Abstract This paper examines the life of King Akhenaten who came to power in c.1352 B.C.E. and ruled Egypt for seventeen years. Akhenaten was a firm believer in "maat" or divine truth and centered his religion around this. His divine truth policy changed art and culture in Egypt. This paper considers these changes, in particular the effect on art at the time by reviewing certain works of art from that time period.
From the Paper "Akhenaten and His Family portrays Akhenaten and Nefertiti sitting casually on their thrones playing with their three daughters. The sun disk Aten reaches down his beams; the beams end in hands that tough the royal's, some hands holding Ankh?s. The scarves and clothing they wear seems to drape and flow from their bodies. The position that the family sits in is unusually casual for Egyptian art, as compared with works such as Menkaure and His Wife, Queen Khamereenebty ca.2515 B.C.E., which was made of slate and composed of tight, structured stance. Nefertiti's throne, with lotus and papyrus blossoms at the base, suggests a united upper and lower Egypt. "
Tags:art, aten, aton, god, history, mythology, nefertiti, religion, sun
A comparative analysis of the styles of the different artperiods, early Renaissance, high Renaissance, the Mannerisms, late Gothic and Renaissance of the North.
1,150 words (approx. 4.6 pages), 4 sources, 2002, $ 44.95
Abstract This paper will give a brief overview of the early Renaissance, high Renaissance, the Mannerisms, late Gothic and Renaissance of the north. By discussing the similarities of these works of art a better understanding can be made of these different artperiods and their relation to one another. Through the different masterpieces of art there will be an examination of the artist and how they related to their times in their work.
Abstract This paper discusses several art styles as well as cultural movements, namely Baroque, Rococo, Neoclassical and Romanticism. The author provides a brief summary of each of these art movements including its timeline in popularity and gives examples of paintings that bear these signature styles. The paper also compares these art movements to one another, highlighting their differences and similarities.
From the Paper "By the middle of the 18th century, the rediscovery of ancient Greek art and architecture turned the artistic tastes of Europe in a brand-new direction which began the style and period known as Neoclassical. Within this period's admiration for the art of Greece, a similar admiration came about for the art of ancient Rome via the excavations of the towns of Pompeii and Herculaneum in the 1730's and 1740's. Several excellent examples of this new style include the portico of the Church of Ste. Genevieve, now known as the Pantheon, in Paris, designed by Jacques Germain Soufflot (1713 to 1780)."
Abstract This paper briefly examines the history of ancient Greek art. It focuses on several periods - Archaic Period, Early Classical Period, Golden Age, Late Classical Period and Hellenistic Period. Different types of art forms are discussed and examined how they developed during these periods. The influence of other cultures on Greek art is also analyzed, namely Middle Eastern and Egyptian.
Outline
I. Introduction
A. History
B. Cultural influence
II. Archaic Period (600-480 B.C.)
A. Egyptian influence
B. Middle Eastern influence
III. Early Classical Period (480-450 B.C.)
A. New humanism led to balanced human form
B. Marble and bronze figurines
IV. Golden Age (450-400 B.C.)
A. Temples of the Athenian acropolis
B. Parthenon sculptures
V. Late Classical Period (400-300 B.C.
A. Expression of emotion
B. Individualization and three-dimensional movement
VI. Hellenistic Period (323-31 B.C.)
A. Nike and Aphrodite
B. Terra-cotta figurines
VII. Conclusion
A. Importance of masterpiece copies
B. Influence of Greek culture
From the Paper "The earlier great cultures of Egypt and the Near East were making art long before the Greeks and much of the early Greek art looks Egyptian, with its stiff and profiled poses and boxy geometric designs. Moreover, the Greeks borrowed the ideas, motifs, conventions, and skills from these earlier civilizations (Tansy 1996). However, it was the Greeks who made the leap into naturalism and in their representations of the human body created an ideal of perfectly balanced proportions that has never been improved upon. Although, we often speak of Greek and Roman in the same breath, the greatest accomplishments of Greek art were five centuries old by the time the Romans began to copy them. "
Abstract This paper compares and contrasts two of the most famous periods in the history of Western art, namely, the Baroque and the Impressionist era. Separated literally by about two hundred years, it explains that the stylistic differences and thematic choices of these two periods speak to a fundamental ideological divide between the artists who worked in the Baroque style and those who considered themselves Impressionists. The author also discusses the overall of the two periods.
From the Paper "The history of Western art is replete with various styles, techniques, and periods. The examination and study of any one of those periods in art history could take a lifetime. And yet, we can also learn much from a more cursory comparison of multiple periods. For that reason, I have decided to compare and contrast two of the most famous periods in the history of Western art: the Baroque and the Impressionist era. Separated literally by some odd two hundred years, the stylistic differences and thematic choices of these two periods speak to a fundamental ideological divide between the artists who worked in the Baroque style and those who considered themselves Impressionists. To begin with, it would help to have a basic sense of what the overall trends of the Baroque were compared to the Impressionist era. The Baroque period was much earlier and spread outward from Italy from the ..."
Abstract This essay investigates whether the natural materials and technology available influenced the development of Egyptian art. The essay argues that the wealth of natural materials Egypt had in its possession provided the Egyptians with access to a range of mediums with which they could develop art. An argument is put forward that the technology and techniques used by the Egyptians greatly influenced and contributed to the development of Egyptian art. This essay begins by looking at the earliest materials and technologies that were used during the prehistoric period followed by an examination of how these materials and techniques developed over time. Evidence is provided throughout the essay to support these arguments.
From the Paper "Pottery was also one of the earliest forms of artwork in Egypt dating back to the Prehistoric Neolithic and Predynastic Periods. In 1985 Sir Flinders Petrie discovered a variety of Predynastic pottery vessels ranging from Badarian handmade vessels to decorated pottery from the Naqada Period that showed evidence of "exquisite craftsmanship" (Romer 1982:38). The natural materials that allowed for the creation of such pottery included Nile river silt clay, limestone and clayey shale from the cliffs (Romer 1982:45). The early technology used to produce pottery included polishing the pottery with a pebble to give a burnished red or black appearance before being fired in a kiln (Shaw & Nicholson 1995:226). Other
decorative characteristics included rippled lines that were produced by running another natural material, fish bones over the wet clay (Hart 1995:30)). Improvements in ceramic technology and the introduction of the potter's wheel allowed an increase in the range of shapes that could be produced (Quirke & Spencer 1992:178). However J. Romer (1982:70) states that the use of the potter's wheel led to a decline in the quality of Egyptian pottery. He argues that the potter's wheel, although allowing larger vessels to be made quickly and easily from clay, ultimately led to pottery becoming more utilitarian and of less artistic quality. Therefore although the standard of art declined, this is still evidence of how the technology available influenced the development of Egyptian art."
Abstract This paper discusses Nio figures, particularly those of Todaiji Temple, which acutely represent the changes and needs of Japanese society at the time. The paper also examines and describes Kamakura realism and discusses the different figures belonging to that genre of artwork. In addition, the paper discusses the influence of this artwork on other cultures in the world. The effort to restore artwork from this period after the Genpei Civil War is also discussed.
From the Paper "After the Genpei Civil War (1180 - 1185 C.E.) in Japan a great effort was made to restore some of the cultural monuments that had been destroyed. The Todaiji as well as the Kofukuji Temples had been burned in 1180 C.E. because of their sympathies with the rebelling Minamoto family . The rebuilding of Todaiji Temple in Nara was headed by Fujiwara Yukitaka, who was director of the restoration, and Priest Chogen, who collected contributions and also traveled to China to study the Song style of architecture . This rebuilding was burned down again around 1700 C.E. but the Nandaimon and the Kongo Rikishi figures inside survived."
Abstract This paper examines the development of western art forms from early architectural designs through sculptures of the Greeks and Romans, the European art of the Renaissance period and into the 20th century as written about in "Art in the Western World," by David M. Robb and J. J. Garrisson.
From the Paper "Hendrick Willem Van Loon, traces the history of Art in The Arts. Van Loon follows the development of Art from the prehistoric period, the Minoan civilization, the Greeks and Romans, Gothic Art, Renaissance Art, Chinese and Japanese art into the Empire style of the early 1800's. He looks at art as a whole, discussing musicians as well as architects, sculptors and painters."
Abstract The paper considers the important aspects of Western European art. It looks at the evolution of art through the ages and the conditions which seemed to encourage artistic growth and achievement. The paper considers periods of time when certain forms of art were popular and reviews some styles in art, with special reference to the nature of realism.
From the Paper "The history of art, worldwide, is a large and daunting subject, one that spans millennia. Yet, the history of art in any one given era or one particular geographic location is equally expansive and daunting. This paper shall take a look at some of the overall evolution, style, and creativity that has occurred during the past few centuries in the realm of Western European art. From the Renaissance to more modern times, certain styles have been championed and fallen out of favor, the quality of art and the thought behind it has come and gone. This essay shall deal with which periods and conditions seemed to encourage artistic growth and achievement, the rise, fall, and nature of realism in art, as well as other styles and levels of quality that have appeared."
This paper explores the concept of "Negro Art" from the Harlem Renaissance period by analyzing the philosophies of two of that movement's central leaders.
Abstract This paper discusses the philosophies of three leading figures of the Harlem Renaissance--Langston Hughes, George Schuyler and W.E.B. DuBois. The paper describes Langston Hughes' "The Negro and the Racial Mountain" in which he attempts to prove that the desire to not be associated with a specific ethnic class is tantamount to racial self-hatred. The author then explains that George Schuyler in his "The Negro Art Hokum" argues that African-American artists are not some sort of unified bloc and that the imposition of subject matter and style is belittling and racist. Next, the author of the paper applies the conclusions of Hughes and Schuyler to two paintings by Beauford Delaney, a prominent painter of the Harlem Renaissance. The paper concludes that the fairest and most logical approach to the study of "Negro Art" lies somewhere between Langston Hughes and George Schuyler.
From the Paper "Another of Delaney's works that highlights the necessity of forming a compromise between Hughes' and Schuyler's contrasting theories on art is his famous pastel drawing of James Baldwin, the American writer and novelist. Although the two were close friends, Delaney does not attempt to transmit, through his strokes, a sense of his love of and appreciation for Baldwin. Had he wanted to do that, he surely would have created a different portrait than the eerie, anxiety-riddled, and yellow-hued portrait that he actually made."
Abstract The paper explains that by examining the Baroque work of Carracci, Caravaggio and the contrasting work of Rococo artist, Antoine Watteau, one can see how they are compared and contrasted in art history. The paper discusses how the earlier Baroque style offered a painting technique which relied on dynamic chiaroscuro and color values, along with the greater emphasis on gigantism in the heroic poses offered by Caravaggio and Carracci. The paper notes that while the Baroque period lasted for nearly one hundred years, the changing climate of political and class based construct in painting veered into the pomp and circumstance of the French elite in the 18th century.
From the Paper "This art study will compare and contrast the stylistics of Baroque and Rococo art. Although these two styles appear to be similar in their artistic painting techniques, the ideological content value of Baroque and Rococo art is very different. In many ways, Baroque will be examined for the humanistic and classical values in various paintings of this period. However, as art veered away from this strict Grecian content style, the highly dramatic and theatrically elitist "art for arts sake" arose within Rococo paintings. In essence, the initial classicism of Baroque art that sought deeper meaning in classical themes changed into a far more dramatic based on pomp and extravagance. The Baroque period is generally known to have begun in 1600 with major painters such as Caravaggio and Carracci creating classical styled paintings."
Abstract The writer of this paper centers on the fields of Far East and Near East art also known as Orientalist art. This paper presents figures and facts pertaining to the genre of Orientalist art from the auction houses of Christie' and Sotheby's as well as others. This well-researched paper discusses the general status of the art industry, while also delving into current trends. This paper examines how the 9/11 terror attacks caused sales and prices in the art industry to drastically fall around the world. This paper discusses the published reports that claim that even prior to 9/11 the art market was showing signs of slowing down. This paper contains published statistics and data pertinent to the art market in general while also presenting 6 illustrated charts and graphs relevant to this particular topic.
Table of Contents:
Introduction
General Art Market Analysis
Orientalist Art Market Analysis
Conclusion
References
From the Paper "Luckily, the art market was able to rebound quite quickly, despite challenges in other sectors. "After the tragedy of September 11th, the art market has consistently trumped the performance of sluggish equities markets" ("Art investment", 2003). For this reason, the art market, in general, has seen a resurgence, despite the downturn attributed to September 11th. However, not all is smooth sailing for the industry. This was evidenced just prior to perhaps one of the largest events in the art market history was the sale of artwork collected by the late Malcolm Forbes. Forbes was an obsessive collector. From Faberge eggs to Orientalist paintings, Forbes collection grew for more than three decades. 361 pieces of art, from this lifetime of collecting went under the hammer at Christie's in London, in 2003."
Abstract This paper discusses how the human body has always been a constant subject in art and in particular western art from the ancient times. This essay examines the various ways in which the body was represented in art from ancient to modern times. Many great pieces of art have had the nude as their theme, or at least contained nudes. The nude is often the subject of art but can also be considered an art form. The paper also looks at the nude as a subject of art and how notions of gender differences, desire and identity reflected on the female nudity in art.
Abstract This paper analyzes Martin Heidegger's definition of art. The author claims that the origin of art is created from some form of activity on the part of the artist, whether it be creating a painting, song, sculpture or poetry. This paper focuses on Van Gogh's painting "A Pair of Shoes" and describes Heidegger's view of this particular work of art as well as his perception of the artist. The writer of this paper questions whether the artist creates the art or if art in fact creates the artist. This paper also discusses the significance of technology and nature in any work of art while describing Heidegger's definition of the 'thing' needed when creating art.
From the Paper "After mentioning the artist, Heidegger begins to question what the artist is. We must question then if the work is what makes the artist, or is it the artist that makes the work. He tells us that the artist is the source of the work, and the work is the source of the artist. Both the work and the artist depend on each other, and one of them cannot exist without the other. Both the artist and work are related to a thing that comes before each, and that is what Heidegger calls art. If artist and work are both dependent on each other to be the source of the other, so do to both depend on art as their source. Heidegger asks if art can be a source of a work of an artist. Heidegger then claims that art is nothing more than a collective noun that signifies nothing now."
Tags:art, book, literature, van, gogh, painting, poetry, technology, review, perception
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."
