| Papers [616-630] of 1926 :: [Page 42 of 129] | | Go to page : <— 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 —> | |
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Edgar Degas, 2002.
A review of the work of the Impressionist painter Edgar Degas.
898 words (approx. 3.6 pages), 2 sources, MLA, $ 31.95
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Abstract
This paper examines the art of Edgar Degas, a French Impressionist painter noted most for his ability to portray motion and sponteity in his work. It discusses how one of his favorite subjects to paint was dance and how his obsession with the female form drove him to become more skilled at painting dancing woman than anyone before or since. It looks at how none of his paintings were ever comissioned and he preferred to paint women going through the moments of daily life, unaware of the candid insights of voyeuristic beauty to be gained from their skilled observation.
From the Paper
"Degas has captured young ballerinas of the Paris opera house at their most natural, when they are practicing unselfconsciously behind the scenes, not performing for the public. The ballet dancers resemble a sequence in a movie, all of the same fascinating for their totally innovating cuts, for the decentralized pagination, for the unusual angularity: in this sense, it is evident the influence from the orientalism, highly fashionable at his time, and from Japanese prints, of which Degas was a fond collector. "
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The Virgin Mary, 2002.
A comparison of the portrayal of the Virgin Mary in paintings by Paul Gaugin and Guido Reni.
1,063 words (approx. 4.3 pages), 4 sources, MLA, $ 37.95
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Abstract
Gaugin's "Ia Orana Maria" and Reni's "The Immaculate Conception" are two very different representations of the Virgin Mary. The paper explains that by utilizing more classical composition techniques, smooth, curving lines and rich, strong colors, Reni portrays Mary as an idealized version of Baroque femininity in a heavenly setting. It shows, in contrast, how Gauguin adheres to the primitive tradition, illustrating Mary as a native woman, a naked Christ child set on her shoulders. His use of asymmetrical composition in a cluttered, unplanned scene provides a feeling of energy and naturalism, a striking contrast to the serenity of Reni's work. The paper shows therefore that in illustrating the Virgin Mary in their works, each painter adheres to the very different sensibilities of their time periods.
From the Paper
"Paul Gaugin's "Ia Orana Maria," translated as "Hail Mary," treats a similar subject matter, in that it illustrates the Virgin Mary with adoring attendants. However, this is not the Mary of the Immaculate Conception, but with Christ who is perched upon her shoulders. Painted in the post-impressionist genre known as Arcadia, which exemplifies scenes of blissful simplicity and retreat from the complex, this work was completed in 1891 and hangs in the Metropolitan Museum in New York. It is not a large work, only 44 inches by about 36 inches. In keeping with its primitive tradition, and in stark contrast to "The Immaculate Conception," the composition is highly asymmetrical, with the central Mary figure set off to the right of the picture. The poses are unstudied, casual and almost accidental, with Mary and the Christ child looking at the viewer, and the two prayerful, adoring native women gazing at them. This casual approach may be an attempt of Gauguin to emphasize the "naturalness" of the scene, despite the obviously supernatural halos."
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Art Exhibition in Europe During the Period 1700-1880, 2002.
This paper looks at the history and trends of art exhibition in Europe from 1700-1880.
967 words (approx. 3.9 pages), 5 sources, MLA, $ 34.95
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Abstract
The writer discusses the purposes of art exhibition in Europe from about 1700 through 1880. Such exhibitions made it possible for artists to find a new public, a more democratic public than had been possible in an earlier era when art was subsidized by wealthy patrons. The history of the exhibitions shows two rends by the end of the era. On the one hand, there was the trend of academic art. Then, there were the non-academic exhibitions, the most famous of which was that of the Impressionists, and here artists who do not fit the academic mold were able to break through and find an audience by using the techniques of the academic exhibition and so appealing to a public that was accustomed to this sort of show.
From the Paper
"The art exhibition developed out of efforts started in 1648 to establish a school in Paris devoted to the instruction of fine arts. This would be the Royal Academy of Painting and Sculpture, which actually consisted of societies of learned men who guided students in the disciplines of literature, music, dance, architecture, painting, and sculpture. This was at first a part of the University of France, but the societies eventually developed into separate institutes for the individual artistic disciplines. The government favored these institutes "as an instrument for imposing official standards of taste on art" ("Educator Packet: Rules & Rebels in 19th Century French Art"). The Academy also introduced several important and lasting innovations in teaching art. Prior to this, those interested in becoming artists would apprentice themselves in the workshop of an established master. The Academy offered the student the chance to train before taking a job with an artist."
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George Catlin and Edward S. Curtis, 2002.
A comparison of the photography of Edward S. Curtis and the art of George Catlin regarding the depiction of Native Americans.
900 words (approx. 3.6 pages), 4 sources, MLA, $ 31.95
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Abstract
This paper discusses how no two artists have captured the essence of the Native American Indians as inspiringly as George Catlin and Edward S. Curtis. It shows that while most of the world considered the Native Americans as savages and godless people, Catlin and Curtis have managed to bring the truth home in incredibly detailed pictorial journals. It describes how the vivid colors of Catlin?s work is a sharp contrast to the black and white photography of Curtis. Catlin's style and his use of colors enhance the fantasy world in which he viewed the Native Americans living in whereas Curtis, used his camera to capture the realism of the Native people and their lifestyle.
From the Paper
"There is hardly a book published on Native Americans that does not contain a Curtis photograph. While Catlin?s landscapes had a whimsical quality to them, Curtis? photographs capture the wholeness and wonder of the land. He had a remarkable eye for composition. ?Canon de Chelly, Navajo? shows the majestic rock formations towering above the horseback riders below. It is a perfect example of how minute humans are in comparison to the earth (McLuhan 1971). ?Piegan Sun Dance Encampment? a photograph of a camp of teepees on the prairie, again captures the majesty of the land."
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The Sculpture of Henry Moore, 2002.
A review of the work of Henry Moore with a detailed look at a number of his sculptures.
1,223 words (approx. 4.9 pages), 3 sources, MLA, $ 41.95
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Abstract
This paper is a review of the work of Henry Moore who had a long artistic career producing numerous sculptures. The writer reviews several pieces of his work. The paper presents Moore as a highly challenging artist whose work forces participation on the part of the viewer.
Table of Contents
?Reclining Woman?
?Reclining Figure?
?Family Group?
?Atomic Piece?/ ?Nuclear Energy?
?Knife Edge Mirror Two Piece?
?Sheep?
From the Paper
Henry Moore?s long artistic career produced a multitude of sculptures with remarkably individualistic traits, although they are clearly the vision of a single creative mind. Their simplicity and mass combine with a curious gracefulness and lightness, making the viewer look closer and even attempt to interact with the work.
His sculpture ?Reclining Woman?, done in 1930 in Hornton stone, evokes the heavy power of his early works. Her big body is a series of undulating hills and simple peaks, like the rural countryside where Moore grew up.
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Civil War Photography, 2002.
This paper discusses photography during the Civil War period, when the craft of photography had just begun.
1,730 words (approx. 6.9 pages), 12 sources, $ 55.95
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Abstract
The paper discusses the types of equipment used the Civil War period. The paper presents photographers: Mathew Brady, Alexander Gardner, Timothy O'Sullivan, Andrew Joseph Russell and Jay Dearborn Edwards. The author pointed out that the study of their portraiture offers an in-depth look at the men and women who made a significant contribution to the development of the United States.
From the Paper
"Although photography had existed for only two short decades when the War broke out, from the start, the pictures the early photographers created fascinated the public. Their images seemed, unlike drawings and paintings, to capture reality. When the war began, hundreds of photographers began to cover the conflict. In both their studios and in the field, they took numerous portraits of common soldiers and then sold them in a popular card-size format. The Civil War photographers traveled to Army field headquarters and returned with images of the war's heroes. When they went into the field to take their photographs, they carried not only a camera, but also a portable darkroom that was used for the delicate process of wet-plate photography."
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Byzantine Art, 2002.
A discussion of Byzantine art as reflected in modern times.
819 words (approx. 3.3 pages), 3 sources, MLA, $ 29.95
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Abstract
This paper examines how even though the society that was Byzantine has faded from the annals of history and gone is the Eastern Empire of the Holy Roman Emperor and his vast influence over the ancient world, the cultural diversity, architectural prowess and masterful artwork of the time remain ingrained into the fabric of our society. It shows how this type of influence is evident in modern times by a city such as New York, considered to be ?cosmopolitan.? Along with worldliness comes an interest in all things aesthetic. The architecture of the Byzantine period distinctly reflects this influence. The glory of Byzantine is not an era bygone, but rather lives at present in modern cultural diversity, architecture and artwork.
From the Paper
"Most may think of luxury automobiles as having a modern futuristic bent, but the simplicity of the outside belies the splendor within. Granted there are no rotundas, pendentives, or cylindrical drums (Byzantine Architecture) present but within there is an abundance of opulence (television screens, highly polished wood paneling, leather, gold accessories etc) designed for paying tribute to the modern gods of money and status. Far fetched? Perhaps, but the suggestiveness and display of grandeur can not be ignored. "
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Early Christian Art, 2002.
A paper which examines how paintings were used to educate people about the teachings of Christianity.
807 words (approx. 3.2 pages), 4 sources, MLA, $ 28.95
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Abstract
Early Christian art rarely tries to represent reality as is. This art is characterized by religious symbolism and its purpose is to portray the spiritual world, rather than depict three-dimensional figures. The paper examines how the beliefs of early Christians were reflected in their art. Originally, pagan art contained gods and heroes, but in their place emerged the Christian figures who dominated art for nearly a thousand years. The paper explores how these religious messages were depicted through images of golden halos, in architectural designs, miniature scriptures and supernatural symbols.
From the Paper
"In early Christian art there are often personifications of the sun and moon, which were drawn from pagan imagery, but also came to represent the relationship between the old testament (the moon), which could only be understood in light of the new testament (the sun). Art often focused on the supernatural, and the paintings were rich in symbolic meaning. Radiant colors, suspended angels, and detailed symbols were the motifs used to represent the supernatural. Many early Christian masters were monks and craftsmen. In AD 533, reincarnation was declared a heresy by the Council of Constantinople; before then, reincarnation could be depicted in art as well."
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Etruscan Culture, 2002.
A look at the artistic influence of ancient Roman inhabitants, the Etruscans.
736 words (approx. 2.9 pages), 6 sources, MLA, $ 26.95
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Abstract
Before the notoriety of ancient Rome, Italy was the home of a nation called Etruria, whose inhabitants were known as Etruscans. Unfortunately, bitter Roman or ancient Greek historians have misconstrued the Etruscan legacy, in most cases tainting their accounts with a blatant anti-Etruscan bias. This paper considers why there exists such a lack of information about the Etruscans and further illuminates the extent to which surviving artwork offers insights into their culture.
From the Paper
"From excavations at certain Etruscan sites, it is clear that art was a vital part of life. In Murlo, a seventh century Etruscan villa was unearthed revealing that large, painted terracotta panels typically adorned the entrances to buildings. Elaborate polychrome reliefs and frescoes indicate that the Etruscans used colour generously, even from the earliest times (Gore, 701)."
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Hellenistic Art, 2002.
An insight into Hellenistic Art and its influences.
810 words (approx. 3.2 pages), 2 sources, MLA, $ 28.95
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Abstract
This paper discusses how Hellenistic Art was primarily influenced by Alexander the Great?s conquests, which introduced the culture, arts and philosophies of foreign lands into the Greek milieu and how it mirrored Alexander?s pride, his vision and his stature. It looks at how the term ?Hellenistic? describes the arts that fuse the Greek with Asian traditions and reflects a shift in Greek consciousness away from the pantheon of gods toward a private, wealthy sector of art collectors. It evaluates how while the Classical arts of Ancient Greece adorned temples, Hellenistic art decorated the palaces of kings and of the private houses of wealthy connoisseurs.
From the Paper
"New dynastic centers like those at Pergamum and Alexandria promoted large-scale palace architecture influenced by Oriental styles and scale. New royal patronage for the arts differed from that of Classical Greece city-state patronage. Instead of the anonymous, religious statues like that on the Athenian Parthenon, statues honored war victories, new syncretic deities, and portraiture of royal families. The faces and figures of gods and goddesses changed, influenced by the religious traditions of Egypt, the Far East and the Middle East. In short, Greece was less important to Greek art. The Classical period climaxed and left a legacy as grand of that of the Athenian Parthenon. Towns were already established, their architecture preserved."
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Spartan Art, 2002.
Examining the art forn known as Spartan Art and why it was named after the Ancient Greek city of Sparta.
901 words (approx. 3.6 pages), 2 sources, MLA, $ 32.95
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Abstract
This paper provides an historical analysis of Ancient Greece life in the city of Sparta and how this stark, simple and minimalist city-state was worthy of having an art form named after it. It shows how the city was known for its courage and military victories and how Spartan art depicts scenes of heroic myths and legends, in tune with the general Spartan emphasis on valor and victory. Examples of famous Spartan art pieces are mentioned and analyzed.
From the Paper
"The term Spartan has come to mean stark simplicity, stern self-discipline, and minimalism, a tribute to the way of life in the ancient Greek city-state. Military capital not only of the Pelopponese but of the whole of Greece, Sparta defended her boundaries and people with aplomb, instrumental in both ending the Peloponnesian War in 386 BCE and fending off the Persians in the fifth century BCE. Thus Sparta played as key a role in securing the integrity of Greek culture and the arts and possibly paved the way for the victories of Alexander the Great. Because of the focus on military life in ancient Sparta, Spartan art is not as renowned as that of its cultural rival, Athens. This does not imply that the arts were unimportant in Laconia; however, the dominance of military and athletic culture in the area superceded artistic expression by the end of the Archaic Period. Most surviving Spartan art is from the early 6th century BCE and definitely reflects the importance of war in Spartan society. Spartan art also indicates the position of women in that culture: Spartan women were athletically trained and educated to a degree rivaled by no other Greek city-state. Scenes from daily life occasionally make their way onto Spartan pottery. "
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Ancient Mesopotamia, 2002.
An introduction to the art and culture of ancient Mesopotamia.
794 words (approx. 3.2 pages), 2 sources, MLA, $ 28.95
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Abstract
This essay describes how the art and culture of ancient Mesopotamia was defined by its climate and geographical locations. It also shows how the weather and geographical conditions affected wars and power in the region - and the reflection of this fact through art and artifacts found in the region.
From the Paper
"Many believed that the south was the cradle of civilization until settlements dating back to around 5,000 B.C. were found in Northern Mesopotamia. Jarmo was the earliest of these settlements and was superseded by a series of cultures, Tell Hassuna, Samarra, and Tell Halaf. Tell Halaf was the most advanced of the early cultures (Mesopotamia pg). It is famous for Halaf ware, which is regarded as the finest prehistoric pottery in Mesopotamia (Mesopotamia pg). Halaf ware can be found at sites such as Neneveh and Tepe Gawra. While the north was making great advances in culture, ?civilization was just beginning in the south, particularly at Eridu."
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Baroque Art, 2002.
A study of the true definition of Baroque Art.
785 words (approx. 3.1 pages), 1 source, MLA, $ 27.95
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Abstract
This paper explores the two major modes of Baroque art, which are allied respectively with the Catholic and Protestant churches. It defines the art of this period as having a general sense of vitality and an emphasis on creating the illusion of movement. The paper explores the Baroque painting, sculpture and architecture, including the works of Rembrandt, Velasquez and Bernini.
From the Paper
"Unless we are scholars of art history we may have a somewhat distorted view of what constitutes Baroque art, for the term is often used in common parlance to mean any artistic or decorative object that is overly ornate and adorned with as many fripperies as it can hold. However, the term has actually a very precise definition, which this paper takes up as it explores the two major modes of Baroque art, which were allied respectively with the Catholic and Protestant churches."
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Native American Imagery, 2002.
An exploration of the creation of Native American imagery by nineteenth century artists, Edward Sheriff Curtis and George Catlin.
2,181 words (approx. 8.7 pages), 15 sources, APA, $ 68.95
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Abstract
The ?American? public has always had an interest in the lives of Native Americans. During the early 1800, this curiosity blossomed in a fascination. The paper shows that unfortunately, most Americans were content to relegate all Native Americans into this caricature of the "noble savage", dehumanizing them, and few settlers sought to understand the culture of the Natives whose land they were occupying. Fortunately two nineteenth century artists, Edward Sheriff Curtis and George Catlin did not share the same view. This paper discusses how these men dedicated their lives to the study and preservation of Native American tribal culture for posterity by creating imagery based on the Native American people. Although their methodology, content, and style were dissimilar, (Curtis used the camera and Catlin worked with oil paint), their goal was the same, to capture and record the essence of America?s indigenous people through art.
From the Paper
"Countless numbers around the globe have benefited from the information gathered during the 1800?s by Edward S. Curtis and George Catlin.
Without these records many of the customs and heritage that we know of as ?Native American? might be lost today.
It is easy to be critical of Catlin?s paintings when judging it against the realism of Curtis? photographs, but the goals of the two men were the same. The sincerity, accuracy, and honesty of the collections that were compiled by the ethnographists transcend their work from the category of mere art to the palate of life."
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Eugene Delacroix, 2002.
An analysis of the artist Eugene Delacroix's personal journal and its reflection on his art.
1,203 words (approx. 4.8 pages), 5 sources, APA, $ 41.95
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Abstract
This paper discusses artist Eugene Delacroix's journal, illustrating the aspects of the journal that contribute to his work. The paper discusses the works, the journal entries and what type of personality the journal seems to portray for the painter. The paper portrays how Delacroix's words in the journal give insight as to how his art reflected who he was and provides the world with an understanding of how the art is the artist.
From the Paper
"Throughout history it has been believed that artists place a bit of themselves into each work of art they produce. One classic artist, Eugene Delacroix provided the world with a tool by which to measure that assumption. Delacroix wrote his thoughts, feelings and soul into a journal that has since been translated for the world to read. His words in the journal give insight as to how his art reflected who he was and provides the world with an understanding of how the art is the artist."
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