Abstract This paper explains that art is an aesthetic object that is created by skill and imagination, while decoration is defined by its function as an ornament. The author points out that when looking at the aesthetics of art in the individual home it is important to consider that art can also exist as a decoration. The paper concludes that the private world of art can take many forms, from the purely individualistic approach of the young person's home to the collaborative approach of the older couple who have lived together for many years.
From the Paper "The function of the home is diverse, and this is an important consideration for many individuals when they choose decorative and artistic elements for their home. For example, the use of the washroom for showers makes it difficult to store objects that are easily damaged by water in the bathroom as a work of art. Further, many decorative objects may be chosen more for their functional aspects than their artistic or decorative function. For example, clocks may be chosen based on large hands for easy viewing, rather than simply for their aesthetic value."
Abstract This paper begins with a look at what sparked the great interest in Orientalism beginning with the 19th century and continuing until the 1930s. The paper also describes the influence that Orientalism had on American tastes in decorative arts and explains that this interest in Orientalism was no doubt encouraged by the opening of the Suez Canal which had the effect of providing artists with abundant and seductive new motifs for their work.
From the Paper "Although Bonaparte had had the idea years earlier, it was in 1854 that the French diplomat, Ferdinand de Lesseps persuaded the Viceroy Said of Egypt to grant him the concession to cut a 100-mile long canal across the isthmus of the Suez. DeLesseps had cultivated the Viceroy Said even when the Viceroy was a young man and De Lesseps was the French ambassador to the Egyptian court" (African Business 2003, p. 64). "The creation of the Suez Canal captured the imagination of people around the world, and its opening in 1869 was a party to end all parties. As the champagne flowed, it was hailed as a symbol of progress that would serve to unite the world. You might even call it one of the first adventures in globalization-an infrastructure project designed to strengthen links between Europe, East Africa, the Middle East and the Orient" (African Business 2003, p. 64). In hindsight, of course, it did not work out as the great peace- and commerce-maker some may have had in mind."
A overview of three different approaches to modern feminist art under the categories of "The Body Politic", "The Body Social" and "Decoration vs. Abstraction".
2,400 words (approx. 9.6 pages), 6 sources, 2002, $ 89.95
Abstract This paper will examine three general approaches in modern feminist art by three feminist artists. It will be argued that these feminists assume radically different perspectives with regard to their mediums and objectives. Under the general categories of "the Body Politic" (feminism and politics), "the Body Social" (representations of the human body as a site of conflicting social values) and "Decoration vs. Abstraction" (hierarchical double standards with regard to "male" abstraction and "female" decorative arts), it will be shown how these differences in part reflect the shifting phases of modern feminist art, but more importantly signify the diverse multiplicity of modern feminist art.
Abstract This paper explains that Roland Barthes relates that the knowledge a viewer needs to understand the meaning of the image is bound up with perception and association, intangible and fluid cultural products, rather than with the stable carriers of meaning that constitute language. The author explores two Netherlandish paintings using this theory: "Still Life with Fruits and Flowers" by Balthasar van der Ast (late 1620s), which is in the Norton Simon Museum, Pasadena, California, and "Banquet Still Life" by Abraham van Beyeren (1667), which is in the Los Angeles County Museum of Art, Los Angeles, California. The paper concludes that these still life paintings immediately present the viewer with two layers of potential meaning: The decorative and the symbolic, with the latter very often embodying religious messages.
From the Paper "Van der Ast's painting has as its focal point a large shallow bowl filled with fruit, partially encircled by a ring of fruit, shells, insects and other objects, while on the left of the picture is a glass jar containing flowers. Flowers and fruit possessed a particularly wide range of significance, as well as being regarded as attractive objects in their own right, and accordingly they are often found in still life paintings of this period. On an aesthetic level the image is an appealing one, with a balanced but lively composition, depicting attractive objects, and providing the eye with a variety of textures and colours. This aesthetic level of appeal is itself a carrier of meanings - that such an image, of such content, was seen as appealing in the society of its time itself tells us something about the symbolic as well as the directly artistic nature of this image. It is a painting of goods rather than people, produced in a commercial society, and as Richard Leppert has observed, "still life's attention to goods - possessions, things one could 'have' and by having in part define oneself -guaranteed its popularity with and significance for an audience of principally rich buyers". The nature of this type of art, the "time-consuming, meticulous work" that such elaborate pictures demanded, was expensive and thus in itself symbolized wealth. The physical nature and appearance of the painting is thus tied to the layers of meaning that can be excavated below its surface."
This paper discusses the continuity of technique and style in traditional sculpture, from Antiquity to the Baroque and Neo-Classical periods, specifically in the sculpture of Italians Gianlorenzo Bernini (1598-1680) and Antonio Canova (1757-1822).
Abstract This paper explains that the mythical antique sculptures initially seem to have more features in common than differences with those of Bernini from the Baroque era and Canova from the Neo-classic era; but, upon closer examination of Bernini's 'Apollo and Daphne' and Canova's 'Cupid and Psyche', they are steeped in the attitudes and values of their own periods. The author points out that Bernini's 'Apollo and Daphne' reflects the religious emotionalism and exuberant decorative richness that spread all over Europe from Rome, while Canova's 'Cupid and Psyche' demonstrates the fusion of Christian values and Eighteenth century sensibility. The paper relates that, in classical art, the greatly prized qualities of nobility, grace, beauty, supreme physical strength, virtuosity and heroism is expressed in sculpture: Bernini and Canova seem to use the Antique period as an inexhaustible source of human qualities and emotions.
From the Paper "Bernini's 'Apollo and Daphne' exemplifies sculpture from the Baroque period, and Canova's 'Cupid and Psyche' is a prime example of Neo-Classical sculpture. The very title 'Neo-Classical' suggests a strong identification with ancient art, but the movement was perhaps more of a reaction against the Baroque style. It sought to combine Christianity with the general sentiments and principles of the time. The Neo-Classicists condemned Baroque art for its excessive detail and lack of 'meaning'. John Flaxman once criticised the extravagance of Baroque sculpture, describing it as all about 'twisted heads, full bodies, fluttering draperies; all wrists and ankles and bombastic attitudes'. In comparison to Bernini's Daphne and Apollo', Canova's 'Cupid and Psyche' is an unadorned sculpture."
Abstract The paper notes that the Italian Renaissance is often thought of in terms of humanism and landmark high art as it influenced the next chapters of European art history. This paper argues the importance of Muslim influence, notably in everyday and decorative items and arts that were most important to what happened in Italian centres whose material cultures were more Eastern than we might imagine.
From the Paper "The Italian Renaissance is often studied for its humanism and its famous paintings. Less time can be devoted to everyday practical items or the decorative arts, that were also shaped by diverse influences reaching Italy. Rosamond Mack wrote on Italian trade with Muslim societies that it brought much change to Renaissance ceramics, glass and textiles and again, noting the importance of what can be quite ordinary decorative articles. (2001) Islamic cultures were declining by the 15th century, by which time the arts in Italy were flourishing."
Abstract The paper explores how minimalism can create a new direction in the interior design field and how interior design and minimalism will complement each other. The paper examines how minimalism in interior design would be marketable and how this type of interior design would work for a commercial setting. The paper discusses how the 'Minimalist' method holds great promise for interior decorators in applying their talents as well as in gaining work due to the lower costs involved. The paper also reveals that the marketability of minimalism in today's world market holds great promise in today's environmentally-conscious world.
Outline:
Objective
Introduction
Interior Design and Minimalism in a Working Relationship
Minimalism and the Creation of a New Direction of Design
Marketing Minimalism in Interior Design
Minimalism in Commercial Interior Design
Summary and Conclusion
From the Paper "The first step in attempting to research and ultimately answer the questions posed in this research is to apply a definition to specifically what is meant by Minimalism in Interior Design. According to Gilbert Brownestone, a curator in Palm Beach, Florida and Paris: "Minimalism is simple to the point of complexity...It evokes a spiritual response from the viewer." (Kim, 2003) The definition applied in the edict of Mies van der Rohe is: 'less is more', Minimalism in architecture is a working method in which aesthetic force and capacity are employed to create an effect that astonishes without the aid of superfluous elements. Its essence ...and its intention is to accommodate life simply but beautifully." (Minimalist Space, 2006)"
Abstract The paper explains the origin of the word tattoo and its decorative, spiritual and identifying purposes. The paper portrays the long standing negative associations with tattooing and then goes on to relate that the practice has recently begun to make a comeback in the United States and in Europe. The paper also explains that this is in response to the acceptance and appropriation of tattoos into the white middle and upper classes.
From the Paper "Tattoo is a word which carries both stigma and history. The actual practice has been around for thousands of years. Throughout our own history, the practice of tattooing has survived waves of popularity and disapproval. The actual word has its original origins in Polynesian onomatopoeia. Despite hundreds of years of having a negative connotation, tattooing has made a come back in modern times. Over the past thirty or so years, tattooing has begun to regain its position within the structure of society due to its acceptance into mainstream white middle class culture beginning in the 1970's."
Abstract In this article the writer notes that for many years, glass work has been considered a beautiful craft form, mostly used in pieces as decor or an element of design. The writer discusses why has it been that for so many years, glass has been singled out in this way, even to its exclusion over such sculptural and less beautiful materials such as bronze and stone. The writer discusses the relegation of glass to the field of decoration, craft and design rather than that of fine art. In addition, the writer explores the elements which are necessary for sculptural works to be considered fine art. The writer examines what the recent explosion of interest in glass work has done to improve the image of glass as an art form. Ultimately, The writer looks at who defines the difference between art and craft - whether this is the artist, the critic or the viewer.
Introduction
Background - Definition of Art
Discussion
References
From the Paper "Such a weighty question probably lies beyond the boundaries of a paper such as this, so for the answers to this question we shall look to the ages and describe on how art has been defined in the past. Robert Collingwood, in his seminal work The Principles of Art made what is probably still considered to be the clearest definition of art. To Collingwood, art was the expression of emotions, and lives in the realm of emotion. Collingwood believed that the expression of emotion via art was a process which moves slowly from the hidden and vague to that which is explicit and clear. To Collingwood, art was the process of exploring emotions, which live within the subconscious of the artist and are not known to the artist beforehand. Collingwood was able to discern art from craft in that he believed that in crafts, the works man, the salesman knew before even the initiation of the project what emotion is being evoked, and that craft is then more calculating and deliberate in it's manner of arousing an emotional response. Ayn Rand also expressed theory surrounding art in several of her essays."
Abstract This paper explains that Francois Auguste Rene Rodin, born in 1840, was first introduced to sculpture at the Petite Ecole but was not admitted to the prestigious Ecole des Beaux-Arts. The author points out that, unlike many of the famous artists, he didn't suffer from mental disorders, psychotic episodes or disturbing familial relationships. The paper relates that for most of the two decades after school, Rodin was a craftsman and ornamenter, producing decorative objects and architectural embellishments. The author states that, in 1864, Rodin submitted his first sculpture "The Man with the Broken Nose" to the Paris Salon, noting that it is this particular sculpture that Rodin's break from traditional classical sculpture begins to delineate. The author further explains that Rodin's unconventional approach emphasized texture and the emotional state of the subject;while classical sculptures were decorative, thematic and highly idealized the human form.
From the Paper "Rodin's experience in Italy was so profound that he returned home to complete work on his first life size nude--"The Age of Bronze", inspired by Michelangelo's "Dying Slave". Rodin wanted to get his major work just right; Auguste Neyt explained the process, "I had to go through all kinds of poses every day in order to get the muscles right. Rodin did not want any of the muscles to be exaggerated, he wanted naturalness." In attempting to achieve the perfection he longed for, "he wanted to understand the fundamental difference between volume, plane and contour.""
Abstract In this article, the writer notes that the city Jerusalem is one of the most venerated holy locations in the world and that not only Christianity and Judaism, but also Islam has many venerable sites of worship within the city. All three major religions in the world are therefore focused upon this city in the religious meaning of their worship. The writer points out that as such, The Dome of the Rock is an edifice that carries important meaning for the Islamic religion. The building is also however the focus of many different interpretations in terms of both iconography and purpose. The paper considers these in light of the building's history and mosaic decorations. The writer concludes that the majesty of the structure of the Dome of the Rock, along with the significance of its artistic decoration surpasses the boundaries of culture. Indeed, the very fact of its intercultural influence indicates the Dome's significance to a widely intercultural audience.
Outline:
History and Purpose
Iconography and Meaning
From the Paper "According to Martin Gray, the history of Jerusalem itself is strongly integrated with the Dome of the Rock. The city saw a brief period of Persian rule, after which it was captured by the Muslim Caliph Umar in 638. Wanting to establish Islam in the city, the ruler first built a small mosque on the Temple Mount. The Dome of the Rock, according to the author, was basically a reaction to the majesty of the Christian structure, the Church of the Holy Sepulchre. In constructing the more spectacular Dome of the Rock as a place of worship for Islam, Arab conquerors had a two-fold purpose in mind: first, to proclaim the supremacy of their religion, and secondly to discourage new Islam adherents from converting to Christianity. In other words, the builders wished to ensure that their manifestation of earthly wealth and majesty surpassed that of Christianity."
Abstract An analysis of the Maltese home as a reflection of the image of the people. The author investigates the symbolic meaning of the rooms, how they are built and decorated to explain the Maltese culture.
From the Paper "Definition of the image and meaning of the house can help explain the differences between cultures: Homes are a reflection of its inhabitants and collectively they can form the image of a people. The Maltese home is the center of life for many a housewife. The concept and application of women's emancipation have still to make an impact on a large number of the women in Malta, many of who still feel that the main purpose in her life is to provide a good home for the requisite husband and 2.4 children. The Maltese housewife is still, as a rule, the queen of her castle and woe betide anyone who may sully her doorstep!"
Abstract A paper on the Aesthetic movement and it's implications in art, design, literature, architecture and interior decoration. The author examines how the aesthetic movement influenced changes in the above.
From the Paper "Aesthetics is the name given, since classical times, to the study of beauty, the nature of the beautiful and what defines it. Aristotle asserts in his Poetics, that beauty is the mean between two extremes. As a modern discipline, Aesthetics began in the mid 18th century with the writings of Baumgarten, followed by a host of other German writers whose new take on classical art was a major inspiration for the neo-classical movement. In England, by the 1870s the powerful intellectual concept of aesthetics became associated with the esoteric cult of beauty."
Abstract In this paper the author looks back in time to the origins of writing and notes and shows that there is new archaeological evidence to suggest that the cuneiform system of writing existed even prior to the Sumer. The author then moves on to examine Egyptian forms for writing and various Semitic languages.
From the paper:
"More than 300 clay tablets with a variety of images on them have already been discovered by Dreyer. Among the symbols found on the tablets are scorpions with trees, scorpions with plants, stylized birds, dogs and fish and various other decorative plant-forms".
Abstract This essay discusses the history of women in the Middle East. The author examines this from the rise and fall of pre-Islamic matriarchal society, and concentrates on the status and role of women through the birth of Islam to the Umayyad and Abbasid Empires.
From the paper:
"Women were considered of equal, if not higher status than men in many pre-Islamic societies, they were matriarchal. Catal Huyuk, a Neolithic settlement from around 6000 B.C.E. is one example of a culture where there is strong evidence showing that women were of such status. Leila Ahmed also claims that studies of the region have showed that "Supremacy of a goddess figure and elevated status of women were the rule rather than the exception"? According to Ahmed, ruins were found to have women in the larger burial platforms, and paintings and decorations mostly consisted of female figures."
Tags: abbasid, ite, kharijite, qarmation, shi, umayyad, culture, figure, islam
