Abstract "Monet's London pictures demonstrate his ability to convey atmosphere and also show his approach to experimentation with the technical means to portray atmospheric effects. These are part of the "series" method of representing nature, a method that originated in giving attention to more and more specific weather phenomena.
From the Paper "Monet's London pictures demonstrate his ability to convey atmosphere and also show his approach to experimentation with the technical means to portray atmospheric effects. These are part of the "series" method of representing nature, a method that originated in giving attention to more and more specific weather phenomena. In a series, Monet would paint the same subject at different times of day, on subsequent days, with different atmospheric conditions, and so on, and in so doing he would observe and recreate the range of light and a variety of specific atmospheric conditions. Many of the works he painted in London show his dedication to finding a technique that will accomplish this task.
Monet's painting "Waterloo Bridge" from 1903 (now in the National Gallery of Art, Washington, D.C.) is one of a series of..."
This paper discusses graffiti as a social phenomena and an art form; "graffiti" is the plural noun form of the word "graffito" which means to scratch, to scribble or to write.
Abstract The paper details the history of graffiti, the taggers (people who make graffiti), the law, the culture, the music, the style, the types and the international appeal. The paper concludes that most graffiti is created from a person's unique ideas on what looks good to them; therefore, graffiti has to be considered an art form regardless if it is showcased in a museum or on the streets.
From the Paper "Wanting to be popular among fellow taggers and the rest of their community, taggers had to find ways to become more noticeable than their competitors through the 70's did. They did this by changing their writing style from standard lettering to more artistic forms of lettering, such as bubble and calligraphy, and by making their tags larger. Making the tags larger was a great task at first because "the standard nozzle width of a spray can is narrow". Therefore, taggers began swapping caps from other aerosol products in order to get larger nozzle width. "
This paper reviews W.H. Auden's poem, "Musee de Beaux Arts", an analysis of a motif from Pieter Brueghel's paintings that humans continue their lives despite events of human suffering.
Abstract This paper discusses Auden's poem "Musee de Beaux Arts", which presents the idea that Breughel's work depicted everyday events but in the corner of the painting is a small depiction of human suffering such as the crucifixion of Jesus. The author asks "What can any one man do to make a difference in the face of human tragedy?" and states that Auden's answer would be: Tell the tale, paint the picture, write the poem describing the human suffering to rouse others to consciousness and involvement.
From the Paper "The first painting, Auden passes,, depicts an example of 'human position" of suffering, a moment of pain, which also is a moment of glory: The birth of Christ. While a woman struggles in labor, the old men, indifferent to her suffering, 'reverently, passionately (await)" (line 6) the product of her labor, and children already born, "who did not specially want it to happen" (lines 7-8) go on with their play, "skating on a pond at the edge of the wood" (lines 8-9)."
Describes tenets & practices of Zen & applies principles to painting, poetry & music. Looks at meditation, direct experience, haiku, simplicity and reality.
2,250 words (approx. 9 pages), 13 sources, 1989, $ 79.95
From the Paper "This paper will discuss Zen Buddhism, and the interrelationships among Zen philosophy, painting, poetry and music. Zen is a Japanese branch of Buddhism, the practice of which is largely based on meditation and introspection. The teachings of Zen are considered to have been directly passed down from Gautama Buddha himself, during the sixth century B.C. in India. After that time Zen teachings continued to be passed through direct transmission from one teacher to the next, and by the 12th and 13th centuries A.D., they had spread to China, Korea, and Japan.. Bodhidharma, the First Patriarch of Zen Buddhism, is credited with having first merged Indian Buddhism with Chinese philosophy, thereby establishing certain characteristics which would come to be associated with Zen in later years."
From the Paper " In Leonardo da Vinci's time (1452 - 1519) his painting of the "Mona Lisa" was already well known for its realism. As the years passed a certain mystery surrounded the lady. The painting seems to suggest soft feminine qualities. The "Mona Lisa" illustrates the use of decreasing color and contrast in the landscape background. Leonardo was one of the first painters to bring this phenomenon to the canvas. All of these factors brought attention to the "Mona Lisa" and it continues to hold people's attention as no painting has before or since. All of these factors make the painting particularly significant, but one additional factor that makes it vital to the art world is the use of the painting in identifying other works as those of Leonardo's.
Techniques employed by Leonardo in his works and seen in the..."
From the Paper "This paper will discuss the influence that Marcel Duchamp had on the Dadaist movement in art. Dada originated in Paris and Zurich during the First World War. The despair of that war caused many Europeans to perceive a breakdown in the society of their time. This in turn led to the creation of Dada, a style of art which was paradoxically opposed to art. By seeking the destruction of art as they knew it, the European Dadaists made a statement about their world, which was apparently crumbling down around them. At approximately the same time in history, the concept of Dada was also being introduced in the United States by way of New York City. Although they were not directly involved in the war, the New York Dadaists still rejected the traditional values of the art world. This rejection was accompanied by a sense of humor, and their art often utilized elements of nonsense ... "
This paper studies the creation of the massive statue Michelangelo's David, including stylistic analysis and a consideration of the artist's personality.
2,475 words (approx. 9.9 pages), 5 sources, 1991, $ 87.95
From the Paper "In 1504, Michelangelo completed his massive statue known as the David. This work, which is located in Florence, stands more than fourteen feet high. It is a powerful work, and it was responsible for establishing Michelangelo's fame as an artist. The David shows Michelangelo's knowledge of anatomy, as well as his skill in handling such artistic attributes as balance and proportion. In addition, the marble sculpture conveys an image of the human body which is almost superhuman. In this way, the David encompasses the idea of divinity within the human being. This idea was representative of the values which were developing during the Renaissance period. After centuries of Church domination in human affairs, the Renaissance marked a return to the humanistic values of the ancient world. A study of Michelangelo's life and career reveals that the artist's ... "
This paper compares four works of visual art: "Saint John the Baptist" by Donatello & "Moses" by Michelangelo (sculptures); "The Last Supper" by Leonardo da Vinci and"The School of Athens" by Raphael (paintings).
2,475 words (approx. 9.9 pages), 7 sources, 1991, $ 87.95
From the Paper "This paper will investigate and describe the similarities and differences in four works of visual art from the Italian Renaissance. The works in question include two sculptures: Saint John the Baptist by Donatello, and Moses by Michelangelo. In addition, two paintings will be discussed: The Last Supper by Leonardo da Vinci, and The School of Athens by Raphael.
The Renaissance period was in direct contrast to the medieval period which preceded it. In the earlier period, the symbols of the Catholic Church were the most important elements to be found in the visual arts. In the Renaissance period, this factor began to give way to a growing sense of humanism. Thus, the typical Renaissance artist held that "man was not so much the humble observer of God's greatness as the proud expression of God himself, his natural heir on earth". This new attitude ... "
From the Paper "Frida Kahlo's art reflects a compelling stoicism with respect to the suffering with which her life was filled. She was born in 1907, died in 1954, and during her life she experienced an incredible array of serious health problems, including polio at the age of six, which left her right leg weakened permanently; a streetcar accident at the age of eighteen which left her seriously injured; severe internal bleeding and re-hospitalization at the age of twenty-five; spinal surgery at the age of 39; hospitalization four years later for recurring spinal problems; the amputation of her right leg because of gangrene three years later; bronchial pneumonia the same year (1954), the year she died. These are only the most extreme physical problems; she suffered on a daily basis from various chronic pains associated with her accidents and diseases. In addition to her physical..."
Analyzes the prime influences on 20th century Chinese Art. Issues of identity & the relationship of the self to the state are determined primary. Focuses on the works of Xu Beihong & Lin Fengmian.
1,350 words (approx. 5.4 pages), 4 sources, 1994, $ 47.95
From the Paper "John Fitzgerald in his essay "The Invention of the Modern Chinese Self" considers ways in which the Chinese developed the concept of self, an idea that was first developed in Europe in modern times. The view taken currently differs from that of the earlier Republican era in Chinese history:
In the ethics of late-twentieth century China the naked, new-born self is born a citizen, a little helper and a pillar of society. . . The roles of citizen, little helper and pillar of society into which the child is welcomed today were not known to the child's forebears earlier this century when the identity of the self was up for negotiation along with the rest of the empire (Fitzgerald 25).
Issues of identity and the relationship of the self to the state serve.."
Abstract This paper discusses the painting, "Mao", acrylic and silkscreen ink on canvas, that Andy Warhol painted in 1973 at the height of Mao's power in China. The author states that this painting is more realistic than many other Warhol paintings, but it is clearly his "style". The author believes that this painting is very interesting because of the two different mediums used and all the hidden meanings that seem to be buried in the colors and shapes.
From the Paper "The painting is over 15 feet high, and so Mao looks down at the viewers as if he is looking over a group of children. Mao's face is not what you would expect, except from someone like Warhol. The face is done in bright oranges and yellows, to show his Asian ancestry, but even more, to make him look vibrant and alive. Warhol has also given him bright red cheeks and lips, so much so that he looks like a woman wearing a lot of make-up, especially blush and bright lipstick. There is blue eye shadow over his eyes to enhance the look of make-up, too."
Abstract This paper examines the political origins of feminist art in the 1960's and addresses the social climate that brought on the birth of the art movement. It describes the divisive nature of the feminist versus universal art debate. The paper argues that the civil rights movement in companion with feminist art has ceased to be a "movement". In addition, the paper describes art works of well know female artists of this era.
From the Paper "Feminist art as a named movement evolved in the context of the late 1960's early 1970's political climate. The movement contextually cannot be separated from larger civil rights movements and specifically those relating to women; like the sexual revolution, the women's liberation movement, and the formation and growth of groups like the National Organization for Women. Strictly speaking there can be no real separation of the feminist art movement from the civil rights movements in its context because so much of art of the era acted as the voice and vision of the messages of the movements as a whole. Though there are of coarse exceptions to this rule, art as a whole during this period was a demonstrative agent for social change and feminist art is definitely included in that context."
Tags: Carolee Scheerman, Cindy Sherman, Mimi Smith, Ana Mendieta Judy Chicago Civil rights Womens Movement
Abstract During the fifties, America experienced tremendous growth in many aspects of society. As a result, technological advancements led to sophisticated aspects of American life. Media and advertising became mass media and the invention of the television paved the way to a new generation of communication. The paper shows that a result of this growth, which continues to have an impact on society, was the rise of the "popular" or mass culture - a movement that utilizes the imagery and techniques of consumerism?. This paper focuses on the negative aspects of popular culture on high culture (and therefore, on society), pointing out more than anything, that it devalues all the finer aspects of society.
From the Paper "Architecture has also been influenced by what is considered to be modern or pop movements. Buildings constructed in geometric forms "sheathed in glass and steel" startled people in the fifties. However, the most striking buildings earned ?a well-deserved reputation for innovation and beauty, such as the United Nations complex in New York City. Jackson Polluck, a painter who initially rejected the idea of abstract pop art, became famous for dripping and spattering paint on buildings as opposed to brushing them on. Examples of the outlandish types of buildings created in the name of popular art in the early fifties is a restaurant built in the shape of a hamburger and gas stations built to look like they were flying in the wind (Davidson 1150)."
Tags: Abstract, Expressionism, Edouard, M?trailler, MTV, A, Clockwork, Orange.
Abstract This paper examines the work and style of two famous painters, Pablo Picasso, best known for his high abstractions of the Cubist painting style and Salvador Dali, one of the most important leaders of the Surrealist movement. It discusses how they have influenced a wide range of artists and are today considered as the quintessential examples of twentieth century art. It illustrates, through examples of their work, how Picasso as an artist was highly imaginative and original and borrowed heavily from many historical examples which aided him in developing new painting styles. Salvador Dali, like many of his surrealist contemporaries, sought inspiration from a love for fantasy and studied the writings of Sigmund Freud regarding the human subconscious mind which inspired him to "systemize confusion" through his paintings.
From the Paper "The Cubism style of painting as practiced by Pablo Picasso is best represented by his Accordionist (1911, oil on canvas), a construction of large intersecting planes that suggest the forms of a man with his instrument. Host of smaller shapes, each a simplification of some aspects of the original subject, hover in and interpenetrate the larger planes. The total effect is that of a new kind of pictorial reality. The viewer is no longer obligated to contemplate merely a man playing an accordion, but is allowed to explore the canvas and probe its myriad of objects that have been disintegrated and then reintegrated which offers a great variety of views from many different angles and tangents."
Abstract Discusses the arts since 1945. Wide-ranging styles of artists. Innovative and creative breakthroughs. Emergence of concept of social relativity and a pluralistic society. How the Postmodern world and plurality have redefined the role of the artist. Pluralism of art styles reflecting society. The New Realism as a cumulative creative systhesis. The pluralistic way contemporary artists engage in with their audience.
From the Paper "The picture of the arts since 1945 is extremely complex with trends toward fragmentation on one the side and multimedia unifications on the other. Radical changes have come about in science, technology, politics, economics, and the arts. Social relativity and the pluralistic society are replacing absolute values and uniformity; and artists are working in styles that vary from wide-ranging freedom to strict formalism, from imaginative abstraction to stark realism, from detached objectivity to passionate expressionistic involvement.
All this has shown that no one approach, solution, attitude, technique, or..."
