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 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..."
This paper discusses the interaction between two themes in the paintings and drawings of Edgar Degas. The first is the study of form and shape, primarily of women. The second is his attitude towards the socioeconomic class of his subjects.
Abstract The writer argues that, because of Degas' upbringing in a family attempting to appear as nobility, he became interested in "class." Commentary on class structure was a deeply engrained part of the art world at the time that Degas was in the forefront of the field.
From the Paper "The later work of Degas began to concentrate on women in the bath, either actually washing, or getting in and out of various tubs. This was a focus on the female body in its most pure form. The fascination he had always shown with women was now given free reign, without clothing or background to complicate his work. It is interesting, though, to note that his interest in class, as well as gender, was still represented. The bathing woman has been separated from most of the social and cultural cues that give the viewer information as to her background. This is another way that Degas demonstrated that his interest in the female form cut across class boundaries."
Abstract The division of Renaissance art into three distinct periods began with Giorgio Vasari, the great Florentine art historian and chronicler of the lives of the artists. Vasari concluded, based on his universally accepted perception of Michelangelo as ?Il Divino,? that Renaissance art reached its most sublime expression in the works of Michelangelo and Leonardo da Vinci. However, some modern art historians wonder how valid or valuable this categorization and consequential value judgment is. Roberta J. M. Olson challenges the very existence of a ?High Renaissance,? on the grounds that ?the term is artificial, a qualitative judgment of "High" signifying the best,? The paper shows that there are surely noticeable differences in the vivid expressions of Italian Renaissance art from the fifteenth to the sixteenth centuries. Art from the early period of the Renaissance sprouted from the preceding medieval and Gothic artistic traditions, with their emphasis on dramatic facial expressions and compositions. This is especially evident in the sculptural arts, those three-dimensional figures that rendered the human form with increasing idealism. The paper shows that this trend toward idealistic renditions of the human face and figure directly derived from a revived interest in the Classical arts of ancient Greece and Rome. In fact, Renaissance art in general is defined by its classical motifs, materials, and mannerisms. Donatello signified this coming together of two artistic and philosophical traditions in the early periods of the Renaissance in Florence. A century later, Michelangelo Buonarotti built upon Donatello's earlier contributions to Italian art and sculpture in particular. The paper explains that although the works of Michelangelo defy categorization, his is generally considered to be ?instrumental in creating the High Renaissance,? and is heralded as that period's hallmark of all the works available for research by art historians, the two that most epitomize their periods and styles and which are most easily comparable because of their similar subject matter are Donatello's and Michelangelo's statues of David. This paper therefore examines and discusses these two pieces and show how they characterize the time periods they represent.
From the Paper "Moreover, Donatello's David signifies the budding Renaissance style because it incorporates distinctive classical elements. These elements would later mature in the corresponding David by Michelangelo. Nevertheless, while Donatello preserved Biblical accuracy in his rendition of David slaying Goliath, he also paid tribute to the sculpture of ancient Greece and Rome. His David, in fact, is almost Mercurial with its pagan-influenced hat and its adorning wreath. Here, Christianity and paganism coexist in one statue. Michelangelo's later version had none of this; in fact, Michelangelo did away with the image of Goliath altogether to focus solely on the stature of the hero"as if he perceived David as more of an ancient athlete than a Christian warrior. Similarly, Michelangelo underemphasized the actual struggle between David and Goliath: instead of a sword placed valiantly in the foreground as it is in Donatello"s, Michelangelo's David sports a barely noticeable sling."
Abstract This paper will discuss the painting Cupid Chastised by Bartolomeo Manfredi. The elements of the painting, such as line, composition, color, and other technical variants will revealed, as well as a historical analysis of the work.
Abstract Not more than fifty years after the painting was completed, and while Leonardo was still alive, the painting began to fade. The decay began with peeling paint. Leonardo had chosen not to work in the traditional medium of fresco, that is, painting directly on the freshly plastered wall. Leonardo da Vinci's painting is a masterpiece of iconic religious art. The painting is a study in geometric symmetry. Jesus' gesture is symbolic on several levels.
