Abstract
This paper shows how Hughes and Cullen follow Du Bois' prescription in their creations of black art. The author focuses on Hughes' poem "Ballad of the Landlord" and Cullen's poem "From the Dark Tower," and derives his definition of Du Bois' artistic prescription from his essay "Criteria of Negro Art."

From the paper:

"Amidst the prevailing racial injustice during the Harlem Renaissance, W.E.B. Du Bois charges black artists to use their art to send a message to society: a message of unity to the blacks, and a message rejecting their so-called inferiority to the whites. Black art, Du Bois insisted, should be used as a weapon against racism, demonstrating blacks? worthiness of American status and their ability to conceive Beauty in their art. Countee Cullen and Langston Hughes, whether intentionally or not, followed the artistic specifications set forth by W.E.B. Du Bois in their respective creations "From the Dark Tower" and "Ballad of the Landlord."

Tags:art, artist, black, criteria, negro, poem, poetry, protest

Abstract
This paper discusses how WWI greatly affected the direction of art in the United States and Europe. It looks at how, through isolating and merging different regions, artistic movements were both born and terminated as a result of warring, allied forces, and personal trauma. The paper examines how Futurism, Fauvism, Cubism, Vorticism, and German Expressionism were active when WWI began and examines the development of both European and American Modernism with such styles as Harlem Renaissance and other Postwar movements in Europe such as De Stijl, Bauhaus, Constructivism, Purism, New Objectivism, Dada, and Surrealism. The paper also contains images and pictures.

From the Paper
"The shift of the art world capital from Paris to New York City had begun towards the end of WWI. Although many European artists fought in the war first-hand, "No American modernist painter saw the carnage of WWI first-hand, nor did any American artist record feeling in its aftermath. " America became aware of its dependence on Europe after WWI and gained a new sense of independence through forging the Allied victory. In postwar America, subject matter was rooted a newfound nationalism and self-identification as a country. Pride in technology and innovation added to a new nationalist spirit, led to the American movements of Regionalism and Precisionism. Regionalism included distinctly American scenes such as Grant Wood's American Gothic (image 4). The Precisionists possessed a faith in American industry and stability after America proved itself in war. The movement included Charles Sheeler (image 5) and Charles Demuth (image 6). Their works emphasize a new alienation and isolation in being uniquely American. "

Tags:futurism, fauvism, cubism, expressionsim, modernism, dada, surrealism

Abstract
The paper looks at how Cantor stated that modernism in the early 20th century "cared little for history; it was in fact hostile to it" (35), and according to Cantor, modernism called on a "shift in thought...from the big to the small, from the general to the particular" (35). The paper relates that Cantor expanded on this idea by stating that modernism in art included many of the art forms found in "pop art", although this period of art is primarily considered post-modernism (35). The paper discusses how Cantor contends that much of the pop art of the 20th century was initially believed to be "vanguard art" that was not taken seriously (35), however, as time progressed society began to accept this art form as one that focused on the "particulars" of society and that further pop art expressed that "everything was meaningful" and that in some way, all things were tied to something else" (35). The paper explains that Cantor contends that the most prevalent of the pop artists of the 20th century were Andy Warhol, Jasper Johns and Roy Lichtenstein (35). The paper explains that these artists focused on elements of every day life that spoke of the time in which they lived and mundane pieces of existence, such as Brillo boxes and soup cans were the central focus on their art. Furthermore, the paper explains that these artists had the view that by creating these images in their own personal fashion that they were asking the viewer to relate those items to their lives, thereby making a comment on particular facets of life (Cantor 35).

From the Paper
"Cantor stated that modernism in the early 20th century "cared little for history; it was in fact hostile to it" (35). According to Cantor, modernism called on a "shift in thought...from the big to the small, from the general to the particular" (35). Cantor expanded on this idea by stating that modernism in art included many of the art forms found in "pop art", although this period of art is primarily considered post-modernism (35). Cantor contends that much of the pop art of the 20th century was initially believed to be "vanguard art" that was not taken seriously (35)."

Tags:art, andy, warhol

Abstract
This paper discusses the portrayal of utopia in art, whether it be literature, architecture or the fine arts. The paper presents examples of many types of depictions of utopia throughout history. The paper suggests that there is a new utopian revolutionary art where artists collaborate with the people of a community to restate their own history as the surroundings inspire them.

From the Paper
"Cuban artists currently have opened "Contemporary Art from Cuba: Irony and Survival on the Utopian Island" with a range of artists exhibiting from 24 to 39, at the ASA Museum at the University of Arizona, an art museum known for exhibiting work experimental in content, form or presentation. These artists show they are disillusioned with the socialist Revolution, yet they remain loyal Cubans."
"Land artists, who create monumental sculptures, perhaps are those most successful in living out their utopian ideals in large scale, such as Michael Heizer, who has spent three decades creating a huge collection of truncated pyramids in the Nevada desert, Charles Ross, who has a subterranean Stonehenge for the space age in New Mexico and Christo, who has tried to wrap up the world like a present."

Tags:sculptures, monumental, paradise

Abstract
This paper provides biographical information on artist Henri Matisse and discusses his artistic career. Several of Matisse's works of art are reviewed, and influences on his work are discussed, as well as the influence that Matisse has had on the world of art today.

From the Paper
"Henri Matisse (1869?1954), a painter, draughtsman, sculptor, printmaker, designer and author, came into the world of art comparatively late in his life and made his reputation as the main exponent of fauvism, the first avante-garde artistic movement of the 20th century. As Russell T. Clement points out, fauvism "was influenced by non-European cultures that were part of the new colonial dominions as found in Africa, Polynesia and Central and South America which encouraged more personal forms of expression than had been known in the West" (89). His career seems to have begun in 1891 when Matisse registered at the Academie Julian and prepared for the entrance exam to the Ecole des Beaux-Arts despite his father's objections to set his life course on the study of art. In 1892, Matisse was invited to join the studio of Gustave Moreau and he remained here until his marriage to Amelie Parayre in January of 1898."

Tags:france, impressionism, dinner, table, paintings, la, coiffure, exhibition, vollard's, gallery

Abstract
This paper analyzes the historical background to the origins of Ukiyo-E woodblock printing in Japan. The paper discusses the tradition of woodblock printing and its significance in Japanese culture, particularly how the tradition was the dominant force among the arts within the merchant class, and slowly, over the centuries, rose to prominence within the higher classes of feudal Japanese society.

From the Paper
"Cultural Studies: Analyzing the Various Artistic Print Making Traditions and Styles of Japan Table of Contents I.Introduction II.Understanding the Origins of the Popular Ukiyo-E Style of Japanese Print Making in the Article: "Ukiyo-E" by John Florillo III.The Relevant History and Development of Ukiyo-E Japanese Prints in the Article: "The Floating World Ukiyo-E" by The Library of Congress IV.Revealing the Stages of Creating Japanese Prints in the Article: "Japanese Prints" by Artelino. V.The Social and National Heritage of Japanese Print Making in the Article: "Japanese Woodblock Prints" by Asia-Art.net. VI.Conclusion. I.Introduction This cultural study of Japan will focus on the artistic development of the woodblock print traditions. By researching the methods and artistic process in which these prints are made, one can realize the historical significance of the woodblock tradition over the centuries."

Tags:japan, art, print

Abstract
This paper explains that, in Aristotle's "Poetics", the great thinker disagrees with Plato on the inherent value of art especially in regard to the idea of art being a cheap imitation of nature. The author points out that, whereas Plato sees this as a major drawback to any art, Aristotle contends that there is much more involved in the process than the simple act of copying. The paper stresses that this Aristotelian view is the important link between Plato and critics, such as Sir Philip Sidney and Samuel Johnson, who came after him.

From the Paper
"Aristotle further enhances his views on artistic imitation as he introduces the effective imitative form of the Tragedy (which happens to be suitable for literature as well as the stage). In his opinion, Tragedy is the highest form of literary imitation, as "it is, then, an imitation of a noble and complete action, having the proper magnitude." He says a bit later in Poetics that "the pleasure which the poet should afford is that which comes from pity and fear through imitation." This is the function of Tragedy; the pity and fear arise from certain incidents in which a character (neither totally good nor bad, as in reality) suffers a reversal and falls undeservedly into misfortune. The audience can relate to these events and become overtaken with human sympathy. Therefore, the imitation presented is surely true to life."

Tags:tragedy, imitation, nature, critics, differentiate

Abstract
This paper considers the many influences on the career of Piet Mondrian, in particular theosophy, cubism, the Dutch tradition, Vincent van Gogh, neo-plasticism and his eventual move to New York.

From the Paper
"Founded on an unprecedented concern with structure, unity and subtle geometry, Piet Mondrian's landscapes reveal the origins of what was to become the major preoccupation throughout his career - universal beauty, and its abstract representation. It was a journey that would culminate in his remarkable last work Victory Boogie-Woogie, and a process which saw him grapple with Naturalistic Realism, Cubism, Symbolism (briefly) and finally Neo-Plasticism, also called the International Style, a movement he was to make his own. Mondrian's art is fascinating for the very reason it is also so hard to understand - it was a completely new way of perceiving the relationship between the external world, inner feeling and the surface of the canvas. His abstraction was not just a move away from figurative, representational art, but a step towards transcendental purity."

Tags:atlantic, boogie, cubism, dutch, gogh, grid, lozenge, painting, paintings, theosophy, victory, vincent, woogie

From the Paper
"How does a work of art come to be? It might seem necessary to define "work of art" before one proceeds to answer this question, but many thinkers find it necessary to introduce notions of creation when trying to distinguish works of art from other sorts of objects. The situation seems to be this: If one answers the question, "What is a work of art," one will presuppose an answer to "How does a work of art come to be?" And if one answers the question, "How does a work of art come to be," one will presuppose an answer to the question, "What is a work of art?" How can we escape the circle?
It seems sound to say that works of art are differentiated from natural objects because human making (creation) is necessary to the former but not to the latter. But not all artifacts, or ... "

Abstract
This paper compares and contrasts two mosaics depicting Mary and Jesus-one medieval, the other Byzantine. The author discusses their stylistic differences, the severity and stoicism versus warmness and emotion, and examines Christianity as seen through religious art in both societies.

From the Paper
"The Medieval era produced many important art pieces - many of which contained reference to religious figures. Because religion did, in fact, play such an important role in everyday life, religious art abounded throughout Europe . However, depending upon the area of the continent and which religion its inhabitants believed in, artists portrayed similar religious scenes in varying ways. In particular, Byzantine and Medieval pieces contained identical figures or scenes portrayed in very different ways due to the respective religion's influence on the artist. Comparison of two mosaics depicting Virgin and Child will show fundamental stylistic differences between Byzantine and Medieval art."

Tags:art, europe, history, mosaic, religion, Roman, Constantinople, empire, Mary, Jesus