Abstract
This paper discusses Jean-Luc Godard's 1963 masterpiece film, "Le Mepris" which is based on the 1954 novel, "Il Disprezzo," translated as "A Ghost at Noon." It specifically compares the attributes of the character, Camille Javal and the actress portraying her, Brigitte Bardot. The paper suggests that the two women seem to be modeled off one another, relying on their sexuality as a means of power.

From the Paper
"Upon inspection of Godard's Camille, adapted from Moravia's Emilia, and Brigitte Bardot, who portrays Camille in the film, the two women seem to be almost one and the same. Both act and speak in a manner that speaks of their lower-class background. Motivated to advance in financial, social, and professional fields, the women make use of the one attribute that will quickly and effectively help them to reach the top: their sexuality. Camille employs her feminine wiles to manipulate her husband, until sensing that he has nothing further to offer her, she casts him aside. Similarly, Bardot cultivated for herself a "sex kitten" image, by feigning youthful innocence, simultaneously playing up her womanliness."

Tags:sexuality, power, feminine

From the Paper
" Camille
Alexandre Dumas fils (1824-1895) was the illegitimate son of the novelist Alexandre Dumas and a Belgian seamstress. Although his father acknowledged him as his son and for some time they were constant companions, Dumas fils was undoubtedly aware of the social position he and his mother occupied and the limitations of that position. Consequently, a reader is not surprised to find in Camille a sympathetic rendering of the courtesan, Marguerite Gautier. However, Dumas fils also establishes at the outset that he does not intend to excuse the behavior of courtesans. Instead, he merely offers the case of one courtesan who may differ in significant respects from people's usual expectations of a courtesan to demonstrate that courtesans should not be judged too harshly."

Abstract
This paper is a creative history paper that focuses on the history of France and the French Revolution. The writer was assigned to write the paper in the first person, assuming he was living during the time period of the French Revolution. Although creatively written, it is thoroughly researched and historically accurate.

From the Paper
"I was born on November 21, 1815, one day following The Second Peace of Paris. This event unfortunately deprived France of a number of strategic posts in the north and east, and left France in an unfortunate situation, which required the country to pay a war indemnity of 700 million francs, a heavy burden. At this time Louis XVIII was the King of France. My parents had explained to me that it was the bourgeoisie who had been the chief gainers from the Revolution. It was they who had been the largest purchasers of the lands confiscated by the Revolution and, they were now content to live on the revenues of these estates, thus forming a new class of landed gentry. My grandfather, along with my parents purchased large amounts of land during this period. The Loire Valley, is an exceptional area to produce wine- a successful cash crop because it is an area with superior communications, and the wine is easily marketed by river..."

Tags:1815-48, france

Abstract
This paper explains that Claude Monet was the leader of Impressionism; his "Impression: Sunrise" painted in 1872 gave the term Impressionist to this group of painters who followed the style of Eduardo Manet. The author points out that Mary Cassatt, the only American and woman of the movement, painted scenes of people engaged in ordinary daily activities. The paper relates that the last true Impressionist Camille Pissarro inspired Post-Impressionist painters such as Matisse and Cezanne.

Table of Contents
Introduction to the Impressionist Period
Claude Monet: The Movement's Pioneer
Eduardo Manet: The Movement's Inspiration
Pierre-Augusta Renoir: Using the Movement to Move to His Own Style
Edgar Degas: Representing Movement and the Working Class
Mary Cassatt: The American and the Woman of the Movement
Conclusion: Camille Pissarro: The Last Official Impressionist

From the Paper
"Photography was invented in the 19th century. The Impressionist artists wished to bring a new element to art. They wished to show the artist's inner life. They believed that simply showing what existed 'in life' was not enough to justify the further existence of art. The Impressionist movement began in France, the heart of the art world of a late 19th and early 20th century Europe. "Impressionist painting comprises the work produced between about 1867 and 1886 by a group of artists who shared a set of related approaches and techniques. Characteristics of Impressionism were an attempt to accurately and objectively record visual reality in terms of transient effects of light and color." "

Tags:color, provincial, light, paris, arrangement

Abstract
This paper describes the thought process necessary when buying a painting for a museum: "First Leaves, Near Mantes" by Jean Baptiste Camille Corot or "View of Paris from the Trocadero" by Berthe Marie Paul Morisot. The author points out that when buying a painting for a public collection, artistic merits, representation of an important moment in art, a step toward the next discovery, subject matter, painting techniques and what the painting represents both literally and figuratively to the buyer are important.The author, after discussing all these elements, selects the Corot: Corot paints the trees with such strong strokes that it takes but a tiny squint test to see that what he has done in composition alone, and this is prefigure to the abstractions of the century to follow.

From the Paper
"In fact, the Impressionists followed him just about the time Morisot painted Trocadero. She was, in fact, an Impressionist, even if she lacked the notoriety of her brother-in-law, Edouard Manet. (She married his brother Eugene.) Morisot had studied with Corot when she tired of the classical approach to painting. But yet, her subject matter is more like the subject matter of classical paintings than is Corot's.
Morisot has chosen ordinary people, although in a more formal setting than Corot's setting in the glade. Conceivably, from their dress and the fact that the city of Paris and all its cultural attractions is prominently displayed in the painting, these people are less ordinary more noble than those in the Corot work. That puts it a step closer to classical painting."

Tags:plein-air, impressionist, squint-test, step, public

Abstract
The writer looks at four paintings in this paper - "View of Toledo" by El Greco, "Saint-Sever, Rouen" by Camille Pissarro, "Waverly Place" and "Nedick's" by Richard Estes. The writer shows how these paintings encompass not only the artistic ideals of the painters but also show how the genre of cityscape painting has changed over the years, beginning with the early Renaissance style and into the twentieth century.

From the Paper
"The Spanish painter El Greco (1547-1614), born as Domenicos Theotokopoulos in Crete, emigrated to Italy as a young man and was trained in the traditions of Late Byzantine frescoes and mosaics. While still young, El Greco went to Venice where he became attached with Titian and later left for Spain to spend the rest of his life in Toledo. His artistic style is a strong personal blend of Late Byzantine and Late Italian Mannerist elements yet his strong sense of movement and use of light prefigures the Baroque period. As pointed out by Horst de la Croix, "El Greco's art is not strictly Spanish, though it appealed to certain segments of that society, for it had no Spanish antecedents and had little effect on future Spanish painting" (598)."

Tags:toledo, rouen, saint, sever, waverly, place

Abstract
This paper examines three productions of Alexander Dumas' "La Dame aux Camelieas" in their respective social atmospheres. The three versions of Camille that are discussed are by Dumas, Matilda Heron and Charles Ludlam. The paper explores how each version is distinguished by the differing socio-geographical and chronological locations, each questioning different cultural conventions.

From the Paper
"La Dame aux Camelias, by Alexander Dumas, is a critical play in the history of theater. Despite the fact that La Dame aux Camelias has been condemned by critics for having scenes that "are sometimes thin... ragged... and ... out of date" (Archer), among other discredits, the work is still considered to be an indispensable cornerstone in the evolution of realist theater - "although consistently described as a work of inferior artistic craftsmanship, its longevity testifies to its status as a story of superior dramatic interest" (Hamilton). La Dame aux Camelias is a product of many theatrical and literary influences, which include the tight construction of Scribe's "well made" play, the insight of the sociological novelist Honore de Belzac, and the literary devices of melodrama. However, La Dame aux Camelias differs from Scribe's well made play in that it raises the moral thesis of the play -- at most, it is considered "something to be disparaged as a sentimental by-product of the well made play" (Stanton). It is unlike Belzac's work in that his observations are restricted particularly to his own social milieu. "

Tags:camille, marguerite, society

Abstract
This paper examines how the main theme of the impressionist artists was the reflection of personal impression on canvas. The author reviews the work of impressionists Claudet Monet, Edgar Degas, Auguste Renoir, Alfred Sisley, Camille Pissaro and Berthe Morrisot. It concludes that the contribution of Impressionists is invaluable because they set new standards of fine art, which gave birth to other categories of art such as post-impressionism, symbolism, primitivism and modern.

From the Paper
"The father of the Impressionist movement is considered to be Claudet Monet (1840-1926), French painter of the late nineteenth century, who developed new technique when painting French landscapes on open-air. Monet came to the conclusion that a painting "made on the open air, has a unique freshness and liveliness, which is unable to be achieved when working in the workshop", where the theme is preplanned. According to Monet, painter had to change the way he perceives reality by fragmenting it into naive and primitive images, which formed the core of the aesthetic impression. Monet set a new task to the art, to reflect a momentary impression, to picture every moment and every element of objects motion in order to make painting alive."

Tags:monet, pissaro, sisley, morrisot, degas, renoir

Abstract
Claude Monet and Rembrandt van Rijn are fundamentally different in their approaches to painting. This paper explores Monet's fascination with water and Rembrandt's love of chiaroscuro (the interplay of light and shadow) as well as both painter's philosophies on time - Monet often denies the existence of time altogether, whereas Rembrandt often makes the use of time an important subject matter of his work. The paper analyzes two works by Rembrandt - "Madonna of the Cat" (1654) and "A Woman Wading in a Brook" (1654) to show his use of chiaroscuro and his philosophy on time. The paper also discusses works by Monet including "La Grenouillere" (1868) and "Camille on her Deathbed", which show his fascination with water and his belief in art about art, rather than about reality.

From the Paper
"Rembrandt's concern with experience and reality is inherent his work. In his etching of 1654 of Madonna of the Cat, he shows a scene which is full of meaning, and thus time and experience. There is a paradox in the scene itself involving the interplay of light and shadow, which is quite often the case with Rembrandt's work. In the center of the etching, Mary is shown cradling Jesus in her arms. Traditionally, the pair is shown with a halo surrounding the fontanel. Rembrandt's etching seems to do this, although in actuality what appears to be a halo is simply sunlight filtering though the window. In this context, he places Mary and Jesus in shadow, instead of in the light, which one would expect in a Christian scene. He suggests a more Protestant view of experience, in which shadow becomes a metaphor for ambiguity, everyday experiences, and the placing of the divine on a more human level. He suggests his belief that God is dwelling on earth among the normal, everyday people, rather than in the brilliantly lit skies of Heaven. This in and of itself is opposite from what the Greeks believed in."

Tags:conceptions, Bennecourt, Seine, Courbet

Abstract
This paper summarizes and analyzes Godard's film about the deterioration of a marriage between Paul Javal, a French writer and his wife Camille.

From the Paper
"So eager is Paul to succeed, that he sells his soul to the devil, so to speak, and accepts the task of fixing a script for the American producer, Jeremy Prokosch, played by Jack Palance. The screenplay he has been hired to fix is by Friz Lang, who plays himself as writer and director of an adaptation of Ulysses. The film, being shot at Rome's Cinecitta studios and the Isle of Capri, is suffering due to Prokosch's over-bearing interference."

Tags:michel, piccoli, hack-writer, italian, movies, american, producer, jery, prokosch, jack, palance