| Papers [1-15] of 1798 :: [Page 1 of 120] | | Go to page : 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 —> | |
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Digital Black and White Photography, 2008.
An analysis of the history of digital photography and a comparison of its results with those of analog cameras, focusing on black and white developments.
1,353 words (approx. 5.4 pages), 7 sources, MLA, $ 45.95
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Abstract
This paper argues that digital cameras are better than analogue cameras. Specifically, the paper looks briefly at the history of digital photography, at its utility in matters such as record-keeping and crime-fighting and at some noteworthy instances of digital photography producing impressive and compelling works. Finally, the paper looks at all of the various reasons why it may be said that digital black and white photography is better than analog black and white photography.
From the Paper
"More than that, the technology that makes digital black and white photographs possible always runs the risk of becoming obsolete. For instance, the old Epson 2200, 7600, 9600 printers have been pushed aside by Epson Stylus Pro 4800, by the Epson Stylus Pro 7800, and by the Epson Stylus Pro 9800 (FLAAR Network, para.8); simply put, unlike the fairly low-maintenance prints rendered by analog cameras, the "splashy" digital B&W prints of today place photography enthusiasts in the uncomfortable position of seeking out new technological tools that have a (quite literally) a built-in obsolescence factor. Be that as it may, though, most photographers will gladly accept this trade-off if it means the chance to be more creative."
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Group of Seven, 2008.
An analysis of how the artwork of the Canadian landscape painters known as the 'Group of Seven' is shaping Canadian national identity and landscape.
1,862 words (approx. 7.4 pages), 9 sources, APA, $ 59.95
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Abstract
This paper examines the 'Group of Seven' and their relationship to the modern Canadian national identity. The paper examines the criticism of this traditional identity created by the art works and discusses how artists since then have followed, but also subverted this tradition. The paper suggests that the 'Group of Seven's' representations of Canada's wilderness in their paintings have became too 'traditional', that is to say rather than represent Canada, they are now used to construct and shape Canada and its landscape to resemble the paintings.
From the Paper
"The Group of Seven aimed at developing a truly Canadian artistic expression. In order to achieve this they turned towards Canadian landscape and wilderness as a source of inspiration. However, what they managed to develop an image that is only partially Canadian. The fact that they erased an important part of it, and thus helped developed an incomplete image of their country is the direct result of absence of aboriginal elements in their work. By this, I do not only mean a presence of aboriginal people and their lifestyle documented on the landscape paintings. The closed mind to the influence of traditional aboriginal culture is also obvious in the opus of Group of Seven. The truly Canadian artistic expression and the painting of Canadian wilderness cannot exclude the Native peoples. As such it should be the blend of the Western ideas with traditional culture. Some have argued (Campbell, 2003; Jessup, 2006) that the aboriginal art has bended under the influence of the settlers' art more than vice-versa, a fact that is a reflection of colonial policies and trends as shown in the examples of photographs. The line where the settlers and native culture mixes is the true source of images of Canada of that period. The neglect of the aboriginals and their culture in artistic presentation of wilderness has wilder connotations. Their culture is underrepresented in the Canadian museums and galleries. Considering that modern Canada is a multicultural country, continuation of this trend can once again paint a different Canadian Landscape."
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Shelley and Romantic Beauty, 2008.
An analysis of the ideology of romantic beauty in "On the Medusa of Leonardo Da Vinci in the Florentine Gallery" by Percy Bysshe Shelley.
1,854 words (approx. 7.4 pages), 6 sources, MLA, $ 59.95
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Abstract
This literary study examines the ideology of romantic beauty in the poem "On the Medusa of Leonardo Da Vinci in the Florentine Gallery" by Percy Bysshe Shelley. The writer notes that the central theme of romanticism that arises in this poem focuses on the dark and terrifying Grecian mythological creature Medusa. The writer maintains that for romantic poets such as Shelley, there was a concerted effort to represent feminine beauty and grace through the veil of darkness or death in this poem about Da Vinci's famous painting. In essence, the premise of death and decay is the central element of romantic beauty in Shelley's poem about Da Vinci's depiction of the terrifying Medusa.
From the Paper
"This critical perspective is one key aspect for understanding why Shelley saw beauty in this terrible creature--through the lens of mythological history and the victimization of Medusa at the hands of Minerva and Neptune. In this manner, the basis of romantic beauty hinges on the darkness of humanity, which invariably will produce a cycle of life. For romantics like Shelly, this cycle of death and decay is an essential part of life that illuminates the beauty he sees within Da Vinci's Medusa.
"The evolution of the poem further builds upon the beauty of Medusa as a seductive woman figure that seeks to bring down any man that comes within her grasp. Shelly is keen to point out her horrifying appearance, but it is her inner 'grace' that defines her beauty through the image of death and decay that seduces men .."
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Three Baroque Artists, 2008.
A discussion of three artistic styles - Catholic, Protestant, and academic art - that show different aspects of the artistic concerns of the Baroque era.
876 words (approx. 3.5 pages), 4 sources, MLA, $ 31.95
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Abstract
This paper examines different styles within the Baroque era focusing on three major types: Catholic, Protestant, and academic art. The paper then discusses an example of each type of artistic style. The first is Dutch art of the Protestant Reformation, best represented in the works of Rembrandt van Rijn, especially his important work the "Christ Preaching". The paper explains that the second painting is representative of the Catholic Counter-Reformation, embodied in the work by Jacopo da Empoli called "Three Maries at the Tomb" (1570s). The paper then points out another style that is identified with academic traditions in Italy and France, with examples shown in classical, academic landscapes and allegorical personifications, as in Giovanni Battista Passeri's "Musical Party in a Garden" from the 1640s, oil on canvas. The paper further explains that this differs in that there is no religious iconography or scriptural subject matter in the scene described by the title, set on the outskirts of Rome. The paper concludes that religion was an inspiration and a subject matter, and the particular theological background of the era contrasted Protestant and Catholic images, often of the same biblical passages, and that the academic interest was more in the formal structures of art.
From the Paper
"The religious subject matter is common in the Baroque era and is treated here in a rather formal style. Rembrandt was noted for his etchings and his drawings, and they are noted for their spontaneity and immediacy. He used drawing first as a means of studying the visual world and of storing motifs for use in paintings and etchings. More than this, though, he saw drawing as an art for its own sake. His draughtsman ship was marked by linear and tonal accents such as are seen in the Self-Portrait and again in Christ Preaching, with both marked by the careful formation of tonal accents, seen here especially in the clothing worn and in the relationship among the numerous people in the audience and Christ, standing in the center of the frame with hands raised as he explains some concept to the throng."
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"Criticism and the Public Arts", 2008.
This paper defends the course "Criticism and the Public Arts" as a beginning point in understanding how to apply academic methods of study to all aspects of art and communication.
2,140 words (approx. 8.6 pages), 9 sources, MLA, $ 66.95
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Abstract
This paper explains that "Criticism and the Public Arts" is a course that talks about art in society and about what is and is not accepted in society. The author points out that these issues need to be given a stronger academic treatment because the subject matter is not what decides whether a course of study is sufficiently rigorous but rather the methodology applied. The paper relates that a critique of public art is not merely a compendium of what one likes or does not like but instead necessarily includes an assessment of the appropriateness of the public art and of the complexities of communication. The author stresses that public art involves a number of decisions that can be characterized in theoretical terms and analyzed empirically as part of the process of developing an applicable theory.
From the Paper
"Critic Ruth Slavin begins by considering the writing that supports public art, noting that it stresses two different but complementary ideas: 1) public art is considered to stand in a direct, unmediated relationship with the audience; and 2) public art is seen as an exercise in cultural democracy. Slavin is clear about the supposed result of this as she writes that "the placement of art outside the normal venues of the gallery and the museum becomes an important tool for enlarging the possibilities for participation in the fine arts." However, Slavin further finds these to be "liberal good intentions" often faced with "public incomprehension and hostility."
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Modern Motion in Futurism, 2008.
A study of the theme of modern motion in the paintings "State of Mind: The Farewells" by Umberto Bocking and "Cosmic Flora" by Paul Klee.
750 words (approx. 3.0 pages), 2 sources, MLA, $ 26.95
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Abstract
This paper examines the nature of modernity in motion within the futurist movement at the turn of the 20th century. By analyzing "State of Mind: The Farewells" (1911) by Umberto Bocking and "Cosmic Flora" (1925) by Paul Klee, the paper shows how the works present both an organic and industrial representation of the fast movement of technological developments, which provide a distinct sense of motion through composition and objective technique. The paper concludes that, through their desire to capture the quickening tempo of advancing technology and rapid development, these painters took an abstract and progressive view towards motion in composition, in which modern motion became the axis of human progress.
From the Paper
"Another advocate and inspiration of the futurist movement was Paul Klee, as his compositions also provide a varied set of modern motion that provide a more organic variety of this style. In "Cosmic Flora" Klee shows a set of tiered expressions of the movement of life in 'cosmic' framework, very much like a set of parallel filmstrips in a moving picture. The different aspects of floral and landscape arrangements act as a similar stylistic that was to be used as a vehicle for motion in futurism. Other artists such as Egon Schiele and Franz Marc used this type of motion that provides a framework for motion in relation to space. Klee's attempt to show an abstract point of view of movement in a cosmic setting is also similar to Boccioni's "The City Rises", which provides the idea of modern urban people as a blurred and nearly incomprehensible set of objects that are restless and constantly active. With the 20th century technological advances making rapid progress, Klee is representative of a more organic type of futurism that expressed movement in the fluidity of modern motion (Klee 31), but without the industrial aspects of Boccioni's works. For Klee the major difference between his own organic motion and industrial motion are the only aspects of differentiation that do not bind him to the futurist movement of Boccioni's "State of Mind: The Farewells.""
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Art as Propaganda, 2008.
This paper discusses the use of art in politics within the American society.
2,938 words (approx. 11.8 pages), 8 sources, MLA, $ 86.95
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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."
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"Bridge at Argenteuil", 2008.
A look at the Impressionistic innovations of Claude Monet in the "Bridge at Argenteuil".
733 words (approx. 2.9 pages), 3 sources, MLA, $ 26.95
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Abstract
The paper analyzes the facets of the impressionistic style in the "Bridge at Argenteuil" by Claude Monet. The paper describes how the "Bridge at Argenteuil" is an innovative landscape that creates new ways to interpret color and light through the stylistics of Monet's impressionist approach.
From the Paper
"Claude Monet painted The Bridge at Argenteuil in 1874, further innovating new insights into how impressionism would evolve in light of the classical realism as a dominant art style of his era. The clarity of form through Realist objectivity (the major influence of scientific thought) in many European works--especially those in Great Britain--was a major cultural opponent of Monet's painting style and unorthodox use of color and lighting. In the painting, Monet applies a series of short brushstrokes that result in a choppy formation of various colors, such as green, browns, and blue that build upon the reflection of the bridge, the sky, and the boat on the water."
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The "Pieta", 2008.
An analysis of the pyramidal aspects of Michelangelo's "Pieta" and the Christian iconography of the Holy Trinity within it.
1,125 words (approx. 4.5 pages), 4 sources, APA, $ 38.95
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Abstract
This paper presents a formal, iconographic and historical analysis of the "Pieta" by Michelangelo. It defines the pyramidal aspects of the sculpture's composition and the Christian iconography of the Holy Trinity. It also looks at the historicity of the piece as it relies on classical and natural stylization that were in line with Michelangelo's humanist perspectives for Mary after Jesus was crucified.
From the Paper
"This aspect of critical commentary is revealed through the objectives of Michelangelo to create a sculpture that would echo the divine nature of Christ, yet with the humanist values of naturalism that he espoused in depiction of human relationships. The divine nature of Christ and Mother reflect the unity of religious vision with Mary sorrowfully looking down on her dead son, yet they are both keenly aware of the significance of the Passion and the Crucifixion. This aspect of the iconography of the sculpture dictates the human suffering involved in Christi's life on earth, yet with the divine serenity of peace on his face with the realization that he has fulfilled his promise to humankind (Hibbard, 1985, p.270). This is the humanist Christian iconography that emulates a divine relationship between mother and son, but not without the deified presence of Christ fulfilling his redemption of sin for humankind by his crucifixion."
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Language and Culture, 2008.
This paper compares two articles on the cultural significance of language; "Decolonizing the Mind" by N'gugi wa Thiong'o and the "Intellectual Savage" by Jamake Highwater.
1,088 words (approx. 4.4 pages), 0 sources, $ 37.95
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Abstract
The paper examines two articles, "Decolonizing the Mind" by N'gugi wa Thiong'o and the "Intellectual Savage" by Jamake Highwater. The paper explains how the articles discuss how language becomes the means through which a cultural reality is transmitted, thus controlling language is one means by which colonial usurpers can control self-imagery and self-awareness. The paper is of the opinion that both articles do a commendable job of highlighting the inter-relationship between language and culture.
From the Paper
"In her article, "Decolonizing the Mind," N'gugi wa Thiong'o writes about her childhood speaking Gikuyu in her native Africa. In particular, she devotes time to recollecting how, as a small child, she listened to tales about how the weak hare could outwit the beasts of prey - the lion, the leopard, and the hyena - and stay alive in a hostile world. Not to be overlooked, she comments at length upon the different types of human beings who emerged in anthropocentric tales and how some were cruel, selfish and opposed to all that might foster a stronger community, and how others were kind, giving and individualistic; in assessing the narrative, it is evident that Ngugi wa Thiong'o is comparing the beasts of prey with colonizers eager to take over her native land. More than that, those stories impressed upon her the power of language - its cadence, rhythm, inflection, its suggestive power - and how language could bind a community together. Later though, this harmony would be broken when Englishmen took over the school system and made it a serious penalty for any child to be speaking the native Gikuyu language instead of the alien, oppressive English of the colonizers."
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The Metropolitan Museum of Art, 2008.
An overview of the Renaissance exhibition at the Metropolitan Museum of Art.
724 words (approx. 2.9 pages), 3 sources, MLA, $ 25.95
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Abstract
This paper discusses how the special exhibits at the Metropolitan Museum of Art serve an important role in the storytelling of social, political and art history. In particular, it looks at how the special Renaissance exhibition tells a fascinating story of religious and intellectual enlightenment, and provides patrons with a glimpse of Renaissance tastes, fashions, standards of living and way of life. It examines how the artwork of Fra Angelico and the special exhibit on Renaissance tapestries provide a great deal of knowledge and insight on Renaissance artist influence in religion, society and affluent tastes.
From the Paper
"Angelico's famous pieces The Nativity and The Virgin of Humility are displayed at this exhibit. The works are very powerful, using bright colors to emphasize the birth of Jesus, angels rejoicing from above, and the Virgin Mary cradling Jesus. The pieces individually show Angelico's devotion to the Catholic Church, with symbolism fairly common within the paintings. However the paintings also portray to the viewer the saintly respect provided to the acquaintances of Jesus, especially the mother Virgin Mary. "
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The Negatives of Gentrification, 2008.
This paper argues that the negative consequences of gentrification should be considered before any changes to a site or a building.
1,994 words (approx. 8.0 pages), 5 sources, MLA, $ 63.95
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Abstract
The paper looks closely at "Fort Thunder", a community in Rhode Island that ceased to be a thriving artistic area when city-planners and architects decided that it needed to be brought more in line with modern aesthetic sensibilities. The paper maintains that those who are looking at "refurbishing" an urban site should take into account the history of the site and whether the changes will take away more from the local community than any structural improvements might give back to it.
From the Paper
"To begin with, it must be understood that the Fort Thunder community was not simply a meeting-place for local bohemian, artistic types; it was also an enormous milling operation at one time. To elaborate a little further, 1842 saw a gentleman named John Giles found Valley Worsted Mills on the location; the operation was one of the earliest worsted mills in all the United States. 1866 saw the impressive operation stricken by a catastrophic fire that destroyed the main mill. Despite this set-back, Giles immediately set upon building a new structure and the revamped mill site - now including further additions - soon became enormously profitable; indeed, by the 1890s it was producing 100,000 pounds of worsted yarn per month. Sadly for the employees of the mill, all good things must invariably come to an end and the twentieth century saw a gradual decline in the demand for the mill's products. In 1928, the American Woolen Company (which had taken over the mill in 1899) relinquished the property and the plot was (after three years had elapsed) sold to a local realtor who in turn leased the space to a variety of other businesses - including textile companies ("Eagle Square, formerly Valley Worsted Mills: History," para.1-3)."
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A Geisha Art Display, 2008.
This paper describes an art exhibit that will show the importance of Geisha to the Japanese culture.
822 words (approx. 3.3 pages), 6 sources, MLA, $ 29.95
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Abstract
The paper explains the importance of Geisha to the Japanese culture. The paper explains that Geisha means "a person of the arts" and the typical geisha was adept in flower arranging, calligraphy, music, dance, and the unique Japanese tea ceremony. The paper describes the art exhibit that will include the Kimono traditional clothing, Ikebana (flower arranging) and Japanese calligraphy. The paper relates that visitors to the art exhibition will leave with a clear understanding of geisha's striking contrast with the reserved nature of the regular Japanese culture. The paper includes images of the Kimono clothing, flower arranging and Japanese calligraphy.
Outline:
Geisha Art Display
The Art Pieces
Kimono
Ikebana
Calligraphy
From the Paper
"To understand the importance of Geisha to the Japanese culture as well as its significance within that culture, one must first understand Japanese culture. Within Japan the Japanese language epitomizes the culture with its emphasis on order and structure while such aspects as clothing, epitomized by the kimono which means literally "something that is worn" are widely seen within the culture as the ideal of Japanese garments (Sugimoto 43). Additionally, Japanese culture takes art forms such as painting, wood block prints, and especially calligraphy based on Chinese characters and makes of them a highly stylized, abstract art form. Yet, Japanese are, in their daily lives, quite reserved and adhere to strict social mores regarding behavior, speech, and a high regard for social order (Sugimoto 14). Thus, it can be imagined that where the typical historical Japanese woman might be reserved and less forward in not wanting to bring attention to herself geisha became a highly stylized representation of the Japanese woman. That is, without the social constraints of folkway and mores that barred traditional Japanese women from self-expression, geisha might be thought of as the unconscious expression of how many women, and men, conceived them to be."
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Painting Madonna and Child, 2008.
This paper analyzes the formal, iconographic, and historical themes in the work 'Madonna and Child' by Duccio di Buoninsegna.
1,162 words (approx. 4.6 pages), 5 sources, APA, $ 40.95
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Abstract
In this article, the writer discusses the painting 'Madonna and Child' by Duccio di Buoninsegna. The writer notes that the Italian formalization of the Gothic style was implemented within the medium and stylistics of this medieval painting. The writer points out that Buoninsegna's style was part of the Sienese School, which held to the non-passive dictates of religiosity within the Christian iconography in the 13th and 14th centuries. The writer maintains that Buoninsegna was influential in creating a non-passive baby Jesus, which helped to transform the way that the Madonna and Child had been perceived earlier in Christine art. In essence, the formal, iconographic, and historical facets of 'Madonna and Child' by Duccio di Buoninsegna are analyzed in this study.
From the Paper
"The medium of the painting is the common usage of tempera on wooden panels. In the late medieval style it was common to use this form of paint to help bring about a lush and thick layer-based type of paint to bring out the varying contrasting hues. Also, the painting uses gold to help bring about the divine sunlight or religious light of Jesus, as he is reaching toward his mother's face. Mary is draped in a black gown as she looks down upon her divine child. Gold inner-fabric is surrounding her face, as the artist is clearing defining a demarcation of her face in contrast with her dark hood, as she is gazing downward in majesty. The composition has Mary centered in the painting, but has the baby Jesus set off the lower right side."
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American Art, 2008.
This paper analyzes the American paintings and sculpture exhibition at the Metropolitan Museum of Art.
875 words (approx. 3.5 pages), 3 sources, APA, $ 31.95
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Abstract
This art study examines the American paintings and sculpture exhibit at the Metropolitan Museum of Arts in New York City. The writer notes that the exhibit is formulated around a three-fold objective: portraits, landscapes and sculpture for early American history. The writer maintains that by examining one piece from each of these sections of the exhibit, there can be a diversified analysis of how the pieces are placed into the overall framework of the museum. The writer concludes that these American art exhibits represent a historical view of early American history and stylistics.
From the Paper
"The historical perspective of this painting is recreated in a fictional pose for Washington and his solders as they cross the Delaware to surprise their British and Hessian enemy. This was an important point during the revolutionary war in which Washington gained a growing national and international support for the cause for independence. This aspect of the exhibition directly relates to the patriotic symbolism of the gallery, as it is representative of a collection that define American historical context. The painting is 149 x 255 inches and is placed within one of the large gallery rooms. The need for this is accentuated not only in its size, but for the centrality of its importance for the historical forum that the Metropolitan Museum of art is presenting. This painting is properly placed in the overall architecture of the northeastern part of the Met, since it allows a wide range of visibility and composure for the viewers to understand the crucial place this painting holds in American art history."
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