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George Braque and the Cubist Art Movement, 2002.
This paper studies the influence of painter George Braque who has been called the father of analytic cubism.
1,865 words (approx. 7.5 pages), 11 sources, MLA, $ 59.95
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Abstract
The writer asks the question of why George Braque did not enjoy the same renown as Pablo Picasso. The paper looks at the history of the artistic life of Braque and gives an overview of his work, noting the maturation and development of style. The paper concludes with the assertion that Braque is the father of cubism because he created the first analytic work.
From the Paper
"During the summer of 1908 in southern France, Braque painted a series of radically innovative canvases, of which the most celebrated is ?Houses at L?Estaque?; in this painting we can see the slab volumes, sober coloring, and warped perspective typical of the first part of what has been called the analytical phase of Cubism. This painting was shown in a show at Kahnweiler's gallery. It provoked from the Paris critic Louis Vauxcelles a remark about "cubes" that soon blossomed into a stylistic label. This painting was the painting that gave cubism its name. Vauxcelles?s remarked about the canvas being full of small cubes, and this comment was the spark that constituted the name of the movement."
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"Abstract Animals" Lesson Plan, 2002.
This paper evaluates Crayola?s website lesson plan database and describes the use of the "Abstract Animals" lesson plan from that site.
815 words (approx. 3.3 pages), 2 sources, MLA, $ 29.95
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Abstract
The author feels that the Crayola? website, which has hundreds of lessons plans for all age groups, can be used almost exclusively as a source of lesson plans, ranging from science to pop art to multicultural and classical art styles. The paper describes the "Abstract Animals" lesson, very fitting for third graders, which teaches kids how to use simple shapes and colors to draw animals and other objects after the style of more modern representational artists. The author uses this lesson plan within a comprehensive interdisciplinary art curriculum that teaches about the relevance of art within its social and historical setting.
From the Paper
"The third section is called ?Directions,? and for a change is precisely what it claims to be. The directions for this lesson are, in short, to show the children images of various animals and forms and to use tracing paper to draw simple geometric shapes over the forms. (For example, an elephant?s head would be a circle with two large ovals for the ears and a long thin oval for the trunk.) Subsequently these designs are redrawn with marker on construction paper and colored in with chalk."
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Cityscape Paintings, 2002.
This paper examines and discusses the cityscape paintings of El Greco, Camille Pissarro & Richard Estes.
1,470 words (approx. 5.9 pages), 3 sources, MLA, $ 48.95
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Abstract
The writer looks at four paintings in this paper - ?View of Toledo? by El Greco, ?Saint-Sever, Rouen? by Camille Pissarro, ?Waverly Place? and ?Nedick?s? by Richard Estes. The writer shows how these paintings encompass not only the artistic ideals of the painters but also show how the genre of cityscape painting has changed over the years, beginning with the early Renaissance style and into the twentieth century.
From the Paper
"The Spanish painter El Greco (1547-1614), born as Domenicos Theotokopoulos in Crete, emigrated to Italy as a young man and was trained in the traditions of Late Byzantine frescoes and mosaics. While still young, El Greco went to Venice where he became attached with Titian and later left for Spain to spend the rest of his life in Toledo. His artistic style is a strong personal blend of Late Byzantine and Late Italian Mannerist elements yet his strong sense of movement and use of light prefigures the Baroque period. As pointed out by Horst de la Croix, ?El Greco?s art is not strictly Spanish, though it appealed to certain segments of that society, for it had no Spanish antecedents and had little effect on future Spanish painting? (598)."
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Posters, 2002.
This paper deals with posters; how they have evolved and how they are a powerful tool of communication.
2,319 words (approx. 9.3 pages), 5 sources, MLA, $ 71.95
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Abstract
This paper looks at how posters have always carried with them the ability to communicate in a unique way. When combining art with other interests, posters can become powerful tools of communication. The paper gives examples of how posters can promote a cause, sway peoples opinions, and be used as art. It concludes with proof that posters can capture the mood and culture of an era and represent effective uses of design elements.
From the Paper
"This new art movement became known as Art Nouveau, which was the leading international decorative style of the early nineteenth century. Art Nouveau posters featured a flowing line which was inspired from nature. The style of this movement was all-encompassing, gathering influence from architecture, graphics, and furniture. Art Deco became the leading international decorative style after World War I and maintained popularity until World War II. Art Deco is best described as a machine age aesthetic, replacing the flowing line of Art Nouveau with streamlined, geometric designs with designs that represented speed and power. Other poster movements that created trends were Capiello, Object Posters, International Typographic Style and the Poster Style."
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Importance of Visual Art, 2002.
Examining how art can benefit both students and teachers alike when incorporated into a school curriculum.
922 words (approx. 3.7 pages), 4 sources, MLA, $ 32.95
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Abstract
This paper discuses the importance of visual arts in a school's curriculum and focuses on the benefits of introducing visual art in student?s elementary education curriculum. This paper not only focuses on the importance of visual art experience through student?s point of view but also through the teacher?s perspective. This paper emphasizes on how the experience of art make a student a better and more responsible individual of a society.
From the Paper
"Till the eighteenth century the word art was broadly used in such a way that it reflected all forms of human skills and all the things which men were able to produce by skilled workmanship. Art is the imaginative and dexterous explication of experience in an aesthetic form, and throughout history it has played a crucial role in men?s attempts to master and enjoy their surrounding and to liberate themselves."
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Teaching Art, 2002.
Presents a third-grade art lesson plan.
684 words (approx. 2.7 pages), 2 sources, MLA, $ 24.95
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Abstract
This paper presents a look at a third-grade art lesson and determines its functionality and chance of success. The writer explores the elements of the lesson and discusses their value. The paper examines methods and mediums of art, as well as tools and techniques used.
From the Paper
"The children will study the artist Claude Monet as a classic example of the use of color, line, and contour. The plan calls for the students to use self portraits as well as printmaking. The use of the Princess and the pea will be for the purpose of teaching lines. Having the students draw the Princess and The Pea forces them to understand the use of lines as they draw the absolute objects that have to appear in the picture. The bed, the princess and the bedroom all work with lines. Cat drawings will allow the students to understand design as they work to master the curves of the cats in their pictures. Their graceful movement can only be defined as design and it helps the third graders understand the fluid movements of design Art."
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Degas: A Study of Focus on Gender and Class, 2002.
This paper discusses the interaction between two themes in the paintings and drawings of Edgar Degas. The first is the study of form and shape, primarily of women. The second is his attitude towards the socioeconomic class of his subjects.
1,053 words (approx. 4.2 pages), 5 sources, MLA, $ 36.95
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Abstract
The writer argues that, because of Degas' upbringing in a family attempting to appear as nobility, he became interested in "class." Commentary on class structure was a deeply engrained part of the art world at the time that Degas was in the forefront of the field.
From the Paper
"The later work of Degas began to concentrate on women in the bath, either actually washing, or getting in and out of various tubs. This was a focus on the female body in its most pure form. The fascination he had always shown with women was now given free reign, without clothing or background to complicate his work. It is interesting, though, to note that his interest in class, as well as gender, was still represented. The bathing woman has been separated from most of the social and cultural cues that give the viewer information as to her background. This is another way that Degas demonstrated that his interest in the female form cut across class boundaries."
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William Blake, 2002.
This paper shows how William Blake was occupied with many creative projects in his long life including poetry, engraving and art.
1,517 words (approx. 6.1 pages), 3 sources, MLA, $ 49.95
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Abstract
The writer looks at the life of William Blake. Blake is described as a mystic, admitting to experiencing visions and prophecies at a young age. The writer discusses his most famous artistic works --Illustrations/Engravings of the book of Job and his two greatest literary works --"Songs of Innocence" and "Songs of Experience".
From the Paper
"Although Blake is well known for a whole range of poetry and art, there are some works that stand out and have survived the test of time better than others. His most famous artistic works are his Illustrations/Engravings of the book of Job. His two greatest literary works are his Songs of Innocence and Songs of Experience.
It was relatively early in his career that Blake decided to combine visual with written creative expression. Songs of Innocence is Blake's first masterpiece of "illuminated printing." In it the fragile and flowerlike beauty of the lyrics harmonizes with the delicacy and rhythmical subtlety of the designs. Songs of Innocence differs radically from the rather derivative pastoral mode of the Poetical Sketches. In the Songs, Blake took as his models the popular street ballads and rhymes for children of his own time, transmuting these forms by his genius into some of the purest lyric poetry in the English language."
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?Head of the King Wearing the Khepresh Crown?, 2002.
This paper looks at a piece of sculpture dating from the Egyptian reign of Amenhotep III created by an unknown sculptor.
1,058 words (approx. 4.2 pages), 1 source, MLA, $ 37.95
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Abstract
The writer discusses the "Head of the King", a statue considered to have been created by a group of artists. This is determined by the style of the sculpture and the material used. The paper shows how statues from this period can be classified as belonging to a single artist or to a group. It is assumed, but not proven, that the works belonging to this ?second style? can be timed to belong to the end of Amenhotep III?s rule.
From the Paper
"The work is a sculpture, depicting the head of the King. Its measurements are: Height, 34 inches; width 22.9 inches; depth, 25.3 inches. It is currently in the Louvre Museum, Paris, France. The head is constructed out of granodiorite, which is a very hard medium. It is interesting that, in spite of the difficulty of working the granodiorite, the artisans that sculpted the head have worked it ?as though it were modeling clay? ( Kozloff, 164).
The work is presently in relatively good condition, for the parts that remain. The evidence shows that it was originally a life-sized statue of the King, with an original height of approximately 160 ? 170 centimeters. This would have been the height without any base or pedestal. Of course, there is no accurate way to determine for sure what the size of the base might have been. Other representative standing statues from this period are known to have been resting on bases of up to 100 to 150 centimeters."
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Exaggerated Art, 2002.
This paper looks at Mannerism in Italian Painting in 15th and 16th century art.
1,289 words (approx. 5.2 pages), 5 sources, MLA, $ 43.95
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Abstract
This paper aims to provide information on Mannerism in Italian Renaissance Art. It includes a brief history of Mannerism and its phases in Italian art. This paper also discusses the importance of Mannerism to Renaissance artists. It also includes brief information about mannerists as well as their works.
From the Paper
"Mannerism is a style in art and architecture of the 16th century. It is characterized by the distortion of elements such as proportion and space. In general, Mannerist artists and architects took the classical or idealized forms developed by Italian Renaissance artists of the early 16th century, but exaggerated or used these forms in unconventional ways in order to heighten tension, power, emotion, or elegance. The first to begin working in the Mannerist style were the Italian artists in Florence and Rome around 1520. Mannerism soon spread throughout Italy, France, Eastern Europe, Germany, and The Netherlands. In Italy, the more emotionally compelling baroque style had replaced Mannerism by 1600, whereas in northern Europe Mannerism continued well into the 17th century."
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Picasso and Dali, 2002.
A discussion of the artistic styles of Pablo Picasso and Salvador Dali.
784 words (approx. 3.1 pages), 6 sources, MLA, $ 27.95
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Abstract
This paper examines the work and style of two famous painters, Pablo Picasso, best known for his high abstractions of the Cubist painting style and Salvador Dali, one of the most important leaders of the Surrealist movement. It discusses how they have influenced a wide range of artists and are today considered as the quintessential examples of twentieth century art. It illustrates, through examples of their work, how Picasso as an artist was highly imaginative and original and borrowed heavily from many historical examples which aided him in developing new painting styles. Salvador Dali, like many of his surrealist contemporaries, sought inspiration from a love for fantasy and studied the writings of Sigmund Freud regarding the human subconscious mind which inspired him to ?systemize confusion? through his paintings.
From the Paper
"The Cubism style of painting as practiced by Pablo Picasso is best represented by his Accordionist (1911, oil on canvas), a construction of large intersecting planes that suggest the forms of a man with his instrument. Host of smaller shapes, each a simplification of some aspects of the original subject, hover in and interpenetrate the larger planes. The total effect is that of a new kind of pictorial reality. The viewer is no longer obligated to contemplate merely a man playing an accordion, but is allowed to explore the canvas and probe its myriad of objects that have been disintegrated and then reintegrated which offers a great variety of views from many different angles and tangents."
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The Effects of Pop Culture on Society, 2002.
A paper which investigates the negative aspects of popular culture on society.
1,369 words (approx. 5.5 pages), 6 sources, MLA, $ 45.95
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Abstract
During the fifties, America experienced tremendous growth in many aspects of society. As a result, technological advancements led to sophisticated aspects of American life. Media and advertising became mass media and the invention of the television paved the way to a new generation of communication. The paper shows that a result of this growth, which continues to have an impact on society, was the rise of the ?popular? or mass culture - a movement that utilizes the imagery and techniques of consumerism?. This paper focuses on the negative aspects of popular culture on high culture (and therefore, on society), pointing out more than anything, that it devalues all the finer aspects of society.
From the Paper
"Architecture has also been influenced by what is considered to be modern or pop movements. Buildings constructed in geometric forms ?sheathed in glass and steel? startled people in the fifties. However, the most striking buildings earned ?a well-deserved reputation for innovation and beauty, such as the United Nations complex in New York City. Jackson Polluck, a painter who initially rejected the idea of abstract pop art, became famous for dripping and spattering paint on buildings as opposed to brushing them on. Examples of the outlandish types of buildings created in the name of popular art in the early fifties is a restaurant built in the shape of a hamburger and gas stations built to look like they were flying in the wind (Davidson 1150)."
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Nude Women, 2002.
A review of four paintings of nude women by four different artists.
1,381 words (approx. 5.5 pages), 5 sources, MLA, $ 46.95
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Abstract
This paper discusses four different pieces of art, all of nude women and all done by different artists during the late nineteenth, early twentieth century. It looks at "Reclining Nude" by Amedeo Modigliani, "Woman with a Towel' by Hilaire-Germain-Edgar Degas, "Nude on a Sofa" by Fritz Steinmetz-Noris and "Woman with a Cat" by Fernand Leger. Each painting is described in turn looking at style, color and possible story lines. Pictures of the paintings are included in the paper.
From the Paper
"Woman with a Towel is unquestionably impressionistic in style, showing visible brushwork, vague shapes and unblended colors. The painting offers a study in shadow more than light and shadow. The woman's face is not visible, which seems an unusual perspective for the artist to take. Her body is voluptuous and sensual with only one full breast exposed. The draping of the towel, exaggerated in size, twisted and as the lightest area of the painting, draws attention and is especially sensual. The painting is the study of a pose and of a mood. The figure is mysterious. The viewer must wonder what sort of expression she has on her invisible face. Has she just stepped out of a bath shared with her lover?"
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Greek Stele, 2002.
A discussion on an inscribed stone slab (stele) which depicts several images and texts, found in the Boston Museum of Fine Art.
1,145 words (approx. 4.6 pages), 4 sources, MLA, $ 39.95
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Abstract
This paper discusses a Greek stele dating back to the Early Hellenistic Period (about 300?250 B.C.) which depicts various divinities, the ship of the Argonauts and diplomatic text. The paper explains the shape of the stele and discusses the meaning of the text against the background of Greek history, specifically the Peloponnesian Wars. The paper also explores the importance of the dieties depicted on the stele, in relation to the gods and legends of the time period.
From the Paper
"In analyzing and interpreting the text, it is safe to assume that Timeas of Laconia is being given the authority to serve as proxy for the Boiotians. The word ?proxenos? is so close to the English word ?proxy,? meaning someone who has the authority to act on behalf of another, that is nearly impossible that this could be a misinterpretation. Furthermore, this authority will pass on, presumably indefinitely, to his heirs.
Ergoteles, who apparently was in power when this decree was issued, was archon. An archon was a chief magistrate in ancient Athens; that is, a local official exercising administrative and often judicial functions. Therefore, it was Ergoteles? responsibility to make sure that not only was this decree carried out, but also that it was enforced."
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Carlo Crivelli?s "Pieta", 2002.
A look at how artist Carlo Crivelli's painting follows the conventions of a typical pieta.
1,416 words (approx. 5.7 pages), 4 sources, APA, $ 47.95
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Abstract
A pieta is described as a painting or sculpture of the body of the dead Christ being supported by the Virgin, often with other mourners present. This paper analyzes how the painting "Pieta" follows the conventions of a pieta by depicting all of the above. The paper shows too how Crivelli?s own unique style is apparent in the work, seen in the attention to detail and the gothic elements. This style of Crivelli?s is related to his own background as an artist. By looking at the artwork further, the paper shows how the work is a reflection of Crivelli?s background and influences as well as a product of the cultural context at the time of its creation during the Italian Renaissance.
From the Paper
"Another aspect of the Renaissance that is apparent in Crivelli's work is the focus on religion. It has been noted that, ?While the political power of the church declines during the Renaissance... the Renaissance artists, remained devout Catholics.? This aspect meant that biblical scenes continued to be popular subjects for paintings. This is reflected in Crivelli?s work with all of his works being religious in nature. As in the example Pieta, Crivelli maintained the religious subject but changed the way it was approached, adding his own perspective to the work, just as the trend was in Renaissance."
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