the years since."
The comparison of the styles of two paintings - Vincent Van Gogh's "Woman with a Spade as Seen from Behind" and "'The Shop Girl" by Jacques-Joseph Tissot.
Abstract This paper compares the differing styles of these two artists. Both painting were of women but the writer shows how Van Gogh's is of a woman working in the field while Tissot's painting depicts elegant women in a shop. Even though they were painted in similar time frames, the latter painting is of a modern culture greatly ignored by Van Gogh in his works.
From the Paper "Vincent Van Gogh is a master artist whose works have fascinated the society for decades. The manner in which he portrays his subjects and the deliberation of each stroke gives a life like result that is a pleasure to see. Vincent Van Gogh went through life searching for the elusive perfection that he could capture on canvas. Though many would say that his works are itself a perfect presentation, Van Gogh proved to be his own biggest critic. He stated in one his Letter 257 c. January 3, 1883, "By working hard, old man, I hope to make something good one day. I haven't yet, but I am pursuing it and fighting for it..." thus were immortalizing his own life. We could have aptly used these words to write his eulogy for the search for something better is what he portrays on canvas."
The paper discusses Evelyn Welch's illustration of the history of art and architecture during the rule of the two dynasties, the Visconti and Sforza, in her book, "Art and Authority in Renaissance Milan."
1,560 words (approx. 6.2 pages), 0 sources, 2001, $ 51.95
Abstract This paper examines the tensions and arrangements between the city government and the court in Evelyn Welch's "Art and Authority in Renaissance Milan." Images are used to legitimize the authority of the dukes as well as the details of the multitude of problems that occurred during the constructions of the monumental cathedral of Santa Maria Maggiore, the Ospedale Maggiore, and the Castello di Porta Giovia along with the grievances that the artists and architects had with the Milanese court and government.
From the Paper "In the first chapter, Welch discusses the images that were used to claim authority in Milan. Unlike the King of France, the signori of Milan in the fourteenth and fifteenth-century could not declare their authority as God-given. The Milan rulers, from the first duke (Gian Galeazzo Visconti) to the last (Ludovico Maria Sforza), used various sources of confirmation of their position from distant papal or imperial investitures. But the most effective means of imposing authority over the Milanese citizens and residents of the surrounding countryside was to produce countless images that asserted ducal ownership of buildings, works of art, and people. Some of these images took the form of family arms, portraits, and color codes. Bridges and towers were branded with a coat of arms when absorbed under new dominions. Some signori asserted their authority with equestrian portraits. Images were represented differently in art and literature depending on the audience and the time. Art was used as a collaborator for political control (which was not uncommon). There was a constant transition in leadership. Two dynasties controlled Milan - the Visconti and the Sforza. The Viscontis, native Milanese, were based in the surrounding countryside. The Sforzas, originally mercenary soldiers, were from the Romagna and acquired their rights over Milan through a marriage to the daughter of the last Visconti duke. In art, historical armed conflict was disguised. Successive rulers changed ancestral histories. A leader that became powerful through tyranny was transformed as reverent. But regardless of even great court commissions, the images of authority were only effective if their audiences were predisposed to accept the court's authority. There was a reciprocal relationship between the art and the audience. "
Tags: photographs, buildings, paintings, sculptures, other, items, greatly, enhances, story
Abstract A paper which discusses the relationship between art and commerce in today's society. The writer shows that the two cannot remain apart and it is unwise to expect them to run parallel to each other without ever touching upon each other's boundaries. However he surmises that it would have been better if the two had focused on their own purposes because their union in today's society has produced unpleasant and disturbing results.
From the Paper "Similarly commerce cannot exit without art too. We regularly see businessmen using quality advertisements to gain an edge over their rivals. What is advertising if not a form of art. Similarly businessmen realize that it is important to appeal to the aesthetic sense of people in order to increase their customer base. For example even the largest and toughest companies in the American corporate world regularly employ artistic methods to infuse some art in their products. Some of the most expensive and highly exclusive and exquisite products have been called true pieces of art such as 'Ferrari', but we know very well that Ferrari was not designed or created in appreciation of art. It was purely a commercial product which was expected to increase annual revenues and that's what it has been doing for many years now. "
Abstract This paper discusses the Guggenheim and Metropolitan Museums of Art, describing and contrasting the two museums in the context of bringing art, culture and architecture to the public. Modern thought regarding museum architecture is also discussed. It also discusses the history of art museums in the past century. It examines the level of interaction between the art admirer and the art itself in several museums and accordingly judges their success.
From the Paper "Art museums have been through multiple metamorphoses in the last 100-plus years, from ornate Victorian cathedrals stuffed with artifacts, to flexible modernist boxes and vast salvaged industrial buildings. A museum building is often thought of as monumental sculpture, and is itself potentially the most important work in an institution's collection. How paintings and sculpture actually fit into it is, typically somewhat controversial. Museum founders realize that the public can best appreciate and become engaged in art when the level of interaction and personal participation is high. Mimi Gaudieri, the executive director of the Association of Art Museum Directors, and other enthusiasts among professionals in the field insist that there's no conflict between a museum's mission and high-profile architecture. "On the contrary, an exciting building lends itself to art," Gaudieri says. "It's part of the growth of the whole museum field. Years ago we were just sleepy institutions with no profile, and all of a sudden things have changed. Museums have woken up. We are much more aware of the community and are working more closely with it." Current museums incorporate inviting lobbies, lecture halls, libraries, cafes and shops, recognizing that while they display art, they also must draw the interest of the public (and potential donors) with a holistic appeal (Lloyd 2001)."
Abstract By creatively setting this paper out in letter form written to Michelangelo by an admiring potential customer commissioning him to build a house, the author of the paper examines the great artist's work and rich and successful career in post-Renaissance Italy.
From the Paper "Your architectural style is unique in its own way. You have developed a style for others to follow. Each one of your works marks the inventiveness and unique signature style. You are known as the innovator of the 16th century in the architectural arena. You dare to deter from the Renaissance style of work. And have invented a work direction that deviates from the classical design theory. You have become an inspiration for the post-Renaissance architects. You have marked the beginning of the Baroque and the fall of the Renaissance style of work. Your work is the foundation of a new era and new horizon of when a plan has diverse parts, all those parts a true artistic inspirational work. Then also you modestly say that ?I am not an architect.? "
This paper compares three writers and their definitions of "decadence" in art. It talks about Botticelli's Birth of Venus, the Mona Lisa and how some view them as sick and diseased.
Abstract This paper was written for a class about decadence in art and discusses Richard Gilman (author of "Decadence: The Strange Life of an Epithet"), Arthur Symon (author of "The Decadent Movement in Literature") and Walter Pater (author of "The Renaissance"). These three authors have differing views on women in artwork including pictures of the Madonna and Christ child, the Mona Lisa and Botticelli's Birth of Venus.
From the Paper "The most important word used to describe Pater's The Renaissance is "diseased". Symons and Gilman refer repeatedly to the word in describing decadence. "Diseased" is not only the condition of an ill person but also can be the spiritual condition of the mind of a person who sees death and disease in a piece of artwork that most others see as beautiful. Society might construe this deviation from the normal as unhealthy, because, on the whole, society regards anything different from itself as abnormal and thus diseased and in need of being "cured."
Abstract The following paper examines how all Greek sports, even the Olympic events, were performed in the nude. This paper examines how nudity in and of itself wasn?t the purpose of the art, but was used to best represent the images. The writer explores how women were banned from the Olympics because it was held in a sacred area. This paper also explores how the the nudity in sports gave sculptors a reason to study the human body more closely, and its proportion and movements. The writer traces back early attempts to capture the human form and examines how over time, nude sculptures became smoother and more realistic, while still adhering to the quest for the ideal.
From the Paper "Even though sculptors eventually worked out the proportions in their work. the Greeks were not known for experimentation with style. Once they found an image that was pleasing, they tended to stick with it. The typical male statue, the Kouros style, had a very distinct pattern that was followed: ?The figure stands erect and strictly frontal with his left leg advanced, his arms tense at his sides with fists clenched. Details are represented with strength and simplicity. The eyes are big and almond-shaped, the ears large and so carved as to form a kind of decorative adjunct; the essential parts of the body are clearly defined and subject to an established canon of proportions, while muscles and bones form surface patterns on the marble. The work already has those qualities of grandeur and proportion which characterize all the best Greek sculpture throughout its history.? (Carver) The male form was the highest level of ideal beauty."
Abstract The author of the paper shows that graphic communication has always been important through history as an art, and therefore website designing today should be based on the same principals of art as a painting or a sculpture. The author argues that the best website will be founded on the principles of art and even recognized as art itself.
Table of Content
The Principles of Art and Design
The Technological Factor
The People
Combination Complete
From the Paper "Contrast must not stand alone, however. Pattern is also very important in graphic design, and goes hand in hand with balance and rhythm. For example, elements should be patterned to some degree geometrically. For example, if one were to take a ruler and drawn a straight vertical line from one of the corners of a left quadrant graphic, any graphics or text below it should be placed with some reference to this imaginary line. The squaring, or even circling of elements is important to direct the eye, and provide coherency. In addition, pattern may be used to group similar elements spacially. It should dictate the way in which typefaces are applied as well, so that there is a repetition of usage. (e.g. sans serif typeface is always a header, Roman typeface is always used in the text, thus establishing expectations and an ability to interpret the data one is receiving based on this pattern)"
Tags: shapes, space, color, graphic, design, Van, Gogh, technology, internet, HTML, Javascript, World, Wide, Web, FLASH, Microsoft
Abstract Artistic representations, depending on how they are read, often reveal through their texts ideas about sexuality and/or gender. Discussed here are three works, all of which can be read through the lenses of various topics. Allie Eagle's "This Woman Died: I Care" (died trying to abort herself) involves the politics of protest, Carole Shepherd has worked against specific traditions with her photo-collage, "John", and George Elgar Hick's "Woman's Mission: Companion of Manhood" deals closely with gender identity.
From the Paper "Protest instantly becomes political within the context of an image, due to the viewer's prior preconceptions regarding the issue under scrutiny. Opinions are challenged, and important questions consequently raised. ?This Woman died: I care (died trying to abort herself)?, by Allie Eagle (New Zealander) in1978, is an image from which a clear form of political protest can be easily identified. The image can be read in a way that distinctly illustrates an objection against the (suggested) violence forced upon women by society's codes of behaviour. It can also be read as a reaction to the question of the legality of abortion, which at the time was under review in New Zealand. In itself the title influences the viewer's interpretation of the image, whilst its visual features serve to demonstrate Eagle's lamentation."
Abstract This paper examines modern art's Dadaist movement of early twentieth century. It looks at parallel movements of its time, hand made art and decorative craft objects and the emergence of consumerism. This historical period surrounding World War II, had a wonder for technology in terms of machinery. The author defines the immense influence of the Dadaist on Art and society today.
From the Paper "We all know the story of how Marcel Duchamp took a urinal, called it "Fountain", put it in an art show and then defended his action on the grounds that as he was an artist and he said the urinal was art, then it was.
This is just the sort of thing that has given modern art a bad name. But why should it have? Why should that urinal not be art?"
Tags: tristan, tzara, technology, marcel, duchamp, urinal, fountain, war, materialism, art, world, war, i, hand-made, hand, made, arp, manray
Abstract This paper reviews four children's stories written and illustrated by David Wiesner: "Sector 7", "Tuesday", "Hurricane" and "The Three Pigs". The paper claims that although these works were intended for children, Wiesner has a talent at reeling in grown-ups too. This paper describes these four stories via the illustrations and the medium used by Wiesner.
From the Paper "Children's literature can provide rich pictorials that appeal equally to adults as to children. David Wiesner is one author-illustrator that can be singled out for his talents at reeling in grown-ups. Some of his picture books are exactly that; containing few or no words, they feel more like surreal comic strips than children's literature. Wiesner's artwork, usually done in watercolor or colored pencil, is at once striking and subtle. The subject matter often seems eerie until the end of the story, which finishes on an upbeat note. Books like Sector 7, Tuesday, Hurricane, and The Three Pigs, all written and illustrated by David Wiesner, convey his mood and tone with pictures alone. Any accompanying text is ancillary to the illustrations and causes the reader to wonder whether the publisher demanded that some words be inserted for convention's sake (especially in Hurricane). Wiesner's illustrations tell the tale far better than any words could; in fact, Hurricane is the weakest of these four books because of the distraction of the verbal narrative. With a talent like Wiesner?s, words are redundant; in all these books the pictures drive the story line and themes, and they also help to develop and delineate the characters. David Wiesner is an author/illustrator that can be relished equally by adults and children."
Abstract The author describes "Picture This" as a work of fiction about Rembrandt's painting "Aristotle Contemplating the Bust of Homer", which was sold to the Metropolitan Museum of Art in 1961. The author considers the book to be more than a pure novel, as Heller takes the reader through history from Plato to Rembrandt and through the history of the painting itself. The review states that Heller in "Picture This" has written one-liners for comic effect that sometimes appear to be incoherent.
From the Paper "However, scattered through the book, the writer has given a good deal of material about the canvas painting itself: the model who posed for Aristotle, the circumstances of its creation, the bust of Homer, the commission that directed to this picture and much more. Furthermore, its lineage, which is the list of people who consecutively owned it as it made its way from Amsterdam to Sicily to England to the Metropolitan, has also been discussed. However, the book overall is more or less directly about the painting."
