| Papers [541-555] of 1926 :: [Page 37 of 129] | | Go to page : <— 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 —> | |
|
|
Art Therapy, 2004.
An overview of the use and benefits of art therapy.
2,090 words (approx. 8.4 pages), 4 sources, MLA, $ 65.95
»
Click here to show/hide summary
Abstract
This research paper discusses art therapy in a well-rounded explanation of the nature of this form of treatment, its usefulness, history, and how important it is considered to be. It looks at how it has been found that art therapy is useful in a variety of physical and mental health conditions. It also examines how the therapists are all professionally trained and how the client is facilitated to explore his innermost thoughts with this form of therapy.
From the Paper
"Art therapy can relieve addicts of their afflictions. I shall discuss art therapy the most here out of all creative arts therapies because this is the form of therapy I am most suited to and comfortable about. All my life I have held interest in the visual arts very much so in painting. This is my preferred genre of creative art therapy. Why? it is rather accessible if we look at it as a field that allows free membership. Anybody can paint even if he is not trained for the job. And art therapy is not done on a novice basis alone. Skilled therapists deal with their clients to help them release unconscious matter (where culture also is ingrained) in their minds; see it clearly by representation in order to resolve conflicts among themselves and with their fellow beings."
| |
|
"The Holy Trinity" and "The Annunciation", 2004.
Comparison of the style of two religious works of art.
1,040 words (approx. 4.2 pages), 0 sources, MLA, $ 36.95
»
Click here to show/hide summary
Abstract
This paper compares the style, subject matter, and treatment of two 15th-century art pieces, "The Holy Trinity" and "The Annunciation". It looks at the style of art that was popular at the time the objects were painted, the similarities and the differences in the artworks, and the concept of time present in both works.
From the Paper
"But a look inside the central panel reveals that although the figures are supposed to be the historic Mary and the angel, the clothing, furniture, pottery, windowpanes, fireplace?all these are of the period in which the painting was created. That suggests that the apparently 15th century figures in the left panel are as historical as Mary and the angel, and the artist has simply chosen to portray them all in ?current time? with current props. Still, the possibility that the artist was playing with time while presenting a miraculous event is seductive, and cannot be ruled out. After all, it was the age of alchemy, and many believed in things far stranger than that a 15th century priest could be ?viewing? an event that happened 9 months BC."
| |
|
Classicism, 2004.
A paper that discusses how Classicism manifested itself in the 18th century.
679 words (approx. 2.7 pages), 7 sources, MLA, $ 24.95
»
Click here to show/hide summary
Abstract
This paper briefly describes the cultural style of classicism. It then looks at how this style is portrayed in music, architecture, and art.
From the Paper
"In order to determine the 18th century?s manifestation of Classicism, it is important to understand what the term means. Classicism, or Neo-Classicism is used to ?characterize the culture of 18th-century Europe, and contrasted with 19th-century Romanticism (unknown, Classicism).? In ?art, music, and literature, it is a style that emphasizes the qualities traditionally considered characteristic of ancient Greek and Roman art, that is, reason, balance, objectivity, restraint, and strict adherence to form (unknown, Classicism).? Classicism is ?characterizing art in which adherence to recognized aesthetic ideals is accorded greater importance that individuality of expression (sunsite.unc.edu/wm/paint/glo/romanticism).? "
| |
|
Benton?s ?June Morning? and Frieske?s ?Before Her Appearance?, 2004.
This paper critiques two paintings by American artists: Thomas Hart Benton?s ?June Morning? (1945) and Frederick Carl Frieske?s ?Before Her Appearance? (1913).
1,155 words (approx. 4.6 pages), 0 sources, $ 39.95
»
Click here to show/hide summary
Abstract
This paper first describes Thomas Hart Benton?s "June Morning" by explaining that the curvilinear forms and the realistic details accentuate this typical rural scene. The paper then critiques American Impressionist, Frederick Carl Frieske?s "Before Her Appearance", which is a delicate portrait of a young ballerina applying the final touches to her make-up before going on stage. The paper points out that the painter is trying to evoke a feeling of naivet? with this young woman by using mottled details, which bring softness to the scene.
From the Paper
"The flowering bushes appear to be doing well in the arid conditions as evidenced by the grass. Pink clusters of flowers adorn the bushes at the left foreground. White flowers, tinged with yellow, grow from a bush, out of the top of the hill in the right foreground. Aged and weathered wooden slats lie askew at the bottom of the bush, accented by rounded boulders. The three slats are broken and laying at odd angles, as if possibly a wheelbarrow or cart broke along the roadside at this spot, and the owner just left it for time to dispose of."
| |
|
Michelangelo?s "David", 2004.
Analysis of Michelangelo's famous statue of the biblical hero, "David".
1,030 words (approx. 4.1 pages), 3 sources, MLA, $ 36.95
»
Click here to show/hide summary
Abstract
This paper discusses Michelangelo's sculpture, "David", and how it reflects on the artistic and social values of the Italian Renaissance era. The paper explains the value the Renaissance era placed on sculpture and its fascination for classical antiquity, as well as its emphasis on the glory of the human body.
From the Paper
"The sculpture by the Renaissance Italian artist Michelangelo Buonarroti of the Biblical hero ?David? is so famous that statue?s ubiquitous appearance in parody and in actual texts upon the history and aesthetics of art has rendered the work?s appearance a clich? more an a inspiring work of sculpture. However, rather than simply something that is a pre-extant work for the ages, it is important to remember that the work?s construction is the product of a particular period of history, not something that sprung fully-fledged from the mind of Michelangelo."
| |
|
Revolutionary Art, 2004.
A review of the paintings ?The Third of May 1808? by Francisco Goya, Eugene Delacroix?s ?Liberty Leading the People 1830?, and Ernest Meissonier?s ?Memory of the Civil War (the Barricades) 1849? .
1,403 words (approx. 5.6 pages), 4 sources, MLA, $ 46.95
»
Click here to show/hide summary
Abstract
This paper discusses how revolution and social turmoil have always been accompanied by artistic creation. It examines 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? and shows how they are three great pieces, which portray the glory and atrocity, the tragedy and humanity, of three revolutions.
From the Paper
"Francisco Goya?s "The Third of May, 1808? tells the story of an execution in the aftermath of the Spanish insurrections that protested Napoleon?s invasion of Spain. In this famous painting, a line of soldiers take aim at a single prisoner. To his left a pile of bleeding corpses demonstrate his inevitable fate. To his right a line of frightened, sobbing prisoners illustrate the immediate backstory for this moment. He is caught in the spotlight between anticipation and culmination, at the very second before death. Yet unlike the living he is not portrayed as frightened or even defeated, but as a gloriously triumphant figure. The scene is painted in dark earth tones, and all the figures have shadowed faces and dark clothes. The only light in the entire picture radiates from the prisoner?s central figure (strictly speaking, he is illuminated by a spotlight, but the still shines brighter than the light itself)."
| |
|
Andy Warhol, 2004.
A review of the life and art of Andy Warhol.
1,287 words (approx. 5.1 pages), 4 sources, MLA, $ 43.95
»
Click here to show/hide summary
Abstract
This paper presents an overview of the artwork of Andy Warhol. The paper begins by defining Warhol's work as original and creative. The writer then offers some background on the artist, including details of his family, education, and upbringing. The paper explains how Warhol instituted the art form known today as pop art.
From the Paper
"Warhol received his education at the Carnegie Institute of Technology in Pittsburgh from 1945 to 1949. Subsequently, he moved to New York where he began working as a commercial artist for newspapers and magazines. Even his early worked showed sign of originality and are described by Mark Livingstone as ?charming and often whimsical in tone, typified by outline drawings using a delicate blotted line that gave even the originals a printed appearance? (Livingstone). It was his shoe advertisements for Miller and Sons that were noticed and admired, which help him earn major awards from the Art Directors Club. (Livingstone) Warhol continued his commercial work but was determined to establish his name as a painter."
| |
|
Ansel Adams, 2003.
A look at the life and work of Ansel Adams, conservationist, artist, and identity maker.
1,587 words (approx. 6.3 pages), 7 sources, MLA, $ 51.95
»
Click here to show/hide summary
Abstract
This paper discusses the life of Ansel Adams. It explains that he was a modern artist who brought about the idea of the importance of photography as the art that we now know, and additionally, he helped set the standard for the building of identity through majestic images of the American landscape.
From the Paper
"Up to the point which Adams works began to show prominence within the art world much of photography was centered on recording images first as the science of photography, then as records of physical identity, and then for posterity as records of people. (Newhall 9) Adams was one of the first photographers to broaden the scope of images to larger scale representations of things people would not have been able to see in small scale, large natural landscapes at specific times and from specific angels of scope. In summation, he turned photography into art and eventually his works and the works of other even became thought of as high art. In a sense this evolution of photography as a scientific tool to an expression of art and emotion is the history of photography. In Newhall can be seen Ansel Adams at work and just how precise a tool photography became as an expression of mood, when he is setting up for a very emotionally charged and well timed shot. (192)"
| |
|
Suzanne Valadon, 2003.
This paper introduces, discusses, and analyzes the Post-Impressionist artist, Suzanne Valadon.
1,465 words (approx. 5.9 pages), 5 sources, MLA, $ 48.95
»
Click here to show/hide summary
Abstract
This paper discusses the history of Suzanne Valadon as an artist and her personal life. Suzanne Valadon was a well-known Post-Impressionist painter whose paintings of women were especially well-received. It states that she had no specific art training, but became a prolific artist after working as a painter's model.
From the Paper
"Suzanne Valadon was born in 1865 in Bessines-sur-Gartempe, near Limoges, France. Her mother was not married when Valadon was born, and supported the family by her work as a laundress and taking in occasional sewing. Valadon began working early, and worked in the circus as an acrobat until she was sixteen, when she fell off a trapeze and decided to find a safer occupation. She soon began to model for some of the famous French painters making a name for themselves in Paris, such as Pierre Puvis de Chavannes, Edgar Degas, Henri de Toulouse-Lautrec, and Pierre-Auguste Renoir. "Beautiful, impudent and lively, she attracted attention among the artists -Renoir admired her lustrous skin, Puvis de Chavannes her slender hands, Lautrec her looks, detecting a hint of sadness and depravity beneath her radiant youth" (Lake & Maillard, 1956, p. 303). After modeling for a while, Valadon began to pay attention to the painters around her, and their techniques. She had an illegitimate son, Maurice Utrillo, when she was eighteen, and this caused her to begin to think about another change of careers. She stopped posing for other artists, and began her own art career. She first began with drawings, and then moved on to etchings for a while. Finally, she settled on drawing and painting."
| |
|
Understanding Two Modern Sculptures, 2002.
This paper discusses the meaning of two modern sculptures: Donald Judd?s ?Untitled? (1970) and Damien Hirst?s ?Some Comfort Gained for the Acceptance of the Inherent Lies in Everything?.
1,285 words (approx. 5.1 pages), 3 sources, APA, $ 43.95
»
Click here to show/hide summary
Abstract
This paper explains that both sculptures share a formal similarity in that both deal with representing visual quantities that are both linear and quantized and deal with similar themes and aesthetic values. The author describes Judd?s sculpture as an unbroken line with a segmented one below it, and Hirst?s piece represents a segmented line of glass cases containing sections of the corpses of two cows. The paper elucidates that both pieces offer a meditation on human alienation and seem to eschew traditional definitions of aesthetic standards in their composition.
From the Paper
"The pun in accomplishing this work occurs because the sense of disintegration of meaning that Kristeva describes above occurs as we are viewing a literally segmented self. Indeed, part of the difficulty as an observer is to ascertain or imagine what each cow would have looked like whole and further more to discover which part belongs to which cow. But our minds are incapable of doing so because we are also distracted by the starkness of the cows? viscera, which ugliness is extremely difficult for us to process. In this way, our attempt, in some way, to reconstruct their bodies?the thing that determined their existence as distinct individuals when they were alive?is thwarted by our disgust at seeing those things the bodies contain as well. In this fashion, we are forced to confront the horrible truth of our own fractured and problematic self-hood by experiencing the literally fragmented bodies of the cows."
| |
|
Giotto di Bondone, 2002.
Biographical account of the life and artistry of Italian Renaissance artist, Giotto di Bondone.
1,602 words (approx. 6.4 pages), 7 sources, MLA, $ 52.95
»
Click here to show/hide summary
Abstract
After presenting a brief biography of the life of Italian Renaissance artist Giotto di Bondone, this paper goes on to discuss some of his more famous works of art and the influence he had on other artists. The paper also discusses the quality that made his artwork so special, even though he lacked the technical knowledge of anatomy that many painters who came after him possessed.
From the Paper
"Giotto di Bondone was an accomplished painter, architect, and sculptor and is often touted as being ?the first genius of art in the Italian Renaissance.? (Eimerl, The World of Giotto) Giotto lived and worked during the renaissance period, this was a pivotal time in history?people were beginning to open their minds to new ways of thinking and being. Giotto?s work focused primarily on traditional religious subjects, yet through his remarkable talents he was able to imbue his subjects with ?earthly, full-blooded life and force.? "
| |
|
Vincent Cianni?s "Southside Portraits", 2002.
An exploration of Latino gender from Vincent Cianni?s "Southside Portraits?.
915 words (approx. 3.7 pages), 6 sources, MLA, $ 32.95
»
Click here to show/hide summary
Abstract
This paper examines how photography can provide a refreshingly accurate window onto the life of a culture alien to that of the observer of the photograph. It looks at how Vincent Cianni?s ?Southside Portraits? offers an insight into the Latino culture of Williamsburg, Brooklyn. Rather than selecting women to gaze at, however, Cianni chooses to make men his central subjects and mediums for making a ?statement? about the world and the community he observes. It analyzes how Latino masculinity is often frightening to the Anglo world and how, by showing, his individual subjects in their environment, Cianni reveals the roots of this seemingly strange, aggressive, athletic, sexualized behavior.
From the Paper
"Not all of Cianni?s subjects are quite so touching in their vulnerability. One photograph shows a boxer doing push-ups. But the title, Freddie Floating, suggests that more is going on in the subject?s mind than sparring. Freddie wishes to fly in both his dreams as well as across the ring. Athletic prowess, more than in the previous photos discussed, is linked to dreams. The fact that Freddie wears underwear to exercise him makes his masculinity all the more evident, yet also all the more displayed. These portraits suggest that for Latino men to establish their identity, they must ?put themselves out there,? physically in a sexual sense, to both demonstrate their athletic machismo and to be recognized by society."
| |
|
?Geometric Krater?, 2002.
An analysis of the Greek vase, ?Geometric Krater?, and why it rests in the Metropolitan Museum of Art.
1,391 words (approx. 5.6 pages), 4 sources, MLA, $ 46.95
»
Click here to show/hide summary
Abstract
This paper introduces the piece of art, "Geometric Krater" from Greece, and specifically addresses the question of why it belongs in a museum. The "Geometric Krater" in the Metropolitan Museum of Art in New York is a period piece, made in Greece about 750-700 B.C. It looks at how kraters were originally used for mixing wine with water and how this piece reflects a more religious and cultural use, since it was used as a grave marker and so depicts a funeral, complete with mourners. It discusses how the "Geometric Krater" is a beautiful piece of art, but also an important and lasting piece of history and, as such, belongs where it can be continually viewed and appreciated.
From the Paper
"The vase itself is large, about 42? inches high, made out of golden terracotta, and embellished with black and red geometric designs. The entire theme of the piece is geometry and precise designs, which march in distinct rows around the circumference of the piece. At the lip of the vase, which tapers in slightly from the widest point of the vase, there is a rigid Greek key design in red, edged lightly with black. On either side of the Greek key is a tiny band of black "teeth" painted around the piece. These teeth separate the lip of the pot from the body, which is covered in bands of varying widths. The first band beneath the teeth is a wide band depicting the deceased, lying upon his funeral bier. He is rendered in red and black, with a tiny round head looking almost like a stick figure. He is lying on his side, so the viewer can get scrutinize him more clearly, and mourners rendered in stark black, who raise their arms to the heavens, surround him. "
| |
|
Keats's Portrayal of Multicultural Children in Literature, 2002.
A biography of the life and works of children's literature author, Ezra Jack Keats.
3,451 words (approx. 13.8 pages), 19 sources, APA, $ 97.95
»
Click here to show/hide summary
Abstract
This paper begins with a discussion on the significance that children's literature has to the development of a child's personal confidence and communication skills. It then goes on to examine the unique writing and artistic skills of Ezra Jack Keats and his contribution to the world of children's literature. In particular, the paper looks at Keats's positive portrayal of minority children and the resulting positive influence his books had on minority children. A brief biography of Keats's life is included, as well as discussions on early influences on Keats's work and the significance of his illustrations.
Influences On Keats?s Work
Keats?s Beliefs on the Role of the Picture Book
Relationship of Illustrations to the Written Text
Keats's Audience
Trends in Keats?s Work
From the Paper
"Picture books enhance children?s ability to develop creative thinking. By observing how characters solve problems or achieve goals, children can learn to apply similar skills to their own individual situations or circumstances. This is reinforced through parental and teacher guidance along with creating a dialog for effective communication. The process also enhances personal confidence. The four components of divergent thinking: fluency, flexibility, originality, and elaboration are important thinking tools for success in reading and language arts. Even before they can read and write independently, children can participate in activities that promote divergent thinking."
| |
|
Rembrandt van Rijn?s ?The Raising of Lazarus?, 2002.
This paper discusses the master painter, Rembrandt van Rijn, his painting ?The Raising of Lazarus?, and the social and religious issues of his time.
2,015 words (approx. 8.1 pages), 3 sources, APA, $ 63.95
»
Click here to show/hide summary
Abstract
This paper explains that the Baroque period for Dutch Catholics was different than the rest of Europe because the country was governed by different religious strictures and political realities. Rembrandt worked under these restrictions. The author points out that the original Bible story differs from what Rembrandt painted. The paper concludes that, in this Rembrandt painting, the power of the event taking place is emphasized by the form of the image, the color values used, the stance of each person in the picture, the expressions on the faces of each person, the balance of light and dark, and every other element incorporated into the painting.
From the Paper
"While religiously themed paintings and etchings were common in the Seventeenth Century, this was not necessarily the case in Holland at the time. Rembrandt often treated the stories and parables of the Old and New Testaments in accessible, familiar images in his works. However, the Dutch Reformed Calvinism of his time banned religious art in churches, and this carried over into the non-Church world so that public commissions for paintings of biblical subjects were virtually nonexistent. There was, however, an enthusiastic private patronage for such works, and this accounts for the preponderance of religious subjects in Rembrandt's work."
|
|
|
