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Claude Monet, 2000.
An examination of Monet's life and his art.
1,275 words (approx. 5.1 pages), 3 sources, $ 43.95
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Abstract
This is an illustrated paper that takes a look at the life and work of Claude Monet, including his influences and his hardships.
From the Paper
"Claude Monet was a seminal figure in the evolution of impressionism, a pivotal style in the development of modern art. Though Edouard Manet may be considered the father of impressionism, it is Claude Monet who's name is synonymous with the style. Although his work showed great diversity and genius, he never wavered from ideals of the impressionistic design. In fact the name "impressionism" came from one of his paintings, Impression: Sunrise."
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W.H. Auden's "'Musee des Beaux Arts", 2000.
A look at how Auden expresses his theme of human suffering in his poem "Musee des Beaux Arts".
1,323 words (approx. 5.3 pages), 1 source, $ 44.95
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Abstract
This paper argues that, in writing "Musee des Beaux Arts", Auden, chose to write about the painting because it captures one of his central themes of the suffering and unfeeling attitude in everyday life. By analyzing "Musee des Beaux Arts," we can see how Auden uses imagery, language, and the classical theme of the fall of Icarus not only to communicate his theme, but to discuss Brueghel's painting.
From the Paper
"Auden's use of the Icarus image and of the work of Old Master Brueghel show classical style, but the poetic form of "Musee" is not classical. He uses two unequal stanzas and a varied rhyme pattern that was uncommon in his era. He opens the poem with a reference to the Old Dutch Master painters of the 16th century, of which Bruegel was a member: "About suffering they were never wrong, / The Old Masters: how well they understood / Its human position..." "
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Leonardo da Vinci, 2000.
An overview of the life, art, achievements, and philosophy of Leonardo da Vinci.
703 words (approx. 2.8 pages), 5 sources, $ 25.95
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Abstract
This paper presents brief look at the life and work of the Renaissance Italian artist, scientist, and inventor, Leonardo da Vinci.
From the Paper
"Da Vinci loved to surround himself and his work with an air of mystery, preferring to write backwards and in code, but this has served to limit what is known about his ideas. His art is so well connected with his science that one cannot be described without the other; his entire life was based upon observation and experimentation. He was more a scholar than a philosopher, but his holistic view of nature and engineering was a sort of philosophy in itself."
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Christian Art, 2008.
Explores symbolism in Christian art.
1,005 words (approx. 4.0 pages), 6 sources, MLA, $ 35.95
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Abstract
This paper states that Christian art, which is one of the few forms of art based almost entirely on symbolism, is one of the most diverse genres of art in the world. The paper specifically discuses the phoenix, the pomegranate, the crucifix, the crown of thorns, the rose and the tomb as a few of the prominent symbols contained in Christian art. The paper concludes that, without these symbols, it is very likely that many of the images and stories of the oral tradition of the Church may have been lost.
From the Paper
"The crucifix is also a great example of how the same basic symbol can represent different ideas. Take, for example, the christus triumphans style of the crucifix. In this version, the image of Chris is alive on the cross, head held high. This is to represent that while Jesus did suffer and die physically on the cross he was triumphant in the end because his actions cleanse the sins of all of his followers. In stark contrast to this is the christus patiens. This image of Christ shows the figure slumped on the cross, head down, eyes closed, obviously either suffering greatly or dead."
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Indian Style Totems, 2008.
A discussion of various Northwest Coast Indian style Totems.
3,033 words (approx. 12.1 pages), 7 sources, APA, $ 89.95
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Abstract
The paper discusses Totem poles of the Northwest Coast Tlingit people, how and why they were made, the meaning behind them, and their intended use. The paper highlights the unique design elements and patterns used by traditional Tlingit carvers and gives numerous illustrative examples.
Outline:
Totemic Clan-Crest Animal Figures
Modern Day Totem
From the Paper
"At one time Tlingit carving was considered important by the outside world for its ethnological value. However, at the San Francisco Exposition of 1939, and later at a 1941 exhibit at the Museum of Modern Art in New York City, Tlingit carving was displayed as art. (Holm, 27) Now it is a widely acknowledged art form highly prized by art lovers worldwide. Today a number of successful native artists carve totem poles on commission, usually taking the opportunity to educate apprentices in the demanding art of traditional carving. Modern poles are almost always carried out in traditional styles, although some artists have felt free to include modern subject matter or use nontraditional styles in their execution."
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"Ave Caesar", 2007.
A full biography of Jean-Leon Gerome and his painting "Ave Caesar"
1,938 words (approx. 7.8 pages), 5 sources, APA, $ 61.95
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Abstract
The paper discusses the life of Jean-Leon Gerome a French painter and sculptor who produced many works influenced by historic events. The paper details his life story, his work, his technique and painting style. Several photos of his works are included with the paper.
From the Paper
"In this mid 19th century portrayal of a gladiatorial scene, Jean-Leon Gerome recreates an event in Roman history that cannot be ignored. The era in which this painting was intended to resemble is that of the ancient Roman Empire in around 264 BC, when the first recorded gladiatorial combats took place.The phrase which dictates the actions of this painting, "Ave Caesar! Morituri te salutant," is translated from Latin as "Hail Caesar! We who are about to die salute you." In ancient Rome, those who participated in the arena battles saluted their emperor as a symbol of their devotion to him as they prepare for the destiny that lay before them."
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Jacob van Ruisdael - The Master of the Landscape, 2008.
A review of the history of the Dutch Baroque artist Jacob van Ruisdael and analysis of several of his works.
1,721 words (approx. 6.9 pages), 7 sources, MLA, $ 55.95
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Abstract
This paper describes the life of the Dutch artist Jacob van Ruisdael, from his time as an apprentice to his death. The paper analyzes his work through the motifs and quality of his paintings, and the progression of his career as an artist is one of the main themes. The paper comments that individual paintings are analyzed, including "Jewish Cemetery", "Landscape with a Cottage and Trees", "Dunes", "Wheat Fields", "Waterfall in a Rocky Landscape", and his etching "The Rustic Cottage".
From the Paper
"Jacob van Ruisdael is believed to have been born in 1628 in Haarlem - one of the centers of Dutch art at the time. From Haarlem came such artists as Frans Hals, Philips Wouwerman, Adriaen van Ostade and of course Jacob van Ruisdael himself. In the early life of Jacob van Ruisdael he is believed to have lived with his father, Isaak de Goyer, who later changed his name to Ruisdael and also was an artist. Though there exists no concrete evidence of any of the art of Issak de Goyer, there does exist proof that Salomon van Ruisdael, a minor landscapist and Jacob's uncle, served as Jacob van Ruisdael's art instructor. In 1646 Jacob van Ruisdael painted his earliest dated picture entitled "Landscape with a Cottage and Trees" and almost immediately garnered attention. "
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Comparing Art, 2008.
A comparison of the art pieces, "The Outer Coffin of Henettawy" and "The Marble Sarcophagus with the Triumph of Dionysus and the Seasons".
930 words (approx. 3.7 pages), 3 sources, MLA, $ 33.95
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Abstract
This paper discusses art masterpieces that not only honored the gods and decorated, but also served as ways for a nation to preserve its history. In particular, the author compares two pieces of art found in the Metropolitan Museum of Art, "The Outer Coffin of Henettawy" and "The Marble Sarcophagus with the Triumph of Dionysus and the Seasons". The author gives the history of each of these masterpieces and compares the similarities and differences of each piece.
From the Paper
"The coffin of Henettawy originated from ancient Egypt, and was roughly from the year 1000 B.C. during the 3rd intermediate period. The coffin was made from wood and decorated with paint (Metropolitan Museum of Art). These coffins were significant during the Egyptian period because they served as the resting place for the human body while the soul was allowed a peaceful transition to the afterlife. It is important to notice that this coffin is not as elaborate of well decorated as many Egyptian coffins of the time. Generally, this suggests that the person buried inside was not as important as either a pharaoh, high priest, or someone else in the upper echelon of society."
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Vernon and Irene Castle, 2008.
The paper is a description of the career of Vernon and Irene Castle preceding World War One.
1,590 words (approx. 6.4 pages), 5 sources, MLA, $ 52.95
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Abstract
Vernon and Irene Castle were America's 'golden' couple--as well as the toast of Europe in the years immediately preceding World War I. Their innovative dance steps: Texas Tommy, Foxtrot, and Grizzly Bear, set to the syncopation of ragtime swept America, Britain and France. In the age of silent movies, film shorts of their dance routines were followed as avidly by teenagers in 1911 as are the television doings of pop stars today. The paper briefly describes the backgrounds of the couple and then examines their career as innovative dancers and choreographers in the years preceding the First World War and up to the death of Vernon Castle in a flying accident in February 1918.
Outline:
Introduction
Background
The Castles, Daring Dance, and Social Innovation in Pre-War America (and Europe, as well)
The Price of War
Epilogue
Works Consulted in the Preparation of this Report
From the Paper
"The Castles appeared together in The Hen-Pecks, a Broadway musical comedy in which their dance routines, set to "the music of young songwriter Irving Berlin's Alexander's Ragtime Band, [Notable Biographies]" were a regular component sketches. The caught the eye of a French theatrical agent who, in 1912, booked them for a six-month gig at the Cafe de Paris, in the city of that name. While their comedy routines received top billing, it was their dancing that caught the crowd's attention. Simply stated, the Castles appropriated black America's ragtime rhythm and social dance steps, performing them in a seemingly 'passionless and well-mannered' fashion. Susan Cook describes the Castles' approach. "Throughout their careers, the Castles responded to the discourse of dance pathology [specifically, white fears of black influence on the social attitudes of American youth] with their own carefully crafted one of propriety in which their dancing, self-described as 'modern,' was so identified by its calculated 'refinement' in opposition to the 'roughness' associated with its working-class and ethnic predecessors. They came to mark out a kind of middle ground between the informality of the working-class dance halls the constrained rigidity of the Dancing Masters [141]." (They Castles had a major impact on American middle-class acceptance of the tango. In Argentina the dance was overtly erotic. The Castles performed it in a more 'stately' manner, although of course the erotic element shimmered just beneath the surface--suitable, one might think, for a happily married couple.)"
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Perpetual Mourning: An Anathema to God and Satan, 2008.
An examination of the condition of perpetual mourning and its relationship to God, Satan and death in literature and film.
1,883 words (approx. 7.5 pages), 8 sources, MLA, $ 60.95
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Abstract
This paper explains perpetual mourning as a unique and relevant psychological human condition present throughout the ages in all forms of art and literature. Perpetual mourning goes against the natural flow of evolution and positive change. The writer discusses Freud's theories regarding mourning and examines the themes of loss and mourning in some books and the movie "Evil Dead 2: Dead by Dawn" in the light of those theories. The writer concludes that there are examples of perpetual mourning keeping man bound in suffering, embracing darkness, but also finding redemption and striving towards new creative futures.
From the Paper
"We mourn the loss of our loved ones, the deaths of our friends and family and our own failures as we strive to understand our very own existence. Every society during certain time periods handled the condition of mourning differently. In some societies it was a mark of shame to have been widowed, forced to live in mourning was to be separated with pity to devote the remainder of your life to dealing with loss with rituals and tradition, a drastic lifestyle change. As more and more time has passed, we are able to examine the presence of the condition in Biblical literature, fictional works and case studies that have been conducted to pinpoint and better understand how mourning our losses has changed mankind's development. Is this reaction a positive psychological process that heals the individual and propels them toward positive life-experiences? Do the results point to the failure to recover from love attachments and the loss of one's own inner identity? History points to both, we shall explore the latter."
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China Porcelain: "Covered Ewer", 2008.
Looks at the Chinese porcelain "Covered Ewer", its function and the relationship of wine to the Chinese culture of Kangxi Period, Qing Dynasty.
1,300 words (approx. 5.2 pages), 10 sources, MLA, $ 43.95
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Abstract
This paper describes a porcelain and enamel famille-verte wine ewer from the Chinese Kangxi Period, Qing Dynasty, located in the Chrysler Museum of Art, Asian Exhibit, Norfolk, Virginia called a "Covered Ewer". The paper discusses the three styles of wine ewers during the Kangxi Period of which relatively few still exist. The paper also explores the practice of ceramics, the diversity of the designs, the use of famille-verte enamel and the consumption of wine during this period. Several color illustrations are included with the paper.
From the Paper
"The Chinese customs involving the consumption of wine have evolved along side institutions such as religion and the arts. The consumption of wine has been viewed by the Chinese to have religious, spiritual, and ritual significance in their culture. Of particular significance to the wine ewer is a gathering, which occurred after the fall of the Han Dynasty (206 B.C. - A.D. 220), the "Gathering at the Lanting". The "Gathering at the Lanting" was a group of disenfranchised officials seeking refuge far from society."
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Botticelli - The Artist and his Works of Art, 2008.
A summary of the life of Italian painter and draftsman Sandro Botticelli, as presented by the "Oxford Art Online" summary.
1,147 words (approx. 4.6 pages), 1 source, MLA, $ 39.95
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Abstract
This paper is a summarization of the training, background, artistic influences, social context, and religious affiliations of Sandro Botticelli, Italian painter and draftsman, as presented by the "Oxford Art Online" summary. The paper also discusses how these factors played their role in the development of the art of Botticelli.
From the Paper
"Many factors played a part in the style and rendering of Botticelli's art. Much of his work had a direct correlation with his teaching, philosophy, society, religion and political influences during his career. Botticelli's concept of what was "creation" and the influence of his teacher was evidenced in his earliest work. Soon his art began to evolve into a more distinguished and abstracted style. Yet, Botticelli utilized the same methods of painting throughout his career. Much of his methods were similar to other Italian artists of the time with the exception of his utilization of black ink and wash applied after the foundation colors were laid down. This process reset the contours and gave the human form mass by modeling the light and shadows. Botticelli would then apply the finest pigments in opaque layers known as scumbles."
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Benjamin West's "Death on the Pale Horse", 2008.
An analysis of the painting "Death on the Pale Horse," which Benjamin West painted in 1817.
1,235 words (approx. 4.9 pages), 8 sources, MLA, $ 42.95
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Abstract
This paper contains a detailed description of Benjamin West's painting, "Death on the Pale Horse,The Opening of the First Five Seals," and explains how he drew on contemporary conceptions of the sublime and combined it with both Christian imagery of the Apocalypse and pagan myth in a frenzy of movement. The writer explains that West had worked on variations of "Death on the Pale Horse" in smaller paintings and sketches from 1796. The writer also discusses how West's interest in the subject matter of the Apocalypse came and went repeatedly over the last thirty years of his life, and the indubitable effect on his work of the wars that plagued America and Europe during this time. The writer concludes that "Death on the Pale Horse" was a work which evolved with the painter and the times he lived in, portraying many of his inner emotions regarding the wars of his times and the Apocalypse. This paper includes figures.
From the Paper
"The painting, a panoramic view of a battle scene, exhibits some of West's finest imagery and clearly and convincingly depicts all the emotion of a horrifying scene. On the left, scenes of killing by sword, famine, wild beasts, and pestilence erupt in a fury of violence. On the right side of the canvas, the white, red, and black horses unleashed in the first three seals erupt forth from the thunderous central scene. On the white horse to the right, Christ is wearing a golden crown and carrying a bow while gazing into the heavens at the figures robed in white. The portrayal of Christ in the painting instills a little optimism of salvation in the midst of the Apocalypse, this was the first inclusion of hope by West in this subject. In the upper left hand corner where a slight amount of light penetrates the darkened sky, an eagle is seen attacking a heron."
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"Demonic" Obsession in Fritz Lang's "M" and "Fury", 2008.
A discussion of the themes of possession, exorcism, and medical hysteria in Fritz Lang's movies, "M" and "Fury."
2,198 words (approx. 8.8 pages), 6 sources, MLA, $ 68.95
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Abstract
This paper explores the numerous parallels to be found in Fritz Lang's films "M" and "Fury" to Hubener's "Germanic Exorcism," and Joseph Breuer and Sigmund Freud's hysteria. The author discusses mob violence and how the capability to violently purge that which has been designated undesirable by the majority has existed in society for a long time. The author discusses the connection between possession and hysterical disease, and how the dissociation of personality which is related to medical hysteria can be seen in Lang's protagonists. This paper contains MLA-style footnotes but does not include a works cited page.
Outline:
Mob Violence as Mass Possession
Mob Violence as Societal Exorcism
Self-Exorcism, the Hysteric, and the "Other Psychological Self"
Conclusion: The Necessity of Violence
From the Paper
"There are several stages to the development and acting out of mob violence. Most often, it starts with a "precipitating event, in the immediate background, [that] evokes fear" in the community and then continues with "a period of lull....then [an] outburst of violence....claiming its victims, almost always in one-sided atrocity." The period of lull is the key to any intentional act of group violence. This is the time that "a widespread feeling of tension....centered on the fear of the enemy" is developed by the group. The basic provocation in both M and Fury is the disappearance and murder of young girls and the subsequent suspicion of who is responsible acts as the motivator."
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Gregory Crewdson, 2008.
An analysis of the style and work of photographer Gregory Crewdson.
1,337 words (approx. 5.3 pages), 3 sources, MLA, $ 44.95
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Abstract
This paper discusses how Gregory Crewdson's work is planned and executed with perfection in mind and how what is revealed on paper is a moment of perfection that crosses with subjects in an imperfect world. It looks at how his photographs don't always make sense, and neither does life and how the mystery of a Crewdson's photograph can be haunting if a personal connection can be made to the picture.
From the Paper
"A Crewdson photograph is made up of many components; some are small and hidden while some are so large that may not be noticed at first glance. One element that is in every photograph of Crewdson's and is always easily found in the frame is a person. More times than not it is a single person, but other times it will be a whole handful. Regardless of how many people are used they all have one common trait; they have the same blank stare on their faces. This emotionless portrait is difficult to read when just examining the characters faces. What is essential to consider is their body language, it is the best clue at deciphering each photo's story. For instance in plate number 7, a man and woman are getting ready for bed in the bedroom. Their faces say little, but their bodies say everything. "
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