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."
Abstract The paper studies the Harlem Renaissance - the term given to a period in American history where a new focus on the African-American experience emerged. The writer of this paper shows how it was a time when African-American artists began to express their culture and at this time in history there came a new focus on the African-American artist and African-American Art. The writer introduces artist, Aaron Douglas, as someone who emerged from this time period and went on to create works which reflected the Harlem Renaissance. Some of Douglas' works are also discussed.
From the Paper "From this we see how Douglas's paintings represented modern life for African-Americans. Rather than their African life, his paintings reflect the life of African-Americans within America. While the subject of the works was modern, Douglas also incorporated his African culture by his focus on African forms, with his style being described as "flat with hard edges and repetitive designs... heavily influenced by African sculptures, jazz music, dance and geometric forms" (Schomburg Center)."
Abstract The paper studies photographs taken by Walker Evans - a photographer hired by the Farm Security Administration (FSA) during the Great Depression to document the farmers? condition. Evans found visions of farming life that stirred his social conscience, and that is what he recorded with his camera. By looking at four of his photographs the author of this paper examines Evans' ability to make statements about the economy of the time through a camera lens.
From the Paper "In the picture "City Lunch Counter"(1929), Walker captured the economic disparity of the early Depression. He photographed a lunch counter from the waitress's side and showed three men eating. The men on either end were well-dressed, in pressed suits, looking well groomed and fresh. In the center is a man smaller in stature, visually communicating his lessened power. He is shabbily dressed and looks around warily. Walker said that photographs should not need explanations (Rubifien, 2000), and this picture illustrates it well. Walker has captured the human effects of an impersonal economy out of control."
Tags: Hale County Alabama, Graveyard Houses and Steel Mill, ?Roadside, Stand, Near, Birmingham, Alabama?, 1936, photos
Abstract A paper which introduces and discusses how Michelangelo takes the humanistic and natural beauty from the Greeks concerning perfect physical humans and nudity and transforms his work for the Christian era. A brief overview of Michelangelo's childhood is also included.
From the Paper "Consistently, his work began to show more and more influences from more ancient works. While he was often ridiculed because he was not following current trends, he persisted in his own views. He memorized certain classic poses, and used them for most of his works. The David is an example of one of his works that uses a classic pose to make it seem more strong and powerful. "He no longer considered the work of art as an imitation of visible reality, nor as the image of a dream world, nor as a means of arriving at knowledge of the universe, but as an embodiment of the very essence of human life and destiny. In this vision of the cosmic law of life in man, he relates himself to the wisdom of ancient Italy" (De Tolnay 64)."
Abstract A summary of Diego Rivera's work and style, followed by an interview with the artist himself. The painter answers questions regarding his shifts in style, mural art in Mexican history, his atheism and his inspirations. It is apparent how his paintings emphasize the power of art as a medium to bring about social reforms.
From the Paper "Diego Rivera was one of the leading artists of the 20th century. He was born in 1886 in Leon, Guanajuato. He had an inherent talent for painting (arts), which was evident when he started to draw even as he was just 3 years old. He went on to become one of Mexico's leading painters. In the early part of his career he was a traditional artist but later on, he was influenced by Cezanne and the Cubist approach to paintings. This is clearly reflected in his works such Zapatista Landscape, Woman at the well, etc. However it was Picasso who made a great influence upon him and Diego produced many of his works predominantly reflecting Cubical style, which gives more freedom for the artist. His artwork "Sailor at lunch" is typical of Cubism."
Abstract The Greeks honored the gods through sculptures. This paper examines the triumphs and advances of Classical Greek sculpture during the different periods in Greek history.
Outline
Introduction to Classical Greek Sculpture in Historical Perspective
Transition from Archaic Period to Early Classical (ca. 480 BCE) favoring Contrapposto over Koroi.
High Classical Period (450-430 BCE) Symbolized by Athenian Acropolis.
Late Classical Period (430-323 BCE), between Peloponnesian War and the Death of Alexander the Great,
Conclusion: Hellenism Marked by Influence of Alexander the Great's Travels.
From the Paper "Rigid kouroi and kourai softened into the marble marvels of the works of Phidias and Polycletius. The pursuit of perfection was itself honed like the artists? bronze and stone palettes as larger-than-life statues graced majestic monuments and temples. Increasingly realistic bodies, viewable from all possible angles, epitomize Classical Greek sculpture. The Archaic period preceding it demonstrated the Greek values of perfection and symmetry; these qualities were held under scrutiny during the following centuries. Close scrutiny of the human form in action and as a stationary body yielded tremendous improvements in the effectiveness and accessibility of sculpture during the Classical Age of Greece. "
Abstract This paper examines art that is produced for a specific site, thereby taking advantage of the unique qualities of that site. The paper provides various examples of works of site-specific art, such as, from the internet, video arena, land, interior, and other genres. The writer also discusses the issue of preserving this type of art.
From the Paper "Site-specific art must therefore be commodified, due to the significance of its location. Commodification is the process in which a work of art is bought and sold as a commodity. Some artists believe that calling a work of art a commodity, or a unit of trade, is demeaning and reduces its artistic, aesthetic qualities. Site-specific art still retains these qualities, however, such as expression of the artist's feelings."
Tags: environmental, installation, internet, network, video, land, earth, museum
From the Paper "Andy Warhol's Mao Tse Tung (1972) is a silk-screen portrait of the Chinese leader that was made in many versions. It is one of the series of silk-screens that he made on the subject of fame. They began in the early 1960s with his many portraits of Marilyn Monroe whose sad death in 1962 led him to contemplation of what it meant to be famous and what it could possibly be worth. The fame of the individuals in these portraits was usually of the Hollywood variety and various representations of Monroe, Elizabeth Taylor, Elvis Presley, and others are among the best known. Usually the different versions employed the same image--sometimes repeatedly within the same piece. In every instance, however, Warhol's method was to use appropriated images. They were usually taken from the press or from Hollywood promotional materials and adapted for the artist's purposes."
Abstract The paper outlines a short biography of Leonardo Da Vinci. The paper portrays some of his works and describes the time period in which he lived. The paper describes Leonardo Da Vinci the man, and his contributions to art, science and humanity.
From the Paper "Leonardo Da Vinci is one of the greatest and most ingenious men that history has produced. His contributions to art, science, and humanity are still among the most important that a single man has put forth. Da Vinci, born on April 15, 1452, is credited with being a master painter, sculptor, architect, engineer, and scientist."
From the Paper "As painters in reaction against the bourgeois and fascinated by the exotic and colorful, Paul Gauguin (1848-1903) and Vincent Van Gogh (1853-1890) repeatedly centered their art on the representation of the other. Their interest was in foregrounding what had been deemed unimportant or catapulted into the background by earlier artists. Whether travelling to Tahiti or Provencal Arles, Gauguin and Van Gogh actively sought out what was not part of the dominant bourgeois urban scene of their day. In understanding their art as a social practice, Gauguin and Van Gogh's paintings are marked with a revolutionary zeal. By choosing to give status where it had previously been denied and challenging traditional arrangements of form upon the canvas, Gauguin and Van Gogh contributed to aesthetic and social..."
Life & career of French painter, focusing on evolution of his style, subject matter, use of color, background, Synthetism, primitivism and cultural influences.
2,700 words (approx. 10.8 pages), 3 sources, 1999, $ 95.95
From the Paper "Paul Gauguin: Counter-Impressionist
Pool presents a concise introduction to this remarkable man who would be scorned, labeled and finally vindicated as one of the most provocative and controversial artists of the time (195-202).
Born in Paris, 1848, he lived with his mother, traveling with her to Peru and elsewhere from 1851-1855. On his return to France, he became a sailor at age seventeen, completing voyages to Valparaiso and Rio de Janeiro. By 1871, he was employed as a stockbroker at a Paris firm, commanding an income good enough to permit him to marry a Parisian girl and start a family in 1873. It was his friend, Emile Schuffenecker who first persuaded Gauguin to go painting with him on Sundays; it was to be the first fateful incursions into what would shortly become a consuming pass.."
From the Paper "Olympia by "douard Manet (1832-83) was painted in 1863 and exhibited at the Salon in 1865, where it caused an immense sensation. The painting, which is oil on canvas, measures 130.5 x 190 cm and currently hangs in the Mus"e d'Orsay in Paris. One of the most important paintings of the nineteenth century, the Olympia depicts a young prostitute stretched out on pillows and sheets on a long bed in an elegant room. She wears earrings, a bracelet, a slim choker, one of a pair of high-heeled slippers, and a flower in her hair. A black maid in a pale pink dress stands behind the bed offering a newly-arrived bouquet and a black cat stretches itself at the foot of the bed. But the young woman stares directly out at the viewer. The furor raised by the painting was due to Manet's frank realist approach, which encompassed his unusual method of painting, the nature of the.."
Abstract Johannes Vermeer, who died in 1675 in his native city of Delft at the age of 42, created a small body of what are now considered to be almost perfect works. A master of composition and in the use of space, he was also one of the most skilled of the Dutch painters of his era in the use of light, producing mostly precise interior scenes of geometrically perfect composition that evoke a world of tranquillity and deep restfulness.
From the Paper "Johannes Vermeer, who died in 1675 in his native city of Delft at the age of 42, created a small body of what are now considered to be almost perfect works. A master of composition and in the use of space, he was also one of the most skilled of the Dutch painters of his era in the use of light, producing mostly precise interior scenes of geometrically perfect composition that evoke a world of tranquillity and deep restfulness.
Given his exalted reputation in the late 20th century, it is a little hard to believe that the painter's works lay in obscurity for decades, not receiving significant attention after his death until the mid-19th century. The intimate scale of his paintings that is now revered was for a substantial period of time a liability. For example Gowing (1970) writes that "nowhere else ..."
