Abstract This paper is primarily a biographical report of Michelangelo's almost 90-year-long life from his grim childhood to the early influence of the Medici family to his commission to sculpt the "David" and paint the Sistine Chapel. Also included are photos of his sculptures "Bacchus", "Pieta", "David", "Rondanini Pieta" and his paintings on The Sistine Chapel.
I.Introduction
II.Body
A.Michelangelo's Early Life
B.Bacchus and Pieta
C.David
D.The Sistine Chapel Ceiling
E.The Tomb of Julius II
F.The Medici Tombs
G.The Last Judgment
H.Michelangelo's Final Years
III.Conclusion
From the Paper "One of the greatest artists of all time, a man whose name has become synonymous with the word "masterpiece", is Michelangelo Buonarroti. As an artist he was nearly unmatched; the creator of works of true beauty that express the full extent of the human condition. Yet, in a world where art flourished only with patronage, Michelangelo was caught between the conflicting powers and whims of the Medici family in Florence, and the Papacy in Rome. Unlike many artists of his time, his genius was recognized, but at a seemingly great cost to his personal life."
Tags: 14th, artist, bacchus, ceiling, century, chapel, david, judgment, julius, last, medici, renaissance, sculpture, sistine, tomb, tombs, pieta
Abstract This paper attempts to demonstrate that both acceptance and defiance of the political arena constitute a form of political statement in terms of art. The paper focuses on the art forms of Expressionism and Fauvism.
From the Paper "Expressionism began its evolution during the early part of the 20th century. This movement contrasted with impressionism in that it did not aim to reproduce, but rather to impose its views of objects in the world. When taken from a political context then, the political agenda is not always clear, as the artist is attempting to represent his or her own reactions to the world that is perceived, rather than providing an accurate, realistic depiction thereof. The main aim of the impressionists was to find and reach the highest intensity of expression."
Abstract This paper briefly describes Titian's painting, "Venus of Urbino," and then takes a look at the various interpretations of the painting. The paper also explains how the painting differs from earlier paintings of Venus.
From the Paper "Titian's Venus of Urbino is a painting that may be regarded and evaluated on many levels. It was also in many senses a revolutionary painting. Titian chose to depict this woman's nudity in a way that was very unusual, and has since sparked controversy as to the intent of the painting. There are many possible and opposing interpretations of the painting. Some would call it mere pornography, while others have referred to it as a perfect expression of female beauty. There have also been various speculations as to who the woman who posed for the painting was and how she was related to the artist and the patron of the painting. However, no matter how the painting is judged, it must be regarded as a stunning integration of both human and supernatural beauty."
Abstract This paper discusses symbolism and meaning that can be found within Michelangelo's painting of the Sistine Chapel, as well as the possible interpretations of the painting. The paper also describes the scenes in the painting and what could have influenced Michelangelo to paint the ceiling the way he did.
From the Paper "Michelangelo Buonarroti executed one of the grandest works of the Renaissance at the request of Pope Julius II. This work was the famous fresco ceiling of the Sistine Chapel of the Vatican in Rome. Michelangelo undertook this work in 1508 with some trepidation, for a number of reasons. The first being that he considered himself primarily a sculptor, secondly because a painting of this magnitude would keep him from working on a prior commission for the Popes' tomb at St Peter's Basilica. This project required the use of his skills as an architect and sculptor. But with the desires of the Pope on his shoulders, he was forced instead to focus his energies on this massive painting. In the beginning, Julius was interested in a depiction of the twelve apostles, which would replace Pope Sixtus IV's blue sky. Eventually, though, Michelangelo was given a free hand to proceed with the painting as he desired, and the result was one of the most complex and exuberant works ever created. When observing this work, it is to do it a great injustice by not considering it as a theological and intellectual exercise, in addition to being very strong aesthetically. This scholarly consideration raises a good deal of questions about the intellectual programme that motivated Michelangelo. The assumption that the plan behind this work was random is of course a possibility, but considering what we know of both the artist and the time period, it can be accepted that this work was the product of a great deal of religious and historical study. The amount of symbolism within the work is astounding, and because of its great depth and intricacies of meaning, whether or not Michelangelo arrived at this programme independently comes into question. More important, however, is the work itself: its symbols and how the viewer interprets them."
Assesses whether there is need for arts education in the public schools in light of the recent federal and state focus on standardized testing, which has caused school districts to reduce or eliminate arts programs in public schools.
2,250 words (approx. 9 pages), 8 sources, 2006, $ 89.95
Abstract In an attempt to determine the validity of the hypothesis that arts education is an essential inclusion in the learning experience of secondary students in the public schools, this paper conducts a need assessment through a review of existing documents. The paper contends that, based on the research, new and revised programs are need to allow all students in the American public school systems the opportunity to participate in the arts as part of their regular academic programs.
From the Paper "The use of color in "Life is Beautiful" is integral in making the dramatic shift that takes place halfway through the film. Through the efforts of cinematographer Tonino Delli Colli and director Roberto Benigni, the film's color and general visual technique play a large role in the film's impact and message."
Tags: benigni, cinematography, colli, delli, life, beautiful, film
A look at Mesoamerican art's realistic system of human proportions, which can be used to reveal the cultures that existed side-by-side, as well as those that followed after.
2,400 words (approx. 9.6 pages), 5 sources, 1998, $ 73.95
From the Paper "Most civilizations of ancient Mesoamerica were located either in the highlands or lowlands, although the Maya inhabited both. The earliest civilization, that of the Olmecs, rose along the rivers of the tropical Gulf Coast. Most Maya development also took place in the lowlands, under tropical conditions ranging from rainforest to scrub jungle in Yucatan, Chiapas, Guatemala, and Belize. The ancient cities of Tula and Teotihuacan, as well as Tenochtitlan, Motecuhzomals city, were located at high altitudes, and the center of highland life was the Valley of Mexico. Modern Mexico City is built on top of the Aztec capital, and so the Valley of Mexico still dominates Mesoamerica as it did in antiquity. "
A discussion of how art in the Olmec world can be used to reconstruct a picture of their way of life, which took place during the Formative period of Mesoamerica.
2,030 words (approx. 8.1 pages), 6 sources, 2000, $ 64.95
From the Paper "Art along with other activities, such as oral tradition, divination, ritual performance, and city planning reveals a culture's worldview, myths, and ideals of human behavior. These factors make an informed view of Olmec art style quite important especially because their art and architecture are the only surviving artifacts that can give clues to their culture. By analyzing the Olmec-style art it becomes possible to reconstruct a picture of their way of life, which took place during the Formative period of Mesoamerica."
Abstract This paper re-examines Plato's "Republic X" as it attempts to denounce the poets from Plato's "perfect" republic. It argues for the expulsion of poetry that is not of lyric or historical importance and in doing so attacks some of the very important ideals that modern poetry is founded upon. The paper takes Plato's arguments that the poet does not actually "create" in his craft and is therefore, basically, a liar, and attempts to further this argument by using quotes from James and Wordsworth in an attempt to re-argue Plato's point.
From the Paper "In the Republic, Book X, Socrates, through the pen of his brilliant pupil Plato, argues for ?our refusal to admit the imitative kind of poetry, for it certainly ought not to be received.? (p. 21) However, although Plato is widely regarded as a man of unquestioned genius, and his Republic a work of infinite possibility, this single phrase that sums the whole of the tenth book up has become the topic of heated debate in western literary criticism."
Abstract This paper discusses the Renaissance specifically comparing the music and architecture of the time. The author specifically looks at the music of Josquin dez Prez, a composer of the Renaissance and compares his music to the architecture of the same time emphasizing their similarities in new styles, ideas and inventions.
From the Paper "The renaissance was a time of rebirth and renewal. All over Europe, people were looking back to times they saw as better, instead of towards the unpredictable future. Specifically, the people looked back to the ancient worlds, and found the humanitarian values of the ancient Greeks and Romans very inviting. The arts were reborn from classical ideas, and a new focus was placed on individuals and the natural world (Wright 80). New inventions and wonders filled Europe. This was the era of both the printing press and telescope's birth. New ideas permeated the world, remolding the way people thought. music and architecture were no exceptions to this rebirthing."
Abstract The paper begins with an analysis of the painting by Francesco Mazzola Parmigianino from which the poem's title is taken. An analysis of each stanza of the poem follows, concentrating on the motifs of reflection and perception in the poem: i.e. the universe and the distortions of the universe through language. The paper concludes with an explanation of Ashbery's use of quotations from various sources.
From the Paper "John Ashbery, in ?Self-Portrait in a Convex Mirror,? discusses impressions gleaned from meditating on Francesco Mazzola Parmigianino's self-portrait of the same name and the philosophical sentiments it inspires. The opposing yet complimentary dynamics of perception's flow from an objective universe (observation of the real) and outward expression of the subjective self's musings on said perception (formation of thought and language) is the undercurrent motif coursing throughout the poem??a constant vacillation between inward (Parmigianino's distant eye, seeing the reflection) and outward (his magnified hand, translating it) radiates as a purgatorial pendulum of Ashbery observations and tangential comments."
Tags: modern, perspective, language, art, time, creation, death
Abstract This paper states that Monet achieves the style of Impressionism through his knowledge of color theory, the physiology of the eye, the science of optics and the nature of light. When viewing Terrace at Saint-Adresse, one gets an impression or visual sensation of the spontaneous light and color of the moment, by using bright, concentrated dabs of color and examining the effects that light on human visual perception.
From the Paper "The most basic elements of a painting are line, shape, light, texture and color, while the most basic elements of composition are centrality, symmetry, asymmetry and balance. Claude Monet's Terrace at Saint-Adresse c.1866 represented a revolutionary approach to the basic elements of painting of his time. Contrary to the popular technical style of Realism, or painting a historically important scene using realistic and smooth strokes to depict fixed details, Monet's painting is an expression of the immediate and ephemeral attributes of nature. When one experiences Terrace at Saint-Adresse, the viewer gets an impression, a visual sensation of the spontaneous light and color of the moment."
Abstract This paper explores the great body of work of Michelangelo di Lodovico Buonarroti Simoni during the height of the Italian Renaissance era. This describes his enormous contributions as a sculptor, painter, architect and less well known -- as a poet. His works in all of these areas have guaranteed that he has exerted an unparalleled influence on the development of Western art.
From the Paper "When we think of the term "Renaissance man" (or "woman" of course) we are thinking of someone exactly like the man who was considered the greatest painter of his time and who has come to be known to us by his first name alone -- that honor usually reserved for musicians and movie stars. Michelangelo -- in full Michelangelo di Lodovico Buonarroti Simoni, is still admired as one of the greatest painters and sculptors of the Italian Renaissance. This paper examines his contributions as a sculptor and painter as well as his work as an architect -- which remains well known -- and as a poet, which is much less well known today. His contributions in all of these areas have guaranteed that he has exerted an unparalleled influence on the development of Western art.
Unlike many artists who are not recognized until the very end of their careers -- or perhaps decades or centuries after their deaths -- Michelangelo was considered by his contemporaries to be the greatest living artist in his lifetime, and his reputation has been maintained ever since. There has never been a time when he was not held to be one of the greatest artists of all times and a number of his works in painting, sculpture, and architecture rank among the most famous in existence (Paoletti, 1997, p. 38). People who can name only a handful of works of art can name creations by Michelangelo, including his frescoes on the ceiling of the Sistine Chapel, which are probably the best known of his works today. However well known he is for the Sistine Chapel, the artist himself considered his greatest talents lay in the area of sculpture. However, even as he focused on sculpture, he also practiced his other art forms seriously. This was in at least some measure because he had a number of role models: An artist's practicing of several arts at the same time was certainly not unusual in his time. Artists felt comfortable with such technical diversity ? in a way that they generally do not do so now ? because they were taught to focus on the commonalities among all the different art forms ? such as perspective or line (Drury, 1999, p. 41)."
Table of Contents
Introduction
The Artist as Sculptor
The Artist as Architect
The Artist as Poet
The Artist as Painter
Conclusion
References
Tags: michelangelo di lodovico buonarroti simoni, painter sculpture architect poet art artist renaissance italy
Abstract By examining two of Greenberg's articles written 35 years apart, the writer explores this critic's changing attitudes towards art. The articles examined are "Avant-Garde and Kitsch? written in 1939 and ?Modernist Painting,? written in 1965.
From the Paper "Clement Greenberg has over influenced the art world greatly with his ongoing criticism. In two of his essays written over 35 years apart, he presents two arguments which show his evolving opinion as the nature of art changes around him, despite (or perhaps because of) his outspoken opinions. The first article, from 1939, discusses exactly what the title indicates: "Avant-Garde and Kitsch" and frames them in the social attitudes of the time. He criticizes kitsch, stating that avant-garde art, which is only understood by the cultural elite, is the one true art. The second is called ?Modernist Painting,? written in 1965. This piece seems to accept kitsch as part of our culture, and as part of Modernism. By analyzing the ramifications of what Greenberg says in these two essays, I am able to determine the relevance of his arguments from my own perspective, which is obviously different from his."
Abstract This essay gives the historical and social background of modern art, explains the general ways that modernist work can be seen as uniquely different from art that came before, and looks at two specific examples of modern art's radically different approach. It clearly defines modern art and explains the foundations and philosophy behind art of the past hundred and fifty years.
From the Paper "When defining and discussing modern art, it is first important to clarify exactly what the term means. Modern art refers primarily to painting, sculpture, and architecture created since the blossoming of technology and modern society. In broader historical thinking, the word modern refers to that time after the Renaissance and the Age of Discovery, however, the modern art movement is generally agreed to have been between the 1860s and 1970s. Like many discussions about art history, these dates are subjective. Painting, sculpture, and architecture from this period of history are called "modern" or ?modernist.? For many art historians, modern art began with the work of Edward Manet. Manet was one of the first impressionists and modern artists, those who reacted to the very formal and rigid style of painting done inside studios and set by traditional institutions in the nineteenth century. Modernism ended with the start of what many refer to as "post-modernism" in the 1960s and 1970s. This essay will give the historical and social background of modern art, explain the general ways that modernist work can be seen as uniquely different from art that came before, and look at two specific examples of modern art's radically different approach to painting. When compared to Renaissance and other western "traditional art" up to the late nineteenth century, it will be seen that modernism was a totally new paradigm for art."
