Abstract
This paper discusses the effect of World War I on British art and follows the transformation and disintegration of Futurism and Vorticism from 1914 - c. 1920. In particular, it examines Percy Wyndham Lewis, Christopher Nevinson and Paul Nash and includes a visual analysis of the major works of these artists during and shortly after the War. It also looks at the British Pictoral Propaganda Department and Muirhead Bone and various government comissions from 'war artists'. It argues that the war effectively dissolved England's only true modern movement and that the war had dramatically different effects on Wyndham Lewis, Nevinson, and Nash.

From the Paper
"Nevinson was the first of the artists to go into war, as well as the first to exhibit work inspired by his experiences on the Front. His one-man show at the Goupil Gallery in 1916 exhibited works from 1915-16 done in a Futurist/Cubist idiom. Works from this period include Bursting Shell, Explosion, French Troops Resting, La Mitrailleuse, Returning to the Trenches, Column on the March, and La Patrie. These are among his best wartime efforts, particularly the last two. La Patrie (1916) is a skillful composition, successful both in its form and expression. Nevinson portrays the palpable suffering of wounded victims in the dark interior of a Red Cross shelter, where the small amount of light that enters the barren space serves only to make visible the anguished faces and blood-soaked bandages in the foreground and large number of people in the background, and to spotlight the newly-arriving patient being carried in on a stretcher."

Tags:bone, futurism, muirhead, propaganda, vorticism

Abstract
This paper examines the relationship between art and politics, which are seen as going hand in hand. According to the paper, artists seek to expose the hypocrisy of ruling elites and so produce art that deliberately fails to meet with the approval of the leaders. The paper further notes that at times, governments make use of art and artists for propaganda purposes, a process known from the various posters used by the Nazis and the Communists to promote their ideas. The American government has made use of art in a similar way, including art that otherwise would not find official approval.

From the Paper
"Art and politics often go hand in hand, though usually artist seek to expose the hypocrisy of ruling elites and so produce art that deliberately fails to meet with the approval of the leaders. At times, governments make use of art and artists for propaganda purposes, a process known from the various posters used by the Nazis and the Communists to promote their ideas. The American government has made use of art in a similar way, including art that otherwise would not find official approval. The modern art movement diverged from the more accepted representational art preferred by most political leaders, and even though much modern art was..."

Tags:art, politics, propaganda

Abstract
This paper attempts to explain the benefits and the pitfalls of the digital revolution for artists and art education. According to the paper, the advance of the digital age and its impact on the art form and the education of art appears significant. Traditionalists argue against the newer form observing that it degrades the purity and aura of the original artistic form. Those who embrace the digital age on the other hand believe that the globalization of the digital media and the accessibility of creating and learning art through cheap high quality digital products.

Tags:art, digital, negative

Abstract
In this article, the writer discusses that art and politics often go hand in hand, though usually artists seek to expose the hypocrisy of ruling elites and so produce art that deliberately fails to meet with the approval of the leaders. The writer notes that at times, governments make use of art and artists for propaganda purposes, a process known from the various posters used by the Nazis and the Communists to promote their ideas. The American government has made use of art in a similar way, including art that otherwise would not find official approval. The writer concludes that the history of the way art has been used by the government suggests that the art itself is viewed in terms of its usefulness more than its actual content or any aesthetic base it may have, and primarily modern art has been used to counter the more staid and more politicized art in support of enemy ideologies.

Outline:
Introduction
Modern Art
Art and Politics
Art and American Taste
Art and Ideology
Conclusion

From the Paper
"The modern art movement diverged from the more accepted representational art preferred by most political leaders, and even though much modern art was considered too opaque to be understood and in some ways decadent, it was embraced as a propaganda tool by the U.S. government through agencies such as the CIA during the Cold War period. Most Americans are unaware of the way this process was undertaken and used and might be surprised by it, given the more prosaic attitude taken toward art by political leaders to this day. Analysts point out that many of these programs were conducted quite openly just the same, though even observers aware of the program might wonder why modern art was chosen and how it was used to benefit American interests."

Tags:CIA, modernism, artistic, developments

Abstract
This paper examines how art and architecture during the middle ages changed the world in many aspects and how we have adapted many of these styles to many of the modern structures. The paper looks at the history of the architecture and art styles and some of the artists that contributed to the art the from early Christian art to Gothic art. Photographs and pictures are also included.

Outline:
Introduction
Early Christian Art
Artists
Architecture
Byzantine Art
Artists
Architecture
Carolingian Art
Romanesque Art
Artists
Architecture
Gothic Art
Artists
Architecture
Conclusion

From the Paper
"The Carolingian art was during the reign of Charlemagne, who ruled the franks in the year 768. The term Carolingian refers to the reigns of Charlemagne, and his pressing successors, although in stipulations of art the exacting characteristics of Carolingian art did not last long after his empire was divided by three grandsons in the year 843. The painting Art Past and Present (Upper Settle River, New Jersey), during this period were in the concentration of revitalizing both the political harmony and the cultural ideas of the Roman Empire. Many of the works of art illustrate the inspiration of Roman models in unstructured techniques. The Carolingian emperors built large scale architectural projects in stone and supported active centers for manuscript illustration, ivory carving, and metalwork. "

Tags:Byzantine, Christian, Carolingian, Romanesque, Gothic

Abstract
This paper examines modern art, in particular ,that which is referred to as "apocalypse art" and examines the interactions between art and technology. Specifically, paper looks at the new dimensions that technology has contributed to the rendering of art as well as what contribution or impact that art has rendered to technology. The methodology for this study is examination of several artists and scholars who are in some way interconnected in this process of producing apocalypse art. Artists discussed include Joe-Peter Witkin, Roy Ascott, and Dinos and Jake Chapman.

From the Paper
"The social impact of the new art-technology relationship is quite simply due to knowledge being more plentiful than at any other time in recorded history. To further expand on that element it must be understood that the application of knowledge, as well as man's integration with knowledge, has not at any time in history been so cohesive with each other. This is due to the global society now established in the world which is aided by the science of computing which brings all knowledge, all applications and all the minds of men together in one vast conglomerate freeway of information."

Tags:Jeremy, Bigbee, Arthur, Danto, science

Abstract
This paper discusses the history of High Renaissance art work. The paper examines several pieces of art by artists of the period, such as Raphael, Da Vinci and Michelangelo. The paper explores the popular theme of Madonnas that has come to specifically refer to work that depicts the Virgin Mother Mary. The paper explains that Biblical subjects, such as the Madonna, were very important to Renaissance painters and other artists. The paper contends that other subjects of importance were the Holy Family and the Passion of the Christ. The paper illustrates the use of these themes in the art work discussed.

From the Paper
"During his Florentine years, Raphael painted many numbers of Madonnas. Leonardo did at least forty variations on the theme of the Virgin mother with her child. In his paintings, the Madonna is seen as both extremely human and motherly, but also very majestic. He additionally utilized the concept of Sprezzatura, which is the idea that a person's expression reflects their inner quality. Leonardo gave his Madonnas a look that was very distant and spiritual, like it was completely separated from the material world. In 1506, he painted his Madonna of the Meadow, which was strongly inspired by the style of Leonardo, specifically in the pyramidal structure of the painting. The setting of this painting, as well as the other Florentine Madonnas, is serene and beautiful, with rolling hills and a beautiful sky. The landscape is actually an idealized Tuscan image. John the Baptist as a child is the third figure which created the pyramid."

Tags:madonna, renaissance, raphael, da, vinci, michelangelo

Abstract
The paper discusses how politics have had an impact on art and how artists have impacted political structure. The paper shows how, especially during times of unrest, art becomes a political message as a motivational or propaganda tool. The paper looks at the decades prior to and immediately after the Russian Revolution and examines the beliefs and impact of artists such as Ivan Kramskoy, Ilia Repin and Lazar "El" Lissitzky.

From the Paper
"Artists such as Ivan Kramskoy, for example, were involved with the ideological structure that represented Russian realism in the 1860s, a decade of reform and renovation. This liberal stage of the movement, reflecting the intelligentsia's efforts to free individual thought and public activity from bureaucratic controls, lasted through the mid-1880s. Artists, with their decidedly inferior status in society's estimation
and their own, were overwhelmed with the importunate demands of the radicals that they ceased being quiet supporters of the state and decided to contribute their share to political reform."

Tags:Kramskoy, Repin, Lissitzky, propaganda, beliefs

Abstract
This is a paper on arts and artists in the twentieth century. The particular subjects are Bertold Brecht, Aaron Copland, Carl Sandburg, Maurice Ravel and Pablo Picasso. An additional section of the paper deals with Picasso's work "Guernica" and the conditions under which it was created. The paper discusses why each subject was considered a major influence in 20th century art.

From the Paper
"Bertolt Brecht was an important German playwright. He lived in Germany until 1933. His plays were banned under the Nazis because of Brecht's increasingly left wing political orientation. Brecht moved to Denmark until 1940. He moved to Finland in April of 1940, around the time of the German invasion of Denmark. In 1941 he made his way to the United States, not returning to Germany until 1948."

Tags:art, cubism, populism

Abstract
This paper argues that, while separating the art from the artist in an analysis of his work is generally a healthy practice, we should question to what extent we should make this separation and why some artists are allowed more leeway than others. The paper also attempts to answer the question, concerning propaganda versus art, about how much we can hold the artist responsible for the use and application of his art for other, possibly nefarious, purposes. The author of the paper argues that the answer lies in intentionality through an understanding of the intent of the artist in the production of the work of art. The paper uses artist Leni Riefenstahl and her work to illustrate the complexity and importance of addressing these questions.

From the Paper
"In debating the difference between art and propaganda one may enter into a minefield of contentious terms and complex ethical issues. The central concern that will be the focus of this paper is the intentionality of art in determining whether it is propaganda or art. If an artist is aware of and complicit in the manufacture and production of art for a specific political agenda, especially one that has been universally condemned, then he or she may be seen to be a propagandist rather than an artist. It is this qualitative and intrinsic difference in the artist and not in the use made of the art that is the central concern. Therefore, the criteria that will be used to ascertain the difference between art and propaganda is the underlying intention of the artist."

Tags:german, second, world, war, instrument, political, agenda, influencing, perception