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Japanese Art and Music, 2002.
An examination of the roots and influences of Japanese art and music.
1,326 words (approx. 5.3 pages), 4 sources, MLA, $ 44.95
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Abstract
This paper discusses how Japanese art is an impressive entity complete in itself with a unique identity of its own. It looks at how the field doesn?t primarily focus on paintings or prints and how instead everything, from sculpture to temple carvings occupy an important place in Japanese art. It analyzes its history of art by looking at different cultural influences. It also examines how Japanese music today is a rich amalgam of western and eastern traditions and how no matter how westernized the music becomes, the Japanese music industry cannot fully abandon the influence of eastern musical techniques because of its long and very vibrant history.
From the Paper
"Japanese music can technically be arranged into two broad categories: western and traditional composed in major and minor pentatonic scales. While there are various technical differences in western music of Japan and that of the rest of the world, still these are two categories that presently prevail in modern Japan. It is easier for the youth to identify with western style of music however Japan boasts of a long series of famous traditional singers who left an indelible mark the global music scene. One such singer was Misora Hibari who was born in 1937. The music scene in Japan is not only alive, it is constantly changing and adapting to the modern world around. This is probably the best way Japan can connect with the western societies and emerge out of the shackles of its restrictive traditions."
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Edgar Degas, 2002.
This paper discusses Edgar Degas, an impressionist artist whose artwork revealed a concern for the psychology of movement, expression, harmony of line and continuity of curves that distinguished him from all the other impressionist painters.
855 words (approx. 3.4 pages), 5 sources, MLA, $ 30.95
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Abstract
This paper explains that, although Deges was connected with the impressionists, he never was fascinated like others were by the influence of natural light and thus did most of his work inside his studio only. The paper continues that his paintings depicted ballet, horse racing, the theater and circuses, which gave the idea that his work stemmed from the humanistic experience. The author points out that Degas? favorite subjects were scenes from the world of entertainment, the daily life of women, ballet dancers, horse races and young ballerinas.
From the Paper
"Degas was captivated and influenced by a study of Japanese prints of which style appeared to be in his later work. He drew on the Japanese idea of asymmetrical design as an object to set the subject to the side of a painting. For example, one of his paintings made in 1865, depicted a Woman with Chrysanthemums (exhibited at Metropolitan Museum of Art, New York City) where the female subject is pushed into one side by a bouquet of flowers."
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Henri de Toulouse-Lautrec, 2002.
This paper discusses the life and work of Henri de Toulouse-Lautrec, lithographer, French post impressionist painter and illustrator.
870 words (approx. 3.5 pages), 5 sources, MLA, $ 30.95
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Abstract
This paper explains that Toulouse-Lautrec, despite his physical handicaps and later by alcoholism, managed to create his own instantly recognizable style and his unique way to invoke a world that was full of jollity and humor. The paper points out that Toulouse-Lautrec stands out in graphic art; even today, his lithographs and posters are still being copied. The author believes that, since Rembrandt, Lautrec was maybe the most unforgettable artistic character, a status acknowledged years earlier by novelists and the film industry.
From the Paper
"Moreover, he was amazingly open to the unorthodox kinds of commission that his graphic success won him. He illustrated songs for music publishers, art exhibitions, theatre programs, confetti, menus for friends, designing posters for books, journals, plays, caf? and theatre stars, ordinary products as domestic furnishings, printing ink and bicycle chains. All these posters were effectively a form of anti academic propaganda. Thus, by taking this work to the street, he was involved in a delicate but classic form of revolution that turned out to be more real than the exhibitions and salons of the avant-garde ever were."
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The Renaissance Era, 2002.
An examination of the world of the artist in the Renaissance era.
1,375 words (approx. 5.5 pages), 2 sources, MLA, $ 45.95
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Abstract
This paper discusses how between the years 1495 and 1538, following the Byzantine/Gothic periods, a powerful new vitality was stirring amongst the great thinkers and artists which eventually brought about significant and beneficial change in the world of art known as the Renaissance era. It looks at how during the advent of this era, the artist began to view the world around him quite differently and saw that it could be utilized to express true artistic observations. It shows how in the early years of the sixteenth century, this artistic viewpoint became more than a direction, for it blossomed into a theory and a doctrine. It analyzes how the basic premise of the Renaissance era in relation to art stressed the importance of personal experience, the artist's right to know by experimentation, the futility of formal philosophies so prevalent in the preceding eras and the beauty and value of things in the external world.
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 family 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" saw works of such authority and magnitude produced that later generations of artists were virtually instructed in how to represent the natural world in painting and sculpture. 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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Orientalism in Western Art and Music, 2002.
This paper discusses the use of orientalism, the influence of the culture of the Middle and Far East, on Western art and music.
1,650 words (approx. 6.6 pages), 7 sources, MLA, $ 53.95
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Abstract
This paper stresses that, even though Western artists are looking for new ideas when they seek Oriental input, they can only interrupt the Orient through their own Western culture. The author explains that French painter Eugene Delacroix' ?Death of Sardanapalus? and Austrian artist Leopold Carl Muller?s ?The Market in Cairo? are examples of orientalism in Western art. The author states that the Beatles, seeking the teachings of India?s gurus, brought orientalism into modern pop culture.
From the Paper
"The Western World that Delacroix knew lay on the brink of the Victorian age. Painted in 1827, the Death of Sardanapalus speaks to a people already grown accustomed to the strictures of middle-class morality. As older and wilder days ended, North Americans and Europeans were already entering into a new era of strong religious devotion, clean living, and sexual repression. The wanton abandoning of oneself to pleasure like Sardanapalus seemed to be something that was still possible only within the hidden corridors of the seraglio, a place where leering, bearded despots sought freely to satisfy their carnal lusts. The fact that Sardanapalus?s world is about to be consumed in fire is but a fitting moral judgment. Though he can gape at the writhing, sensuous forms of the King?s doomed attendants, the European or North American man can only dream of what he cannot have ? the pleasures of the flesh are condemned hellfire."
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Primitivism and Modernism in Diego Rivera, 2002.
An analysis of the life and works of artist Diego Rivera.
1,953 words (approx. 7.8 pages), 8 sources, MLA, $ 62.95
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Abstract
This paper explains why Diego Rivera holds a unique and intriguing position within the history of art. It shows that because his nationality and his education, his cultural inheritance and his intellectual development, these place him on a perch between two widely differing paradigms of aesthetics and representation. The paper focuses on Diego Rivera?s 1917 composition, "Still Life with Bread and Fruit".
From the Paper
"Rivera?s background and professional artistic training certainly place him in a Western European tradition that stretches from the Renaissance through the period of high modernism. Rivera came of age at a time when modernism itself was in full swing, and it certainly exacted a profound and direct influence on his work. In his early life, Rivera attended a painting school in Spain, traveled significantly throughout Europe, and briefly lived in Paris, where ?he was influenced by post-impressionism, mainly by Paul C?zanne?s art? (?Diego Rivera (1886?1957)?). Indeed, his palette was deeply affected by modernist works of the day, and he heavily employed many modernist techniques and methods during this apprenticeship period as he continued to develop his own style. Before he ultimately returned to Mexico, he even went to Italy to study renaissance painting more formally. His work during this period reflects representative modernist trends and ?shows study and analysis of neoimpressionism, C?zannism, Fauvism and Cubism? (?Biography: Diego Rivera?). While most people are most familiar with Diego Rivera?s mature corpus of works in which he experimented with mural forms that depicted scenes of Mexican peasantry and other traditional scenes, his early work is much more in the European modernist tradition of post-impressionism and cubism. We will briefly examine one such representative work."
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The Telescreen and Camera Lucida, 2002.
This paper compares the telescreen from George Orwell's book ?Nineteen Eighty-Four? and the camera lucida, a primitive camera, from Roland Barthes? book ?Camera Lucida?.
770 words (approx. 3.1 pages), 2 sources, MLA, $ 27.95
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Abstract
This paper explains that the true nature of observation, whether through the lens of a camera or the "All Seeing Eye" of a telescreen, depends on the viewpoint of the voyeur, a situation that clearly plays a major role in both ?Nineteen Eighty-Four? and ?Camera Lucida?. The paper points out that Barthes' camera lucida as a mechanical device also projects an image onto a flat surface, much like Orwell's electrical telescreens that project images through a monitor. The author feels that the telescreen and photography eliminate time and distance through its immediacy and "in-your-face" projections, just as, today, a video camera or internet "webcam" perform the same function.
From the Paper
"For Barthes, photographs were triggers that brought out the inner light of thinking and interpretation. In his book, he discusses the intense debate about images, particularly those related to photography, and their role in the development of cultural theory and history. This is quite similar to Orwell's use of images on his telescreens which projected
not only the images associated with "Big Brother" but also those of the culture of Oceania and the government's efforts to supervise all the activities of its citizens. In Camera Lucida, Barthes offers the suggestion that photographs contain an "aura" which reflects lost memories. He mentions that while studying a photo of his mother as a young child, "standing a little back (and) facing the camera," he accidentally discovered the true essence of his long-dead mother. This photograph, as he put it, was a telescope that brought distance and time into reality while also doing the same for his mother."
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Artist Jenny Holzer, 2002.
This paper discusses the work of Jenny Holzer and conceptual art, which includes textual comments on life.
1,335 words (approx. 5.3 pages), 12 sources, MLA, $ 44.95
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Abstract
This paper uses the example of Jenny Holzer?s work ?Truisms? ( NYC Guggenheim Museum) to illustrate her conceptual art. (Illustration included.) The author points out that Holzer?s "Truisms" came about because of her despair of the present-day world where there is little dialogue about people?s widely varying beliefs. The paper states that Holzer?s art distinguishes two strong characteristics of the late 1970 and 1980 artists: The manipulation of gallery and museum spaces as communal locations of the dissemination of political and social commentary and the spread of activist art collections in New York.
From the Paper
"New artistic movements arose during the 1960s and ?70s to challenge and displace modernism in painting, sculpture and other media. By the late 1970s, artists were using conversations, discussions and theoretical texts as the basis for their creative products. One of these styles was conceptualism. Deliberately formed as an approach that no aesthetic formalism could ever embrace, it placed art beyond all limitations and definitions to break the stringent constraints of the previous art history and criticism. Attention was turned toward producing and the manipulation of materials. The result or the final object became secondary and often temporary. The rise of conceptualism corresponded to artistic trends taking place in various parts of the world, as social and political upheaval prompted artists to re-examine traditional forms of representation and question art?s social utility. Much of the art in exhibitions was made to provoke the viewer by disturbing previously accepted ideas about social, political and cultural systems."
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Professor Elliot W. Eisner, 2002.
Discusses the contributions to educational research by Professor Elliot W. Eisner.
1,066 words (approx. 4.3 pages), 3 sources, APA, $ 37.95
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Abstract
This paper briefly covers the educational background of Elliot W. Eisner, professor of Education at and art at Stanford University. The paper goes on to review Eisner's theory about the role of ideologies in the educational system, the primary aims that Eisner believes schools should incorporate into their curriculum, and the views expressed in Eisner's book "The Kind of School We Need."
From the Paper
"Eisner believes that all students should access to the arts in schools, and stresses the importance of including arts in the curriculum. Due to the fact that the school curriculum tells the students is important to learn, students that do not have arts in the curriculum will not see arts as something of importance. This will, ultimately, stunt their cultural growth."
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Edouard Manet, 2002.
A look at the life and work of 1800s French painter, Edouard Manet.
1,856 words (approx. 7.4 pages), 6 sources, MLA, $ 59.95
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Abstract
This paper begins by providing a brief biography of Manet. It looks at the style of his first artwork and then discusses two of his famous paintings. The first is "Luncheon on the Grass" painted in 1863 and the second is "Olympia" painted in the same year. The paper then looks at how his art changed towards the end of his life.
From the Paper
"The great painter Edouard Manet, born on January 23, 1832 in Paris has always been recognized with the "Impressionists". He mostly preferred to exhibit his work in the exhibitions that were more moderate and sponsored by the French government. Though, he learned traditional style painting, but his experience with Claude Monet and the other "Impressionists," made his work more natural and spontaneous by using meaningful outlines, severe lighting contrasts, with daring colors and rich texture to depict the world around him (Gray, 1983).
Although, he was well educated, yet did not excel within the academic atmosphere and instead showed interest towards drawing and the arts. After serving in the merchant marines in 1850, Manet joined the studio of Thomas Couture and studied until 1856. There the old masters, especially Velazquez and Goya, influenced him. However, he opined that art of one should always reveal and indicate ideas and ideals of the present instead of the past (Gray, 1983).'
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Sculpture and Form in Ancient Egypt and Greece, 2002.
Examines how ancient Egypt influenced early Greek culture, as can be seen through works of art from the time period.
1,462 words (approx. 5.8 pages), 7 sources, APA, $ 48.95
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Abstract
Ancient Egypt had a significant impact on early Greek culture, as can be evidenced by enduring artifacts. Egyptian sculptures, primarily created for the pharaohs or high-ranking officials and essentially religious in function, significantly influenced the form and style of statues of the early Archaic Age. Poses were rather rigid and very conventional and facial expression was confined to the typical Egyptian half smile. The paper shows that over time, Greek artisans began developing their own approach. By the late Archaic and definitely prior to the beginning of the Golden Age or Classical Period, artwork started to reflect evolving philosophies and ideals and to celebrate the human figure. Sculptures portrayed more elaborate features and less static stances.
From the Paper
"The statues also represented the society?s hierarchy. At the bottom of the rung were the slaves, tomb builders and farmers. Further up came the craftspeople, educators, doctors, noblemen and priests. The pharaoh filled more than the role of king and ruler. He was considered a god on earth. (Grant 1990, 23) Egyptians used the size of their statues to illustrate the social order. The pharaoh was larger then life size, scribes and court officials life size and workers and peasants always shown working. The images of the pharaoh, always larger than life, made him appear all the more god-like. The large works of sculpture were often displayed at temples that were built for the pharaoh?s chosen deity."
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Zulu Beadwork and Clothing, 2002.
A brief history of Zulu beadwork and clothing.
808 words (approx. 3.2 pages), 3 sources, MLA, $ 28.95
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Abstract
This paper examines how the Zulu nation is the best-known sub-group of the Nguni tribe, which is one of the largest tribal groupings in South Africa and how the Zulus have a rich culture with the traditional handicrafts and the intricate designs of their beadwork being especially noteworthy. It describes the history of the Zulu beadwork and clothing as well as how the beads are made and who makes them, what they are used for and their significance and symbolic meaning in Zulu culture.
From the Paper
"Beadwork is an essential part of the traditional Zulu dress for women. For example, Zulu clothing for Zulu girls is mainly made of beadwork and is usually quite revealing (most unmarried girls go topless with only necklaces and skirts made of beads). Older Zulu women wear clothes that cover their bodies. They, however, decorate their isicholo (a wide hat made of straw) with beads (ubuhlalu). Women also wear isidwaba, a pleated skirt made of cowhide and softened by hand. Younger women sometimes decorate their ?isidwaba? with beads, whereas older women wear it plain. (?Culture of Zulu People.?)"
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Hogarth?s Influence on Fielding, 2002.
A look at the influence that 18th century painter and engraver, William Hogarth had on the writings of Henry Fielding.
1,606 words (approx. 6.4 pages), 6 sources, MLA, $ 52.95
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Abstract
In this paper, the writer states that caricaturist, William Hogarth was able to achieve with his prints and caricatures, what his contemporaries strive to attain through their writings and poems. It looks at how his political agenda was served through his cartoons and engravings, as they depicted a very real picture of the life and society in the 18th century. It looks at how his work influenced Fielding's writings - also filled with a political agenda.
From the Paper
. It is commonly believed that, ?In his masterpieces - "A Harlot's Progress," "A Rake's Progress," "Marriage A-la-Mode" and "Gin Lane" - he created an image of society so resonant and enduring that the adjective "Hogarthian" has come to define 18th-Century England.? (Smith, 9) Henry Fielding was another famous name of those days. He wasn?t just a contemporary of Hogarth?s but was his close friend and staunch supporter. Together they fought against the immorality persisting in their society by highlighting its weaknesses in their works. Smith (1997) adds, ?Hogarth, along with writers like his friend Henry Fielding, pioneered a vigorous, assertively British esthetic that proudly declared its independence from the oppressive weight of classical tradition and unthinking reverence for continental art.?
Fielding was deeply impressed by Hogarth?s courage and brilliance and thus took inspiration from his works for his own writings. Fielding?s famous works include Shamela, Joseph Andrews and Tom Jones, all three of which show prominent signs of Hogarth?s influence."
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"The New Negro? and ?The Black Writer and His Role.?, 2002.
A review of the similarities and dissimilarities found in Alain Locke's ?The New Negro? and Carolyn F. Gerald's ?The Black Writer and His Role.?
1,400 words (approx. 5.6 pages), 3 sources, MLA, $ 46.95
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Abstract
Compares Alain Locke's and Carolyn F. Gerald's proposals for a pseudo-militant black arts movement. Looks at how both authors view the self-image of the average black person as one that has been forced upon them by the white majority. The paper goes on to discuss how both authors see the need to change and recreate the black self-image, and their differing views on how to approach the task of creating this new image.
From the Paper
"The main difference between Locke and Gerald is the way in which they approach the new image-making task at hand. For Locke, it is entirely a creative process. He seeks to find whatever meaning in white culture that ought to be (for black culture has, after all, left parts of its meanings floating about in white space, such as musical influences). He additionally seeks to create new meanings that can interact healthily with white culture, to create a new American culture. Gerald is far more nihilistic. Her focus is more on destruction and the (justifiable) wrath of her people. Attempted culture creation in the presence of the white discourse has only led to failure and frustration. The white discourse must be destroyed."
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Arts in the Learning Process, 2002.
The paper is a research proposal to evaluate arts in the learning process.
2,370 words (approx. 9.5 pages), 6 sources, APA, $ 72.95
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Abstract
This paper is a research project to prove that by including the arts actively in the learning process, students learn more comprehensively and efficiently than by the traditional methods of teaching. The author feels that this research is important because by incorporating the arts, such as dance, movement, drama, visual arts and music, in the curriculum of her students, she will diversify the curriculum and provide her students with the best possible chance for success. This paper states that the method of research will be qualitative/narrative and will use videotaping to measure results.
Table of Contents
Introduction
Statement of the Problem
Research Questions/Journey Leading to Research Questions
Significance of Study
From the Paper
"Dance, drama and music are but a few examples of teaching tools that engage a student?s sense of sound, touch, feeling and emotion. Intelligence cannot simply be measured by assessing the ability of students to produce written material. Many students are in fact, spatially oriented. An engineer for example, is much more likely to create a ?picture? in his/her mind of a project to be completed, rather than write a book about the structure. Education is not a product to swallow without reflection and struggle, nor is it information to pour into a waiting but empty brain."
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