| Papers [406-420] of 1853 :: [Page 28 of 124] | | Go to page : <— 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 —> | |
|
|
Art Education in America.
An analysis of the demise of the art curriculum in America.
1,004 words (approx. 4.0 pages), 4 sources, MLA, $ 35.95
»
Click here to show/hide summary
Abstract
This paper examines how, with the age of technology and efficiency at hand and the threat from countries like Japan surpassing American students in technical knowledge, Americans began placing more importance on science and math, and arts have been pushed to the back burner. It looks at how, coupled with budgets that are increasingly difficult to manage, this is a recipe for the demise of art education across America.
From the Paper
"The solution to the problem, according to Howie Schaffer, a spokesman for The Public Education Network, lies in the public and their refocusing on how important arts education truly is for American children. "For us, public pressure is the key ingredient in fixing schools," Shaffer states. (qtd. in Richard & Hoff) Until Americans realize that well-rounded students are critical to success later in life, the scenario will not change. Until Americans see that the creation and appreciation of art is fundamental to the human psyche, our schools will continue to spit out Internet savvy graduates who feel more comfortable communicating via e-mail and instant messages, rather than interacting face-to-face with other human beings."
| |
|
"Olive Trees with Yellow Sky and Sun", 2004.
An examination of Van Gogh's famous painting, "Olive Trees with Yellow Sky and Sun".
1,048 words (approx. 4.2 pages), 3 sources, MLA, $ 36.95
»
Click here to show/hide summary
Abstract
This paper first provides a detailed description of the visuals in the painting and then provides an interpretation of what is seen. The writer also interprets some attributes of the painting in regard to the artist's personal life.
From the Paper
"The tendency towards a positive outlook in the face of difficult circumstances may be indicative of the enjoyment Van Gogh derived from nature at this time. Nature, the artist seems to say, can teach the viewer a variety of lessons. Adaptation is one of them. Like the olive trees, human beings have many difficulties to cope with in life. These difficulties however can be seen as symbolized by the simultaneously destructive and life-giving force of the sun. How this force manifests in life depends upon the adaptability of the individual."
| |
|
"Evidence, Truth and Order: A Means of Surveillance", 2005.
A review of John Tagg's article, "Evidence, Truth and Order: A Means of Surveillance", about the implications of photographic representations in law for artists and photography.
897 words (approx. 3.6 pages), 1 source, MLA, $ 31.95
»
Click here to show/hide summary
Abstract
This paper discusses John Tagg's essay, in which Tagg expresses his concern about the danger that results from the impression that photography gives a realistic glimpse of life in an unvarnished and objective manner, when, in actuality, it merely transmits the vision and the limited perspective of the photographer. The paper then explains Tagg's point that this impression is particularly dangerous when a photograph of a crime is used as evidence in a court of law because of the extra forensic weight the visual impression may carry with the jury.
From the Paper
"Thus, the photographer is only a sensible human being. The nature of photography is at its essence just as mysterious as that of a painter?s inspiration in terms of personal selection of subject and moment. (Tagg 1988, p.111) The photograph?s reality may be taken for granted, taken as objective truth. But it is anything but?a photograph is a selection of an intensely subjective nature. It creates evidence not of happenstance or arbitrary gaze, but a focused and artistic choice. Even if the photograph takes pictures somewhat at random, or to show ?objectively? some truth or evidence for a legal as opposed to an artistic reason, the photographer is still making a conscious or an unconscious choice to focus on a particular aspect of human existence to the exclusion of other aspects of human existence."
| |
|
The Influence of Egyptian Art, 2005.
A look at the influence of Egyptian art on the 1920s development of ?Art Deco? and contemporary interior design today.
888 words (approx. 3.6 pages), 5 sources, MLA, $ 31.95
»
Click here to show/hide summary
Abstract
This paper explains how the triumph of art over nature, as exhibited in Egyptian art and design, influenced American art in the 1920s. The paper explains how this influence manifested itself in the form of Art Deco and continues to influence art today.
From the Paper
"If Greek sculpture attempted to create a realistic portrait of the human body during the Classical and Hellenistic periods of sculpture, Egyptian portraiture is reflected in the contrasting hieroglyphic-like portrayal of the human body in a stylized, rather than a naturalistic way. Rather than seeing what is natural as good and what is unnatural as less artistic, however, it is important instead to consider the function and purpose of this style of Egyptian design, as well as merely compare its lack of naturalness to other forms of art of the period. Egyptian art?s unnatural pairing of human and animal parts was reflective of its religious system. Its highly rigid interior home design structures reflected the focus of the Egyptian world upon the life of the dead, rather than the relatively transient existence of humans on earth. (Pile, 2004) Just as in Egyptian cosmology, God in the form of the sun died and was constantly reborn again and so were humans within their homes and tombs. The sharp lines of human depiction and sharp lines of furniture and spatial design mirrored the sharp lines of the pyramids and tombs."
| |
|
Russian Constructivism, 2004.
An overview of the history and influences of the Russian Constructivist Movement.
2,221 words (approx. 8.9 pages), 11 sources, MLA, $ 69.95
»
Click here to show/hide summary
Abstract
This paper examines how Constructivism, an artistic and architectural movement, arose in Russia after the Revolution of 1917 and how the Revolution set the stage for one of the most remarkable transformations of artistic theory in the history of art. It looks at how the Constructivists strove to produce bold work in painting, sculpture, photography, and architecture through the use of new media and how they abandoned traditional media and embraced influences from the progressive and technologically advanced industrial society after the Revolution. Although there are many artists who have contributed a significant amount to the movement, it focuses on those made by Rodchenko, Malevich and Popova.
From the Paper
"The reforms of Alexander II brought the emancipation of the serfs and opened the way for industrial development. However, emancipation imposed harsh economic conditions on the lower class and did not satisfy their need for farmland. Industrialization concentrated people in urban centers, where the exploited working class was a receptive audience for radical ideas. By 1903, Russia was divided into several political groups. The autocracy was upheld by the landed nobility and the higher clergy; the capitalists desired a constitutional monarchy; the liberal bourgeoisie made up the bulk of the group that later became the Constitutional Democratic party; lower and middle class were incorporated into the Socialist Revolutionary party; and the workers, influenced by Marxism, were represented in the Bolshevik and Menshevik factions of the Social Democratic Labor party."
| |
|
Venus in Art, 2004.
This paper explores Venus?s representation in art through the Classical and Renaissance periods and into the 19th century.
2,725 words (approx. 10.9 pages), 1500 sources, APA, $ 81.95
»
Click here to show/hide summary
Abstract
This paper explains that, throughout history, Venus as a representation of love and beauty has been captured in various media, including the visual arts of paintings and sculpture, music, and drama. The author points out that understanding the roles in history and Greek mythology of Venus, an ancient Italian goddess closely associated with fields and gardens and later identified by the Romans, and Aphrodite, the Greek goddess of love, is important for understanding how artists have been able to use her as a representation of love and beauty. The paper relates that artistic representations of Venus have long been associated with female sexuality as embodied in the ?Venus Pudica?, a statue in which Venus stands erect with her face slightly turned away, one hand over her breasts and the other shielding her groin, displaying both modesty and an alluring nature.
Table of Contents
Introduction to Venus and Aphrodite
Venus and her Roles in Classical and Renaissance Art
Venus and Sexuality
Venus, Madonna, Mary Magdalene and the Female Role in Society
Venus in Contemporary Culture
From the Paper
"During the 18th century, the French painter Fran?ois Boucher also captured the charms of Aphrodite, often depicted her in his most notable work ?The Triumph of Venus.? Boucher?s style was considered to be in the Rococo genre. Rococo by nature is light, playful, and can sometimes be a bit frivolous but proved to be a suitable style for depicting the goddess of love and beauty. This painting indeed conveys to the viewer feelings of delight and joy. Another artist who produced works that depicted the birth of Aphrodite was the French painter J A.D. Ingres. Ingres? work is considered more classical in form that Boucher's version and is part of the artistic movement known as Neoclassicism. In addition, Ingres? work draws inspiration from the past as he depicted her as she emerges from the sea."
| |
|
A Picture Story, 2004.
A report of a research project and its goal of creating a short story combining the textual elements of fiction with illustrations ranging from digital photographs to illustrations.
3,265 words (approx. 13.1 pages), 36 sources, MLA, $ 93.95
»
Click here to show/hide summary
Abstract
This paper examines the results of a project conducted by the writer. The writer attempted to create a unique form of pictorial story-telling aimed at an adult audience. The paper discusses the obstacles encountered in achieving the aim of this project. The paper analyzes different methods of drawing. The paper explains why the use of pictures in adult literature is not a popular option.
Outline
Introduction to Pictorial Storytelling
The Idea and Its Influences
Research Process
Writing Process
Conclusion
From the Paper
"The human imagination has given been given the unique gift of communicating abstract concepts and ideas to each other through story telling. All forms of story telling, written, illustrated or spoken, have given the narrator or author the power to enter people's minds with their ideas. One major form of story telling throughout history has been through the use of pictures. The early uses of pictorial story telling were applied though the cave drawings."
| |
|
Dr. Seuss and WWII, 2004.
An examination of the contribution that Dr. Seuss made towards WWII comics and animation.
3,254 words (approx. 13.0 pages), 12 sources, MLA, $ 93.95
»
Click here to show/hide summary
Abstract
This paper discusses how the political themes exposed in the WWII political cartoons of Dr. Seuss, or Theodor Seuss Geisel, influenced a number of his later works of children?s literature. It looks at the themes of these political cartoons and the impact they had on his future writings and drawings.
I. Introduction
II. Seuss' Editorial Cartoons in WWII
A. PM Magazine
B. Seuss and Japanese Americans
C. First PM Magazine Cartoon, Virgino Gayda
D. May 19, 1941 Hitler Cartoon
E. July 16, 1941 Isolationist Cartoon
F. The Influence of Seuss? Editorial Cartoons
III. Political Aspects of Seuss' Children's Literature
A. Recreation of PM Magazine Characters in Children?s Literature
B. Yertle the Turtle and Other Stories and Totalitarianism
C. The Sneetches and Other Stories and Tolerance and Racism
D. The Butter Battle Book and the Cold War
E. Marvin K. Mooney, Will You Please Go Now! and Richard Nixon
F. The Influence of the Political and Social Content of Seuss? Children?s? Literature
IV. Conclusion
From the Paper
"The political themes exposed in the WWII political cartoons of Dr. Seuss, or Theodor Seuss Geisel, influenced a number of his later works of children?s literature. Known primarily for his children?s books, Seuss wrote a series of over 400 political cartoons for PM Magazine that explored a variety of subjects, including Hitler, Fascist Italian publicist Virgino Gayda and Mussolini and fascism, American Isolationism, and racism. May of these themes were later explored in his children?s books, including Marvin K. Mooney, Will You Please Go Now!, The Butter Battle Book, The Sneetches and Other Stories, and Yertle the Turtle and Other Stories. Marvin K. Mooney, Will You Please Go Now! reveals Seuss? feelings that President Nixon should resign, while The Butter Battle Book clearly shows that the political and social conscience that Seuss honed during his time at PM Magazine, was active well into his old age. In his children?s book, The Sneetches and Other Stories, Seuss again expanded on the theme of tolerance and the attacks on racism that he incorporated into many of his editorial cartoons from PM Magazine. Similarly, Seuss?s Yertle the Turtle and Other Stories is deeply reminiscent of the dislike of fascism and totalitarianism seen in his PM Magazine cartoons. Overall, Seuss? contributions to the political landscape, while commonly overlooked in favor of his contributions to children?s literature, were significant and important in shaping public opinion, both in an overt form seen in his editorial cartoons, and in the more subtle political messages seen in his children?s books."
| |
|
Lighting Techniques in Art, 2004.
An examination of the evolution of lighting techniques in various periods of art throughout history.
2,457 words (approx. 9.8 pages), 3 sources, MLA, $ 74.95
»
Click here to show/hide summary
Abstract
This paper explores how the evolution of sculpture, from the architecturally-based Gothic period to the return to Antiquity and Roman art, and new ideas about light use and perspective in the Renaissance to the very Catholic and extravagant Baroque period, and the many interluding movements that finally brought sculpture to a more modern place in the 19th century with the works of Realism, shows both a desire to return to artistic roots and a need to grow beyond that which has already been created. It explains that each period had innovative techniques and original artistic ideas, which would influence all art that followed by creating a new standard that could be adhered to, added onto, or completely revolted against by the next generation of artists. It concludes that sculpture continues to reflect the movements of religion, architecture, painting, and science in every period of time.
From the Paper
"The human mind is only capable of sight by means of taking light through the eye and interpreting that within the brain. Although people did not fully understand the scientific properties of light until relatively recently, artists throughout time have had the particular challenge of creating an illusion of the existence of light within an art piece. Human sight has an incredible range, feeding the mind images of the surrounding world from near complete darkness to the brightest of sunlight conditions. It is through this range that the world becomes reality, and it is therefore the place of art to attempt to capture this range of light. However, traditional pigments have a very limited range, and therefore the artist must find ways to make the available colors combine to create an illusion that may be interpreted by the viewer as similar to reality. The lighting techniques of painters took a significant turn in the Early Renaissance period which moved their work much closer to nature in appearance through a change in lighting styles, and this continued to influence the art periods that followed."
| |
|
Clement Greenberg's and Michael Fried?s Aesthetics, 2004.
Compares the ideas of Clement Greenberg and Michael Fried, relating them to specific instances of art practice.
2,830 words (approx. 11.3 pages), 41 sources, APA, $ 84.95
»
Click here to show/hide summary
Abstract
This paper explores and compares the influence of Clement Greenberg's and Michael Fried's ideas on art and aesthetics and how the reaction to those ideas impacted the development of late Modernism and its transition into Postmodernism.
From the Paper
"Central to both the theoretical stances of Greenberg and Fried is the non-referential nature of high art and the non-contingent nature of artistic practice. This forms part of an ?elitist? view of art, which was to contrast sharply with later postmodern concepts of artistic practice that emphasize an egalitarian ethos and a breaking down of the barriers between the different art forms. As will become clear, for Greenberg and Fried correct artistic practice could not be contingent on and referable to other areas besides that specific mode of art. In other words, ?proper? or pure art can have no subject and cannot be related to social or any other external areas. For both Greenberg and Fried the subject and correct developmental path of art was art itself. This becomes clear if the central tenets of modern formalism are analyzed."
| |
|
John White Alexander?s ?Blue Bowl?, 2004.
Analysis of the painting, "Blue Bowl", by American painter, John White Alexander.
965 words (approx. 3.9 pages), 1 source, MLA, $ 34.95
»
Click here to show/hide summary
Abstract
This paper describes the painting, "Blue Bowl", and explains how the artist's use of contrast, line, and color in this painting create the balance and rhythm characteristic of Alexander's work.
From the Paper
"?The Blue Bowl? contains several contrasting formal elements that contribute to its energetic nature. For example, a thick, black background competes with the woman?s milky skin. The contrast enables her figure to jump out of the background, giving her lightness and freedom from an otherwise nebulous environment. Moreover, only part of her skin is exposed, from the nape of her neck and her upper back. The skin here is also far brighter than the skin on her hands and face, which remains in shadow. Most of the woman?s skin remains concealed beneath the dress; like the contents of the bowl and the atmosphere of the room she graces, the bulk of her body is unseen by the viewer. The floral print dress jumps out of the canvas largely because of its color scheme. Just as her skin contrasts sharply with the dark background, so too does the ivory-colored dress, the piece of furniture she leans on with her left hand, and the background of the titular blue bowl."
| |
|
Documentary Photography, 2004.
A review of the history of documentary photography and Dorothea Lange, the photographer.
1,980 words (approx. 7.9 pages), 5 sources, MLA, $ 62.95
»
Click here to show/hide summary
Abstract
This paper presents the background history of photography, in general, and the evolution of documentary photography. Documentary photography is described in the paper, illustrating its important role in documenting history. A biographical history of the photographer, Dorothea Lange, is provided in the paper. Some of her works are introduced and analyzed.
From the Paper
"Life is documented daily, whether in newspaper photographs of world events, in feature magazines of faraway places and in photo albums of family snapshots. Essentially, all photography is a documentary of whatever is being photographed for whatever reason. However, traditionally, the mention of documentary photography brings up familiar images from a few twentieth century photographers, such as Ansel Adams, Walker Evans, Roy Stryker, Arthur Rothstein and Dorothy Lange, whose photographs have not only documented culture but has become a part of the culture itself."
| |
|
Jon and Garfield in "Garfield the Cat", 2004.
This paper analyzes the characters of Jon and Garfield in the widely-read comic strip, "Garfield the Cat".
811 words (approx. 3.2 pages), 2 sources, APA, $ 28.95
»
Click here to show/hide summary
Abstract
In response to a writing assignment, the author of this paper selects two comic strip characters, Jon and Garfield from "Garfield the Cat", to analyze and then compare with ourselves in order to see how they are actually just reflections of our own political, economic, religious, and cultural situations.
From the Paper
"Comparisons made between comic book characters and the self permits us to become a part of the mindset of the character, good or bad. Further, the transference of self permits us to associate with similar personalities as well as learn about our own personality. Without even giving much thought to the possibility of resembling a Jon or Garfield, the reader has, through situational identification, compared the self with reference to three important human behavioral dimensions; namely, how we perceive the self, how we would like others to perceive us, and how we think others perceive us (Cooley, 1902)."
| |
|
"Raftsmen Playing Cards", 2004.
Description and analysis of George Caleb Bingham's painting, "Raftsmen Playing Cards".
1,471 words (approx. 5.9 pages), 1 source, MLA, $ 48.95
»
Click here to show/hide summary
Abstract
This paper introduces, discusses, and analyzes the artwork, "Raftsmen Playing Cards" by George Caleb Bingham. Specifically, it discusses the historical context and aesthetic effect of the piece and looks at why the work is so appealing.
From the Paper
"This art is clearly American Realism at its best. The minute detail of the figures and the raft, the attention to the riverbank and the misty mountains in the distance, Bingham executes all these details with deftness and a real concern for realism. He has even spent the time to recreate distinct personalities for his river men, which are quite apparent with a close viewing of the painting. There is a dreamlike quality to the surroundings, but the main subjects stand out in stark relief. It is clear they are the main focus of this painting, but they also reveal Bingham's realistic style that followed him throughout his lifetime. At a time when there were no commonly available photographs, Bingham captured scenes as if they were shot with a camera, so that people all over the world could see what life was like on the American frontier. His style is consistent with other realists of the time, who strove to capture scenes as they really were, and depict people as they really looked."
| |
|
Utopian Images of the Natural State, 2004.
A comparison of Ernst Ludwig Kirchner's "Bathers Beneath Trees" and Franz Marc's "Bathing Girls."
1,165 words (approx. 4.7 pages), 4 sources, MLA, $ 40.95
»
Click here to show/hide summary
Abstract
This paper describes and analyzes Kirchner's and Marc's artistic depiction of utopia in a natural state in their respective paintings, "Bathers Beneath Trees" and "Bathing Girls", and then explains how each artist's perception of that utopia is different. The paper describes Kirchner's vision of utopia as a place of abundant growth, secure, calm, and away from noise and chaos, whereas Marc's vision of utopia is described as one of adventure and fun, where nature joins with man to provide a place of beauty and freedom from worry.
From the Paper
"Ernst Ludwig Kirchner's "Bathers Beneath Trees" and Franz Marc's "Bathing Girls" are paintings of the same subject; three women in nature getting ready to bathe and, or, swim. Both are utopian visions of what each artist felt was ideal. The utopian representation of both artists is seen in the use of an idealistic notion of freedom and a personal response to nature. Freedom is seen in the comfortable presence of the nudes and the use of color in nature reflects the artists? perception of utopian existence."
|
|
|
