From the Paper "The painter known as Titian was the most versatile and productive painter of his day. His name was Tiziano Vecellio. He lived in the village of Pieve di Cadore in the Italian Alps, and he remained always a child of the mountains in spite of his fame and success:
The ambition that drove him came as much from his ingrained attitudes as it did from the need to find outlets for his talent. Like a peasant whose one concern is to store up grain against the winter, Titan worked for security (Williams 7).
The name Titian is an anglicized version of Tiziano, and Titian and Raphael (for Raffaello) are the only Italians whose names have consistently been anglicized in this manner, a reflection of the lasting nature of their fame (Gould 7)."
This paper discusses Impressionist: Motivations, styles, major works, gender & cultural factors and relationships of Berthe Morisot, Mary Cassatt, Jean Renoir, Claude Monet, Edgar Degas and others.
3,375 words (approx. 13.5 pages), 6 sources, 1995, $ 119.95
From the Paper "The "First Ladies" of the French Impressionist movement were undeniably the Frenchwoman Berthe Morisot (1841-95) and the American expatriate Mary Cassatt (1944-1926). They were also, by reason of default, the "second," "third" and "fourth"-tiered women of Impressionism as well - for there were no other female Impressionists of note, despite the fact that one or two other women had associations and hangings with the movement's acknowledged inner-circle of males: Pierre-Auguste Renoir (1841-1919), Claude Monet (1840-1926), Camille Pisarro (1830-1903), Edgar Degas (1834-1917) and (by others' judgement if not his own) Edouard Manet (1832-83). By default or not, Morisot and - to a much larger degree - Cassatt stand firmly in the midst of that company of gentlemen because they were good at their art, not by any condescension on the part of either critics or ... "
This paper focuses on Giovanni Bellini the 15th Century Venetian artist's altarpieces: Career, religious works, themes, significance and cultural background.
1,800 words (approx. 7.2 pages), 5 sources, 1995, $ 63.95
From the Paper "This paper is a history of the altarpieces of Renaissance Venice, typified by the most famous artist of the form, Giovanni Bellini. Bellini's altarpieces represent a very particular type of painting, unique to its time and place. They visually chart the evolution of Venetian society's movement from its Gothic and Byzantine roots into the full flowering of the Renaissance. This was a difficult transition for the republic; Bellini's work exhibits the pride and grace with which his fellow citizens ultimately came to embrace the new order.
... Giovanni Bellini as "a master whose long career, extending from about 1460 until his death in 1516, dominates Venetian painting for most of the period.". Bellini's work, more than that of any other painter of his age, reflects the pressures and influences working on the Venetian republic as ... "
From the Paper "Auguste Rodin was a French sculptor who was also one of the most influential European artists of the late nineteenth century. He was born in 1840 and died in 1917. He was contemporary with C?zanne, Gauguin, and van Gogh, but he was the first sculptor in a long time to occupy a central position in public attention as he opened up new possibilities for his art much as the Impressionists and post-Impressionists were doing for painting. Rodin came from a poor background and was rejected by the Ecole des Beaux-Arts three times. For many years, he worked as an ornamental mason. He went to Italy in 1875, and it was there he was exposed to the works of Michelangelo, who would serve as his inspiration for his first major work, The Age of Bronze, exhibited in 1878. This work caused controversy because of its naturalistic treatment of the naked figure, an approach quite ... "
Examines the sociohistorical development of the 17th Century-18th Century French style, focusing on the works of Francois Boucher and Jean-Honore Fragonard. Discusses the role of the Royal Academy, patronage, interior reality, colors and major works.
3,375 words (approx. 13.5 pages), 14 sources, 1995, $ 119.95
From the Paper "Rococo. The very term has become commonplace as the synonym for "decorative," "frilly" and "frivolous" art. That in itself is a step up from its origins as a derogatory term derived from the French word rocaille. The original invention of the term in the early 1800s was essentially a caricature, a satirical disparagement which consigned the entire Rococo period (circa 1680-1775) to being little more than an architectural style of playful decoration.. Likewise, our contemporary art historians and critics are rarely kind to the Rococo style - and are particularly hard on its artists. "The eighteenth century," one college text proclaims,. "did not produce a single figure in the visual arts to rank with the universal masters of previous epochs." Like all such sweeping generalizations, both criticisms - new and old - miss key elements in the character of Rococo ..."
Introduction
This analysis focuses on an individual artist from a specific European country. One of the interesting things about individual artists, however, is that in many instances they are more European than specifically German or French, at least in the modern era.
For example, in looking at Van Gogh and his work, there is more than one identification. While he is a Dutch artist, born in that country and with a "Dutch" period in his work, he is often associated with the French impressionists and, in one of the sources used for this analysis, he is categorized as a French artist (Kostenevich, 1995). The intention in this paper is to briefly trace his development."
From the Paper "The purpose of this paper is to discuss the Dutch painter Johannes (Jan) Vermeer's The Allegory of Painting, also known as The Art of Painting. Many art historians have thought that this work was created in praise of the "art of painting." However, this paper will show that The Allegory of Painting was instead a political statement on Vermeer's part.
Vermeer lived during the seventeenth century, a time which is known as the "Golden Age" of Holland. This was a period when great changes took place in virtually every area of Dutch life, creating an environment in which the arts flourished. The changes of the day were largely shaped by political events, as this was the time during which Holland won its status as an independent nation.-. There was also a current of religious tolerance in the air due to the spread of Protestantism in the ..."
Abstract This paper explores the concept of beauty in Witkin's photography. It looks at the techniques he uses to create pictures like paintings. It discusses some early childhood influences on his work and the difficulty of classifying him as any particular type of photographer. It studies the relationship between his work and glass (the properties of glass) and analyzes his picture entitled "Glassman". Next, the paper moves on to another work of Witkin?s, entitled "Waiting for De Chirico", discussing its comment on surrealism and use of foreground, middle-ground and background. The paper then moves on to an analysis of Witkin's "Daphne and Appollo", exploring its message about love. The paper concludes by highlighting the commonalities between the three above-mentioned paintings.
From the Paper "While Joel-Peter Witkin may well be a virtuoso technician pushing the envelope with his creative skills, it is seldom his technique that causes people to stop and stare at his work, as well as very frequently stop people from looking at his work altogether. To call him the master of the macabre is to think of him as a storyteller in the fashion of Poe. However, unlike Poe, he is no romantic; he is not interested in ironic twists but rather presents himself as a reporter on the human condition, and on the bubbling unconscious of humans trapped in this world of so many contradictions."
Tags: photography, techniques, picture, influences, glass, Glassman, ?Waiting, for, De, Chirico?, surrealism, analysis, ?Daphne, and, Appollo?, commonalities
Abstract This essay investigates whether the natural materials and technology available influenced the development of Egyptian art. The essay argues that the wealth of natural materials Egypt had in its possession provided the Egyptians with access to a range of mediums with which they could develop art. An argument is put forward that the technology and techniques used by the Egyptians greatly influenced and contributed to the development of Egyptian art. This essay begins by looking at the earliest materials and technologies that were used during the prehistoric period followed by an examination of how these materials and techniques developed over time. Evidence is provided throughout the essay to support these arguments.
From the Paper "Pottery was also one of the earliest forms of artwork in Egypt dating back to the Prehistoric Neolithic and Predynastic Periods. In 1985 Sir Flinders Petrie discovered a variety of Predynastic pottery vessels ranging from Badarian handmade vessels to decorated pottery from the Naqada Period that showed evidence of "exquisite craftsmanship" (Romer 1982:38). The natural materials that allowed for the creation of such pottery included Nile river silt clay, limestone and clayey shale from the cliffs (Romer 1982:45). The early technology used to produce pottery included polishing the pottery with a pebble to give a burnished red or black appearance before being fired in a kiln (Shaw & Nicholson 1995:226). Other
decorative characteristics included rippled lines that were produced by running another natural material, fish bones over the wet clay (Hart 1995:30)). Improvements in ceramic technology and the introduction of the potter's wheel allowed an increase in the range of shapes that could be produced (Quirke & Spencer 1992:178). However J. Romer (1982:70) states that the use of the potter's wheel led to a decline in the quality of Egyptian pottery. He argues that the potter's wheel, although allowing larger vessels to be made quickly and easily from clay, ultimately led to pottery becoming more utilitarian and of less artistic quality. Therefore although the standard of art declined, this is still evidence of how the technology available influenced the development of Egyptian art."
Abstract The paper examines how humankind has always had an inherent need for expression and this need has been fulfilled through various media such as art, literature, poetry and music. It looks at how the field of art has always been a fascinating form of human expression in that it blends aesthetics with the artist's comment or interpretation of culture, history, politics and other aspects of society. It describes how art historians study art from two primary angles: the quality of artistic rendition and the historical reflection of the artist's time. It evaluates the theories of some famous philosophers such as Plato, Aristotle and Kant on how an art historian needs to develop objectivity in interpreting the life and times of the work being studied and the artist's own intended expression.
From the Paper "Another epistemological assumption underlying art is that it necessarily has to be concerned with producing something of beauty, as defined by social standards. This is a natural fall out of the underlying theory that knowledge of vision, coded to recognize aesthetics and beauty, is necessary to appreciate art. An opposing philosophy exists wherein great art critics like "John Ruskin, Herbert Read, Morris Collis and Eric Newton would judge art from a wider angle". Any object may be called beautiful"feelings which one obtained in the aesthetic contemplation of it are pleasurable feelings" (Ijele Web site). This is in line with Kant's Critique of Pure Reason, where he dealt with aesthetics as if it only has to do with perception."
Abstract Henri Rousseau is considered the first and the greatest of the naif or primitive painters and the single most important predecessor to modern surrealism. This paper discusses Rousseau's life and looks at a number of his pieces. It examines his connection with modern art developments and his peers, evaluates the life experiences that influenced his paintings and critically analyzes one of his most important works, "The Anglers".
From the Paper "Henri Rousseau is best described as an unusual figure in late nineteenth and early twentieth-century French art history. For many years art critics had difficulty "placing" him and explaining his work, but it is agreed today that he was a major influence in modern art. One must remember that this was an era, early in the modern art movement, when traditional shapes and ordered standards were on the way out and artists were looking for new inspirations and forms of expression. In painting this sometimes came in the form of art that had always existed but never been taken seriously- children's art and "primitive" art. Today we know that Henri Rousseau was the first and the greatest of the naif or primitive painters, and the single most important predecessor to modern surrealism. Rousseau is best remembered for solving the initial problem that surrealists had by giving form to the irrationality of this modern style of painting (Hughes 227)."
Abstract This paper discusses "Changing Hands", an art review of a major Native American art exhibit at the American Craft Museum by critic David Revere McFadden. It opens with an overview of the exhibit itself and its highlights. The review, and the critic's "authority" to report on the exhibit are then discussed. Finally, there is a commentary of the effect the critic's piece has upon one's desire to view the exhibit.
From the Paper "Changing Hands, the exhibit features several art forms of Native America. The artists who have displayed their work have given examples of both traditional and more contemporary pieces ? for example a reconstructed earthenware vessel of the type that might have been used centuries ago for water or other liquids. The several art forms shown by the Changing Hands exhibit include wool rug and vegetable dye; gold bracelet work inlaid with larimar, lapis lazuli,sugulited, shell, coral, obsidian and opal; earthenware sculpture; an acrylic collage on wood; glass and copper vase; cottonwood root sculpture; leather beltwork of silver, coral, turquoise, and serpentine; coral necklace with gold and pearls; pendants of gold, wood, silver, coral, turquoise, opal, shell, and lapis lazuli; earthenware canteens and jugs; hinged silver buckles; earthenware tiles of sand, copper, and oil on a wooden panel; sand media on wood."
Abstract This essay describes how the art and culture of ancient Mesopotamia was defined by its climate and geographical locations. It also shows how the weather and geographical conditions affected wars and power in the region - and the reflection of this fact through art and artifacts found in the region.
From the Paper "Many believed that the south was the cradle of civilization until settlements dating back to around 5,000 B.C. were found in Northern Mesopotamia. Jarmo was the earliest of these settlements and was superseded by a series of cultures, Tell Hassuna, Samarra, and Tell Halaf. Tell Halaf was the most advanced of the early cultures (Mesopotamia pg). It is famous for Halaf ware, which is regarded as the finest prehistoric pottery in Mesopotamia (Mesopotamia pg). Halaf ware can be found at sites such as Neneveh and Tepe Gawra. While the north was making great advances in culture, ?civilization was just beginning in the south, particularly at Eridu."
Abstract This paper discusses how Hellenistic Art was primarily influenced by Alexander the Great's conquests, which introduced the culture, arts and philosophies of foreign lands into the Greek milieu and how it mirrored Alexander's pride, his vision and his stature. It looks at how the term "Hellenistic" describes the arts that fuse the Greek with Asian traditions and reflects a shift in Greek consciousness away from the pantheon of gods toward a private, wealthy sector of art collectors. It evaluates how while the Classical arts of Ancient Greece adorned temples, Hellenistic art decorated the palaces of kings and of the private houses of wealthy connoisseurs.
From the Paper "New dynastic centers like those at Pergamum and Alexandria promoted large-scale palace architecture influenced by Oriental styles and scale. New royal patronage for the arts differed from that of Classical Greece city-state patronage. Instead of the anonymous, religious statues like that on the Athenian Parthenon, statues honored war victories, new syncretic deities, and portraiture of royal families. The faces and figures of gods and goddesses changed, influenced by the religious traditions of Egypt, the Far East and the Middle East. In short, Greece was less important to Greek art. The Classical period climaxed and left a legacy as grand of that of the Athenian Parthenon. Towns were already established, their architecture preserved."
Abstract The paper discusses the types of equipment used the Civil War period. The paper presents photographers: Mathew Brady, Alexander Gardner, Timothy O'Sullivan, Andrew Joseph Russell and Jay Dearborn Edwards. The author pointed out that the study of their portraiture offers an in-depth look at the men and women who made a significant contribution to the development of the United States.
From the Paper "Although photography had existed for only two short decades when the War broke out, from the start, the pictures the early photographers created fascinated the public. Their images seemed, unlike drawings and paintings, to capture reality. When the war began, hundreds of photographers began to cover the conflict. In both their studios and in the field, they took numerous portraits of common soldiers and then sold them in a popular card-size format. The Civil War photographers traveled to Army field headquarters and returned with images of the war's heroes. When they went into the field to take their photographs, they carried not only a camera, but also a portable darkroom that was used for the delicate process of wet-plate photography."
