From the Paper "Sofonisba Anguissola's painting titled The Holy Family with Saints Anne and John the Baptist (1592) is an unusual example of a narrative religious painting by a master who usually painted portraits. The work, which is oil on canvas and measures 49.5" x 43.5", is in the collection of the Lowe Art Museum at the University of Miami. The painting, which is signed and dated, reflects Counter-Reformation painters' interest in devotional images that made a very direct emotional appeal to the viewer. Anguissola adapted the composition from the work of another painter, her friend Luca Cambiaso, but her version shows an interest in sfumato and warmth of presentation that recalls the earlier Renaissance painters rather than the harsher realism that appealed to many Counter-Reformation artists, such as Cambiaso.
Anguissola (c. 1535-1625) lived in an age when very few ..."
From the Paper "Both modernism and postmodernism are reactions to change, with modernism reacting to the rapidity of technological and social change at the end of the nineteenth century, while postmodernism is a reaction to the social uniformity of modernism. Again, each makes a statement in a certain way because it has been made possible to make statements in just that way. Postmodernism is a restatement of the private and personal after the modernist era of the social and public. When Harvey cites the technological changes contributing to the development of postmodernism, he is citing the changes that permitted the artist to shape material for personal tastes and individual needs (Harvey 66). In this sense, and with reference to architecture, the postmodernist shapes public space in a certain way because he or she can so shape it."
This paper discusses Byzantine Art, post-Roman Empire art: Political and religious contexts, architecture, statuary, geometric painting, icons and monumental sculpture.
1,350 words (approx. 5.4 pages), 3 sources, 1980, $ 47.95
From the Paper "The following research concerns Byzantine Art. Byzantine Art developed after the split in the Christian world which took place after the division of the Roman Empire. Christianity came to the fore in the Roman Empire during the first three centuries of the Christian era. The emperor Constantine was converted in the fourth century A.D., and this was but the official recognition of a development toward Christianity that had long been in preparation. This new religion gave hope to the masses of people for whom living conditions had become impossible. Rome finally fell not so much because of outside invasions as from internal social decay, poverty, corruption, and the loss of control by the civil government. When Constantine moved the capital from Rome to Constantinople, the empire was divided into west and east..
Constantinople was the new name for the Greek town of ... "
From the Paper Outline
I. Introduction
II. Georgia O'Keeffe
A. Life
B. Contributions to art
C. Attitude to her art
D. Critical views
E. Formal elements
III. Specific works
A. Cow's Skull--Red, White and Blue (1931)
B. Horse's Skull with White Rose (1931)
C. From the Faraway Nearby (1937)
D. Ram's Head-Hollyhock (1932)
IV. Considerations of these four works as they indicate forms ... "
States that works of Van Gogh have received much critical acclaim, but little to none during his life. Discusses Van Gogh's troubled life, & provides a detailed analysis of 4 works: POTATO EATERS; FOUR SUNFLOWERS; NIGHT; & IRISES.
2,700 words (approx. 10.8 pages), 7 sources, 1994, $ 95.95
From the Paper " INTRODUCTION
The Dutch artist Vincent van Gogh was one of the best-known of the Post-Impressionists, in the company of C?zanne and Gauguin. Van Gogh's life has been repeated again and again as an example of the tortured artist who could turn out a huge number of beautiful works while in the throes of mental illness and torment. Yet, Van Gogh also highly unsuccessful during his lifetime as far as achieving any renown or selling any of his works was concerned; since his time, however, his works have been much prized and have inflated in value to proportions far beyond what he could ever have dreamed for them. Van Gogh produced some 800 paintings and a similar number of drawings, but he lived in poverty his entire artistic life. His works are marked by daring and startling colors and textures and by the vivid nature of his imagery. An.."
This paper discusses the 17th Cent. Flemish Baroque painter Sir Peter Paul Rubens: Influences, style, themes, subjects, myths, religion and major works.
1,350 words (approx. 5.4 pages), 4 sources, 1995, $ 47.95
From the Paper "Sir Peter Paul Rubens was a noted Flemish painter and designer and the most influential figure of Baroque art in northern Europe. He was born in 1577 and died in 1640. He began his career in Antwerp, and his masters were three fairly undistinguished painters of that city--Tobias Verhaecht, Adam van Noort, and Otto van Veen. The latter of the three had studied in Rome and could offer the young painter knowledge of the world outside Antwerp, and he did indeed infuse the young man with a desire to visit Italy, which he did in 1600. Little of Rubens's early work survives, and the style we know was formed largely in Italy, where he remained until 1608 and worked for Vincenzo Gonzaga, Duke of Mantua, who sent the young painter to most of the principal art centers of Italy to make copies for the ducal collection.. As was true of most painters of the Renaissance ... "
From the Paper "Cubism was one of the major transformations of Western art in this century and is seen as a revolutionary shift in thought and technique. The traditional distinction is between solid form and the space around it, but Cubism offers a different few with a radically new fusion of mass and void. Cubism allowed the artist to depart from preconceived notions of place and perspective which gave discrete objects an exact location and illusion of depth. Rather the artist could now create "an unstable structure of dismembered planes in indeterminate spatial positions" (Rosenblum 13). Thus the Cubist work of art was not simply a representation of a separate external, but considered "that the work of art was itself a reality that represented the very process by which nature is transformed into art (Rosenblum 13).
Apollinaire's definition of Cubism contains elements that could ..."
Abstract Early Christian art rarely tries to represent reality as is. This art is characterized by religious symbolism and its purpose is to portray the spiritual world, rather than depict three-dimensional figures. The paper examines how the beliefs of early Christians were reflected in their art. Originally, pagan art contained gods and heroes, but in their place emerged the Christian figures who dominated art for nearly a thousand years. The paper explores how these religious messages were depicted through images of golden halos, in architectural designs, miniature scriptures and supernatural symbols.
From the Paper "In early Christian art there are often personifications of the sun and moon, which were drawn from pagan imagery, but also came to represent the relationship between the old testament (the moon), which could only be understood in light of the new testament (the sun). Art often focused on the supernatural, and the paintings were rich in symbolic meaning. Radiant colors, suspended angels, and detailed symbols were the motifs used to represent the supernatural. Many early Christian masters were monks and craftsmen. In AD 533, reincarnation was declared a heresy by the Council of Constantinople; before then, reincarnation could be depicted in art as well."
Tags: Christ, Muiredach, Cross, nativity, crucifixion, God
Abstract This paper provides an examination and analysis of Dali's famous painting, with prime concentration upon the elements and historical aspects of the particular piece of art. It discusses how his inspiration for "Metamorphosis of Narcissus" came from a conversation overheard between two fishermen discussing a local man who would stare at himself in a mirror for hours.
From the Paper "Salvador Dali was a Spanish artist who is considered to be one of the most impressive artists of the 20th century. His inspiration for Metamorphosis of Narcissus came from a conversation overheard between two fishermen discussing a local man who would stare at himself in a mirror for hours. One of the men described the man as having a "bulb in his head"; a common conversation meaning that he was mentally ill. Dali combined this image with the ancient Greek myth of Narcissus."
Abstract This paper discusses how by exporting the ideas attributed to the Buddha, those who commissioned artworks at the time were attempting to impose their own moral authority on a specific social reality, as well as reinforcing it at home. It shows how a survey of just these few religious artworks indicates that the export of Buddhism first throughout India and then to the rest of Asia did, indeed, carries with it a very strong message of the moral authority of the time.
From the Paper "An even later carving, this one from Borobudur, tells the tale of King Sibi in the lower panel, and makes reference to a Bodhisattva in the upper panel. A Bodhisattva is a mortal who seeks Buddhahood by practicing perfect virtue. Despite practicing perfection, Bodhisattvas choose not to enter into Nirvana, paradise, until all living things are also ready to enter. In this case, the Bodhisattva is attended by reverent humans, apparently protective of him. He rides in a horse-drawn chariot, putting him literally and figuratively above the other humans. Still, one of the figures holds a sunshade above the old man's head. The panel is very likely meant to reinforce the idea that Bodhisattvas are worthy of respect, as they are leaders on the way to Nirvana and selfless holy people for waiting for the rest of humanity, and for the animal kingdom as well."
Abstract This paper stressews that Monet, concentrating on scenes out of doors learned to study the light and the shadows and was noted for capturing a scene at critical moments of lighting. The author believes that this approach was perfected over the years by first sketching his scene in pencil and then quickly, using his unique short strokes, fill the painting with colors from his own impressions of the scene.
Abstract In this paper the writer discusses the Mayan and Aztec cultures in a comparative nature to reveal the similarities in their interrelation to each other. By understanding the connectedness of the two cultures, the writer shows why they are so closely related in their art. Further, the writer shows the way that they made their art for life and religion. The writer also demonstrates that through an understanding of the artistic history of these nations, there is a semblance of influence that can be found in both of them.
Abstract The paper describes the magnificence of the Ancient Greek culture, including the architectural, intellectual, and political development of that great civilization. The countless achievements of the Greeks and their influence on Western civilizations are discussed.
From the Paper "Many are the reasons that helped Ancient Greece become what it was during the Golden Age. Located on the crossroads between Europe, Africa and Asia, Greece managed to take the best of all cultures that passed through its territories and was influenced by cultures as far away as Egypt, Syria, Phoenicia and others. These influences, combined with the rich Mycenaean and Minoan heritage along with a good political system helped Ancient Greece in reaching the Golden Age."
Abstract This paper describes analyzes, interprets, criticizes, and gives a value judgment of the works of art. It explains how both works are religious in nature, and yet, both are quite different in their style and scope. It discusses how they reflect the society of the time and how society viewed religion and art.
From the Paper "The painting is dark, partly because it depicts a very dark time, and yet, it is filled with color and movement. Physically, the work itself is small, smaller than it might seem possible to depict such a moving scene, but the size and the medium work. The colors are vibrant and alive, even though the subject ? Christ ? has just died on the cross. There are storm clouds in the background, and these are important, because they mirror the storm and torment going on around Christ, and the emotions of the people who loved him. Many of the mourners are depicted in muted colors and in the shadows, but the Virgin Mary and Mary Magdalene are both quite recognizable. One of the most vivid colors in the painting is the blood of Christ, on his body, and on the hands of one of the mourners. This draws the viewer's attention to his pain and suffering, as well as the suffering of those around him. The painting is small, but it is very emotional, and very powerful for such a small piece, and it made me quite sad to view it."
Abstract Describes elements of modernist and postmodernist art. Discusses its reproduction in contemporary society, the context of the image on canvas, and the painting as representative of Munch's own melancholy.
From the Paper "Modernism, Postmodernism and Munch's "The Scream"
Edward Munch's painting "The Scream" (1893) appears to fit both within definitions of modernist and postmodernist art, particularly given its reproduction in contemporary society. However, an analysis of ..."
