Abstract
This paper discusses Plato's opposition to the imitative arts, including painting, and how he wanted them excluded from the State. The author points out that he believeds that the arts presented people with mere appearances instead of real things. The paper examines Leo Tolstoy's opinion that art expressed the emotion of life and T.S.Eliot views that good art was a reflection of an understanding of the past. The author feels that both Eliot and Tolstoy showed Plato's view to be very narrow in scope.

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This paper explains that the perspective of limitless possibilities in production is linked with the possibility that a moral aesthetic is bound up with all cultural activity. The author remarks that 21st century artists are in a position to explore the possibilities that engage art and multimedia in evocative representations.

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This essay examines Francesco de Simone Ferrucci's famous art work the "Madonna and Child." In many respects, Ferruci's painting of the Madonna and child represented certain themes in late fifteenth-century Florentine art. The painting depicted the living body and represented the religious theme of what the Madonna and Child symbolized. More than anything else, Ferrucci focused on showing the loving nature of the Madonna herself.

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This essay will argue that Leonardo's "The Last Supper" is a Renaissance rather than Medieval work because it embodies the scientific spirit of the age. As will be seen, Leonardo's approach to the theme and execution of the painting reflect not religious inspiration but scientific aspiration. In this work the artist focused a Renaissance passion for experimentation, his innovations in the area of perspective, and the distillation of his years of observation and study of human movement, emotion and form. Indeed, even those qualities of the painting that have been pointed to as flaws in Leonardo's vision are, it will be shown, characteristic of the Renaissance rather than the Middle Ages.

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This essay will focus on the role of color in Klee's compositions, and his viewpoint of it. One painting will be a case in point to demonstrate color's part in Klee's aesthetic endeavors.

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This paper provides the reader with a detailed report about artist Frank Stella. The writer of this paper takes us on an exploratory journey through Stella's life and times as well as the type of art he is most well known for.

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This paper is on the "Emergence of Hellenistic art". It includes a brief detail of the Hellenistic period and the Hellenistic art.

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This paper is based on the "Art Spirit" written by Robert Henri, followed by a discussion of the work done by Josef Alber in his book "Interaction of Colors" summing up with the review of Albers' book supported by the viewpoints of the experts in the field. .

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The paper discusses the minimal art movement in the 50s and onward. Specifically, the paper looks at the type of sculptures made during that time and its influence on contemporary art.

Tags: conceptual, art, history

Abstract
This is an in-depth analysis of Sandro Botticelli's painting "The Mystical Nativity" (1500). It includes an analysis of the aesthetic, symbolic, and formal elements of the painting, as well as a short biography of the painter and a section on the theological implications of the painting. As a traditional Christian theme, the nativity is one of the most popular. This radical reinterpretation, however, combines symbolism from Revelation with the scene of the first coming of the messiah, creating a dynamic image. The style is a throwback to medieval formalism, and the distorted figures are a reference to a holier time, perhaps influenced by the resurgence of medieval ideology in the person of Savonarola, whose ideas heavily influenced this painting. The paper can serve as a demonstration of understanding of Renaissance religious symbolism, or as a deep analysis of a single work of art from the quattrocento.

Tags: botticelli, mystical, nativity

Abstract
This paper compares a painting by Pre-Raphaelite British artist Burne-Jones with an important work by Realist, Edgar Degas. Both paintings appeared in 1860-1970 decade and have something important to say about that era and the two painters.

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This paper discusses how reflection and refraction produce an image in a camera. A camera depends completely on light to produce an image. The one reason objects can be seen at all is that light rays are reflected from their surfaces.

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This paper discusses Realism in nineteenth century painting as part of a broader movement which began in literature, became associated with painting, and then broadened to include theatre and later, film. In all its forms it was a rejection of the predominantly Classical vocabulary of art, and also of the Romanticism which prevailed in the 1800's. Artists wanted to paint the world as they saw it, which included warts-and-all portraits, and subjects that included peasants working the fields. However, Realist art and politics were inextricably bound up, first in the person of Courbet who founded the Realism movement and later, in the Socialist Realism paintings of Russia.

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This paper examines puppetry as an integral aspect of Chinese drama from the Han dynasty to today. It will be shown how puppetry predated, and possibly even influenced, the production of plays with human actors. There will also be some discussion of theatrical variants on puppetry such as shadow plays.

Abstract
Norval Morrisseau was an Ojibway Indian from northern Ontario. He referred to himself as a "shaman-artist" and his work illustrated Ojibway spiritual values and the links between the material and spiritual worlds in the Ojibway worldview.