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The Innovative Ideas of Le Corbusier, 2005.
A look at the architectural vision of Swiss architect, Le Corbusier.
2,357 words (approx. 9.4 pages), 15 sources, MLA, $ 72.95
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Abstract
This paper presents an overview of Le Corbusier's contribution to modern architecture, as well as his role in the larger Modernist movement in contemporary art. The paper contends that the influences that affected Le Corbusier's style and vision in architecture were related to events in history as well as contemporary art and philosophy. In other words, Le Corbusier's architectural vision was part of the artistic movements and milieu of his era and this forms part of the understanding of his influence on architecture.
From the Paper
"Le Corbusier was attracted to the visual arts from an early age. The earliest houses that he designed were similar in design to the vernacular architectural styles popular in the Alps. Later he expanded his artistic horizons and traveled to Europe where he was employed in the offices of the pioneer of reinforced concrete, Auguste Perret. Between October 1910 and March 1911 he worked for the renowned architect Peter Behrens near Berlin. All of these influences were to have an impact on the development of his style and architectural philosophy."
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Michelangelo's "Roman Pieta", 2005.
A study of how Michelangelo's sculpture, the "Roman Pieta" in Florence, combines the best of his artistic ability.
2,158 words (approx. 8.6 pages), 6 sources, MLA, $ 67.95
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Abstract
Michelangelo is important to the Renaissance movement primarily because of how he changed they way art and artists were perceived. His innovative ideas forced the public to reconsider the quality of art and what it meant to them. This paper discusses how his sensitivity to the human experience allowed him to break free from conventional standards and set a few of his own. It points out that his insight was not mistaken and nothing demonstrates this fact more than his "Roman Pieta" does. This statue embodies Michelangelo's passion for art, perfection, and something new and different all at the same time. His remarkable depiction of Mary as a beautiful young woman gripped by peacefulness rather than horror is its most indelible quality. It explains that the combination of grief and serenity held in Mary's expression is beyond words. With this carving, we find a self-contained form that is restrained and yet filled with flowing lines. The writer concludes that in it lies a world of balance between the vertical and horizontal aspects, life and death, clothed and naked, and grace and grief.
From the Paper
"Michelangelo is also significant to his time because he forced the public to "reevaluate its view of artists" (8). Prior to Michelangelo's arrival, artists were not held in the highest regard. In fact, many were seen as nothing more that mere craftsmen. It was the renown of Michelangelo and his work that elevated the perception of artists. Michelangelo thought highly of artists and believed that they are "superhuman and should not be judged by ordinary standards" (8). He was blessed in that he received great fanfare while he was living and was even alive when the biography about him was published. This style influenced many Renaissance artists so much that they traveled from almost everywhere in Europe to study his technique. It is worth noting that his style is still imitated today. His contributions to the art world changed art and what it meant."
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Color in Graphic Design, 2005.
This paper is a literature review studying the effect of color, primarily in print media, on the way people feel when they see an advertisement or some other kind of information in the media.
29,980 words (approx. 119.9 pages), 53 sources, APA, $ 249.95
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Abstract
This paper explains that there is evidence that color, especially the viewer's favorite colors, plays an important role in graphic design, especially print media and advertising. The author points out that color has symbolic meaning, which differ culturally: in western societies, white is seen as the traditional color for weddings but, in the Chinese culture, white is used for funerals; and, in America, red is often associated with rage or anger but in China red is used for happiness. The paper relates (1) the importance of graphic designers to study the role of color, how it makes people feel and why this is so significant and (2) the need for more research to understand this phenomena.
Table of Contents
Introduction
Background
Statement of the Problem
Research Questions and Hypotheses
Research Questions
Hypotheses
Importance of the Study
Significance of the Study
Rationale for the Study
Definition of Terms
Limitations of the Study
Validity and Uniqueness of the Data
Summary
Review of Related Literature
Literature on Color in Print Media
History of the Psychology of Color
What Is Your Favorite Color?
The Perception of Color
Color in Graphic Design
Case Study: British Telecom
Case Study: British Gas
Case Study: MacDonald's
Summary of the Literature Review
Methodology
Research Design and Rationale
Data Collection
Data Analysis
Summary
Analysis of the Data
Summary, Recommendations, and Conclusion
Summary
Recommendations
Conclusion
From the Paper
"The favorite color that an individual has is considered to say a great deal about them. It is important here to look at the most popular colors briefly and what they say about individuals. Black is considered to be a color of power and authority. It is also very popular and fashionable because many people that wear black look thinner. Black is considered to be timeless and very stylish, but it also implies submissionFor example, priests wear black to signify that they are submissive to God There are those in fashion that indicate women who were black imply that they are submissive to men but many black outfits are also utilized for aloofness or evil, such as those traditionally worn by villains in many television shows and movies."
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Revolutionary Art, 2004.
An examination of the artistic styles of Meissonier, Delacroix and Goya.
732 words (approx. 2.9 pages), 5 sources, MLA, $ 26.95
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Abstract
This paper presents a critical analysis of the artists, Meissonier, Delacroix and Goya. The paper explains that they were not only realists, but also patriots and people's artists, as the theme of people took a central place in most of their works. The paper examines three art pieces: Francisco Goya's "The Third of May 1808," Eugene Delacroix's "Liberty Leading the People 1830" and Ernest Meissonier's "Memory of the Civil War (the Barricades) 1849", which show people in the turning point of country's history. Through these pieces of art, the paper explores the horror, tragedy, humanism and optimism of three revolutions.
From the Paper
"Nineteenth century in Europe was a century of changes in political, economical and social structure of society. The course of events was often too sudden for society, oppressed by absolutism of reigned monarchy, to react adequately so it had no other way but only to revolt. France, Spain and other European countries had suffered a long warfare of Napoleon's invasions, they were tired of unbearable social injustice and poverty and so the unrest of society often turned into a legal right of the nation to determine its destiny by revolution. In Spain it was a revolt against the regime of Napoleon who invaded the country and wanted to establish imperial order on its territory. France on the other hand had experienced a set of bloody revolutions and restorations of monarchy starting from 1789."
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Henri Matisse, 2005.
An analysis of painter and sculptor Henri Matisse and how his work demonstrates that he was the most premier Fauvist of his time.
847 words (approx. 3.4 pages), 3 sources, APA, $ 30.95
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Abstract
This paper describes some of the artistic works of Henri Matisse and explains why his technique, use of color, movement and texture gave him a reputation as the main exponent of Fauvism of his time.
From the Paper
"It is relatively simple to understand how Matisse escaped from the confines of the Impressionists, for all one has to do is view his paintings and explore with the eyes all the subtle and beautiful manifestations within his Fauvist renderings. But in regard as to why he decided to adopt the Fauvist philosophy is less understood unless one listens to the words of Matisse himself-"What I am after, above all, is expression. . . I am unable to distinguish between the feeling I have for life and my way of expressing it. . . The whole arrangement of my picture is expressive. . . everything plays a part. Composition is the art of arranging in a decorative manner the various elements at the painter's disposal for the expression of his feelings. . . All that is not useful. . . is detrimental" (Chipp 131-32)."
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Raphael, Da Vinci and Michelangelo, 2005.
A paper on the master artists of the High Renaissance: Raphael Sanzio, Leonardo Da Vinci and Michelangelo Buonarroti.
1,418 words (approx. 5.7 pages), 3 sources, MLA, $ 47.95
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Abstract
This paper looks at how these masters, by making their figures come alive as if made out of flesh and blood, symbolize the loftiest goals of the High Renaissance. The paper further looks at how the artists created a new artistic profession that exhibited its own rights of expression, its own character and its own claims to greatness within western civilization.
From the Paper
"Within a thirty year span, beginning approximately in 1495, the city of Rome replaced Florence as the Italian seat of artistic pre-eminence. A series of powerful and ambitious popes, most notably Julius II and those associated with the rich and powerful De Medici family run by Cosimo De Medici and later on by Lorenzo De Medici, created a new papal state with Rome as its capitol and artistic center of Europe. These popes embellished Rome with great works of art and invited artists from all over Italy to take on some very challenging tasks. In its duration, the "High Renaissance" (ca. 1492 to 1520) produced works of such authority and magnitude that later generations of artists were forced to imitate it in order to compete with the growing competition within Italy and northern Europe. The various masters of this period had of course inherited the pictorial science of their predecessors, yet they made a distinct break from the past and occupied new and lofty ground that had never been explored before."
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Pablo Picasso, 2005.
Discusses the life and works of this famous 20th century artist.
1,064 words (approx. 4.3 pages), 3 sources, MLA, $ 37.95
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Abstract
Pablo Picasso is noted by the majority of critics as the most important influence on twentieth century art. By the time of his death in 1973, he had created some 22,000 works of art in mediums that included sculpture, ceramics, mosaics, state design and graphic arts. This paper traces the life of Picasso, from his birth in Spain in 1881 through his brilliant art career and his numerous art 'periods'. The paper examines Picasso's influence on art, including cubism and abstract art and looks at several of his important pieces, including "Les Demoiselles d'Avignon" and "Guernica."
From the Paper
"Most critics agree that Picasso's greatest work came from the thirty years between his 1907 "Les Demoiselles d'Avignon" and his 1937 "Guemica," however, he worked consistently through the war years and through the 1950's and frequently produced work during the 1960's and 1970's, producing powerful paintings and prints (Hughes pp). Often his work "would be folded into series of variations on the old masters and nineteenth century painters he needed to measure himself against, such as Velazquez and Goya, or Poussin, Delacroix, Manet and Courbet" (Hughes pp). Especially during his last years, his work possessed a manic and obsessive quality, as if he believed that this might delay his own mortality (Hughes pp)."
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Levi Strauss' "The Savage Mind", 2005.
A critical review of Levi Strauss' "The Savage Mind".
947 words (approx. 3.8 pages), 5 sources, APA, $ 33.95
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Abstract
This paper discusses Levi Strauss's concepts about art as presented in "The Savage Mind" and looks at how Strauss investigates the concept of bricolage. The paper presents a very negative review of Strauss' views and suggests that Strauss' concepts are of no possible use to the artist.
From the Paper
"It is fortunate that Claude Levi-Strauss wrote The Savage Mind in the mid-1960s, with publication in 1966. It is without doubt a work of a pre-holistic age, and as such has relatively little of value to say in a world torn between technology and metaphysics; it should be noted, of course, that technology is, in some ways, merely the tactile expression of metaphysics. Whether, for example, the computer programmer knows she is using theories of quantum physics to perform her task-and whether the 'alternative minister' some levels below Deepak Chopra knows he is doing the same in the affirmations used to access Truth-doesn't matter. It is apparent that in a universe in which string theory is a topic of conversation among the pseudo-scientific intelligentsia, and the proverbially grinding poverty of the increasingly (by comparison) less developed nations is given short shrift by almost everyone (in favor of Entertainment Tonight and its fripperies about hollow people doing hollow things), Levi-Strauss is a fossil."
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Designs, 2004.
An analysis of the influence of Egyptian hieroglyphics and other ancient symbols on 18th, 19th and 20th century designs.
1,726 words (approx. 6.9 pages), 11 sources, MLA, $ 55.95
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Abstract
This paper discusses design issues, specifically the influence of Egyptian hieroglyphics and other ancient symbols on 18th, 19th and 20th century surface pattern design and their influences now on contemporary design. The paper examines the impact on design practice of digital techniques today. The paper presents a discussion of designers from these periods, illustrating their work. Suggestions for critical analysis and an examination of possible philosophical questions are provided in the paper, as they relate to future professional practice. A summary of the research is provided in the conclusion.
Outline
Introduction
Review and Discussion
Background and Overview
Egyptian Hieroglyphics in Design
18th Century - 20th Century Designs Elements
Assessment of Influence on Contemporary Designers
Conclusion
From the Paper
"According to Pile (1979), because alphabetic symbols do not represent true analogs for the sounds they actually represent, alphabets have become arbitrary codes that have no meaning until a user receives instruction; this can be readily discerned by a casual review of the sample Egyptian hieroglyphics in the figures below. In fact, "Once the code meaning is unavailable, it cannot be rediscovered by any logical means. The well-known story of the role of the Rosetta stone in unlocking the mystery of the lost meaning of Egyptian hieroglyphics is a good illustration of this" (Pile 112). The discovery of the meaning of the hieroglyphics was recorded in 1847 by Morrison and Von Schlegel: "For more than a millennium and a half had the hieroglyphics of an ancient race remained unintelligible to and undeciphered by a posterity of aliens, when at last, amid the recent commotions and tempests of the political world, a happy accident brought the secret to light" (55). "
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Realism, 2005.
A look at how the artistic form of Realism emerged as a result of the socio-economic changes brought about by Europe's industrial revolution.
1,147 words (approx. 4.6 pages), 2 sources, MLA, $ 39.95
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Abstract
This paper explains how the poverty and despondency amongst the new working class created by Europe's industrial revolution was expressed in the artistic form of Realism. The paper looks at how Realism sought to correctly portray the conditions and hardships of the poor with the hope of improving their living situations. The paper discusses some of the Realist artists of that era and describes how their works depicted the reality in the cities and countryside.
From the Paper
"To Courbet, Realism was not so much a style of painting as a philosophy. His arguments with the present French art establishment concerned subject matter, not painting technique. Juries and the public shunned the Realists' work, because the art style broke away from the official Academic art. Courbet's paintings, such as the Stone-Breakers of 1849, which featured the laboring, faceless figures of an old man and adolescent boy, was criticized severely by critics who preferred mythological or idealistic subjects."
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Artist Judy Chicago, 2005.
This paper discusses the quintessential feminist artist Judy Chicago and analyzes her "The Dinner Party" .
2,750 words (approx. 11.0 pages), 6 sources, APA, $ 82.95
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Abstract
This paper explains that Judy Chicago applies vulvar representations to her works with the same frequency that penile representations were applied to male statuary from time immemorial; however, Chicago creates female genitalia not to portray realism, as the male genitalia on Greek, Roman, Renaissance or any other heroic statuary, but rather to make a feminist statement. The author describes "The Dinner Party" installation as a triangular banquet table, with each side 48 feet long, sitting on a ceramic floor inscribed with the names of 999 notable women of history, both ancient and modern and at each of the 39 places is a plate, with some version of female genitalia on it and a porcelain chalice. The paper relates that "The Dinner Party" belongs to the genre of conceptual art; Chicago, along with Duchamp and Christo is deemed to be a valuable modern minimalist.
Table of Contents
The Meaning of "The Dinner Party"
"The Dinner Party": Global Derivation
"The Dinner Party": Place in Modern Art
Chicago History
Growing into Her Own
The Art Works (Illustrations)
From the Paper
"The vulvar ornamentation of "The Dinner Party" places Judy Chicago firmly in a long line of sculptors who represented this essential aspect of female-ness across cultures. Sheila-na-gigs "closely resembled the yonic statues of Kali which still appear at the doorways of Hindu temples, where visitors lick a finger and touch the yoni 'for luck.' Some of the older figures have deep holes worn in their yonis from much touching." This also imitates the death goddess Kalika "evidently remembered in Ireland as the Caillech or 'Old Woman,' who was also the Creatress and gave birth to all the races of men." Whether or not Chicago was conversant with the totality of this world-order of female genitalia and its meaning and importance, she conveyed it just as firmly as had the abundant sheila-na-gigs of Ireland."
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Medici Family, 2005.
A discussion of the art patronage of the Medicis during the Baroque period.
2,875 words (approx. 11.5 pages), 8 sources, MLA, $ 85.95
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Abstract
The history of the Medici family in Italy clearly illustrates the difference between a true patron and a collector of fine art. This paper explains that with the collector, new artistic movements are, at times, very difficult to locate, which inevitably leads to the collector amassing works of art based on certain styles and motifs or even specific painters or sculptors from various artistic periods. The writer points out however that with the patron, such as Cosimo I and Lorenzo the Magnificent in the Renaissance and Cosimo III and Cardinal Leopoldo in the Baroque era, the almost in-born desire to vigorously encourage the development and spread of fine art is without competition, for the patron is truly the purveyor of artistic history, at least in western civilization.
From the Paper
"Of course, when the Medici family did finally expire in the mid 18th century, the great artists, such as Michelangelo, Da Vinci, Brunelleschi and Bernini, had also expired and their successors, although very talented and inspirational, did not possess the genius of these men which may help to explain why patronage itself waned after the Baroque era. In addition, it could be said that without the Medici family and its enormous wealth and prestige the Renaissance and Baroque eras might never have existed. Thus, the Medici, along with other prominent art patrons, allowed for the formation of several outstanding art periods which not only helped to create and foster great talent but also made it possible for the common, everyday man or woman to gaze in awe at their works of wonder and contemplate the very nature of their creators and those that supported them without question or authority."
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"Portrait of Dr. Gachet", 2005.
An examination of Vincent Van Gogh's "Portrait of Dr. Gachet."
2,215 words (approx. 8.9 pages), 3 sources, MLA, $ 68.95
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Abstract
This paper examines Van Gogh's painting and explains how the artist impetuously and arbitrarily exploited the new color dimensions of the Post-Impressionist period within the work. The style is examined and the person behind the portrait is explained to be a doctor that looked after van Gogh during the later part of his life.
From the Paper
"As to Van Gogh's painting style which is a very important component of his artistic life, the thickness, shape and direction of his brush strokes created a tactile counterpart to his intense color schemes through thickly-loaded brush moves back and forth or at right angles, giving a textile-like effect; Van Gogh also would take the paint tube and squeeze dots or streaks upon the canvas. This bold, almost slapdash attack upon his canvases, at least in the eyes of his contemporary art critics, was viewed as highly disturbing; thus, it could be said that Van Gogh, through the use of different paint strokes, both infuriated and calmed the viewer."
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19th Century Art History, 2005.
A comparison of two 19th century paintings: Degas' "The Little Fourteen-Year-Old Dancer" and Rodin's "The Martyr."
1,698 words (approx. 6.8 pages), 7 sources, MLA, $ 55.95
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Abstract
An examination of two impressionist artists: Edgar Degas and Auguste Rodin. The paintings are examined for their similarities and differences. The painters' styles are explored and the writer discusses how their techniques were part of the development of impressionist art of the period.
From the Paper
"Rodin, on the other hand, creates not an impression of a feeling, but rather an expression of a concept. Unlike Degas, he pays intense attention to the modeling of musculature, to the exact twisting of the torso, to the squint of an eye or the precise extension and elevation of a tortured leg. While Rodin expresses tough and demanding concepts-it doesn't get much tougher than martyrdom-Degas creates an impression of expectancy, a willingness and readiness to move forward from the slightly uncomfortable position of now to one of greater fulfillment later. This is evident in the posture of the young dancer, and, according to at least some of his biographers, it is also an apt metaphor for Degas' own approach to and feelings about his own work."
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The Beat Generation, 2005.
A discussion of the 'Beat Movement' of the 1950s and how it gave rise to a new counterculture movement.
3,459 words (approx. 13.8 pages), 12 sources, MLA, $ 97.95
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Abstract
This paper explains how the Beat Generation came about, tells how this generation got its name, explains why and in what way it was a counterculture movement that challenged the mechanical existence of the majority and talks about how it effects American society even to this day.
From the Paper
"According to modern mythology, it has been said that the birth of the Beat Generation can be traced back to the year 1944. World War II raged throughout Europe. This was the year of the D-Day landing, and this was the year that the United Nations first came to power, and this was the year that "Lady Chatterly's Lover" by D. H. Lawrence was found to be obscene in the United States, and this was the year in which New York City was flooded by European Surrealists gathering together with American artists and writers, influencing the thoughts and works and direction of the art movements nationwide. This was also the year that Jack Kerouac, Allen Ginsberg, William S. Burroughs, and Herbert Hunckle met in New York City among the artists gathered there, and this meeting around Columbia University and Times Square would lead to the writing of one of the great Beat Generation novels."
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