| Papers [91-105] of 1849 :: [Page 7 of 124] | | Go to page : <— 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 —> | |
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Romanticism, 2007.
A discussion of romanticism, explaining that it is the artistic movement that appeared as a reaction against the rationalism,.
3,376 words (approx. 13.5 pages), 11 sources, APA, $ 96.95
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Abstract
This paper reviews and discusses romanticism. The paper takes a look at the art, music and poetry that emerged during the romantic era. The paper describes its history, the main elements of romanticism and how it differed in different countries. The paper then goes on to discuss political romanticism.
From the Paper
"The romantic musicians found their muse of inspiration in literary works, paintings, and other art sources. Therefore, they believed in the same art values, like freedom of form, peculiar vibration of feelings, impulsive reactions, uniqueness, etc. As literary works reveal solitary characters to bear the imprint of emotional experience, music reveals instruments that have exactly the same role as characters in literature. They create the emotional values. The French composer Hector Berlioz and the Hungarian musician Franz Liszt had the roots of their inspiration in literature. Plenty of music works were created in the 19th century. The most known and successful ones are written by Schubert, Johannes Brahms, Hugo Wolf, Robert Schumann, and Richard Strauss. Abstract music was expressed in chamber music and symphonies. In this respect, there are plenty of composers who may be given as example. Musicians like Schubert, Schumann, Brahms, Tchaikovsky were the most important as they tried new free form music, adapted for the piano, mostly."
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17th Century Dutch Art, 2007.
A review of "The Art of Describing, Dutch Art in the Seventeenth Century," written by Svetlana Alpers.
1,061 words (approx. 4.2 pages), 0 sources, $ 37.95
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Abstract
This paper analyzes 17th century Dutch art and reviews the book "The Art of Describing, Dutch Art in the Seventeenth Century," written by Svetlana Alpers. The paper discusses Alpers' assertion that Dutch visual culture needs to be examined more closely in order to better understand the Dutch genre in its own terms. It briefly discusses the origins and technique of Dutch art.
From the Paper
"Was it the influence of Baconian philosophy or new excitement over technology and exploration...or simply a grounded earthy pragmatism the Dutch environment encouraged? Alpers exhaustively-researched book invites one to ponder not simply on the art but the people who place such emphasis on individuals and things. A closeness and fondness for the overlooked or underappreciated is in these works, an empathy that suddenly seems badly missing in Italian art. Not every facet of Alpers book succeeds; lengthy translations and unexpected foreign phrases complicate an already excessively complex academic text. Still one finds surprising anecdotal humor and a refreshingly allegory-free people in the Dutch - and a feeling that Alpers may be winning the argument for deeper meaning behind the elegant brushwork!"
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Architecture and Sculpture, 2007.
A comparison of function and construction of Michelangelo's sculpture of "David" and the architecture of Chartres' "Cathedral."
1,061 words (approx. 4.2 pages), 3 sources, MLA, $ 37.95
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Abstract
This paper compares two famous works of art - one sculpture and one of architecture. It examines Michelangelo's sculpture of "David" and the architecture of Chartres' "Cathedral." It compares their structure, materials, function, how they were constructed, the type of structure, their purpose and the length of time it took to construct them. The paper also compares them with regard to proportion and their similarities in characteristics of visual and design elements.
From the Paper
"As to function, they provoke the same sentiment: awe. The "David" looks down briefly upon the viewer and one's eyes wander to his hands or arm or slingshot and one marvels at the holiness of God. The same may be said of the cathedral. When one stands in the entrance and views the enormity of the vault, the lights and color of the stained glass windows, and how constructed (Spiro 335), one wants to remain in the atmosphere, All the parts work together to bring about a sensation of holiness and awe. The central nave is in the shape of a cross, with the top of the cross at the altar and the two arms stretched out on either side. The cathedral was assembled from millions of stones, which were then laid, or installed on the site where it was needed. The "David" material (a large piece of marble and a slingshot in his hand,) is simply a single piece of marble."
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Hogarth, Boucher and Chardin, 2007.
An analysis of the artworks of William Hogarth, Francois Boucher and Jean-Baptiste-Simeon Chardin.
1,036 words (approx. 4.1 pages), 1 source, MLA, $ 36.95
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Abstract
This paper analyzes paintings by William Hogarth, Francois Boucher and Jean-Baptiste-Simeon Chardin. It first looks at images and themes of excessive rationality, godlessness and human tragedy in Hogarth's six-part series "Marriage a-la-mode." It then discusses and compares female eroticism and objectification in Boucher's "The Blonde Odalisque" and Chardin's "Girl Peeling Vegetables."
Table of Contents:
William Hogarth
Boucher and Chardin
From the Paper
" Wollstonecraft would no doubt be offended by either image. In The Blonde Odalisque, the subject's role is simply decorative: for men's visual pleasure. The subject gazes at something or someone of interest, perhaps (this would further increase eroticism) a man fancied. Wollstonecraft would say this painting trivializes and devalues its female subject: as a decorative object, not a full human being. In Girl Peeling Vegetables, similarly, the expression of the female is vapid; too empty-headed even to be bored with her tedious work. Her thoughts, when she thinks them, are covertly sexual, and the subtle but suggestive positions, and implied movements, of her hands reinforce this idea. Wollstonecraft would find both artists' views of women shallow, limited, and lacking in real-life complexity and dimensionality."
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Greek Artifacts, 2007.
This paper looks at the civilization of ancient Greece and its artifacts.
1,820 words (approx. 7.3 pages), 2 sources, MLA, $ 58.95
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Abstract
In this article, the writer notes that until about 1870, historians and scholars who specialized in the history and archeology of ancient Greece were, for the most part, quite ignorant about Greek culture and society and considered this area of study as being filled with myth. The writer points out that from excavations conducted in the early years of the 20th century, the history of ancient Greece is now well-known and understood, especially through the magnificent artifacts that have been uncovered. Thus, the writer maintains that these artifacts illustrate that the cultural and social heritage of ancient Greece was one of the most important Western civilizations of all time. The writer concludes that they also prove that the ancient Greeks were superb artisans who always attempted to reveal the intricacies of Greek culture through their work.
From the Paper
"In essence, many of these artifacts will enable us to reconstruct the development of the Greek style in art and to appreciate their uses and place in ancient Greek society. Imagine for a moment living in ancient Greece, perhaps somewhere amid the long and winding coastline of the Aegean Sea, or perhaps high up in the great mountain chains of the Peloponnesos or Thessaly, the home of Mount Olympus and the pantheon of Greek gods and goddesses, such as all-powerful Zeus and his wife Hera, Aphrodite, the goddess of love, Apollo and Hermes, the messenger of the gods."
"In this environment, common men and women worked in the cities as laborers, merchants and slaves and toiled in the fields in order to feed the hungry masses in places like Argos, Sparta, Thebes and especially mighty Athens, the home of Pericles and Greek democracy. Thus, in these and many other environments, the ancient Greeks fashioned a very wide spectrum of items, ranging from ordinary clay pots to outstanding examples of Greek art in the form of amphora, drinking vessels, armor, weapons, jewelry, bowls and statues."
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Artistic Utopias, 2007.
An analysis of various artistic depictions of utopia from the past and present.
2,634 words (approx. 10.5 pages), 10 sources, MLA, $ 79.95
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Abstract
This paper discusses the portrayal of utopia in art, whether it be literature, architecture or the fine arts. The paper presents examples of many types of depictions of utopia throughout history. The paper suggests that there is a new utopian revolutionary art where artists collaborate with the people of a community to restate their own history as the surroundings inspire them.
From the Paper
"Cuban artists currently have opened "Contemporary Art from Cuba: Irony and Survival on the Utopian Island" with a range of artists exhibiting from 24 to 39, at the ASA Museum at the University of Arizona, an art museum known for exhibiting work experimental in content, form or presentation. These artists show they are disillusioned with the socialist Revolution, yet they remain loyal Cubans."
"Land artists, who create monumental sculptures, perhaps are those most successful in living out their utopian ideals in large scale, such as Michael Heizer, who has spent three decades creating a huge collection of truncated pyramids in the Nevada desert, Charles Ross, who has a subterranean Stonehenge for the space age in New Mexico and Christo, who has tried to wrap up the world like a present."
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Politics and Art, 2007.
This paper examines the relationship between art and politics, with a focus on the era of the Russian Revolution.
1,074 words (approx. 4.3 pages), 5 sources, MLA, $ 37.95
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Abstract
The paper discusses how politics have had an impact on art and how artists have impacted political structure. The paper shows how, especially during times of unrest, art becomes a political message as a motivational or propaganda tool. The paper looks at the decades prior to and immediately after the Russian Revolution and examines the beliefs and impact of artists such as Ivan Kramskoy, Ilia Repin and Lazar "El" Lissitzky.
From the Paper
"Artists such as Ivan Kramskoy, for example, were involved with the ideological structure that represented Russian realism in the 1860s, a decade of reform and renovation. This liberal stage of the movement, reflecting the intelligentsia's efforts to free individual thought and public activity from bureaucratic controls, lasted through the mid-1880s. Artists, with their decidedly inferior status in society's estimation
and their own, were overwhelmed with the importunate demands of the radicals that they ceased being quiet supporters of the state and decided to contribute their share to political reform."
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Diego Rivera, 2007.
A discussion of the famous muralist and political activist, Diego Rivera.
1,882 words (approx. 7.5 pages), 9 sources, APA, $ 60.95
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Abstract
This work discusses how public space planning can be used as a politically motivated and concerted effort on the part of those in power to reshape society by planning and reshaping its public spaces. The paper then presents a biographical and political discussion about Diego Rivera, exploring his life, his work and his mind as a public contributor to political and social thought through his art.
Outline:
Introduction
Politics of Public Planning
Diego Rivera the Politician
From the Paper
"In an article discussing the connections between the famous muralist, and political activist Diego Rivera there is a statement about art that demonstrates both the depth of Rivera's involvement in the political and the controversies that surrounded him and his allies. The Mexican art movement of the 1920s-30s was a foundational backdrop to Rivera's political leanings, described later in this work by a contextual biographer of Rivera. It would seem contrary to say that if Rivera had not been so adamant a proponent of public art, many of his ideas and works would have been lost to the walls of private homes and indoor museums, but his activism was in fact rooted in his idea of public art as a tool of political and social revolution and therefore in his mind to be displayed for the world to see and the community to build from."
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Abu Ghraib Prison, 2007.
This paper discusses the photographs from the atrocities associated with the American controlled Iraqi prison named Abu Ghraib.
3,860 words (approx. 15.4 pages), 9 sources, MLA, $ 105.95
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Abstract
This paper explains that the atrocities associated with the once American controlled Abu Ghraib prison in Iraq have been represented visually through a series of oft repeated photographs taken by American guards at the prison. The author points out that these images are of frequently naked, hooded Iraqi prisoners being publicly shamed and tortured by America soldiers, often shown smiling and referring to the spectacle with what can only be described as glee. The paper states that these pictures have left a lasting mark on the face of the war and on the image of the United States all over the world.
From the Paper
"Another issue associated with these grave deeds and their photographic record is the obvious and frequent utilization of nudity as a manner to debase prisoners. The guards are shown fully uniformed (in a show of power over the prisoners) while prisoners, except for the covering of their faces are debased in scenes of immorality completely incongruent with their faith and their pride, yet interestingly congruent with the world view (as it applies to Islam) as it relates to hatred of western freedoms, including the manner in which the west freely depicts nudity and objectifies the body."
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Caravaggio and Poussin, 2007.
A discussion regarding Michelangelo da Caravaggio and Nicolas Poussin.
1,663 words (approx. 6.7 pages), 8 sources, APA, $ 54.95
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Abstract
This paper reviews and discusses the works of Michelangelo da Caravaggio and Nicolas Poussin. According to the paper, Caravaggio and Poussin were not contemporaries but have been linked in art history because of the criticisms Poussin made of Caravaggio and because of the differences in approach seen in their aesthetic ideas and the works they produced following those ideas.
From the Paper
"These latter two works are very different renditions of their subject, though there are similarities in the symbols used. Both figures have leaves twining around their heads. The da Cortona work shows a much younger Bacchus, a child, with bunches of grapes in hand. The Caravaggio presents an adult Bacchus drunk from the wine in the goblet he holds in his left hand, and grapes and other fruit are visible in a bowl in the foreground. The Bacchus of Caravaggio is a dissipated adult, and Caravaggio renders this scene with considerable realism. The expression on the face shows how drunk this Bacchus is and how less than ideal this makes him."
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Early Renaissance Art, 2007.
An analysis of early Renaissance art, in the form of a statue of Athena and the sculpture of "David."
1,886 words (approx. 7.5 pages), 4 sources, MLA, $ 60.95
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Abstract
This paper discusses early Renaissance art. It focuses on sculptures that were commissioned for various reasons. The paper describes these works of art - their inspiration and properties and the purpose of their commissions. It particularly focuses on a statue of Pallas Athena, the ancient goddess of wisdom and the protector of the city of Athens and the sculpture of "David."
From the Paper
"The only possible objection might be the church that might resist the image of a nude female form from mythology standing proud before the city. Yet the Medicis wished that their power, over the authority of the Church and the technical legal status of Florence as a republic would reign supreme. They were making a new republic of wisdom that was in reality not a democracy at all, just like "David," for all of the gestures made to Biblical times in its name and in the statue's slingshot, really strikes the viewer as more of a celebration of Man and the artistry of the sculptor than the divine. The sculpture would pay homage to the right ideology on the surface, but an even deeper message of raw power would be expressed by the image of stone and metal."
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A World of Art, 2007.
This paper discusses the world of art, concentrating on the Renaissance period.
969 words (approx. 3.9 pages), 6 sources, MLA, $ 34.95
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Abstract
In this article, the writer points out that in the world of art, especially the visual arts, the artist presents the audience with a specific view of his or her personal world. The writer notes that the artist therefore tends to explain and delineate the world according to his or her own reactions to and perceptions not only of the landscape, but also of the social world and time period in which he finds himself. The writer relates that this is true of every period in art, and perhaps most notably in the Renaissance period. The writer concludes that each artist discussed operates not only from his own perspective upon the world, but also in reaction to the social and artistic changes in the world around him. The writer maintains that in this way, the Renaissance was a period of an artistic dynamic that has influenced the world not only during its time, but for centuries after its end.
From the Paper
"Another iconic artist of this age was Michelangelo. Like Da Vinci, Michelangelo was also multitalented, although he concentrates his work in the arts and construction rather than the sciences. As sculptor, painter, architect and poet, Michelangelo was also one of the founders of the High Renaissance, influencing almost all his contemporaries and successors in the various art forms in which he excelled. Michelangelo established his early reputation with the Pieta for St. Peter's during 1498-9. After this harmonious masterpiece, the artist received the commission to complete David, another masterpiece. After further making his name as a spectacularly talented artist, Michelangelo was commissioned to paint the ceiling of the Sistine Chapel, a project he began in 1508 and completed by 1512. As his name, Michelangelo's use of the nude exerted an intense influence upon the new values and artistic styles of this period. The nude was used as an expression of human emotion and idealization of form."
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Japanese Art, 2007.
This paper studies the form and function of Japanese art.
921 words (approx. 3.7 pages), 5 sources, MLA, $ 32.95
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Abstract
In this article, the writer looks at one of the most famous Japanese woodblock prints ever created, "The Great Wave at Kanagawa" . The writer notes that woodblock prints were a common form of Japanese two-dimensional art, involving the creation of a raised surface that was intended to either replicate a picture or create a new picture on the surface of a beautiful piece of paper. The writer then studies the three-dimensional "Ewer for Use in Tea Ceremony," which functioned as a wine server for the meal that takes place after the tea ceremony. The writer notes that today, it is considered an art form that observes the harmony between food and nature, and takes the diner on an odyssey of flavors, textures and colors. The writer concludes that the works of art considered, reflect the idea that artistic form and sacred function should be united in Japanese art and that the difficulty of artistic creation should not call attention to itself.
From the Paper
"How the food appears within the serving ware is just as important as the tastes of the food itself, and the harmony of the flavors of the meal are reflected in the harmony and balance of colors on the vessel. Unlike the woodblock, the images upon the vessel are not dramatic, although the vessel is crafted in an innovative fashion, in terms of its use of kiln technique and introduction of unexpected colors. The striking nature of the color reflects its function as a wine vessel, one of the stronger flavors of the kaiseki meal. The heavier, brighter flavors of the wine are intended as a balance to the flavors of Japanese rice wine, known as saki."
"Thus, within the woodblock composition there is balance, and the apparent ease with which the mountain withstands the terrible typhoon parallels the ease with which the woodblock artist creates, with great difficulty, the deceptively simple raised etching that creates a print."
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Nicolas Tournier, 2007.
This paper discusses the works of French painter, Nicolas Tournier.
916 words (approx. 3.7 pages), 3 sources, MLA, $ 32.95
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Abstract
In this article, the writer discusses that in all his paintings during his lifetime, Nicolas Tournier displayed a grace and style that makes him one of the most notable painters during his time and in the Caravaggesque tradition. The writer notes that not much is known about Tournier's life, apart from what his paintings depict about him. The writer also points out that even Tourneir's birth and death dates have been obscured by the mists of time and that some of his paintings are only recently rightfully attributed to him. The writer concludes that Tournier is most remembered for the unusual atmosphere and depiction of character in his paintings.
From the Paper
"According to the Musee des Augustins, Tournier came from a family of Besancon artists in Montbeliard. This was a Lutheran enclave, where Tournier received his first instruction from his father, Andre. The senior Tournier was a painter in the Northern Mannerist style. From here, Tournier left to complete his training, as is commonly believed, in Rome and Languedoc. The first years, from 1610 to 1618, were spent in Languedoc, while Tournier resided in Rome from 1619 to 1626. This is a fairly obscure time in Tournier's career, as little is left of this period."
"Tournier's work during his time in Rome is said to revolve mostly around copying assignments of compositions by Bartolomeo Manfredi. Manfredi is an important influence on Tournier's work, as he, like Tournier later, was a main artist in the Caravaggesque tradition."
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Korean Video Art, 2007.
A description of video art in Korea.
1,201 words (approx. 4.8 pages), 3 sources, MLA, $ 41.95
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Abstract
This paper explores the emerging popularity of video art in Korea. The writer discusses the reasons for the interest in this art form, and some of the major artists practicing this art form. Several recent exhibitions are described as are some of the works that were part of the exhibits. The author concludes that Korean artists are now taking the world stage to showcase their work, even if some of their creations are only significant to Korean audiences.
From the Paper
"Park Hyun Ki was born in 1942 in Seoul, his focus in art is in the link between spirituality and technology. He explains that his particular interest is in finding the balance between industrialization and culture. The deeper undertones of his art is that he finds in Korean culture the economic growth and the social growth from Western countries have changed it away from traditional values. He sees the video art as a method of using video monitor as an art object, however he has evolved to using a more sophisticated "merging of video and nature". "
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