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The History of the Kylix, 2006.
This paper details the correlation between the kylix, a shallow stemmed two-handled drinking cup of ancient Greece and Greek mythology.
1,774 words (approx. 7.1 pages), 4 sources, APA, $ 57.95
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Abstract
The writer of this paper examines the historic significance of the kylix which is associated with ancient Greek celebrations and feasts. A kylix and its plural kylikes are defined as shallow stemmed two-handled drinking vessels used in ancient Greece. Much thought and attention to detail went into the painting of the interior of kylikes. The representations would be covered with wine and the scenes would be visible only partially, when the wine was tipped back into the mouth and eventually fully exposed when the liquid was consumed. The kylix lent an element of surprise and discovery that was a great source of celebration to the Greeks. This paper details the various contents and representations found on kylikes. Greek revelers thanked Dionysus, the Greek god of religion, for the spirits they were enjoying. For this reason, Dionysus was often the subject depicted on these drinking drinking vessels. Descriptive stories depicted in artistic form on the kylix was common among ancient Greeks. This paper describes several stories depicted on these artistic drinking vessels including that of Apollo and Koronis.
From the Paper
"Although Dionysus' divinity is asserted, he is depicted in human form. In this way, the inhabitants of Thebes believe him to be a man while Dionysus allows himself the pleasures of mortal being. Pentheus describes Dionysus in the form of a man: "They say there came a stranger hither, a trickster and a sorcerer, from Lydia's land, with golden hair and perfumed locks, the flush of wine upon his face, and in his eyes each grace that Aphrodite gives; by day and night he lingers in our maidens' company on the plea of teaching Bacchic mysteries." This mortal nature serves two purposes: the disguise of mortal being and the pleasures of mortal being. In The Bacchantes, Euripides' representation of Greek society can be found in Pentheus. Pentheus is the epitome of Greek society: he is rational, cultured, and encourages traditional conventions."
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Ancient Chinese Art, 2006.
Examines art from the Jiangsu dynasty and the Han dynasty and how they shed light on life during these times in Chinese history.
1,248 words (approx. 5.0 pages), 5 sources, MLA, $ 42.95
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Abstract
There are numerous dynasties in Chinese history, but the two that are focused on in this paper are the Jiangsu dynasty and the Han dynasty. There are thousands of years between these two dynasties and this results in very diversified art. A major concept in most of the Chinese art that we now have is about funerary rituals. The paper explains that by researching this art we can uncover clues about the past, and learn more about cultures that we did not know before. The paper looks at items such as a funerary jar, an incense burner and pottery.
From the Paper
"Time changes everything, and Chinese art is no exception. In Neolithic times most art was made out of pottery, and by the Han period they were using bronze. Pottery "must have been extremely difficult to make, let alone use, for in the succeeding Bronze Age the tradition died out completely" (Sullivan, 8). The use of bronze also gives example to the advancement of Chinese art. In the bronze period art is much more detailed and intricate, showing that the Chinese must have had access to much better resources and tools."
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The Renaissance Period and Spatial Awareness, 2006.
An analysis of concepts of space in the Renaissance period through an examination of William Shakespeare's "The Tempest" and Thomas More's "Utopia".
6,694 words (approx. 26.8 pages), 16 sources, APA, $ 152.95
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Abstract
This paper examines Renaissance art and also the works of William Shakespeare's "The Tempest" and Thomas More's "Utopia" in terms of the times that they were set and in relation to the art of that period and the concept of space. It centers upon the idea of spatial awareness and how it can be related not just to art but also the social and political aspect of it.
From the Paper
"This idea of the 'citizen-soldier' indicates that spatial arrangements not only demarcate and produce but actually validify political territory. It is this sense of political territory that is important to discussion of The Tempest, for just as Utopia is defined as political territory and placed in the New World, so critical debate on The Tempest recently has centred on the colonial aspects of the play. The parallels between Utopia and The Tempest are essential here. Both Utopia and Shakespeare's island have the quality of imaginative space. Utopia in its intense, almost symmetrical geography (see p.69) and the island in its obviously magical, theatrical qualities both suggest at this. Furthermore, both these imaginary islands retain idealistic qualities. This is obviously the main thrust of Utopia, or at least the second book of that text, and specific instances of such qualities punctuate The Tempest: references to the 'Golden Age' (II,i,172); Caliban's description of the 'Sounds, and sweet airs' of the island (see III,ii, 137-44); Gonzalo's insistence 'How lush and lusty the grass looks! How green!' (II,i, 55). Critical debate has also pointed up the Utopian scenario in varying ways, reading The Tempest as a form of pastoral romance and indexing specific parallels with the Utopian discourses found in Renaissance humanism such as More's. However, it is specifically in the combination of the idea of idealistic space with the idea of imaginative space that this paper is concerned. In its distinct, imaginary, spatialised Utopianism, The Tempest reveals the literal placing in the term locus amoenus - the siting (locus) inherent in Utopian fantasy, and the political importance of such a siting."
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Vincent Van Gogh, 2006.
This paper examines the life and artistic accomplishments of Vincent Van Gogh, as well as his introduction of the expressionist style of painting.
1,297 words (approx. 5.2 pages), 9 sources, APA, $ 43.95
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Abstract
The writer of this paper explores the life and artistic motivations of Vincent Van Gogh. Van Gogh moved to Paris in 1886 where he was exposed to the works of great artists such as Monet, Renoir Degas and Signac, which resulted in a dramatic shift to his usual style of painting. Van Gogh's subject matter had also changed, from dark, rugged peasants to more serene subjects. The artist created a new style of painting called expressionism, which symbolized the artists' inner feelings about the subjects he was painting. This paper discusses Van Gogh's various works of art which clearly show the inner turmoil the artist suffered during his lifetime.
From the Paper
"Near the end of his stay at Saint-Remy, Van Gogh's use of colors became more subdued. In "Wheat Field with a Reaper", Van Gogh used the reaper to symbolize death, as a figure toiling in the noontime heat, to hurry and get his tiresome chore finished. Van Gogh did not see death as a sad thing, in this painting he used a pure gold color to flood the work with light. Van Gogh left Saint-Remy in 1890 and spent the last two months of his life in Auvers-sur-Oise, a small picturesque village about twenty miles north of Paris. As his mental health worsened, Van Gogh suffered more severe bouts of depression, sometimes exploding in anger. After these episodes, he would go out into the fields and talk to himself."
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Barry Schwartz' New Humanism.
This paper discusses section by section, Barry Schwartz' "The New Humanism: Art in a Time of Change", which defends the humanist tradition as exemplified in selected works of art.
950 words (approx. 3.8 pages), 0 sources, $ 33.95
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Abstract
This paper explains that, according to Barry Schwartz in "The New Humanism: Art in a Time of Change", art, which is distinguished not by style but by content, is called "humanistic" because it is concerned more with the plight of man in a technological, aggressive, interrelated society than with experiments in visual acuity or the search for novelty. The author points out that the strong, unifying thread throughout the text is the continual defense of humanist art as legitimate and necessary. The paper suggests that the one criticism of the book, is the "too pat" division of the works into the six categories, which give order to a jumble of works; however, they appear to be arbitrarily created and the works jammed into them a priori.
From the Paper
"The last section of the book discusses the future of humanism in art, a future that is hampered, Schwartz believes, by society's (i.e., America's) value system which relegates humanist art to a countercultural position. (In Europe, he points out that this kind of art is treated seriously and receives a large degree of acceptance.) The international flavor of humanist art, Schwartz continues, further undermines its acceptance in America primarily because such acceptance "would endanger the privileged position of American art." Schwartz maintains that for a meaningful future for humanist art to exist, it must be available to the masses, as in the case of murals painted in public places and cartoons or drawings in magazines, posters, and comic books."
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"The Flagellation of Christ", 2006.
This paper analyzes the motivation and style behind Ludovico Caracci's painting of Christ's flagellation.
1,984 words (approx. 7.9 pages), 6 sources, APA, $ 63.95
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Abstract
The writer of this paper supplies a clear description to Ludovico's painting of Christ's flagellation by detailing the artist's distinct style and technique. What is most unique about Carracci's painting is its naturalism. Ludovico used real models for his paintings and not pictures out of his mind from some restrained ideal. The beauty of the illumination from the unknown source tells the viewer that this is a sacred moment.
This paper also gives a brief yet concise biography of the baroque artist that was the best exemplar of naturalistic painting in the early 17th century.
From the Paper
"The chapter on the Seventeenth century notes that the naturalistic style of the Carracci's who included Ludovico, his cousin, Annibale and Annibale's brother Agostino was in rebellion to the Manneristic Style used by northern Italian painters at that time. The question before us is not the comparison of Renaissance styles but whether the painting "The Flagellation of Christ" falls within the definition of flagellation paintings as defined by James Hall in the Dictionary of Subjects and Symbols and Art. The painting does use some of the methods mentioned to create the ambiance required to demonstrate that Christ is being punished. The most obvious is that Ludovico uses three soldiers in the painting. The bottom soldier, separated from the other two who are actively participating in the flogging, is putting together twigs in a bundle."
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The Spatial Duality of Form, 2006.
An examination of the opposing views of sculpture expressed by Kurt Schwitters and Marcel Duchamp.
2,013 words (approx. 8.1 pages), 13 sources, APA, $ 63.95
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Abstract
This paper explains that Marcel Duchamp saw sculpture as a self-contained object that packages its own space and ideas, whereas Kurt Schwitters, in direct contrast to Duchamp's view, saw sculpture as the relationships of the parts to the whole actively which serve to create the space and idea. The paper then proposes that, in fact, sculpture has the ability to express Duchamp's and Schwitter's opposing ideas simultaneously, and to become a multidimensional spatial experience.
From the Paper
"At the same time, Marcel Duchamp was introducing the ready-made object. His inverted urinal, among other objects, significantly impacted our thinking of sculpture as well. At the other end of the spectrum from Schwitters, Duchamp glorified, to the point of fetishizing , the objectness of sculpture. By opposite means, he too questioned the meaning of spatial experience."
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Heidegger and Art, 2006.
This paper attempts to define the origins of art, as detailed in Martin Heidegger's book "Poetry, Language, Thought."
1,948 words (approx. 7.8 pages), 1 source, MLA, $ 62.95
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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."
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Claudio Monteverdi, 2006.
This in-depth paper explores the life and many accomplishments of composer and musical genius Claudio Monteverdi, also known as the transformer of European music.
4,344 words (approx. 17.4 pages), 12 sources, MLA, $ 114.95
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Abstract
This well-researched paper chronicles the life of classical composer Claudio Monteverdi, beginning with his birth in 1567, in northern Italy. Monteverdi was labeled a creative and dominant musical genius while still a child. The writer of this paper discusses the external influences in Monteverdi's life that motivated and aided in his creating and composing musical masterpieces which garnered him well deserved respect and fame as an influential composer. Monteverdi published two books detailing his madrigal music in 1603 and 1605 respectively. Both pieces of music integrated the avant-garde manner with the composer's idiom. The writer examines the creation of "The Opera of Orfeo" which cemented Monteverdi's status as a talented and influential composer. This in-depth paper contains much research and information regarding the various works of music created and composed by Monteverdi which explains why he was and still is considered the transformer of European music.
Table of Contents:
The Early Years
The World Beyond Home
The Madrigal Masterpieces
The Grief - Composition of "L'Arianna"
A Toil in Vain - Composition of Counter-Reformation
The Golden Period - Appointment at St. Mark's
The Commissions
The Last Decade
The Madrigal
The Artusi-Monteverdi Controversy Over Monteverdi's Madrigals
"Mantuan Context" for Monteverdi's Madrigal Composition
The Inspirations of Monteverdi
Marc'Antonio Ingegneri
Giaches de Wert
Wert & Monteverdi
Conclusion
The Esteem in Art History
The Fortunate Opposition
Monteverdi's Madrigals
Monteverdi - A Teacher for Generations
References
From the Paper
"The Opera of Orfeo established Monteverdi's status as a talented composer. This opera established that the composer knew much more about this music genre than his forerunners ever did. For example, his recitative was suppler and representative than any of them had. Monteverdi's recitatives were on the basis of the oratorical melody of his madrigals, instead of being found on the ancestor's theories of sensitive speech. After the passage of few months since the production of Orfeo, Monteverdi's wife, Claudia Cattaneo, passed away when she ultimately surrendered to months of sickness. This impelled Monteverdi, in an unhappy condition, to return to the home of his father to lament the death of Claudia."
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Censorship and the Arts, 2006.
This paper analyzes the controversial issue of censorship in the fields of art and entertainment and the U.S. government's role in deciding what should and should not be showed to the public.
1,400 words (approx. 5.6 pages), 10 sources, APA, $ 46.95
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Abstract
The writer of this paper explores the age-old issue of censorship, which has been a problem for artists since ancient times when Michelangelo was admonished to paint fig leaves on his nude figures. This paper discusses how censorship continues in America today while stating that there are certain parties and groups who would abolish any public displays of artwork that they find offensive or immoral. This well-researched and informative paper delves into the legal and moral aspects of censorship and also cites several court cases on this particular subject.
From the Paper
"One recent and shocking example of censorship occurred on September 29th of this year in Washington D.C. The Senate unanimously voted to approve a measure that stated that the federal government should hold back funds from the Brooklyn Museum of Art. While this measure does not necessarily affect federal monies, it expresses the extreme opinion of the Senate and paves the way for lawmakers' future justifications for freezing funding to the Museum. At the core of this controversy is an exhibit entitled "Sensation," part of a British show which features a picture of the Virgin Mary smeared with feces."
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The Secularization of Naples, Italy: The Plague to the Enlightenment, 2006.
An examination of several select aspects of Naples, Italy from the period of the 14th through the 18th centuries.
2,227 words (approx. 8.9 pages), 10 sources, MLA, $ 69.95
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Abstract
This paper examines several select aspects of Naples, Italy from the period of the 14th through the 18th centuries in which a secularization of thought was seen. The paper begins with a discussion of dominant ideas in the medical profession during the European plague, followed by a consideration of why medicine should have been an area of secularized thought. The author then examines the effects of the Bourbon government on the thought of Neapolitans, and Naples as a rising center of the Italian Enlightenment. He then discusses the transition in the art of Naples after the Italian Renaissance. The paper concludes with the author's own opinions as to how physicians instigated the movement away from religious dependence in Naples, stating that it was artists who brought the movement to fruition. Table of Contents: Introduction The Medical Profession During the Plague Years The Rise of the Bourbons in Naples The Secularization of Neapolitan Art Conclusion
From the Paper
"This man, then, seems to have been less willing than his patients to attribute the recovery of those with the plague or similar diseases to the direct intervention of God. It should be noted, however, that the phrase "some servant of God, whether dead or alive," could indicate that the physician would not be willing to say that a patient cured by an angel or ghost had received a miracle. Angels and ghosts seem today to be on the same level of supernaturalism as God, so one would be inclined to say that this physician was still a very superstitious man because he simply believed in these things. However, it must be remembered that during this time almost no one among the commoners would have asserted that angels, in healing the sick, were not performing miracles."
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Michelangelo?s "David", 2006.
The history of Michelangelo's "David".
1,575 words (approx. 6.3 pages), 3 sources, MLA, $ 51.95
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Abstract
The paper explains how the statue of "David" became the symbol of Florentine liberty, and served as an inspiration to every Florentine. The writer explains that Michelangelo's study of human anatomy is evident in the way he created the body of "David". The paper compares Michelangelo's artistic style to other artists of his day. In conclusion, the writer states that the statue of "David" is such a powerful work of art that it could convert a non-believer into a believer by the force of its beauty.
From the Paper
"The beauty of David encompasses not only the superb physical beauty, the lithely strong body and face of a Greek god, but the inner force of a man imbued with supernatural powers that can only be derived from a Supreme Power. It is the inner force the statue of David exudes that captivated the Florentines and inspired them when they so badly needed inspiration. This inner force has made the statue of David a masterpiece for all civilizations, past, present and future. "If Michelangelo would have only created the outward physical beauty that art historians believe embodies that era, the statue of David would still have merit, but this would not have satisfied Michelangelo, who was in pursuit of perfection, as a means to reach his own Creator. Michelangelo worked with energy and passion on David. The statue of David embodies the energy and passion of Michelangelo and also of the man who once ruled the Jews. Michelangelo once said that art was from heaven. If this is so, the statue of David was divinely inspired and as divinely inspired as the boy king of Israel once was."
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Cubism, 2006.
A study of the 20th century art movement, cubism.
1,550 words (approx. 6.2 pages), 5 sources, MLA, $ 50.95
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Abstract
This paper examines the style, artists and impact of cubism, the most prominent art movement of the early 20th century. The paper discusses early influences on the development of cubism, including Paul Cezanne, Georges Braque and Pablo Picasso. Next, the paper studies analytic cubism and critiques some of the style's most well-known paintings and sculptures. The paper concludes with an investigation of the passing of cubism and its legacy on the art world.
From the Paper
"Cubism is the most influential art movement to emerge in the first quarter of the Twentieth Century. "It may have said to have begun in 197 with Pablo Picasso's Les Demoiselles d'Avignon. The movement was influenced by archaic and primitive sculpture. Particularly of West Africa." (Alexander, p. 288) Another influence was Paul Cezanne, whose works were exhibited in Paris in 1905 and 1907. It was something he said that started some of the other Parisian artists moving toward Cubism. "You must see in nature the cylinder, the sphere, and the cone." He published this in 1907, but the actual term "cubism" may have come from Henri Matisse's phrase: "avec les petits cubes" (with little cubes). He said that in a disparaging way upon seeing some of the works of Georges Braque."
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Paula Scher, 2006.
An examination of the exemplification of Post-Modernism in the art of Paula Scher.
1,191 words (approx. 4.8 pages), 5 sources, MLA, $ 40.95
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Abstract
Post-Modernism claims that representations are representations of representations and so on ad infinitum and that words have a non-symbolic status. This paper attempts to show how this linguistic aspect of Post-Modernism is crucial to Paula Scher's works--particularly her paintings of maps, currently on display in an exhibition titled "The Maps" in New York's Maya Stendhal Gallery. It examines how her maps feature loose geographical shapes literally filled with labels and partitioned along political boundaries by color and line.
From the Paper
"The labels on the maps reinforce the question of what the world is. Scher's maps are literally full of place-names, including the usual country and state/province names, as well as the names of cities, islands, rivers, and so on. Even the Bermuda Triangle is afforded a label in "World." When "World" is considered in conjunction with more localized maps, from "Africa" to "Manhattan," it becomes apparent that the world has been partitioned off into nameable sections like countries, and then further partitioned down to, as in "Manhattan," individual street names. One gets the sense that this theme could be continued on an even more localized basis; perhaps labels could be shown for each room in a building, or each object in a room."
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Painting by Lawren S. Harris, 2006.
An analysis and description of paintings by Lawren S. Harris.
2,076 words (approx. 8.3 pages), 4 sources, MLA, $ 65.95
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Abstract
In this study the author looks at how Lawren Harris divided his time between painting the landscapes of the North Country - and later the Rockies - and the urban landscapes of the working class of Toronto and Halifax. He examines how in these works, Lawren uses bold applications of color and simplicity of form. The author analyzes how Lawren's paintings, as his career progressed, became studies in form and color until the time he moved into non-objective compositions. Thesis Statement The Initial Group of 7 North Shore, Lake Superior The Medium and Materials of North Shore, Lake Superior Contrasts of North Shore, Lake Superior With Other Work Harris' Impact on Canadian Art
From the Paper
"World War I interrupted the forward progress of the group as all were called into military service. Following the war and back in Toronto the group and particularly Harris made several sketching trips to the vast Algoma region of northern Ontario. It was here that Harris found the inspiration for some of his greatest paintings. Algoma was still a wilderness where traveling was difficult. "
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